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MARCH 2006 VOLUME 17 NUMBER 2

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On the CoverCindy Crawford in the familyroom of her home in Malibu.“Beauty and the Beach,” page94. Photography by SimonUpton; hair by Richard Marinfor Cloutier/Redken; make-up by Carol Shaw for Lorac;fashion styling by Rita Rago forRouge Artists; peasant top bySomi, available at Madison, LosAngeles. Far left: Vintage findsin John Derian’s Lower EastSide apartment. Below: Land-scape designer Mario Nievera’sManhattan pied-à-terre.

Departments28 Editor’s Page

By Margaret Russell30 Mailbox

Our readers write33 What’s Hot!

Dispatches from the world of design.38 Bergdorf Goodman domesticates glamour. By Vicky Lowry40 Williams-Sonoma Home hits the street. By Christy Hobart42 Charlotte Moss celebrates her muses. By Kathleen Hackett44 A Hollywood hotel gets a nip and tuck. By Tara Mandy48 News flash50 Trend Alert

Mocha has its moment; black and white unite. By Anita Sarsidi54 Art

Kehinde Wiley mixes hip-hop with history. By David Colman58 Designer’s Dozen

The 12 things Frank Gehry can’t live without. By Julie V. Iovine

62 Truth in Decorating: The Ten Most Elegant ÉtagèresDesigners Susan Forristal and Steven Gambrel check out howthe latest crop of freestanding shelves stack up. By Julie V. Iovine

66 Great IdeasSunrooms bring great style to light

68 Daniel’s DishA French classic rises to the occasion. By Daniel Boulud

80 ELLE DECOR Goes to PhiladelphiaThe City of Brotherly Love is undergoing a resurgence, with aninflux of young residents and cultural cachet. By Julie V. Iovine

150 ResourcesWhere to find it. By Molly Sissors

156 EtceteraCool coatracks take a strong stand. By Alison Hall

The Crawford Sofa. Every piece makes the room.

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Features93 ELLE DECOR Style94 Beauty and the Beach

Cindy Crawford and Rande Gerber unite the casual with thechic in their new Malibu house. By Catherine Ettlinger

106 Lord of the FleasJohn Derian finds inspiration—and the artful furnishings for hisLower East Side flat—at the flea market. By David Colman

114 Bold StrokesUpdating an old-world Upper East Side townhouse, MilesRedd makes glamour work for a young family. By David Colman

124 Shopping: Making a StatementGraphic wallpapers endow any room with color and pattern,not to mention attitude, on a large scale. By Anita Sarsidi

130 In a New LightFor a New York gallery owner and his family, country livingmeans a perfect union of art and nature. By Vicky Lowry

138 Small ChangeLandscape designer Mario Nievera’s Manhattan pied-à-terreis as ingenious as any of his grand gardens. By Nancy Hass

142 Clearing the WayPeter Pennoyer and Katie Ridder restore a Park Avenue clas-sic by reducing it to its essence. By Melissa Barrett Rhodes

Clockwise from above: AJosef Frank cabinet in a Park Avenue apartmentrenovated by designerKatie Ridder and archi-tect Peter Pennoyer.Roland and KathleenAugustine’s house in up-state New York. The living room of a Manhat-tan townhouse dec-orated by Miles Redd.

To subscribe to ELLE DECOR, to order a gift subscription, to change yoursubscription address, or for any questions regarding your subscrip-tion, e-mail elledecor@neodata.com. Please be sure to include yourmailing address and all pertinent information for your subscription; youmay also call 850-682-7654. To order a back issue, call 800-333-8546.

142

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editor’s page

Margaret Russell, Editor in Chiefmrussell@hfmus.com

It’s insane: These areas are rarely small, and almost al-ways have the most interesting and appealing art andfurniture in the house. I used to be guilty of this as well,for when I was growing up, my family barely set foot inthe living room except to practice the piano or, duringthe holidays, to gather around the tree. The diningroom fared even worse—it was shunned completelysave for Easter, Thanksgiving, and Christmas dinner.

In truth, my mother and father were somewhat toblame, being keen on cool, spare, ’60s-modern fur-nishings (suitable strictly for perching, not napping)instead of the cabbage-rose–covered, down-filledsofas and chairs that every other house in our Con-necticut town seemed to have. And although I ap-preciate the sleek chic of our furniture now, I trulyloathed it back then. But my parents loved it, so thewasteful, pristine state of those cavernous spaceswas not a question of comfort, but a reflection of theformality and custom of the time.

Sad, no? Yet the practice continues, with untouched,uptight rooms spread across the country in housesthat grow bigger every year. So you can imaginemy delight when I visited the Malibu compound ofCindy Crawford and Rande Gerber, where thereisn’t a corner that’s not put to use. It’s a magical place,

Whydosofewpeople ever really live in their living rooms or dine in

their dining rooms? set high above the Pacific, with all the rooms liter-ally opening onto a deck or terrace, or focusing onthe breathtaking ocean views. Cindy describes herfamily’s life there by saying, “We live outdoors asmuch as in, and it’s always casual.”

But there’s hope even for those of us in an envi-ronment that’s not as easygoing and barefoot as thebeach. At her glamorous Upper East Side town-house, young mother Liz Weinstein lives up to herwords: “I don’t believe in saving rooms for specialoccasions.” As far as I’m concerned, she wins Wifeof the Year award as well. Because by installing thepool table her husband, Steve, loved, in their loft-like drawing room, she practically guaranteed thatit would become everyone’s favorite hangout.

Don’t fret. I doubt regulation-size pool tables willbecome the next must-have accessory, but I’mcrazy about Liz’s relaxed attitude and freewheel-ing spirit. And there’s no better trend than that.

Designer Nate Berkus andEllen Rakieten, executive

producer of The OprahWinfrey Show, with me at

ELLE DECOR’s Dining byDesign gala in Chicago.

http://www.gucci.com

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Class ActWonderful article and pictures of the chic Park Ave-nue apartment designed by its owner (“In the Clear,”December). Susan Chalom has an amazing eye: Herplace is minimal, yet warm. And her simplicity is clas-sic. What an inspiration! Thank you for including afeature for nonprofessionals such as myself.Lyn Segal, Aspen, CO

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

Village VampYour feature on Candace Bushnell’s Greenwich Vil-lage apartment in the September issue (“Love atFirst Sight”) was gorgeous. Her space exudes a sexyand feminine character that I’d love to bottle andbring to my apartment in Philadelphia. Tracy Mack, Philadelphia, PA

The Gift of GivingI was extremely touched by your Editor’s Page inNovember. I am the head of the President’s Clubof Vista Del Mar, a 98-year-old orphanage in LosAngeles, and grew up in a truly charitable family thattaught me what you give comes back in so manyways. I respect you for a fabulous magazine.Janis Black, via e-mail

Fine TypeI want to express my deep admiration for ELLE DECOR,my favorite design publication. You have such greatstyle! You consistently present top-quality articleson decorating, furnishings, and architecture, andthe stories are always well written and photographed.I very much like the genuine care and depth of feel-ing you show for the people featured, be it the de-signer or a client, and their homes. The blend of thepersonal and professional is present, too, on theEditor’s Page. It is exemplary and rare, and one morereason why I keep reading your magazine. Thereis much more to praise, but I’ll conclude by thank-ing you for your integrity. It is very much needed,and welcome, these days.Michael Feeley, via e-mail

Greetings from GreeceI cherish the interiors you feature on your pages. Iwould even call you a long-distance university ofgood taste. Congratulations on a wonderful job.Papasifakis Panagiotis, Athens, Greece

Holiday BluesHow sad that references in your magazine to theholiday season have been reduced to one articleabout shopping (“Frozen Assets,” December). Goneare the days when shelter magazines celebratedwith beautiful spreads depicting families gatheredin celebration of Hanukkah and Christmas. The hol-idays have now been reduced to a few material trin-kets that may be purchased to celebrate what?The article doesn’t even say. I assume that you havemade a decision that it is politically incorrect towrite about such things. Lisa Montague, via e-mail

Not at all. Until very recently, ELLE DECOR has beenpublished eight times a year, with a December/Jan-uary issue, and few things are sadder than a Christ-mas tree cover in January. Our increase in frequencyto ten issues allows for a separate December pub-lication; look for a more festive celebration of theholiday season next year.

From top: The livingroom of Susan Chalom’s

Manhattan apartment.The December cover.

mailbox

MARCH 2006

To subscribe to ELLE DECOR, to order a gift subscription, tochange your subscription address, or for any questionsregarding your subscription, e-mail elledecor@neodata.com.Please be sure to include your mailing address and all perti-nent information for your subscription; you may also call850-682-7654. To order a back issue, call 800-333-8546.

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: ELLEDECOR@hfmus.com.

T H E T H O M A S P H E A S A N T C O L L E C T I O N

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What’s Hot!Dispatches from the world of design

Text by Julie V. IovineProduced by Anita Sarsidi

Blue Plate SpecialCeramic artist Robert Dawson takes atried-and-true Wedgwood china patternand makes it new again by blowing up de-tails and placing them off center aroundthe plates, adding dimension, depth, anddrama to this historic chinoiserie design.The After Willow dinner plate costs $40,a dessert plate is $35, and the tea-cup and saucer set is $90. Call 800-955-1550 for stores; wedgwoodusa.com.

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1 Back Splash Don’t put this chaise longue against thewall; it’s a standout. Designed by RichardFrinier for Century Furniture, it evokesshoji screens, raku pottery, and FrankLloyd Wright designs. Part of the 12-pieceKyoto Leisure collection, it has a cast-aluminum frame with an aged finish;measures 32" wide, 75" deep, and 34.5" high;and costs $3,200 as shown. Call 800-852-5552; centuryfurniture.com.

2 Light WorkNot since Jean Cocteau designed the onesfor his classic film La Belle et la Bête has a sconce possessed such poetic flair. Thegold-plated, cast-bronze Appliqué Iris byObjet Insolite resembles stylized plantstalks, and measures 18.5" tall and 16.75"wide. It costs $832 at Distant Origin. Call212-941-0024; distantorigin.com.

3 On a Roll The Angel table by Mary Forssberg up-dates Deco and puts it on wheels. Sheathedin hand-stained leather and inset with shagreen, the diminutive table will elegantlywork 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; orFørssberg studio, 305-856-9590.

4 Pattern PlayFamed fabric house Boussac has found in-genious new ways to spread its patternsaround, including laminating some ontolightweight plastic trays. Here, it’s Paloma,designed by Jacques Grange in tribute toPicasso and his daughter. The company’snew home-accessories collection also includes curtains, cushions, and servingpieces in a variety of patterns and color-ways. The tray is available in red and whiteversions 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.

THE NEW RX 350. EVEN MORE POWERFUL.

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*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.

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1 Lighter Brighter Blu Dot, the Minneapolis-based furniturefirebrand, makes goods that have an im-mediate impact but also work hard. Theplywood-topped metal Strut table is typi-cal—it’s as lean as a line drawing, but has the tensile grace of a kite in flight.Powder-coated in glossy red, the tablemeasures 90" long, 29" high, and 34.5"wide, and costs $1,199. (A slightly smallersize is also available.) Go to bludot.com.

2 Mirror IllusionWhat might appear to be the curvywrought-iron frame on a simple mirrorturns out to be loops that are hand-carvedout of mahogany. Designed by Anne-MarieMidy for Casa Midy, the Loop mirror is 36"high by 28" wide and sells for $1,610 atRoom. Call 212-226-1042; roomonline.com.

3 To Dye For Rug and textile designer Madeline Weinribhas always had a passion for old weav-ings. Now she’s investigating the possibil-ities of the ancient process of dyeingyarns before weaving them, called ikat.She has merged the traditional techniquewith a sophisticated modern palette in her new line of pillows, handwoven inUzbekistan. Each 12"-square cushioncosts $400 at ABC Carpet & Home. Call212-674-1144; madelineweinrib.com.

4 Bubble UpTransparency brings more to light, so whynot a lamp made entirely of clear glass,including the shade? The Conran Shopoffers handblown lamps with one, two, orthree bubbles. The two-bubble version, farleft, is 20.5" tall and costs $525; the one-bubble version stands 27.5" tall and is $325.Call 866-755-9079; conran.com.

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top floorBergdorf Goodman

rethinks luxury for the home, with new shops

and a magical restaurant

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The most dramatic dining room to open recentlyin Manhattan bucks a trend—and might just cre-ate a new one. BG is neither in a swank hotel nor ina fringe neighborhood that’s suddenly hot, but ratheron the seventh floor of Bergdorf Goodman, whichhas 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—prov-ing that fashion stores are no longer just sellingclothes; they’re selling a lifestyle.

For her first project in New York, L.A.-based in-terior designer Kelly Wearstler gave BG, the res-taurant which overlooks Central Park, a decidedlyresidential feel by creating a series of salons ratherthan one huge room. It’s a nod to the Beaux Arts build-ing’s heritage: The Goodmans used to live two floorsabove in a 16-room apartment. With a refined paletteof ivory, black, and gold, Wearstler has enlivenedthe setting, which includes a swank bar, using hitsof unusual color: Leather-covered canopy bergères,modeled after ones she saw in a Christie’s cata-logue, are robin’s-egg blue; turquoise silk from DeGournay, embellished with a chinoiserie design,covers some walls; and avocado and mustard makeappearances, too. “We wanted to be true to BergdorfGoodman aesthetically, and we knew this wasn’tgoing to be a minimal, white box,” says the store’sCEO, Jim Gold. Adds Wearstler, “I wanted it to feelfresh. It’s a room for people of all ages.”

The rest of the floor is divided into small boutiqueswhere the unusual reigns, with one-of-a-kind ob-jects like perfectly preserved ostriches and pea-cocks from Deyrolle, the famed Parisian taxidermist;whimsical, hand-painted stationery from BernardMaisner (with calligraphers on hand to address in-vitations); vintage books and entomological printsfrom Jane Stubbs; exquisitely embroidered bed-ding by Leontine Linens; and a stash of vintage hotelsilver. “We want the floor to have a sense of discov-ery,” explains Gold, “as if you are shopping the stallsof a luxury flea market.” Vicky Lowry

Vintage hoteltableware andserving pieces.

A new boutique withitems from Deyrolle in Paris and decou-page platters by JohnDerian. See Resources.

BG, the newrestaurant de-

signed by Kelly Wearstler

on BergdorfGoodman’s

seventh floor.

A display ofinnovative

table settings.

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the Art Deco–style alarm clock perched on a bedside table. “We wantedto create a store that was friendly, casual, and comfortable,” says DaveDeMattei, president of emerging brands for the San Francisco–basedWilliams-Sonoma, Inc. “Chuck Williams, founder of the company, wel-comed people into the kitchen with a spirit of hospitality. We want towelcome them into the rest of the house in the same way.”

The store is the ultimate reassurance for anyone who might hesitatebefore 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 sitin a leather chair while you flip through the catalogue and see what thatsame chair will look like in plaid or linen,” says DeMattei. “The catalogue,the store, and the website all work as one.” Christy Hobart

After a mere 18 months, the Williams-Sonoma Home catalogue nowhas a pop-up edition, a new shop in West Hollywood where all thewares on its pages—and more—have sprung into three dimensions.Located on Beverly Boulevard, just a stone’s throw from the PacificDesign Center and around the corner from Robertson Boulevard’s up-scale boutiques, the store is the first of a projected total of seven thatthe company will have opened around the country within the next year.

The 18,500-square-foot space is laid out like a rambling but opu-lently luxurious traditional home. Two inviting leather stools sit in frontof a working fireplace, with highball glasses and a cut-crystal decanterpositioned nearby. All that’s missing is a dram of Scotch. And up thelarge, gracious stairway, a bedroom is subtly evoked, right down to

40 ELLEDECOR.COM

Outof theKitchenWith its first home store, Williams-Sonoma

brings its reputation for style to the rest of the house

Suede, tweed, and cash-mere in a living room

vignette at the newWilliams-Sonoma Home

store in Los Angeles.

The exterior of the storeon Beverly Boulevard.

A dining table and chairs, and aselection of table-top accessories.

Leather-uphol-stered seatingand ottomans.See Resources.

A bedroom tableau.

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Picasso had Marie-Thérèse Walter, Andy Warhol hadthe denizens of the Factory, and Marc Jacobs hasSofia Coppola. Charlotte Moss, who has forged areputation for richly layered rooms long on both ele-gance and comfort, has a veritable salon of muses—Edith Wharton, Jane Digby, and Lola Montez, toname a few. In her first collection of upholstery, fab-rics, and wall coverings for Brunschwig & Fils, Mosshonors the women, both famous and infamous, whoinspire her to, as she puts it, “live life large.”

“Edith Wharton ran upstream,” says Moss. “Sheworked when it was unfashionable for women to doso.” Her homage in fabric, Edith’s Reverie, evokesthe chinoiserie so popular in Wharton’s belovedParis. The Josephine sofa is named for the wife ofNapoleon, and the Sarah skirted armchair for SarahBernhardt. Moss so loves the pattern of Digby’s Tent,named for the 19th-century aristocrat who marrieda Bedouin sheik, she had a coat made from it.

Moss has had a busy year, with the publication ofher latest book, Winter House, as well as the launchof her new lines. But then, the Southerner has alwaysintertwined life and work. Her subtle wovens areinspired by and named for the creeks, mountains,and beaches she loves. A faux-bois pattern recallsthe alpine ridges of Highlands, North Carolina, whileMonticello, a damask of oak leaves and acorns,reminds her of the hills around Thomas Jefferson’shome in her native Virginia. Though she looks to thepast, her color wheel is decidedly current. Curry, sage,aubergine, and citron predominate. “I strive to cre-ate emotion, passion, and atmosphere in a room,”she says, “by borrowing from the past and pushingto the future.” Kathleen Hackett

Pattern PlayTo inspire her first collection of furniture and fabrics,Charlotte Moss looks to the women she admires

42

Far left: Charlotte Moss in herEast Hampton home, with fab-rics and upholstery from herpremiere collection for Brun-schwig & Fils. The Alice slipperchair is upholstered in Monti-cello, and her evening coat andthe curtains are of Digby’s Tent. Fabrics include, clock-wise from left, Monticello intwo colors, Creek in two colors,Daphne’s Mystery, and Vanes-sa’s Folly. See Resources.

From top: Moss’s newwall coverings includeDaydream, shown intwo colors, Emily’sJourney, and St. Barts.

In the dining room, the walls, curtains,

and tablecloth are ofDaphne’s Mystery,

and the chairs are slip-covered in St. Barts.

The living room has asofa and a Lola chair

covered in Digby’s Tent.

Moss’s study, with walls and cur-

tains in Zarafa.

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

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what’s hot! travel

original name, Sunset Tower. And sightingsof everyone from Steven Spielberg and SofiaCoppola to Oscar de la Renta and Anna Wintourin the hotel’s walnut-paneled lobby and res-taurant 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 petcow in the penthouse. Liz Taylor, Frank Sinatra,and Marilyn Monroe were also regulars. Theglamour lasted until the early ’70s, when theproperty slipped into disrepair. In the late ’80s,it was renovated, reopening as the St. JamesClub. “They really messed up with all this

Jeff Klein has had a thing for hotels ever sincehe was a child, when he would skip sightsee-ing tours with his family to wander such iconicproperties as the Ritz in Paris or Venice’s Cip-riani. It fits, then, that the hotelier’s most re-cent acquisition is a Hollywood Art Deco iconthat looms over Sunset Boulevard. “When Ifirst saw the hotel, its architecture and his-tory romanced me,” he says. “It wasn’t forsale, but my business partner contacted theowner and made it happen.”

Last fall, 18 months and $25 million later, thehotel, which had been known for more thana decade as the Argyle, reopened under its

Clockwise from left: The fa-bled Art Deco Sunset TowerHotel in Los Angeles, built in 1929. Piero Morovich, chef of the hotel’s Tower Barrestaurant, with owner JeffKlein in the lobby. Therestaurant. See Resources.

http://www.annsacks.com/scottbasin

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The living area of aguest suite, with floor-

to-ceiling windows.

A recently reno-vated guest room.

A penthousebathroom.

The Tower Bar.

The diningroom of theTower Bar.

fake Deco,” Klein says with a cringe. “They puta Jetsons canopy on it and built these weird,UFO-like cabanas. The real travesty, though,was all the fake marble, the fake Erté. I knewI’d have to rip everything out.”

Enter L.A.-based designer Paul Fortune, who,after working on Marc Jacobs’s Paris apart-ment, was looking for a job closer to home. Hewas drawn to the hotel: “Despite its amazinglocation and history, the building had neverbeen a great jewel. I felt I could make it whatit always should have been.”

Klein wanted the place to be grown-up yetsexy. “I also wanted it to feel clean and modern,”he says. “The worst thing to me about some-thing feeling old is it often feels dirty.” The collab-orators drew inspiration from historic spotssuch as Hollywood’s Musso & Frank and theHemingway Bar at the Ritz in Paris—as wellas the heyday of the hotel itself. Bugsy Siegel’sground-floor apartment, in what is now theTower Bar restaurant, was sheathed in walnutinlaid with brass, so Fortune started with that.“I used this great paneling salvaged from anAmex boardroom,” he says.

From the beginning, there was pressure tomatch the hotel’s wedding-cake exterior. “Peo-ple kept saying, ‘You have to make it Deco,’”Fortune recalls. “But to me, a Deco vibe cancome from colors and materials. I found a dusty-rose fake suede for $19 a yard.” Swirling woodgrain, limestone floors, and Tibetan wool rugsround out the look. Guest rooms feature bathswith vintage-style fittings and original floor-to-ceiling windows with bronze details. The spashowcases a large terrace and a spaciouswhite marble hammam.

What’s immediately noticeable is a potentsense of timelessness. Fortune feels it mostin the 80-seat restaurant, where chef PieroMorovich serves up Italian-accented contem-porary bistro cuisine. The place became apower-dining scene within weeks of its open-ing. “Tom Ford and I are always fighting for thesame little banquette,” Fortune jokes. “Thepiano player is right there, tinkling away—youcould be on the Normandie sailing across theAtlantic or in L.A. in the ’40s.”

Klein sees his Sunset Tower as a responseto trendy boutique hotels. “I wanted to cre-ate a sense of permanence here,” he says.“This place not only has history, but now hasthe glamour of a Hollywood landmark with-out the formality and stuffiness. You don’t needa dinner jacket to have a drink at the bar,” headds with a smile. Tara Mandy

The reception areaof the hotel’s ArgyleSpa. See Resources.

http://lazboy.com/candy8

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what’s hot! news

1 Dog DaysAs much animal trainer and wit as artist,William Wegman made Man Ray and FayRay, his Weimaraners, nearly as famous astheir namesakes. But his 40-year retro-spective at the Brooklyn Museum proveshe has lots more than one trick up hissleeve. Man Ray Contemplating the Bustof Man Ray. From March 10–May 28. Call718-638-5000; brooklynmuseum.org.

2 Celtic CoolPhilip Treacy is known for his over-the-top hats, worn by everyone from MickJagger to Camilla Parker Bowles. Not sur-prisingly, his first interior, the G hotel inGalway, is as exuberant as a featheredheaddress, with 101 luxurious rooms doneup in bold hues and vivid patterns. Call011-353-91-865-200; monogramhotels.ie.

3 Room ServiceWorldware, a San Francisco fixture forhome furnishings, has moved to largerquarters that allow for 14 room vignettesstocked with global finds—from Chineselamps to furniture by Alexa Hampton. At 301 Fell St. Call 415-487-9030.

4 Alpine AllureMountain-deprived Manhattanites cannow get cozy at Aspen, a new restaurantand lounge where Lucite deer heads andbarn-wood paneling give the place thelook of a hip lodge. The menu warmsthings up with fondue and bison sliders. At 30 W. 22nd St. Call 212-645-5040.

5 Desert DramaSpectacular residences and gardens arethe focus of Marrakech: Living on the Edge of the Desert (Images, $65), whoselush color photographs capture one of the world’s most magical places.

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New York • Miami • ChicagoDallas • San Francisco • AtlantaTel. 800.426.3088 www.swarovski.com

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1 Marmotte silk twill jacket andskirt with patent-leather trim byLouis Vuitton from spring 2006.

2 Nouvelle Texture* cotton-wool-viscose-polyester by

Stroheim & Romann. 3 Rural*linen from Travers. 4 Velours

Bonaparte* polyester-cotton byNobilis. 5 Profilia* cotton-

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Sanderson. 7 New Khmer* silk by Jim Thompson. *Available tothe trade only. See Resources.

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Radetzcky lacquered-wood screen by Armani Casa.

Chevron Print*cotton by Deco-rators Walk.

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Broadgate Stripe cotton by Ralph Lauren Home.

Kira jacquard-knitjacket, Giovannijacquard-knit skirt,and giant-polka-dotknit top by Dianevon Furstenbergfrom spring 2006.

Urn steel lampand silk drumshade byWorlds Away.

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Black+WhiteThe contrast of dark and lighthas always been powerful, butthere’s no reason it can’t alsobe pretty. Designers are rein-venting the classic combo ineverything from delicate printsto decorative flourishes, giv-ing it a retro edge that evokes1940s glamour. All that’s miss-ing is a pair of kidskin gloves.

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The annual international art-fair spectacle known as Art Basel MiamiBeach established once and for all this past December that the trickyintersection of art and commerce has become a 12-lane, six-way L.A.freeway interchange complete with triple overpasses and double-cloverleaf ramps. Any minute now, we’re expecting a 37-car pileup.

In the current go-go climate, artists have responded with inflationarytactics. Not just prices, but visuals—oversize glossy photographs, ab-surdist installations, cartoon-bright colors and graphics, all of whichseem to mimic the balloonacy of today’s market. With the money pour-ing in, few are willing to venture anything remotely close to a pinprick.

So Kehinde Wiley, whose paintings manage to comment on thesticky issues of money, power, and status while maintaining a sublimesense 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’slatest 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 por-traits. In these, he replaced the august subjects of Peter Paul Rubens’sEquestrian Portrait of the Duke of Lerma and Jacques-Louis David’sBonaparte Crossing the Alps at Grand-Saint-Bernard with young,urban black men, complete with football jerseys, Timberlands, andbaggy jeans. The scenes are embellished with beautiful decorativepatterns that fall, intriguingly, somewhere between historic rococo andtacky aspirational wallpaper. Wiley even painted the gallery in the GrandSalon colors of burgundy and deep teal (again raising the question ofproper versus tacky) and set up a faux gentleman’s club.

KehindeWileyIn his paintings, art history meets the street,

and classic poses take on provocative new meanings By David Colman

Kehinde Wiley’s freshtake on history painting,The Chancellor Seguier

on Horseback, 2005,after a Charles Le Brun

classic. See Resources.

http://www.certapro.com

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As the show beautifully demonstrated, Wiley isn’tafraid to tackle issues of class and race, carrying on the tradition of other brilliant African-Americanartists like Robert Colescott, Jean-Michel Basquiat,and Fred Wilson, all of whom have managed to com-bine witty and plangent commentary with arrestingimagery. Wiley certainly has rights to the imagery heuses, having grown up in South Central Los Angelesin the ’80s, when gang violence and hip-hop musicwere erupting into touchstones of American culture,forging vital new models, good and bad, for power-starved, status-hungry urban youth. Wiley was for-tunate enough to have a mother who got her son into

free art classes, and even an art campin Russia sponsored by Michael Milken.

Wiley’s pedigree (a.k.a. his streetcred) has endeared him to the pressand collectors alike. But having grownup in a world where status and wealthwere so clearly double-edged swords,Wiley is as leery of success today aswhen he was a youth. “We’d like to be-lieve that art has no relationship tocommerce,” says the artist, 29, in hisbusy Williamsburg studio. Attendingthe frenzied Miami Basel fair, he ex-plains, “really laid bare that these arehigh-priced luxury goods for wealthyconsumers.” With rare candor, headds, “I think it’s very important thatartists recognize their position in so-ciety and incorporate that into theconceptual fabric of the work. There’sa specific vocabulary concerning pow-er. 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 com-

mentary dressed up in pretty clothes, think again.These are far from two-dimensional images. Whatis affecting about the pictures is not merely how in-congruous the young men are, but how alive, real,poignant, and in an odd way, how natural.

While elements of his works are copied, his sub-jects are painted from life—Wiley trolls Harlem forwhat he calls “guys with a kind of alpha-male senseof style”—and it shows. The models, armed withWiley’s art history books, pick the portraits in whichthey want to be reproduced (and for the openingthey were chauffeured to the gallery in limos).

The resulting works are more intimate than grand-standing, invoking the specters of ambition, achieve-ment, and aspiration that bedevil everyone—blackand white, rich and poor. So if you’re in a positionto buy one, beware: The subject’s eyes tend to fol-low you around the room.

Clockwise from top left: The artistwith his work at Deitch Projects.Assumption, 2003. NapoleonLeading the Army over the Alps,2005, after Jacques-Louis David.Female Prophet Anne, WhoObserves the Presentation ofJesus on the Temple, 2003.Immaculate Consumption, 2003.St. John the Baptist Preaching,2003. See Resources.

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HappeningsAdvertising & Promotion • Events & Opportunities

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1. ELLE DECOR’S DINING BY DESIGN SAN FRANCISCOELLE 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.

2. ANN SACKS SHOWROOM EVENTELLE 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.

3. LEWIS MITTMAN SHOWROOM EVENTEditor 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.

4. DONGHIA WAREHOUSE SALEELLE DECOR co-hosted an exclusive preview of the much-anticipated annual DonghiaWarehouse Sale, which offered a wide array of furniture, as well as decorative and upholstery fabrics, at the Puck Building in SoHo.

5. DEYROLLE OPENING RECEPTIONMargaret 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.

6. ddc HOLIDAY EVENTELLE 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.

UPCOMING EVENTSCLARKE’S SUB-ZERO WOLF “FREEZE” EVENT February 9ELLE DECOR and Metropolitan Home present a design seminar hosted by MetropolitanHome 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 designerglasscompetition.com 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 27th and 28th Streets.

Visit elledecor.com/diningbydesign 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.

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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.

Photo: Prince Michael of Yugoslavia and Françoise de Broglie.

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FrankGehry

12 things he can’t live without By Julie V. Iovine

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At 77, Frank O. Gehry is at the top of his game. His acclaimed designfor the Guggenheim Museum in Bilbao, Spain, not only altered theeconomy of an entire city but also triggered a museum building boomthe world over. For the past decade, he has easily maintained his sta-tus as the world’s most renowned architect by topping one innovativebuilding with another, from the Walt Disney Concert Hall in Los Angelesto the Jay Pritzker Pavilion in Chicago’s Millennium Park and, currentlyunder construction, the Jerusalem Museum of Tolerance.

Yet he still worries about what’s next in his own life, and praise makeshim nervous. In fact, Gehry has always preferred the role of strugglingartist to that of celebrated genius. Perhaps as a result, he can now addsomething entirely different to his repertoire: jewelry and tabletop de-signs, with six collections for Tiffany & Co. about to debut. “I never inmy wildest dreams thought I’d be working for Tiffany,” he admits, “butonce 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 arti-sans, the kind of hands-on collaboration that Gehry values most. “Atthis point in my life, I didn’t expect it to be so exciting,” he says. Ex-perimentation and working with others, it turns out, are essentials forthe architect. Plus a pad and a pen for sketching ideas.

58 ELLEDECOR.COM

1. Jacob van Ruisdael’s The Jewish Cemetery, atthe Detroit Institute of Arts.

2. Falcon private jets. I wish someone wouldask me to design one.

3. Proust’s Remembrance of Things Past. Iread 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 penon a Seth Cole Bristol two-ply plate pad.

6. Free weights. As long as they’re set up byT.R., my trainer for the past decade.

7. Soba noodles, even though they’re not onmy diet.

8. The FOG hockey team: What started out asour office team is now semiprofessional, andI’m not good enough to play on it anymore.

9. Ken Price sculptures.

10. The Hereditary Disease Foundation inSanta Monica, founded by my former thera-pist and old friend, Milton Wexler.

11. Classical concerts, especially by EmanuelAx, Mitsuko Uchida, and Hélène Grimaud.

12. Worry—especially about my kids. I worryso much, I must like it.

2. Falcon jet.

7. Soba noodles.

5. Pilot pen andSeth Cole pad.

11. Classical musicby Emanuel Ax.

8. The FOG hockey team.

4. Vase for Tiffany & Co.

designer’s dozen

9. Sculptureby Ken Price.

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Your first sip will tell you that Gevalia is a coffee unlikeany you’ve ever tasted. Smooth, rich and delectable—in a word, extraordinary. Simply choose two of ourdelicious coffees and you’ll also receive our StainlessSteel Design Collection FREE. There’s no further

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CONVENIENT BILLING. You will be billed only at thetime of each delivery. Prices of coffees and teas vary from$5.55–$7.45. A shipping and handling charge will be added.You may pay upon receipt of each shipment or, if using acredit card, subsequent shipments will be conveniently billedto your card. Coffee prices are subject to change.

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The very word sounds so continental, so suave, so Marie Antoinetteat Le Petit Trianon. But what exactly is an étagère? In French, it sim-ply means shelf. And for such a ubiquitous and popular piece, it actu-ally doesn’t have much of a historic pedigree. The great Americandoyennes of fine furnishings, Edith Wharton and Elsie de Wolfe, hadbarely a word to say about these open-sided shelves. There is no “cor-rect” way to use them, but that only makes them more liberating andversatile. 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 con-sidering placing one, whether it’s in the dining room to showcase a col-lection of objects, to store stacks of towels in a guest bath, or as a pairto flank a doorway. Susan Forristal, an interior decorator who likesfurniture with strong, graphic shapes, and Steven Gambrel, a de-signer with a penchant for elegance energized with strong color, sizeup ELLE DECOR’s selection of étagères that can stretch space andadd a dash of concentrated style like no other piece of furniture.

Text by Julie V. Iovine · Photography by William A. Boyd Jr. · Produced by Alison Hall

Susan Forristal and Steven Gambrel take stock of the latest freestanding shelves to see how they stack up

truth in decorating

The10Most Elegant Étagères

Designers Steven Gambrel andSusan Forristal measure the

merits of étagères by Councill,left, and Stickley. See Resources.

http://elkayusa.com

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.

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6 ANGLED ÉTAGÈREFROM THE MILLINGROAD COLLECTION BY BAKER“As sculptural as a pedestal,”says Gambrel. “A pair wouldlook amazing in a diningroom with bowls or plattersthat contrast with the darkwood.” Forristal sees it asmore rustic: “I’d love it over-flowing with ferns. To me, it’spure English country house.” Height: 72"; width: 24.5"; depth:24.5"; material: solid beech inaged European-umber finish withbrushed-nickel sockets; delivery:4–6 weeks; price: $1,750

7 BILLY BALDWIN–INSPIRED ÉTAGÈRE BYCAROLE GRATALE“The essence of classic mod-ern,” declares Forristal. “It’sso understated even a pairwouldn’t overwhelm a room.”Gambrel raves as well:“Exactly what I think of whenI think étagère. Its height and scale, the brass andmahogany, make it a usefuland glamorous piece.”Height: 96"; width: 36"; depth:14"; material: polished-brassframe with mahogany shelves(other materials available); deliv-ery: 10–12 weeks; price: $12,600

8METROPOLITANFIVE-TIER ÉTAGÈRE BY STICKLEY“Its diminutive scale saysupstairs,” says Gambrel. “Per-fect for a bedroom or bath.And I love the nickel socks.”Forristal points out thatthough it might be too smallfor a grand room, “it has ashow-off finish and would bestunning in a dressing room.” Height: 52.5"; width: 19"; depth:13"; material: solid cherry withwalnut inlay in Saratoga finish(other finishes available) withnickel sockets; delivery: 4 weeks;price: $1,212

9 IRON ÉTAGÈRE BY PIERCEMARTINForristal terms this one “definitely a statement piece.It’s like an Industrial Ageantique. The iron posts lookas strong as trees.” Gambrelagrees. “This has a hand-wrought look perfect for thecountry,” he says. “And thetall middle section is spa-cious enough to hold a tele-vision set, which is rare.” Height: 82"; width: 42.5"; depth:24"; material: hand-forged iron inrust finish (other finishes avail-able) with glass shelves; delivery:4–6 weeks; price: $6,520

10 ÉTAGÈRE BY PLEXI-CRAFT“It’s small but it’s snappy,”jokes Gambrel. “So smallthat I see it floating on a wall,perhaps in a children’s roomabove a chest of drawersand stocked with a collectionof Nancy Drew or HardyBoys books.” Forristal prefersit in another room: “It wouldbe perfect in an entry or abathroom. It’s meant to holda lot of stuff and disappear.” Height: 50"; width: 18"; depth: 8"; material: acrylic; delivery: 3–4weeks; price: $340

1 ÉTAGÈRE BY JOHNBLACK FOR COUNCILL“Nice spirit!” exclaimsGambrel. “The construction isso fine it looks custom made.In a bold color, it could add areal hit of energy.” Forristalalso likes its sturdiness, butsees it more in a supportingrole. “I’d put one on either sideof a door and paint them thecolor of the walls to add archi-tectural interest,” she says. Height: 79.5"; width: 32"; depth:18"; material: maple in oyster fin-ish (other finishes available) withbrass drawer pull; delivery: 10–12weeks; price: $2,660

2 TALESAI STORAGEÉTAGÈRE BY BERNHARDT“This one may be huge,” saysForristal, “but it doesn’t clob-ber you on the head with itsAsian look. It even guidesyou on how to arrange what-ever goes into it.” Gambrelprefers it in a hallway ratherthan in a central place,adding, “Imagine the impact if it held a single collection.”Height: 76"; width: 55"; depth:18"; material: hardwood in black-currant finish with antique-brasshardware; delivery: 3–6 weeks;price: $1,200

3 SHEFFIELD SHELVINGUNIT FROMTHE CONRAN SHOP“What’s not to like!” proclaimsForristal. “This is a classic,ideal for a loft or home office. Itcould take a lot off your desk.”Gambrel calls it “seriouslyindustrial,” with its rubberwheels, sturdy shelves, andeasy-to-clean surfaces. “It’s areal working piece,” he adds,“great for a stylish kitchen.”Height: 71"; width: 39"; depth:16"; material: stainless steel withrubber wheels; delivery: 5–7 days;price: $1,250

4 SLIM ÉTAGÈRE BY ROOM & BOARD“Delicate without being dain-ty,” Forristal pronounces. “Ithas a nice depth to it, whichmakes it practical.” Gambrelfinds the generous spac-ing between shelves ideal for electronics, but also sug-gests, “The price is so low,why not buy a few, coat themin auto paint to make thempop with color, and use themto hold the kids’ treasures?” Height: 72"; width: 24"; depth:15"; material: steel with clear-lacquer finish; delivery: 3 weeks;price: $299

5 TWIG ÉTAGÈRE BY CRATE & BARREL“I like this one’s weatheredlook,” says Gambrel. “Tryputting it where it will be aninspiration, like in a teenag-er’s bedroom, hung with jew-elry.” Forristal appreciates itsscale. “It’s just the thing for a tiny apartment. It can jazzup any small space,” shesays. “Loaded with plants, itcan even turn a kitchen cor-ner into a slice of sunroom.” Height: 68.5"; width: 18.5"; depth:18.5"; material: wrought iron inpainted-rust finish; delivery: 1–2weeks; price: $299

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1 In the solarium of a house outside Paris, MonicFischer, owner of the home-furnishings com-pany Blanc d’Ivoire, pairs a wood table withlinen-slipcovered dining chairs and a pendantlamp softened with muslin. 2 Designer PipIsherwood updates the greenhouse of a Vic-torian former rectory in Gloucestershire, Eng-land, with Eros swivel chairs by Philippe Starck,a ’50s-style chandelier, and a floor of pebblesset in resin. 3 At Hilleskär, a late-19th-centuryhouse on the island of Ekerö, Sweden, a glass-enclosed porch on the second floor makesthe most of the limited sunlight of Scandina-vian winters; the steel chairs are by JonasBohlin. 4 Argentine architect Diego Monterogives a rustic edge to a contemporary glasshouse in Punta del Este, Uruguay, by encas-ing the grid of windows in wood, linking it withthe grove of eucalyptus trees beyond. 5 Anurban sunroom takes a graphic approach withdark metal framing, a Le Corbusier table, andblack folding chairs.

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daniel’s dish

Goat cheese lifts the classic French soufflé to new heights. By Daniel Boulud

high and mightyA cheese soufflé, that classic of French cuisine,adds a magical touch to a meal. Few dishesare more dramatic than a puffy soufflé pulledfresh from the oven. Guests invariably cry “Ah”when you bring one to the table.

For all its drama, making a soufflé is a rela-tively simple process, though a bit of a fearfulone, since you won’t know until you open theoven if that soufflé magic has worked. Timingis crucial, but the béchamel base can be pre-pared ahead, and then all you have to do is beatthe egg whites at the last minute. Butter thebaking dish well and cover it thickly with breadcrumbs, which helps the soufflé rise. Bakedin individual dishes, it will rise even higher. Buteven if a soufflé falls, it will still be delicious.

Soufflés can be made with all kinds of chees-es, but I particularly like this goat cheese one.My family owned 60 goats, so I practically grewup on goat cheese. If you want to offset thetartness of the cheese, you can sprinkle thetop of the soufflé with a bit of grated Comté orGruyère just before baking.

For an accompaniment I suggest a mélangeof dried fruits and a hearty salad, ideally a mixof endive, radicchio, frisée, and escarole, forti-fied with croutons, toasted walnuts, and per-haps some apple and pear slices. I’ve supplieda few of my favorite salad dressing recipes.Prepare the fruit marmalade ahead, toss thesalad, and whip the soufflé out of the oven witha flourish for a perfect winter meal.

GOAT CHEESE SOUFFLÉ WITH DRIED-FRUIT MARMALADE For the soufflé: 8 T unsalted butter, softened1/4 cup bread crumbs1/4 cup finely grated dry-aged goat cheese1/4 cup all-purpose flour 11/2 cups milk 1 tsp. salt, plus a pinch1/2 tsp. freshly grated nutmeg Pinch of cayenne pepperFreshly ground black pepper6 eggs, separated2 cups fresh goat cheese2 egg whites

An individual goat cheese soufflé, servedwith a tart marmalade of dried fruits

and a radicchio and endive salad, makesa richly satisfying winter meal. The

King William sterling-silver soupspoon is by Tiffany & Co.; the Incanto Flower

dinner plate is by Vietri. See Resources.

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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

Philadelphia

The Schuylkill River, withthe Philadelphia Museumof Art, far left, and the city

skyline in the background.

If you haven’t been to the City of Brotherly Love lately, it’s time to rechargeyour impressions. There’s far more to the city than the elementary-school trip with pit stops at the Liberty Bell and Ben Franklin’s digswould indicate, or even a pilgrimage to see the Postimpressionists atthe Philadelphia Museum of Art (the country’s third largest). The seri-ous history and art are all still there, of course, but today Philadelphiais percolating with a more youthful sensibility that’s both cosmopolitanand neighborly. It’s a welcome paradox: a kind of Madrid on the DelawareRiver, rich in history but liberally sprinkled with outcroppings of experi-mental new culture, ambitious student life, and cunning luxury-condodevelopers 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 recentreputation for urban malaise (notoriously capped by the bombing of ahouseful of radicals in 1985), Philadelphia has struggled to rise above

its status as a commuter’s way station between Washington and NewYork. But the truth that Philadelphia is a most livable city in its own righthasdawned on a new generation of enthusiastic transplants, both empty-nesters relocating from the suburbs and artists fleeing New York prices.

Call it newly hip or historically revolutionary; just don’t call it the sixthborough of New York City. Last summer, The New York Times pub-lished an article noting “Philadelphia’s Brooklynization,” and local hack-les were raised. “We’ve spent a long time in the shadows,” says HilaryJay, director of the Design Center at Philadelphia University, which ex-hibits and supports local talent, including graduates of the city’s sevendesign schools. “But Philadelphians are beginning to understand wehave our own particularities, our own gems, and our own style.”

The winds of change are definitely in the air. Gary Rivlin, owner ofthe upscale furnishings store Usona, arrived from Russia 18 yearsago. “In the past seven years,” he says, “everything has really

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changed. Back then, downtown was tough, and nothing was openafter 6 P.M. Now it’s a real 24-hour city.”

Visitors would do well to start in Washington Square or nearby Rit-tenhouse Square, two of the five original urban parks created by cityfounder William Penn to reflect the city’s aspirations to become a newurban arcadia. Their mature trees, wrought-iron fences, and statelymansions reek of historic glory while still reflecting Philadelphia’s newvitality. In other words, many of those old piles contain hip new stores,like the 1896 Beaux Arts stunner at the corner of Walnut and 18thstreets, the former home of financier Alexander van Rensselaer, nowthe flagship of the bohemian clothing chain Anthropologie, with muchof the original interior detailing quirkily restored. Then stop in at LaColombe. The mood of the 12-year-old café and roaster (which sup-plies beans to Manhattan’s Le Bernardin and restaurant Daniel) iscosmopolitan and upbeat—call it noninvasive Euro-chic.

Just east, closer to the Delaware River, are the oldest parts of thecity, including Society Hill, Independent National Historical Park (anL-shaped swatch of green chockablock with landmarks), and Old Cityitself. The whole area, where the city grid is squeezed between theSchuylkill and the Delaware rivers, is a dream for wanderers. Cobbledstreets are lined with narrow redbrick houses stitched together withback alleys and the occasional carriage house. On corners here andthere are old storefronts converted into BYOB restaurants, simple butcrowded little eateries without liquor licenses, where ambitious chefsexperiment. In Old City, Third Street is lined with design shops sellingeverything from wares by local artisans to the latest in Italian mini-malism. History is always just around the corner, whether it’s the FreeQuaker Meeting House at Fifth and Arch streets, built in 1783, whereBetsy Ross meditated (on alternate flag motifs, perhaps) or the lovelymoss-and-stone Christ Church burial ground, Ben Franklin’s last stop.

On certain Fridays, Old City is anything but sleepy, however. FirstFridays have become a popular tradition. Some 40 galleries, shops,and restaurants throw open their doors, serve drinks, play music, andotherwise turn the streets into a sprawling cocktail party. Nearby at 138Market Street, the Continental Restaurant and Martini Bar, a Sinatra-esque lounge located in a former diner, is always thronged. It was thefirst of many scene restaurants opened in the city by Stephen Starr,Philadelphia’s answer to Manhattan’s Jeffrey Chodorow. The Con-tinental was an instant hit in 1995, credited by many as a turning pointfor Old City. “I have this big bang theory about what’s happening inPhiladelphia,” says Starr, who grew up in South Jersey but visited thecity often (“A lot more interesting than hanging out in Asbury Park,” hejokes). “When the condos started to explode, it created motivation forpeople like me to make the next move. The city has the same DNA asNew York, the same well-traveled people with money who are hungryfor new experiences. For a long time there was a void where it shouldhave been fun. Then things started to happen. And now the city feelsfresh.” So fresh, in fact, Starr is exporting two of his most popular Phila-delphia restaurants, Morimoto and Buddakan, to Manhattan.

But it takes more than a hot meal to make a city hum, and in otherregards Philadelphia has also kept pace. Not only does the public trans-portation system run smoothly and extensively, but the city has broughtback one of its 1940s trolley lines. Even more ambitious and high-tech, plans are in the works to make Philadelphia the nation’s largestcitywide wireless Internet zone. On the cultural front, there’s plentyof expansion as well, starting with the

The interior of thefurniture and de-

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A lunch counterat the ReadingTerminal Market.

Verizon Hall at theKimmel Center, de-signed by Rafael Viñoly.

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City Hall, with a ClaesOldenburg sculpture.

http://www.hastens.com

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Essential PhiladelphiaThe area code is 215. Raise a toast to First Fridays. Once amonth, Old City holds a communitycocktail party as 40 galleries and shopsopen their doors and serve refreshmentsto celebrate the neighborhood’s come-back (625-9200; oldcityarts.org).Paddle your own canoe, or at least drivealong the Schuylkill Expressway, to get themoney shot of Boathouse Row, the clusterof Victorian structures just north of theequally romantic Fairmount Water Works,an 1815 dam dressed as Grecian temples. Visit the Reading Terminal Market(922-2317; readingterminalmarket.org),with some 76 vendors, offering Fisher’ssoft pretzels, pork sandwiches, rawoysters, and organic produce. Openevery day but Sunday. Stroll Rittenhouse Square, one of fivesquares designated by city founderWilliam Penn. Don’t miss the MütterMuseum of medical curiosities nearby.Smell the flowers. The famedPhiladelphia Flower Show (988-8899;theflowershow.com), America’s largest,takes place March 5–12.

What to SeeBarnes Foundation, 300 N. Latch’s Ln.,Merion, 610-667-0290; barnesfounda-tion.org: See this eccentric “teaching”collection, loaded with masterworks, inits original house setting, before itmoves to Benjamin Franklin Parkway.Christ Church, 20 N. 2nd St., 922-1695;oldchristchurch.org: Ben Franklin andfour other signers of the Declaration ofIndependence are buried in the church-yard of this gloriously plain chapel.Eastern State Penitentiary, 2124Fairmount Ave., 236-3300; eastern-state.org: Once a model of Quaker-stylereform through architecture, it’s noweveryone’s favorite ruin and a setting fornew art installations.

The Fabric Workshop and Museum,1315 Cherry St., 568-1111; fabricwork-shopandmuseum.org: New textile works by artists such as Anish Kapoor,Robert Kushner, and Mona Hatoum.Franklin Court, 316–322 Market St.,597-8974; nps.gov/inde/Franklin_Court:Ben’s house is gone but memorialized by a “ghost house” and an undergroundmuseum designed by Robert Venturi.Franklin Institute, 222 N. 20th St., 448-1200; sln.fi.edu: Science and technologymade accessible with interactive dis-plays such as a walk-through heart.Kimmel Center for the Performing Arts,260 S. Broad St., 790-5800; kimmelcen-ter.org: The city’s answer to New York’sLincoln Center, designed by RafaelViñoly, includes an all-wood concert hallin the shape of a cello.Pennsylvania Academy of the FineArts, 118 N. Broad St., 972-7600;pafa.org: The country’s oldest art mu-seum; American masterpieces in afamed Frank Furness building.Philadelphia Museum of Art, 2600Benjamin Franklin Pkwy., 763-8100;philamuseum.org: One of the greatAmerican museums. Its holdings rangefrom rare Asian artifacts to Duchamp’sshocking Étant Donnés.Richards Medical Research Building,3700 Hamilton Walk: An early work ofPhilly native Louis Kahn, ironically hisonly building in the city.

Where to StayAlexander Inn, 301 S. 12th St., 923-3535;alexanderinn.com: Located in a his-toric 1901 building, with 48 rooms thatevoke an Art Deco ocean liner.Four Seasons, 1 Logan Sq., 963-1500;fourseasons.com: Reliable luxury, cen-trally located and recently renovated inan updated Philadelphia Federal style. The Rittenhouse, 210 W. RittenhouseSq., 546-9000; rittenhousehotel.com:

This is where Tom Hanks stayed whilefilming Philadelphia; it has the largestrooms in town, a spa, and the Lacroixrestaurant, with modern French food.The Ritz-Carlton, 10 Ave. of the Arts,523-8000; ritzcarlton.com: In the heartof Center City, this stately landmark has299 tasteful rooms and all the amenities.Thomas Bond House, 129 S. 2nd St., 923-8523; winston-salem-inn-.com/philadelphia: The 12 rooms in this restored 1769 townhouse in OldCity feature Chippendale furniture.

Where to EatAmada, 217–219 Chestnut St., 625-2450; amadarestaurant.com: 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., 732-7560; barclayprime.com: A mod steakhouse with a cozy bar. Try the two-biteKobe sliders or veal porterhouse.Dmitri’s, 795 S. 3rd St., 625-0556: One of the city’s first BYOB restau-rants, beloved for its grilled octopuswith green olives.Fork, 306 Market St., 625-9425;forkrestaurant.com: The menu at this relaxed American bistro changes daily, but the sophisticated take onContinental cuisine remains consistent. La Colombe, 130 S. 19th St., 563-0860;lacolombe.com: A popular café offRittenhouse Square, where the coffee is as good as the people-watching.Matyson, 37 S. 19th St., 564-2925;matyson.com: One of the few BYOBspots open for lunch, with sea-food stew and homemade ice cream.Mercato, 1216 Spruce St., 985-2962:This neighborhood favorite with an openkitchen serves steak and pasta classics.Morimoto, 723 Chestnut St., 413-9070;morimotorestaurant.com: Famed “IronChef” Masaharu Morimoto left New

York’s Nobu to serve oyster foie grasand tempura in Gorgonzola sauce here. Tria, 123 S. 18th St., 972-8742; tria-cafe.com: Beers and ales from aroundthe world are a specialty of this casualcafé, which is popular with the locals.

Where to ShopBelle Maison, 4340 Main St., 482-6222;bellemaisononline.com: A wide range of vintage and new French imports, in-cluding painted armoires, wrought-ironbenches, and colorful enamelware.Flotsam + Jetsam, 149 N. 3rd St., 351-9914; flotjet.com: An idiosyncratic mixof antiques and contemporary works.Foster’s Urban Homeware, 124 N. 3rdSt., 267-671-0588; shopfosters.com:High and low, and a bit of everything inbetween, from Iittala to local artisans.Gallery 339, 339 S. 21st St., 731-1530;gallery339.com: Contemporary pho-tography by new talents from Europeand Japan, and even Philadelphia.John Alexander, 10–12 W. Gravers Ln.,242-0741; johnalexanderltd.com: A stel-lar collection of British Arts and Craftsand Aesthetic Movement furniture. Joseph Fox Bookshop, 1724 SansomSt., 563-4184; foxbookshop.com: Thearchetypal independent bookstore,known for its art and architectural tomes.Matthew Izzo, 1109 Walnut St., 829-0606; matthewizzo.com: Midcenturyfurniture and chic women’s fashions.Moderne Gallery, 111 N. 3rd St., 923-8536; modernegallery.com: Postwarmarvels, strong on George Nakashimaand Wharton Esherick pieces. Petulia’s Folly, 1710 Sansom St., 569-1344; petuliasfolly.com: Inside the carvedAfrican doors, trendy fashions (Hollywouldand Nicole Farhi) mix with housewares.Usona, 113 S. 16th St., 496-0440;usonahome.com: Two floors of sophis-ticated contemporary furniture andtabletop accessories, plus artworks.

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Sometimes it takes a lot of changes to make ahome work, sometimes only a few. Fortunately,doors and windows and sofas and chairs can prove surprisingly adaptable. Ingenioussliding doors transform the Manhattan pied-à-terre of landscape designer Mario Nievera.Roland and Kathleen Augustine find the chal-lenge in building a country house is achievingthe perfect balance of walls and glass. KatieRidder and Peter Pennoyer rescue a grandPark Avenue apartment by taking it back to itsroots, while Cindy Crawford and Rande Gerbermix equal parts romance and restraint in theirnew Malibu home. And in his Lower East Side digs, John Derian lets time and chancebring about the kinds of modifications he loves.

Style

93

BEAUTY ANDTHE BEACH

WITH THE HELP OF DESIGNER MICHAEL SMITH, CINDY CRAWFORD

AND RANDE GERBER CREATE A HOUSE IN MALIBU

THAT MERGES HIS PENCHANT FOR PURITY WITH HER LOVE OF TRADITIONTEXT BY CATHERINE ETTLINGER

PHOTOGRAPHY BY SIMON UPTON

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Facing page: Rande Gerber and CindyCrawford in their Malibu, California,

home, designed by Michael S. Smith;the architect is Oscar Shamamian ofFerguson & Shamamian Architects.

This page: The infinity pool overlooks a private beach and the Pacific; the

landscape design is by Rios ClementiHale 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 ChristopheDelcourt from Ralph Pucci International, theEvreux pendant lights are by Vaughan, and thebamboo 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.

ELLEDECOR.COM 97

After they married seven years ago, Cindy Crawford andRande Gerber settled into her Manhattan apartment, thenmoved to her house in Los Angeles. His bachelor pad inMalibu became a weekend retreat. But now they’ve de-cided to live at the beach full-time. “This is the first placewe’ve done together,” she says. “This is our married house.”

It’s perched on a precipice overlooking the Pacific, andthough the property, which slopes down to a private beach,is grand even by Hollywood standards, the house, the resultof five years of planning, building, and decorating, ex-udes warmth and welcome. “We wanted to live like wewere at a resort, so we tried to think of everything we loveabout our beach vacations,” says Crawford, barefacedand 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 aninfinity pool. “When you live on the beach, you use it,” ex-plains Crawford, who sets up there for the day with Gerberand their children, Presley, 6, and Kaia, 4. “We feel likewe’re on a perpetual vacation. Our kids are in the pool fivetimes a week. We live outdoors as much as in, and it’s al-ways casual—we are a no-coaster household.”

Gerber, who owns restaurants, clubs, and bars, has anoffice nearby, and Crawford works from home. In fact, sherarely makes the hour drive into Los Angeles more thantwice a week. They have everything they need in the house,from a fully loaded gym to a screening room and a base-ment “club” for entertaining. “Rande wants our house to bethe place where everyone, including our kids’ friends,wants to come,” says Crawford,who loves to cook and havefriends for dinner. “We have drinks around the fire pit on the

98 ELLEDECOR.COM

In the cabana, a 19th-century Chinese lanternpurchased at auction, rattan lounge chairs by

Bielecky Brothers, and a Ming cocktail tableby Michael S. Smith Reproduction Furniture.

Facing page, clockwise from top: Crawfordand her daughter, Kaia, by the pool. The

1850s Chinese bookcase in the entry is fromBelgium, the 19th-century Chinese black-

lacquer scroll table is from J. F. Chen, and theMoroccan wool rug is from Mansour. The

front door, which is flanked by hand-carvedMoroccan 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 multimediawork, Scholars Rocks, is by Nancy Lorenz. Facing page: The family room’s Bond Streetsofa by Donghia is upholstered in a JohnRobshaw cotton-linen, the 18th-centuryLombardian mirror is from Amy PerlinAntiques, and the Tribeca fan is by HunterFan Co.; the Industrial light pendants and the Cargo fixtures above the kitchen islandare by Urban Archaeology. See Resources.

ELLEDECOR.COM 101

deck, and if it’s warm enough, we eat outside. If not, wemove to the dining room. But we always end up out by thefire. We want people to feel like they don’t want to leave.”

Yet Crawford and Gerber came to the project with verydifferent ideas. “Rande is edgy, modern, and Armani-esque, and I prefer a cozier, more romantic feeling,” saysCrawford. “He hates the traditional Oriental rugs I love, andwould have just carpeted the whole place. We each hadto step out of our safety zones and find something we bothliked.” For help they turned to interior designer Michael S.

Smith, an old friend of Crawford’s who had collaboratedwith her on her previous places. He helped reconcile theirtastes 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 characterizesas “like a sugar plantation in the tropics,” part Colonial(classic proportions, clean lines), part Caribbean (indoor-outdoor living, tropical materials). What draws the twostyles together, according to Shamamian, is the use of sim-ple elements—dark wood, light plaster walls, and stone

“WE FEEL LIKE WE’RE ON A PERPETUAL VACATION,” SAYS CINDY CRAWFORD. “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”

The mid-20th-century rugs bythe Beni Ouarain tribe in themaster bedroom are fromBrooke Pickering MoroccanRugs, and the curtains are ofRural linen from Travers; thebed is dressed with linens byNancy Koltes. See Resources.

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In a guest bedroom, panels of Jasperhemp by Michael S. Smith frame a viewof the ocean; the chair is antique, andthe 19th-century inlaid dresser is Indian. Facing page, clockwise from top left:Umbrellas by Santa Barbara Designs and X chairs by McGuire on the ter-race. The master bathroom’s Town bath and sink fittings are by Michael S. Smithfor Kallista. In another guest room, a rope bed by John Himmel has shams and a coverlet by John Robshaw; theSlatted Ships bedside table is by MichaelS. Smith Reproduction Furniture. A PeterBeard photograph dominates a wall of the sitting room; the vintage cocktailtable is from ABC Carpet & Home, theKolom hanging light is by Kevin Reillyfrom Holly Hunt, and the bisque-porcelainvases are by J. F. Chen. See Resources.

ELLEDECOR.COM 105

floors—in intimate rooms that stand in contrast to thelarger-than-life ocean views they emphasize. As soonas the front door opens, you can see through the double-height entry to the sea and sky beyond. “We had thehouse feng shui’d,” says Crawford, “and it turned outthat the good that came in flowed right out the other side.”So now a round table, originally from Crawford’s NewYork apartment, stands sentry in the hall.

“This house is a hybrid,” says Smith. “Cindy’s need forwarmth and comfort permeates the place, but Rande’sneed for drama and sequence makes it memorable.”

The challenge was to convey spareness and simplicitywhile keeping the design earthy and romantic. Smith ac-complished this by limiting the use of patterns, choosingquality pieces versus “fancy stuff,” and allowing the archi-tectural 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 doorsin the bar and the carved moldings in the master bath. Awhite-gold–leaf ceiling in the dining room and bambooshades in nearly every room let light play capriciously.

The house reveals itself over time. “It may seem like aone-note idea of a wood-and-white,” says Smith, “but it’snot. It’s complex and sophisticated. You’re forced intotaking a second look.” Each time you do, you discoveranother layer—subtly textured fabrics or Venetian plas-ter on a wall that adds a quiet sheen, an earthy color on theceiling, unusual Moroccan rugs that have a sense of historybut are still beach-appropriate, curtains that can trans-form a sunny room into a virtual tent. “The house is big-ger than the sum of its parts,” concludes Smith.

“We all nudged, pushed, fought, and inspired each oth-er,” says Crawford of the three-way collaboration. “Andthe house is so much better for our family because of it.”

The living room of decoupageartist John Derian’s Lower EastSide apartment; a vintage boatfender is used as an ottoman,and the sisal rug is from ABCCarpet & Home. The large mirror is early-20th-centuryFrench from Rooms & Gardens,and the photograph, GoldenScreen, is by Derian’s friendJack Pierson. See Resources.

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During the late-1990s tech boom, when fortuneswere made speculating that people would shoponline only for name-brand merchandise, manysneered at eBay, the auction website, dismissing itas nothing more than a dubious schlockfest for thegullible, the sentimental, and the taste-challenged.

We all know what happened there. But the greaterirony is that, because of the way eBay is set up—you have to search for items using words more thaneyes—name-brand merchandise is, in fact, the eas-iest kind to find and one of the fastest-growing cat-egories on the site. If you don’t know what you’relooking for, you’re better off at the flea market.

If the apartment of New York decoupage artist JohnDerian is any indication, you’re better off at the flea mar-ket anyway. Derian has never been on eBay—“I would-n’t know where to start,” he says. A born aesthete, hehas been hitting flea markets since he was a teenager,initially with his sister and then with a favorite eccentricaunt (“She had hassocks,” he recalls, “and orange-painted garden furniture”). And some of his best mem-ories from his days at the Massachusetts College ofArt in Boston are of cutting class to scour thrifts andfleas on the North Shore with his first boyfriend.

A career of truancy doesn’t usually pay off, but ithas proven not to be the worst course of study for

Derian. Over the past two decades he has graduallyturned a life spent puttering around flea markets andhis own art studio into one of the more charming,idiosyncratic visions on the design scene. His decou-page plates, lamps, and paperweights, all featuringvarious lovely and/or witty 19th-century ephemeraand artwork, are increasingly sought after by peoplewearying of floor-to-rafters modernism.

And his small, warm gem of an apartment—the onlyplace he’s lived since moving to Manhattan 13 yearsago—is a demonstration of how slow and steady notonly wins the race but looks pretty good doing it. Aone-bedroom on the Lower East Side, Derian’s padboasts not a single designer object, and even thestove is an antique. “I’m not sure if it’s safe to use theoven,” he admits. The whole place sounds a littlewobbly, but it’s almost a relief for a visitor accustomedto 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 boughtmore than 20 years ago—the first sign that Derian’s

LORD OFTHE

FLEASFOR JOHN DERIAN, FLEA MARKETS

AREN’T MERE DIVERSIONS—THEY SHAPE HIS WORK AND LIFE, INCLUDING HIS APARTMENT

WHERE, LITERALLY, NOTHING IS NEWTEXT BY DAVID COLMAN · PHOTOGRAPHY BY WILLIAM WALDRON

PRODUCED BY ANITA SARSIDI

Facing page, clockwise from top left: John Derian out-side his store, a few blocks from his apartment. An1860s American cupboard in the dining room holds or-ganic treasures and pieces of mercury glass. The foyeris papered with pages from old books, applied withElmer’s glue and water; the 1850s American tilt-top tableholds an anonymous 1870s oil painting, Sand Dunes.This page: A 1907 folding metal camp chair, an antiqueDutch burlap-upholstered chair, a 1930s French parkchair from Rooms & Gardens, and an array of folk art inthe living room; the fin de siècle shipping barrel is fromJohn Derian Co. See Resources.

ELLEDECOR.COM 109

time machine looks backward, not forward. In thedining room, a rustic and narrow X-base table sitssquarely atop two Oriental carpets. A small crystalchandelier and a paper lantern (minus the paper) hangoverhead. Three handsome shelves made of mas-sive antique floorboards hold the old art books andmagazines he leafs through for inspiration. A super-model-thin antique cupboard—a dealer at the fleamarket knew Derian would want it, and he did—isfull of rocks, shells, crystals, and whatnot. Old amberbeads, a find in Marrakech, hang on its latch. Nearby,what looks like either a nasty mass of twigs or a veryexpensive artwork is in fact an arrangement of driedvines by his friend Christopher Bassett.

Derian has an eye, that’s for sure, and it’s most oftensearching for pieces with a little personality and alot of history. A mirror eaten away by time; a pinkphotograph by Jack Pierson (a longtime friend andthe apartment’s former tenant); anonymous paint-ings and bits of Americana, gifts from friends; a trayof broken sticks of sealing wax (who knew it was sohard and brittle?). If some of today’s interiors feellike nautilus shells, crafted with a precision and puritythat is practiced only by univalve mollusks and highlycerebral architects, Derian’s place feels as thoughit were lovingly assembled by a highly aesthetic but

In the dining room, an 1820s American tableholds a Spider Web platter by the home-

owner; the shelves were made from antiquefloorboards, the1920s Italian sconce is

from Joanne Rossman, and the circa-1900mirror is from Paula Rubenstein. Facing

page: Derian’s cat, Skip, in the kitchen. Alamp found at the Clignancourt flea market

in Paris hangs beside vintage animal cut-outs. The stool is antique, and the handmade

vase, pitcher, and plate are by Astier deVillatte from John Derian Co. See Resources.

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not terribly orderly squirrel, an effect enhanced bythe fact that, as cracks have appeared in the plas-ter over the years, Derian has patched them, butnot repainted. While some people work on mak-ing their homes more and more perfect, Derianprefers his to become less and less so. “I love thatwrecked, ruined, and decaying look that you can’tget 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 handsof whoever made it, Derian insists on finding things that

look and feel “touched,” as he puts it: a stack of birdnests, or a little tree festooned with flower buds madeof shells. One only has to look at the pink wing chairin the living room, whose fringy upholstery has beenso finely shredded one would think it had been pro-duced 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 youreye out for beauty, be open and patient, and hope.And having a cat can’t hurt.

The antique iron bed is dressed with a vin-tage 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 DavidArmstrong; a curtain of French fabric fromthe 1930s hangs at the bedroom entrance.

Facing page: Cards, notes, and inspira-tions from friends are posted in the dining

room; Derian jots the phone numbers offavorite restaurants, the building superin-

tendent, and the dry cleaner directly onthe wall. See Resources.

The living room of Liz and SteveWeinstein’s house on the UpperEast Side, decorated by MilesRedd. The sofa is upholstered in Lee Jofa’s Rochelle Velvet,and the side chairs are coveredin a custom-embroidered sou-tache by Penn & Fletcher. Thepainting was inspired by a favor-ite Franz Kline. See Resources.

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Before you decide to decorate a house, a word ofadvice: Take a good, long look in the mirror.

Liz Weinstein did, and wasn’t pleased by what shesaw. “I didn’t like it,” she said. “But Miles convincedme to go with it, and as usual, he was right.”

A word of explanation. Weinstein wasn’t scrutiniz-ing her own reflection. Rather, she was looking at atowering wall of smoky, antiqued-mirror panels thatpresided over the west side of the living room ofthe Manhattan townhouse she and her husband,Steve, had purchased. At first, and even second,glance, the panels seemed like an eyesore—a sadyet sweet remnant of the way people used to liveand decorate, joining such erstwhile luxuries as thebutler’s pantry and formal dining rooms on the listof what people would just as soon do without today.

But Miles Redd, the young designer whom Wein-stein charged with redoing the place, looked at theexpanses of silvery, obsolescent iridescence andsaw two things. First, as decor’s boy wonder is wontto 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 themirrors but, in a way, channeling their old-schoolHollywood glamour for the rest of the house, nim-bly demonstrating Redd’s central design philos-ophy: Don’t throw the baby out with the bathwater.All too often, people come to a renovation with thewords gut job fixed in their minds—not only can youstart fresh and erase everything that went before,but you can also get exactly what you want.

In theory, that is. But Weinstein likes to embracethe past—this is a woman who, the last time shewent apartment shopping, ended up buying the

BOLD STROKESA NEW YORK COUPLE TURNS TO DESIGN WUNDERKIND MILES REDD TO UPDATE A GRAND TOWNHOUSE FOR THEIR YOUNG FAMILY.HIS SOLUTION? DITCH THE FORMALITY WITHOUTLOSING ANY OF THE GLAMOUR TEXT BY DAVID COLMAN · PHOTOGRAPHY BY SIMON UPTON

PRODUCED BY ANITA SARSIDI

The custom-made Venetian-style sofa isupholstered in Lyons silk velvet byDecorators Walk; the Loop armchairs byFrances 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 andher three sons, Matthew, William, andGeorge. Nineteenth-century Chinese an-cestral portraits flank the fireplace, which is topped with a Georgian gilt-wood mirror and a pair of horns, bothfrom John Rosselli International; the19th-century Minton garden seat is fromNiall Smith Antiques. See Resources.

ELLEDECOR.COM 117

very same Upper East Side apartment she hadgrown up in. But as her family expanded to includethree sons, William, Matthew, and George, it be-came clear that an upgrade was in order. She nearlybought a completely modernized townhouse—justadd toothbrushes—but its lack of personality ulti-mately left her cold. “It seemed to have no charac-ter,” she says, “just a lot of marble.”

Instead, the couple opted for a quirky townhousecomplete with elevator, solarium, and formal din-ing room, the grand residence of an older couplewith no children. On the advice of a friend, Weinsteinwent to see Redd at his NoHo townhouse. “As soonas I met Miles, I loved him,” she says. “He’s so person-able, and I knew instantly that we have virtually thesame aesthetic. I love painted wood floors; he hadpainted wood floors. I love animal prints and pony-skin and chinoiserie; he had it all.”

But as much as Weinstein wanted a house withcharacter, she didn’t want a traditional interior. “Idon’t believe in saving rooms for special occasions,”she says. For Redd, the trick was reworking theold-fashioned way the house had functioned forits previous owners while keeping its great bones.

For example, the garden level was completelyrethought: The formal dining room, with its ruched-fabric ceiling, and the industrial catering kitchenboth got the heave-ho; in their stead is a mudroomfor coats and bikes; a breakfast nook with a richleather banquette; a warm, kid-friendly kitchen; and

In Steve’s study, the Climate sec-tional sofa by Dune is topped with

pillows covered in Clarence House’sLabyrinth silk, the Pacific Airline

cocktail table is from Hinson & Co., and the French leather-and-

palisander armchairs date from the 1940s; a collection of figurative

and abstract drawings hangs onwalls lacquered chocolate brown. Right: The clamshell is from C. J.

Peters, and the 1980s watercolor by Vojtech Kobylka is from Senti-mento Antiques. See Resources.

ELLEDECOR.COM 119

Nineteenth-century hall chairs from AmyPerlin Antiques and a Radial mahogany din-ing table by Oscar de la Renta for CenturyFurniture in the family/dining room; the book-shelves were designed by Redd, and thecocktail table is from Amy Perlin Antiques. Facing page, from top: A powder roomsheathed in glass mosaic tiles by Ann Sacks;the sconces are by Ann-Morris Antiques. Inthe entrance hall, the 19th-century Englishpine console is from Sentimento Antiques, the1920s serpentine mirror is from John RosselliInternational, and the 1960s rock-crystal lampis from Liz O’Brien; original architectural ren-derings of the house are displayed above thestaircase, and the floor has been faux-paintedto resemble travertine. See Resources.

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In the master bedroom, the bed wasdesigned by Redd, the St. Antoine wall-paper is by Farrow & Ball, the lampsare from Capitol Furnishings, and the doors, dressed in a Brunschwig &Fils fabric, lead to a tented solarium. Facing page: The tufted chaise byOscar de la Renta for Century Furnitureis upholstered in Ralph Lauren Home’sShelbourne Woven, the floor lamp is by Visual Comfort, and the porcelaingarden seat and rococo-style mir-ror are from Treillage. See Resources.

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a dual family/dining room painted a deep red that’sboth elegant and relaxed. The upstairs rooms werelikewise done up in old-world fabrics and finishesthat convey both glamour and fun, including Steve’smodern chocolate-brown study and the charminglytented solarium off the master bedroom. “A lot of thebolder things I wasn’t sure about,” Weinstein ad-mits. “But I trust Miles. And at the end of the day,he’s always right.” Redd considers the place one ofhis most gratifying projects, because Weinstein lethim spread his wings with a freedom that few cli-ents grant—or ultimately appreciate.

That freedom is most gloriously demonstrated inthe house’s main floor, a 60-foot-long stretch. “Youusually don’t get that kind of loftlike space in a town-house,” Redd says. He started with a bright redOriental carpet and then went on a color spree, mix-ing other reds with greens, including a striking virid-ian velvet sofa and, a holdover from the last ownersand 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 stayedout of my hair during this, and Miles said, ‘Let’s giveit to him.’ And it’s fun. Steve will have a stressful day,and he can come home and shoot a few balls. That’swhy we use the living room, because it’s there.”

The result, pool table and all, is a remarkable syn-thesis of old and new, grand and casual. It’s certainlynot futuristic. But it works very well in the present,and that’s the only tense worth living in.

MAKING A STATEMENTFORGET SUBTLE BACKGROUNDS. TODAY’S BEST

WALLPAPERS ARE BOLDLY PATTERNED, BIG, AND BEAUTIFULPHOTOGRAPHY BY ANTONIS ACHILLEOS

PRODUCED BY ANITA SARSIDI

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From left: Edo by China Seas fromQuadrille. Arabesque by Ornamenta

from Stark Wallcovering. Gra-mercy by Waverly. Caterpillar Leaf

by Neisha Crosland. Woodstockby Cole & Son from Lee Jofa.

Facing page, clockwise from topleft: Dalton by Jane Churchill from

Cowtan & Tout. Salisbury Man-sion by Waterhouse Wallhangings

from Christopher Norman. Silver-gate by Farrow & Ball. Edo Pines byStudio Printworks. See Resources.

From left: Imperial Trellis by KellyWearstler for Decorators Walk. PeraTrail by Osborne & Little. FloweringQuince by Clarence House. JerseyLily by Osborne & Little. JoshuaLawrence Chamberlin by WaterhouseWallhangings from ChristopherNorman. Indramayu by China Seasfrom Quadrille. McCall Foulard byRalph Lauren Home. See Resources.

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From left: Baldwin’s Bamboo byScalamandré. Clacket Lane by Mibo.Acorus by Alexander Beauchampfrom Stark Wallcovering. Mimosa byCole & Son from Lee Jofa. BerryFlower by Neisha Crosland. Facing page, clockwise from topleft: Nanou Rockery by Brunschwig &Fils. Durbar Hall by Designers Guild from Osborne & Little.Cordoba by Zoffany. Kabloom byFlavor Paper. See Resources.

Facing page: The Augustine familywith their black Lab, Tree, in the barnon their property in Dutchess County,New York; the house and barn were de-signed by Cicognani Kalla Architects. This page: In the entry, the walnut-and-steel console and the woodpedestals are by Chris Lehrecke; theAlbert Oehlen painting is titled 3rd Gear—It’s All Right, and the black-and-white painting, Untitled (The Show Is Over...), is by ChristopherWool; the bronze sculptures are by Rachel Whiteread. See Resources.

IN A NEWLIGHT

WHEN A MANHATTAN DEALER AND HIS FAMILY MOVE FULL-TIME TO THE COUNTRY, THEIR

CHALLENGE IS TO ACHIEVE A BALANCE OF ART AND NATURE

TEXT BY VICKY LOWRY · PHOTOGRAPHY BY WILLIAM WALDRONPRODUCED BY ELIZABETH SVERBEYEFF BYRON

AND LILI ABIR REGEN

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In the living room, the sofas, coveredin Donghia’s Pluscious wool velvet,and the stainless-steel cocktail tablesare by Chris Lehrecke from Ralph Pucci International. George Condo’sThe Cocktail Drinker hangs above theblack slate fireplace surround, and the sculptures include ChocolateSilicon Blockhead by Paul McCarthyand Martin Kippenberger’s DrunkenLantern. Christopher Wool’s Mama TooTight is on the far wall. See Resources.

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n life, there are always trade-offs. Building a countryhouse can be an especially challenging balancingact. You may want a home large enough to enter-tain friends for the weekend, but too many bed-rooms means constant upkeep. Or your taste mightlean toward rustic-cabin casual, but that doesn’tmean you want to relinquish all high-tech ameni-ties. It’s never easy aligning your dreams and de-sires with practical realities.

Roland Augustine, co-owner of Luhring Augustinegallery in Manhattan, and his wife, Kathleen, a formermagazine editor, built a weekend house in upstateNew York a decade ago. But when they decided tomove to the area full-time with their two sons, Sam,16, and James, 13, they felt they needed a better pieceof property. (The couple are avid outdoor types: Rolandlikes to shoot sporting clays at a nearby preserve,and Kathleen is a competitive tennis player.) “Thelonger we were here,” says Kathleen, “the more wecared about the land.” Seven years ago, togetherwith her parents, they bought a former dairy farm inDutchess County and both couples planned to buildhouses on the property. Everyone agreed to use barn-red clapboard siding and metal roofs as a nod to thearea’s agricultural traditions.

The real issue for the Augustines, though, was light.They wanted as many windows as possible to takeadvantage of the endless views of the Catskills fromthe hilltop setting. But they also required large ex-panses of wall space for their extensive collection ofcontemporary art. Renovating the original 1840sfarmhouse wasn’t going to solve the problem, andin any case, it was a mess. “Raccoons were living init,” says Kathleen. Constructing a glass house, whiletempting, was also nixed. “Everybody wants lightand everybody wants wall space,” says Kathleen,“and the two are difficult to achieve.”

For help, the couple turned to architects PietroCicognani and Ann Kalla. Their solution was both in-genious and appropriate to the area: a barnlikestructure, based on a traditional Dutch design, withclerestory windows tucked just below the roofline.Light pours in while the walls are left unobstructed.For the more private living quarters, the architectscreated wings on either side of the central double-height space with enough glass for the family to

I

The granite-top cherry kitchen island is byVarenna, and the windows are by Marvin.Facing page, clockwise from top: In the dining room, midcentury Danish chairs sur-round a cherry table by Chris Lehrecke. Thephotographs are Yasumasa Morimura’sVermeer Study and Joel Sternfeld’s McLean,Virginia. The exterior of the house, with adining terrace off the kitchen. The range isby Viking, and the photograph, OrangeLion, is by Paul McCarthy. See Resources.

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survey their own 120 acres and the hills far beyond.“It’s like a loft,” explains Kalla, “and everything elseis spirited away, above and below, with little hintsof their existence.” A wooden shutter above thekitchen hides Roland’s home office; it can slide open,says Kathleen, “when he wants to know what’s fordinner.” Light from the boys’ bathroom shines intothe living room below, alerting the parents when thekids are home. A circular stair allows the boys to un-obtrusively hit the basement playroom.

Materials are simple—deep American walnut andgreenish-gray bluestone from a quarry near Albany—and the walls, at least for now, are stark white. “I’mthinking of finally painting the walls a color,” saysKathleen. “By the time we got to the end of the proj-ect two summers ago, we painted them white justto get it over with.” The furniture, too, is simple, thoughdeceptively so. Chris Lehrecke, a master wood crafts-man who lives nearby, designed most of it, includ-ing a 14-foot-long cherry dining table, a steel-leggedwalnut console with a sinuous edge for the entry,and surprisingly comfortable minimalist sofas forthe living room. His designs are complemented by

a few choice pieces with provenance: a Nakashimasideboard from the 1960s, four Chinese chairs fromthe late Ming dynasty, and two Chinese painting ta-bles. “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 andGeorge Condo. (A cleaning woman once put CadyNoland’s basket of beer cans, prominently displayedin the living room, on the curb for garbage pickup,and workmen have occasionally tossed their ownempties into it.) Their 11-foot-wide Albert Oehlenpainting is out on loan for an exhibition, and a MartinKippenberger sculpture that Roland had covetedfor a decade is now wrapped in plastic in the base-ment. “We’re in détente,” jokes Kathleen. “It’s the onlypiece we’ve ever gone to bat over.” For Roland, thework, consisting of seven nesting tables made ofcheap particleboard, is seminal: “It’s a satire on do-mesticity.” For Kathleen, it’s an eyesore: “It sits in themiddle of the room, and you can’t put anything on it.”

“Collecting is very autobiographical,” admitsRoland. “It’s a pathology.”

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In the master bedroom, the ma-hogany bed by Chris Lehrecke iscovered in a vintage suzani from

ABC Carpet & Home; the paintingis Albert Oehlen’s Alte Geweihe.

Facing page: The walnut cabinetryin the bathroom was designed by Cicognani Kalla Architects,

the tub is by American Standard,and the fittings are by Water-

works. The countertop and tubsurround are of bluestone from

a nearby quarry. See Resources.

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To say that Mario Nievera is accustomed to working on a broad can-vas would be an understatement. The celebrated Palm Beach land-scape architect’s projects have included rambling terraced gardens forthe likes of the Lauder family, Jimmy Buffett, and socialite Terry AllenKramer, tropical paradises that seem to have no boundaries—and nobudget. “When you work in Palm Beach,” he says, “you can do thingson a very grand scale, which is really satisfying.”

Nievera and his partner, Robert Janjigian, the fashion editor of ThePalm Beach Daily News, own a home in Florida’s tony enclave as wellas a place in Southampton. But with a growing roster of clients whowant him to design not only their Palm Beach spreads but also theirHamptons gardens and Manhattan terraces, Nievera now spends acouple 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 thinksmall. “Part of the fun,” says Nievera, a slim, elegant man whose ca-sual chic makes it easy to imagine how the Palm Beach denizens mightcotton to him, “was to take a modest place with good potential andmake it somehow just right. I needed somewhere that would be easyto 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 smallerthan some of his hibiscus beds) into a polished gem that combinesclassicism, thrift-shop zaniness, and spare modernity. Originally a stu-dio, the apartment has been transformed into a one-bedroom by aningenious 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 bed-room and reveal shelves that hold books and antique globes.

SMALL CHANGELANDSCAPE DESIGNER MARIO NIEVERA IS USED TO CONCEIVING GRAND

GARDENS, SO HE HAD TO SWITCH GEARS WHEN PULLING TOGETHER HIS NEW YORK PIED-À-TERRE. YET HE FOUND THAT LESS SPACE YIELDED MORE CREATIVITY

TEXT BY NANCY HASS · PHOTOGRAPHY BY TIMOTHY KOLK · PRODUCED BY ANITA SARSIDI

The living room of landscape architectMario Nievera’s New York apartment; it wasdecorated with the help of his friend Bruce

Bierman. Mirrors custom made in Venicehang beneath vintage wooden game boardsand a model of a fountain Nievera designed.Facing page: The Regency-style commodein 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 Nieverain the living room of his Manhattan

apartment. Sliding doors, designedby Bierman, can close off the bed-

room, revealing shelves stockedwith antique globes, garden books,

and folk-art crucifixes. This page:Custom-made bamboo end tables

by Scott Snyder flank the bed, whichhas a headboard and skirt of

Bierman’s design. See Resources.

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Nievera’s unerring sense of proportion is evident everywhere. Rarelyare such idiosyncratic elements balanced with such delicacy. “As witha garden,” he says, “you never want things to seem contrived or outof scale.” On both walls that flank the large living room windows, forexample, is a vertical series of five items, including a Balinese finial anda tiny watercolor. A prosaic eye might have chosen only matching pairsof objects, or matching sets, to lend symmetry, but Nievera is moreinterested in complementary shapes and sizes. “You always want tomess with perfection,” he says. “You decide to convey an idea, thendo something to throw it a little off.”

Above a spare Walter Chatham console hangs a set of custom-madeVenetian mirrors and a pair of vintage wooden game boards. Crowningthe top of the arrangement is a plaster model of a fountain Nievera de-signed. In the entry, a mirror looms above a Regency-style commode;nearby, amid photographs found in a Paris flea market, hangs Nievera’sseventh-grade self-portrait. A geometric-pattern hooked rug—“Ican’t get enough of them,” he says—lends a modern counterpoint.

Nievera, who was helped with devising the layout and choosing fin-ishes by interior designer and friend Bruce Bierman, has kept the palettelargely neutral, in subtle variations from mushroom to pumice, and the

furniture minimal. In such a setting, a shiny red vinyl cushion tossed onan armless gray sofa speaks volumes. But whimsy emerges in the leastexpected places: One living room wall is dominated by an enormouspainting of the Eiffel Tower. “Robert found it in the garbage somewhere,”Nievera explains. “We had it restored and it’s perfectly weird enough towork.” 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 thebed’s upholstered headboard, surrounded by a formal grouping of mir-rors, hangs a thrift-shop landscape of waves crashing on a shore.

As precisely configured as the compact apartment may be, Nieveranever stops changing things. One moment, a Grecian plaster bust gracesthe entry; the next, he has replaced it with a rustic wooden toy villagethat had been hidden away. On a rattan stand near the front door is anintricate collection of folk-art crucifixes; just days before, that choiceperch had been occupied by a volleyball-size sphere of seashells. “Peoplethink that you’re limited when the space is small,” he says, “but I thinkthe key is seeing everything as somewhat in flux, never standing still,always shifting, realigning. In a lot of ways, it’s like a garden.”

NIEVERA IS MORE INTERESTED IN COMPLEMENTARY SHAPES AND SIZES THAN MATCHING PAIRS. “YOU ALWAYS WANT

TO MESS WITH PERFECTION,” HE SAYS. “YOU DECIDE TO CONVEY AN IDEA, THEN DO SOMETHING TO THROW IT A LITTLE OFF”

The living room of a young family’s Man-hattan apartment overlooking CentralPark. The design was a collaboration be-tween architect Peter Pennoyer anddesigner Katie Ridder. A unique print byAndy Warhol, J.S. Flowers, and a paint-ing by Jack Youngerman, Enigma, hangabove a sofa upholstered in silk mohairby J. Robert Scott; the cocktail table byUrban has a faux-parchment finish. Thecarved Dutch Colonial Burgomasterchair is 17th century, the 1940s gilded-iron table is by Raymond Subes, and thedrawing is by Alexander Calder. TheNorth Indian carpet from Beauvais datesfrom the early 1900s. See Resources.

CLEARING THE FACED WITH AN OVERDESIGNED TESTAMENT TO ’80S EXCESS, DECORATOR KATIE RIDDER AND ARCHITECTTEXT BY MELISSA BARRETT RHODES · PHOTOGRAPHY BY PIETER ESTERSOHN · PRODUCED BY ANITA SARSIDI

143

WAYPETER PENNOYER RESTORE AN UPPER EAST SIDE CLASSIC TO ITS ESSENCE

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home into something more reflective of their ownstyle. “My husband and I didn’t want it to feel like aclassic uptown ‘serious’ apartment,” says the wife,who was pregnant with their first child while therenovation was under way. “I wanted to make ourhome comfortable, colorful, and unexpected—butmost of all, fun,” she says.

The first step was to clean up the architecturalmess. “Making rooms simple shapes helps to dis-play the gems,” Pennoyer explains. “When I work withinterior designers, it’s always about making whatthey do look best.” To set the stage for Ridder’s cre-ativity and the clients’ important postwar modern-artcollection, Pennoyer stripped and reconfigured thelong wall of windows in the living room. “Originallythere was cabinetry jutting out about three feet fromthe windows, so there was no way to step up to thebeautiful view,” says Ridder. Pennoyer also rede-signed the molding flanking the windows to incor-porate mirrors that reflect more of the view and lightinto the room. He and Ridder designed three faux-bois French doors to reorient the traffic flow and in-crease the light in the spaces that branch off the liv-ing room—foyer, library, and dining room.

Ridder worked closely with the clients to come upwith an informal furniture plan and whimsical touch-es. In the center of the living room, she placed a pop-up, pivoting TV cabinet so that the family can watch

THE WORD POTENTIAL was writtenall over it. A sprawling prewar in a blue-chip buildingnot far from Central Park, the clients’ new apartmenthad all the trappings of a truly elegant Manhattanresidence, with a private elevator entrance, sweep-ing views and light, and enough space for the youngcouple to start a family, and then some. Except thatonce you stepped off the elevator, there it was, con-fronting you like a cobra: The gaudy, heavy-handedrelics of ’80s architectural excess, a postmodernstatement on steroids. Clunky built-ins swallowingthe windows, mattress-width banquettes clingingto walls like giant hovering parasites, massive den-til crown moldings fit for the Parthenon. It was thehorrifying equivalent of discovering old pictures ofyour big ’80s hair—what was I thinking?—yet at leastit 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 wasjust too much architecture going on.”

“And on top of that,” jokes interior designer KatieRidder, Pennoyer’s wife and his design partner onthis and other projects, “the decoration was veryFrench–meets–American Southwest. Everythingwas gilded, swagged, or sponge-painted.”

The owners, a business entrepreneur and his wife,commissioned Ridder and Pennoyer to reclaim theelegant bones of the apartment and make their new

The 1930s cabinet is by Jacques Adnet,the 1961 painting, Lazy “S” Twist, is by

Leon Polk Smith, and a vintage TommiParzinger side table holds a 1920s

Italian glass lamp. Facing page: Bronze-and-wood étagères designed by Peter

Pennoyer flank the dining room mantel,the untitled 1962 painting is by Hans

Hoffman, the table is Biedermeier, andthe Chelsea tufted side chairs by Jonas

Upholstery are covered in Larsen’sMemory cotton-linen. See Resources.

146

The walnut breakfast table in the kitch-en was custom made, and the maplechairs by Ann-Morris Antiques were

painted in Farrow & Ball’s PictureGallery Red; the vintage French Pagoda

chandelier is from Florian Papp An-tiques. Facing page, from top: The

circa-1910 Thonet stools in the entryare from Karl Kemp, and the 1940s

lamps are from Buck House; the unti-tled lithograph is by Willem de Kooning.

In the library, a stool designed by couturier Hubert de Givenchy is from

R. Louis Bofferding, the 1960s Murano-glass 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 wantedto really live in this front room,” says the wife. “Wedidn’t want the ‘hanging out’ to be in the back of theapartment where the den traditionally is.”

The dining room, with its bright periwinkle walls, hasa similarly relaxed spirit. “My husband thinks a diningtable alone in the middle of a room is uninviting,” saysthe wife. So Ridder placed a round Biedermeier tablenear the windows and, against the long wall, a li-brary table that works for both buffets or, with itsleaves unfolded, for large seated dinners. “We had24 at that table last week,” says the wife. “We actu-ally entertain a lot more than we expected to becauseof the way Katie designed the room.” The mirroredceiling, inspired by the late Hollywood decoratorTony Duquette, adds a bit of theater. “We love watch-ing the upside-down reflection of the yellow taxiszooming down the street,” the owner adds.

Italian glass light fixtures and couture-quality tex-tiles give each room an exuberant flair, and the larger-than-life master bedroom headboard, a witty nodto Albert Hadley, is as much at home as the chinoi-serie chandelier in the kitchen. “When we look at thethings in this house,” says the wife, “we never think,Oh, that’s just a table, or that’s just a lamp. There’salways something more to it.” Says Ridder, “The de-sign process is hard work, but in the end I want myinteriors to look inspired and relaxed, not studied.”

“The odd thing about our collaboration,” addsPennoyer, “is that Katie’s taste is more about ec-lecticism and whimsy than mine—I’m into a moredisciplined, classical architecture—but we bothhave a good time working together. We pull eachother in different directions.”

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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 byDonghia, the 1960s Italian glass lamps are

from John Salibello, and the English mahoganybench 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 ofAmijao linen by Raoul Textiles. See Resources.

Items pictured but not listed are from private collections.

WHAT’S HOT! SHOPSPage 38: Bergdorf Goodman (754 Fifth Ave., New York,NY 10019; 800-558-1855; bergdorfgoodman.com; forreservations at BG: 212-872-8977).Page 40: Williams-Sonoma Home (8772 Beverly Blvd.,West Hollywood, CA 90048; 310-289-2420; wshome.com).

WHAT’S HOT! PEOPLEPage 42: Charlotte Moss of Charlotte Moss & Co. (forinformation: 212-288-1535; charlottemoss.com).Furniture, fabrics, and wall coverings by CharlotteMoss, to the trade from Brunschwig & Fils (for show-rooms: 800-538-1880; brunschwig.com). WinterHouse by Charlotte Moss, $50, published by ClarksonPotter (for information: randomhouse.com).

WHAT’S HOT! TRAVELPages 44–46: Sunset Tower Hotel (8358 Sunset Blvd.,West Hollywood, CA 90069; 800-225-2637; sunsettow-erhotel.com.) Tower Bar (for reservations: 323-848-6677).Argyle Spa (for reservations: 310-623-9000).

TREND ALERTPage 50: 1 Marmotte silk twill jacket, $2,280, and skirt,$1,212, with patent-leather trim, from spring 2006, byLouis Vuitton (for information: 866-VUITTON; vuitton.com).2 Nouvelle Texture cotton-wool-viscose-polyester, inSpanish moss, #7105N-0854, to the trade from Stroheim &Romann (for showrooms: 718-706-7000; stroheim-.com). 3 Rural linen, in chocolate, #403790, by De LeCuona, to the trade from Travers (for showrooms: 212-888-7900; traversinc.com). 4 Velours Bonapartepolyester-cotton, #38010, to the trade from Nobilis (forshowrooms: 800-464-6670). 5 Profilia cotton-viscose,#1936.855, to the trade from Zimmer + Rohde (for show-rooms: 212-758-5357; zimmer-rohde.com). 6 Harrisviscose-cotton-linen, in moss, #DOPTPL306, to thetrade from Sanderson (for showrooms: 800-894-6185;sanderson-uk.com). 7 New Khmer silk, in copper brown,#139207, by Jim Thompson, to the trade from Jerry Pair(for showrooms: 800-909-7247; jerrypair.com). Page 52: Kira jacquard-knit jacket, $395, Giovannijacquard-knit skirt, $245, and giant-polka-dot knit top,$155, from spring 2006, by Diane von Furstenberg (for infor-mation: 646-486-4800; dvf.com). Urn steel lamp, in creamand black, #URN76R, $120, and silk drum shade, in black,#LS-BLACK15, $145, by Worlds Away (for information: 901-529-0844; worlds-away.com). Simplicity cotton, in ivory,#669857, $29.99/yd., by Waverly (for information: 800-423-5881; waverly.com). Ellipse polyester-cotton, in black andanthracite, #F2494-001, to the trade from Pierre Frey (forshowrooms: 212-213-3099; pierrefrey.com). Chevron Printcotton, in black, #2644034, by Decorators Walk, to the tradefrom F. Schumacher & Co. (for showrooms: 800-332-3384;fschumacher.com). Mystical Zebra rug, $299/6'x9', byKarastan (for information: 800-234-1120; karastan.com).Radetzcky lacquered-wood screen, $13,875, by ArmaniCasa (for information: 212-334-1271; armanicasa.com).Black and White tole hatbox set, #17HBBW, $485, byJane Gray for Stray Dog Imports (for information: 866-478-7297; straydogimports.com). Mandarin Flower cotton-fleece blanket, $145, by Designers Guild (for information:908-238-9599; designersguild.com). Broadgate Stripecotton, in ebony, #LFY28903F, $189/yd., by Ralph LaurenHome (for information: 888-475-7674; rlhome.polo.com).

ARTPages 54–56: Kehinde Wiley (for information: kehindewi-ley.com) is represented by Deitch Projects (76 Grand St.,New York, NY 10012; 212-343-7300; deitch.com).

DESIGNER’S DOZENPage 58: The Detroit Institute of Arts (5200 Woodward

Ave., Detroit, MI 48202; 313-833-7900; dia.org). Jewelryand tabletop collections by Frank O. Gehry for Tiffany &Co. (for information: 800-526-0649; tiffany.com). Pen byPilot Pen Corp. (for information: pilotpen.com). Bristoltwo-ply plate pad by Seth Cole (for information: 800-955-3729; sethcole.com). Sculpture by Ken Price of KenPrice Studio and Gallery (for information: kenprice.com).Hereditary Disease Foundation (for information: 310-450-9913; hdfoundation.org).

THE TEN MOST ELEGANT ÉTAGÈRESPages 62–64: Susan Forristal of Forristal Smith Interiors(for information: 917-968-7771; forristalsmith.com).Steven Gambrel of S. R. Gambrel Inc. (for information:212-925-3380; srgambrel.com). Page 64: 1 Étagère, #2004-003, $2,660, by John Blackfor Councill (for information: 336-859-2155; councill-.com). 2 Talesai Storage étagère, $1,200, by Bernhardt(for information: 866-273-3699; bernhardt.com). 3 Sheffield shelving unit, #883447, $1,250, from TheConran Shop (407 E. 59th St., New York, NY 10022;866-755-9079; conran.com). 4 Slim étagère, #415107,$299, by Room & Board (for information: 800-486-6554;roomandboard.com). 5 Twig étagère, #348287, $299,by Crate & Barrel (for information: 800-996-9960; crate-andbarrel.com). 6 Angled étagère, #19-900-1, $1,750,from the Milling Road Collection by Baker Furniture Co.(for information: 800-592-2537; bakerfurniture.com). 7 Billy Baldwin–inspired étagère, #5700, $12,600, byCarole Gratale, to the trade from John Rosselli & Assoc.Ltd. (for showrooms: 212-593-2060). 8 MetropolitanFive-Tier étagère, #7798, $1,212, by Stickley (for infor-mation: 315-682-5500; stickley.com). 9 Iron étagère,#8048, $6,520, to the trade from PierceMartin (for show-rooms: 800-334-8701; piercemartin.com). 10 Étagère,$340, by Plexi-Craft Corp. (for information: 212-924-3244; 800-24-PLEXI; plexi-craft.com).

DANIEL’S DISHPages 68–70: Daniel Boulud of restaurant Daniel (for in-formation: danielnyc.com).Page 68: Incanto Flower dinner plate, $40, by Vietri(for information: 800-277-5933; vietri.com). KingWilliam sterling-silver soupspoon, $125, by Tiffany &Co. (for information: 800-526-0649; tiffany.com).Page 70: Incanto Baroque dinner plate, $40, by Vietri(for information: 800-277-5933; vietri.com).

BEAUTY AND THE BEACHPages 94–105: Interior design by Michael S. Smith ofMichael S. Smith Inc. (for information: 310-315-3018).Architectural design by Oscar Shamamian of Ferguson &Shamamian Architects, LLP (for information: 212-941-8088; fergusonshamamian.com). Landscape design byRios Clementi Hale Studios (for information: 323-634-9220; rchstudios.com). All window blinds by FashionTech (for information: fashiontech.com).Page 94: On Crawford, top by Rozae Nichols.Pages 96–97: In living room, custom-made Opium teaksofas by Michael S. Smith Reproduction Furniture (for infor-mation: 310-315-3018), upholstered in Thai Silk IV, ingarnet, #190447, to the trade from Jim Thompson (for show-rooms: 800-262-0336; jimthompson.com). Walnut-and-marble tables, to the trade from Charles Jacobsen Inc.(8687 Melrose Ave., West Hollywood, CA 90069; 310-652-1188; charlesjacobsen.com). Kay oak floor lamp byChristophe Delcourt, to the trade from Ralph PucciInternational (for showrooms: 212-633-0452; ralphpucci-.com). Evreux pendant lights, to the trade from Vaughan(for showrooms: 212-319-7070; vaughandesigns.com).Bamboo floor matting by Patterson, Flynn & Martin, to thetrade from F. Schumacher & Co. (for showrooms: 800-332-3384; fschumacher.com). In hall, antique Anglo-Indianarmchair, 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 jeansby Stitch’s. In entry, antique Chinese black-lacquerscroll table, to the trade from J. F. Chen (for showrooms:323-655-6310; jfchen.com). Moroccan wool rug fromMansour (8600 Melrose Ave., Los Angeles, CA 90069;310-652-9999; mansourrug.com). In cabana, rattanlounge chairs, #R9700, to the trade from BieleckyBrothers (for showrooms: 212-753-2355; bieleckybroth-ers.com). Ming walnut cocktail table by Michael S. SmithReproduction Furniture (for information: 310-315-3018). Pages 100–01: In dining room, Evan alder dining chairsby Michael S. Smith Reproduction Furniture (for informa-tion: 310-315-3018). Antique British copper balllantern, to the trade from Ann-Morris Antiques (239 E.60th St., New York, NY 10022; 212-755-3308). ScholarsRocks, multimedia, 2005, by Nancy Lorenz from JamesGraham & Sons (1014 Madison Ave., New York, NY10021; 212-535-5767; jamesgrahamandsons.com). Infamily room, Bond Street sofa, to the trade from DonghiaFurniture/Textiles Ltd. (for showrooms: 800-DONGHIA;donghia.com), upholstered in an Ikat cotton-linen byJohn Robshaw Textiles (for information: 212-594-6006;johnrobshaw.com). Vintage red-lacquer elmwoodcocktail table, to the trade from Charles Jacobsen Inc.(8687 Melrose Ave., West Hollywood, CA 90069; 310-652-1188; charlesjacobsen.com). Antique Lombardianmirror from Amy Perlin Antiques (306 E. 61st St., 4th fl.,New York, NY 10021; 212-593-5756; amyperlinan-tiques.com). Tribeca ceiling fan by Hunter Fan Co. (forinformation: 800-4HUNTER; hunterfan.com). Industrialpendant lights and Cargo light fixtures by UrbanArchaeology (143 Franklin St., New York, NY 10013;212-431-4646; urbanarchaeology.com). Evan alderbarstools by Michael S. Smith Reproduction Furniture. Pages 102–03: Moroccan wool rugs from BrookePickering Moroccan Rugs (for information: 845-687-9377; moroccanrugs.com). Curtains of Rural linen, incream, #403787, by De Le Cuona, to the trade fromTravers (for showrooms: 212-888-7900; traversinc-.com). Bed linens by Nancy Koltes, available fromNancy Koltes at Home (for information: 212-219-2271;nancykoltes.com) and Scandia Down (365 N. BeverlyDr., 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 infor-mation: 310-315-3018). On terraces, Santa Barbaraumbrellas, to the trade from Santa Barbara Designs (forshowrooms: 800-919-9464; sbumbrella.com). X oak-framechairs by McGuire (200 Lexington Ave., Ste. 101, New York,NY 10016; 212-689-1565; 800-662-4847; mcguirefurni-ture.com). In master bathroom, Town hand-showerassembly and basin set by Michael S. Smith for Kallista (forinformation: 888-4-KALLISTA; kallista.com). Alabaster dishlight, #14, by Charles Edwards (for information: 011-44-20-7736-8490; charlesedwards.com). In guest room, Ropebed by John Himmel, to the trade from David Sutherland Inc.(for showrooms: 310-360-1777; davidsutherlandinc.com).Mathura Vista Euro shams by John Robshaw Textiles (forinformation: 212-594-6006; johnrobshaw.com). Manducotton coverlet by John Robshaw Textiles is discontinued,but similar coverlets are available. Slatted Ships oak bed-side table by Michael S. Smith Reproduction Furniture (forinformation: 310-315-3018). In sitting room, vintagecocktail table from ABC Carpet & Home (888 Broadway,New York, NY 10003; 212-473-3000; abchome.com).Kolom steel hanging light by Kevin Reilly, to the trade fromHolly Hunt (for showrooms: 800-229-8559; hollyhunt.com).Bisque-porcelain vases, to the trade from J. F. Chen (forshowrooms: 323-655-6310; jfchen.com). Antique Anglo-Indian mirror, to the trade from Ann-Morris Antiques (239 E.60th St., New York, NY 10022; 212-755-3308).

LORD OF THE FLEASPages 106–13: John Derian of John Derian Co. (6 E. 2ndSt., New York, NY 10003; 212-677-3917; johnderian.com).

resources

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Pages 106–07: Sisal rug by ABC Carpet & Home (888Broadway, New York, NY 10003; 212-473-3000; abchome-.com). Vintage French mirror from Rooms & Gardens (forinformation: 202-362-3777; roomsandgardens.net).Page 108: Vintage French park chair from Rooms &Gardens (for information: 202-362-3777; roomsandgar-dens.net). Antique French shipping barrel from JohnDerian Co. (6 E. 2nd St., New York, NY 10003; 212-677-3917; johnderian.com).Page 110: Spider Web decoupage glass platter byJohn Derian Co. (6 E. 2nd St., New York, NY 10003;212-677-3917; johnderian.com). Vintage Italian wood-and-metal sconce from Joanne Rossman (6 Birch St.,Roslindale, MA 02131; 617-323-4301; joanneross-man.com). Vintage mirror from Paula Rubenstein Ltd.(65 Prince St., New York, NY 10012; 212-966-8954).Page 111: Vase, pitcher, and tableware by Astier deVillatte from John Derian Co. (6 E. 2nd St., New York, NY10003; 212-677-3917; johnderian.com).Page 113: Vintage ticking pillow from PaulaRubenstein 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;johnderian.com). Sea sponge from John Derian Co.

BOLD STROKESPages 114–23: Interior design by Miles Redd of MilesRedd LLC (for information: 212-674-0902; milesredd.com).Pages 114–15: Sofa upholstered in Rochelle Velvetcotton-polyester, in cardinal, #34520/6043, to thetrade from Lee Jofa (for showrooms: 888-533-5632;leejofa.com). Side chairs upholstered in custom-embroidered soutache by Penn & Fletcher Inc. (for in-formation: 212-239-6868; pennandfletcher.com).Pages 116–17: Sofa upholstered in Lyons silk velvet, inceladon, #2640471, by Decorators Walk, to the trade fromF. Schumacher (for showrooms: 800-332-3384; fschumacher.com). J.M.F. Waterfall mica cocktail tableby Matthews & Parker, to the trade from ChristopherNorman Inc. (for showrooms: 212-647-0303;christophernorman.com). Print by Chuck Close from PacePrints (32 E. 57th St., New York, NY 10022; 877-440-PACE; paceprints.com). Antique Georgian gilt-woodmirror and pair of horns, to the trade from John RosselliInternational (for information: 212-772-2137). AntiqueMinton 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. (88Franklin St., New York, NY 10013; 212-925-6171; dune-ny.com). Pillows covered in Labyrinth silk, in antique,#34129-5, to the trade from Clarence House (clarence-house.com). Pacific Airline cocktail table and vintageFrench leather-and-palisander armchairs, to the tradefrom 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 ma-hogany hall chairs from Amy Perlin Antiques (306 E. 61stSt., 4th fl., New York, NY 10021; 212-593-5756; amyper-linantiques.com). Radial mahogany dining table,#601-306, by Oscar de la Renta for Century Furniture (forinformation: 800-852-5552; centuryfurniture.com). Ebony-and-nickel bookshelves by Miles Redd of Miles ReddLLC (for information: 212-674-0902; milesredd.com).Antique French wood cocktail table from Amy PerlinAntiques. Antique English bronze lamp and antiquefaux-tortoise wood mirror, to the trade from John RosselliInternational (for information: 212-772-2137). In powderroom, Zen Weave glass mosaic tiles by Ann Sacks (for in-formation: 800-278-8453; annsacks.com). St. Jamessconces, to the trade from Ann-Morris Antiques (239 E.60th St., New York, NY 10022; 212-755-3308). In entrancehall, 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 serpen-tine mirror, to the trade from John Rosselli International.Vintage rock-crystal lamp from Liz O’Brien (800A FifthAve., New York, NY 10021; 212-755-3800; lizobrien.com).Pages 122–23: Custom-made bed by Miles Redd ofMiles Redd LLC (for information: 212-674-0902;milesredd.com). Sienne Scallops bed linens bySchweitzer Linen Inc. (1132 Madison Ave., New York, NY10028; 212-249-8361; schweitzerlinen.com). St. Antoinewallpaper, #BP947, by Farrow & Ball (for information:888-511-1121; farrow-ball.com). Paramount Lucitelamps by Craig Van Den Brulle for Capitol Furnishings (259Elizabeth St., New York, NY 10012; 212-925-6760; capi-tolfurnishings.com). Curtains of Satin La Tour cotton-silk,in bleu, #34520.00/6043, to the trade from Brunschwig &Fils (for showrooms: 800-538-1880; brunschwig.com).Tufted chaise, #60-11-706, by Oscar de la Renta forCentury Furniture (for information: 800-852-5552; centu-ryfurniture.com), upholstered in Shelbourne Woven linenblend, in cream, #LFY20740F, by Ralph Lauren Home(for information: 888-475-7674; rlhome.polo.com).Pimlico Tripod Boom Arm Pharmacy lamp, in polishednickel, #CHA9151PN, by Visual Comfort (for information:877-271-2716; visualcomfort.com). Porcelain gardenseat and rococo-style wood mirror from Treillage Ltd.(418 E. 75th St., New York, NY 10021; 212-535-2288;treillageonline.com).

MAKING A STATEMENTPage 124: Dalton, in aqua, #J057W-05, by JaneChurchill, to the trade from Cowtan & Tout (for show-rooms: 212-647-6900). Salisbury Mansion, in bluesand green on white, #WH-241635, by WaterhouseWallhangings, to the trade from Christopher Norman Inc.(for showrooms: 212-647-0303; christophernorman-.com). Silvergate, #BP846, $220/11-yd. roll, by Farrow &Ball (for information: 888-511-1121; farrow-ball.com). Edo Pines, in robin’s egg, #SPW-1016-05, $119/5-yd.roll, by Studio Printworks LLC (for information: 212-633-6727; studioprintworks.com). Page 125: Edo, in watermelon, #2220-21WP, by ChinaSeas, to the trade from Quadrille Wallpapers and FabricsInc. (for showrooms: 212-753-2995). Arabesque, inblack on cream, #WORARB1107, by Ornamenta, to thetrade from Stark Wallcovering (for showrooms: 212-355-7186; starkcarpet.com). Gramercy, in onyx, #5511090,$35/4.5-yd. roll, by Waverly (for information: 800-423-5881; waverly.com). Caterpillar Leaf, in mugha mud,#WV4CAT-08, $81/11-yd. roll, by Neisha Crosland (for in-formation: 011-44-20-7978-4389; neishacrosland.com),available at Barneys New York (for information: 888-8-BARNEYS; barneys.com). Woodstock, in pink/brown,#69/7125, by Cole & Son, to the trade from Lee Jofa (forshowrooms: 888-533-5632; leejofa.com). Pages 126–27: Imperial Trellis, in treillage, #2707212,by House of KWID by Kelly Wearstler for DecoratorsWalk, to the trade from F. Schumacher & Co. (for show-rooms: 800-332-3384; fschumacher.com). Pera Trail,#W5515/06, to the trade from Osborne & Little (for show-rooms: 212-751-3333; osborneandlittle.com).Flowering Quince, in brown, #6847-1, to the trade fromClarence House (for showrooms: clarencehouse.com).Jersey Lily, #W5452/04, to the trade from Osborne &Little. Joshua Lawrence Chamberlin, in multi with blue,#WH-275330, by Waterhouse Wallhangings, to the tradefrom Christopher Norman Inc. (for showrooms: 212-647-0303; christophernorman.com). Indramayu, in Frenchblue, #653-210, by China Seas, to the trade fromQuadrille 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; rlhome.polo.com).Page 128: Nanou Rockery, in reds, #69369-166, to the trade from Brunschwig & Fils (for showrooms:

Publications Mail Agreement No. 40052054Canadian Registration Number 126018209RTReturn undeliverable Canadian addresses to:P.O. Box 503, RPO West Beaver CreekRichmond Hill ON L4B 4R6E-mail: elledecor@neodata.com

800-538-1880; brunschwig.com). Durbar Hall, in noir,#P434/04, by Designers Guild, to the trade from Osborne &Little (for showrooms: 212-751-3333; osborneandlittle-.com). Cordoba, in brown/pink, #TOR07001, to the tradefrom Zoffany Ltd. (for showrooms: 212-593-9787; zoffany-.com). Kabloom, in fruit punch, $350/5-yd. roll, by FlavorPaper (for information: 504-944-0447; flavorpaper.com). Page 129: Baldwin’s Bamboo, in cream and red onaqua, #WP81630-4, to the trade from Scalamandré (forshowrooms: 800-932-4361; scalamandre.com).Clacket Lane, in gray, $85/11-yd. roll, by Mibo (for infor-mation: 011-44-87-0011-9620; mibo.co.uk), availableat Velocity Art and Design (2118 Second Ave., Seattle,WA 98121; 866-781-9494; velocityartanddesign.com).Acorus, in blueberry, #WABNHP1006, by AlexanderBeauchamp, to the trade from Stark Wallcovering (forshowrooms: 212-355-7186; starkcarpet.com).Mimosa, in scarlet/silver/black, #69-8130, by Cole &Son, to the trade from Lee Jofa (for showrooms: 888-533-5632; leejofa.com). Berry Flower, in lemon curd,#WV4BER01, $100/11-yd. roll, by Neisha Crosland (forinformation: 011-44-20-7978-4389; neishacrosland-.com), available at Barneys New York (for information:888-8-BARNEYS; barneys.com).

IN A NEW LIGHTPages 130–37: All artworks are from Luhring Augustine(531 W. 24th St., New York, NY 10011; 212-206-9100;luhringaugustine.com). Architecture by CicognaniKalla Architects P.C. (for information: 212-308-4811).Contracting by Wolcott Builders Inc. (for information:845-876-6575). Curtain fabrication by Colette Maas ofVan Maassen Interiors (for information: 845-373-8400).Pages 130–31: Wood pedestals and custom-madewalnut-and-steel console by Chris Lehrecke, to thetrade from Ralph Pucci International (for showrooms:212-633-0452; ralphpucci.com). 3rd Gear—It’s AllRight, oil on canvas, 1998, by Albert Oehlen. Untitled(The Show Is Over...), alkyd on rice paper, 1990, byChristopher Wool. Untitled (Empty and Full), bronze sculptures, 2000–2001, by Rachel Whiteread.Pages 132–33: Stainless-steel cocktail tables byChris Lehrecke, to the trade from Ralph Pucci Inter-national (for showrooms: 212-633-0452; ralphpucci.com).Custom-made sofas by Chris Lehrecke, upholstered inPluscious wool velvet, in pineapple, #10028-20, to thetrade from Donghia Furniture/Textiles Ltd. (for show-rooms: 800-DONGHIA; donghia.com). The CocktailDrinker, oil on canvas, 1995, by George Condo.Chocolate Silicon Blockhead, 1999–2000, by PaulMcCarthy. 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 kitchenisland by Varenna (for information: 877-VARENNA; poliformusa.com). Windows by Marvin Windows andDoors (for information: 888-537-8268; marvin.com). Indining room, vintage Danish teak chairs from ClassicModern Furniture (Rte. 22, Amenia, NY 12501; 845-373-7238). Custom-made cherry dining table by ChrisLehrecke, to the trade from Ralph Pucci International (forshowrooms: 212-633-0452; ralphpucci.com). VermeerStudy (A Great Story Out of the Corner of a SmallRoom), photograph on canvas, 2004, by YasumasaMorimura. McLean, Virginia, photograph, 1978, byJoel Sternfeld. In kitchen, (continues on page 154)

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