A New Romance

For years now, I've been madly and head over heels in love with prints. I assure you that I was discriminating; don't think that I fell for every print that came down the pike. Prints by Albert Hadley, Sister Parish, Alan Campbell, and Quadrille were my passion. And I was discreet too. I had enough sense to know that one, maybe two were enough in a room. But now, I'm looking for something different. Perhaps something a little more subtle.

One fabric collection that caught my eye was Donghia's Spring 2009 offerings. The new line, the first designed by Creative Director Chuck Chewning, is all about rich color, intriguing texture, and a few soft prints. This is the type of fabric that adds sophistication and maturity to a room. The kind that forces other prints to behave themselves and not slip into immaturity or silliness.

Of course, first loves never die, and I have a feeling I'll be buried with my Albert Hadley prints, but sometimes, it's nice to explore other options.


"Hera". The hand-embroidered medallions are feminine and sweet, though certainly not cloying.


"Bell'Insetto". Hands down one of my favorites in the entire collection. The name means beautiful insect in Italian. Come on, how can a bug not be beautiful when used on silk damask?


"Cashmere Velvet Herringbone". Or maybe this one is my favorite. So luxurious and so masculine, especially with that chevron pattern.


"Ella". A bit more casual and free-spirited than the others, this textured cotton four-leaf clover print would work well in less formal surroundings.


"Encanto". The appliqué, printing, and embroidery is all hand-finished. Oh, the flowers and vines have embroidered French knots on them as well.



"Estrella". While I tend to go for richer, more saturated color, I do think the soft color palette is soothing. Don't you want to rub your hands over that texture?

Images at top: "Ripple". First, the colors are so rich and gorgeous. And that sheen!

(All images courtesy of Donghia)

Cabana Chic

While I'm on the subject of balconies... I mean terraces, I thought I'd post these photos of two cabanas installed at Trina Turk's New York store. Turk commissioned talented designer Joel Woodard to create cabanas (also known as changing tents) based on some frames that were featured in the Tony Duquette book.

Woodard tweaked the tents and made them taller than your run of the mill cabana. He used fabrics from Turk's new fabric line at Schumacher. The exterior fabric is "Peacock" in the color pool, and the interior is lined in "Zebra" in the Bamboo colorway.

How great would it be to have one of these by your pool, on your terrace, in your dressing room. I'm convinced that the tents' height will make one look slimmer, especially in a bikini!

Someone Else Who Is Rethinking Chintz

Remember my post last week about solid chintz? Well, Lulu deKwiatkowski has obviously been thinking about it too. Two new additions to the Lulu DK fabric line are Pierre and Ginger chintzed linens. The fabrics have a subtle sheen rather than the "shiny" finish of traditional chintz. I can't wait to see the fabrics in person because it seems like these fabrics are spiffy versions of linen. It might also be an option for those of you who are allergic to high sheen chintzes.



I had been thinking about upholstering two armchair seats in leather, but now I'm considering the chintzed linen. Have any of you seen it in person?



(Images at top: Ginger in Gold; Pierre in Fig)

Luther Quintana Studio

Finding a good upholsterer can sometimes be tricky. Finding one who is both skilled and innovative is even more difficult, and that is why Manhattan-based Luther Quintana is one of the tops in the field. Having been in the upholstery business for over twenty years, Luther is the go to guy for some of the top decorators in the trade: Miles Redd, Tom Scheerer, and Jeffrey Bilhuber, just to name a few. In fact, if you've read an article about one of these designer's projects, you've probably seen Luther's work without realizing it.

Luther recently opened a second showroom in Manhattan called Luther Quintana Studio. Located near the D&D Building, the studio showcases much of Luther's fabulous upholstered pieces as well as antiques, decorative pillows, and accessories. I think that once you see Luther's work, you'll realize that you can't go back to ho-hum and mediocre upholstery (something which many of us seem resigned to while we search for that upholsterer who wants to branch out and try something new). If you're in the neighborhood, you should pop in for some inspiration. Also, make sure to visit Luther's website for many more photos of his work.

(Luther Quintana Studio is located at 237 East 60th Street and is open Monday through Friday 9am-6pm and Saturday by appointment. The downtown showroom/workroom for custom upholstery and drapery is still at 151 West 26th Street, by appointment.)







The images above and at top are of the studio. I'm loving the bench with the hoof legs, the screen, the Loop chair....







The ottoman, screen, and sofa are just a few of Luther's current favorites. Just think how great these pieces would look in our favorite fabrics.

The Fabric That Dare Not Speak Its Name

Chintz can be such a controversial subject. What? You didn't know that? Oh yes, the fur can and oftentimes does fly when discussion turns towards chintz. And why? It's nothing more than glazed cotton. How can you disparage good old cotton? And I for one love glazing (especially on doughnuts). I think chintz has unfortunately gotten a bum rap, much like linoleum and shoulder pads.

We had a mini chintz revival recently, although the chintz that seemed to garner the most publicity was of the floral variety. Florals are all well and good, but the chintz that strikes my fancy are solids. I love the sheen of solid chintz fabrics, but this is where the quality factor comes into play. Cheap chintz looks, well, cheap. It's all about the luster, and well-made solid chintz fabrics have got that in spades. It's a humble, toned down kind of glamour.

I found this early 1980s ad above for Zumsteg fabrics. Look at the yummy colors, the shiny finish, and the subtle, tonal print. Can't you see fabric like this used for some glam curtains in one's bedroom? Or what about seat cushions? If I owned a Frances Elkins' Loop chair, I'd use a chintz like this.

Of course, who doesn't associate floral chintz with Mario Buatta. But another prince of chintz- albeit solid chintz- was David Hicks. He used glazed cotton fabric for pillows, bedspreads, curtains, and all kinds of upholstery. And you know, it looked really great. My only advice would be to use solid chintz sparingly. Otherwise, your rooms might end up looking slippery!

(PS- Does anyone know anything about Ashley Hicks' forthcoming book David Hicks: A Life of Design? It's due to be released this Fall. Just added that to my wishlist.)






David Hicks designed all of the rooms above. His use of gutsy, colorful glazed cotton made chintz hip and sexy.

(Images of David Hicks' work from David Hicks: Designer and David Hicks on Decoration - With Fabrics)

Fabric Frivolity

Though my favorite kind of prints are geometrics and small patterns, I am taken with novelty prints- but none of those cheesy novelty prints, thank you very much. Some of my favorite novelty prints are from the 1920s and 30s. If they have a Deco vibe to them, then all the better. The problem that I have with many of these prints is that they can be difficult to use. Much better to use them on pillows or seat cushions rather than on large scale projects like curtains or sofas.

I recently became reunited with my copy of a Victoria and Albert book on novelty fabrics, and most of the patterns featured were dress fabrics. Aha! That's the way to use these prints. Carolina Herrera used some novelty prints in her Spring collection a few years ago, and the effect was utterly charming. Of course, you wouldn't want a closet full of these prints. That would be far too whimsical and would make mixing and matching way too difficult. But still, can't you see having a Summer dress made from one of these breezy fabrics?


"Sea Horses", cotton, Calico Printers' Association, England, 1936


"Gentlemen Prefer Blondes" designed by Ralph Barton, crêpe de Chine, American, 1927. (Though I am a brunette, I do find the humor in this print!)


"Surfers", cotton, English, 1937


"Mothballs and Sugar", designed by Edward Steichen, crêpe de Chine, American, 1927


Image at top: "Masks" designed by Jean Cocteau, silk crêpe, French, 1938

What Michael Devine Did This Summer...

Michael Devine has certainly been a busy man. First, his fabric line is now being represented in New York, New Jersey, and Connecticut by John Rosselli & Associates. And even better, Michael has just introduced new additions to his fabric line. I'm crazy about the new prints, especially "Dottie", seen above at the far left. (Doesn't it look like a print that Albert Hadley might use?). Michael was kind enough to send me some photos of the new fabrics, and the charming vignettes have convinced me to hop the next train to Kinderhook, NY to visit his shop in person!

(For those of you in Atlanta, Michael's fabric is available at the Jerry Pair showroom.)









Michael used his "Dottie" print on this notepad and pencil cup, available on his website.

Spatter Pattern

And no, it's not the spatter pattern that is discussed so frequently in episodes of "CSI". It's "Spatter", and it's one of my favorite Hinson prints. Designed by Harry Hinson in 1974, the print was inspired by the spatter motif found often in Colonial ceramicware (this according to a 2001 New York Times article). The article also mentioned that it's a print that counts Albert Hadley and Jeffrey Bilhuber amongst its fans. I've also read that Billy Baldwin used it in his Nantucket home, but I can't find a photo.

So, just where can you use a print like "Spatter"? Well, Harry Hinson used it in his East Hampton home (shown above), and I was thrilled to see it in another Hamptons house designed by Tom Scheerer (and featured in the August '08 issue of House Beautiful). But I do think you can use it in a city home too. How about in a powder room? Or a kitchen? Just think of "Spatter" as a modern take on early Americana.

And speaking of Americana, I was curious about Hinson's supposed inspiration for this print. Just what was spatter and how was it used during Colonial times? Well, one of the prime examples is spatterware. According to a ceramic curator at Winterthur, spatterware was originally manufactured in England where it was known as spongeware. As spongeware was not particularly popular in England, most of it was shipped to the American colonies where it became known as spatterware. And it was here in America where spatterware became extremely popular, especially amongst the Pennsylvania Germans. Sponge and spatter painting was also used on furniture, walls, and floors during this era.

So although I can't corroborate whether Hinson was actually inspired by spatterware or not, it's something to ponder. If you would like to learn more about spatterware, you should visit Winterthur. Henry Francis du Pont was a major collector of it, and there is a magnificent display of his collection in Spatterware Hall at Winterthur. Or you can read more about his collection here in an interview with du Pont's daughter, the lucky recipient of some of her father's collection.


(Many thanks to everyone at Winterthur for assisting me in my research of spatterware.)



Two images of Scheerer's fabulous wallpaper selection for an East Hampton cottage (image from House Beautiful, Aug 08; Simon Upton photographer).


A Spatterware platter, c. 1825-1855, Staffordshire England. Does this not look modern to you? Bequest of Henry Francis du Pont; image courtesy of Winterthur.


Spatterware pitcher, c. 1825-1855, Staffordshire England. Bequest of Henry Francis du Pont. Image courtesy of Winterthur.


Four examples of Spatterware jugs, c. 1825-1855, Staffordshire England. Bequest of Henry Francis du Pont. Photo courtesy of Winterthur.

Image at top: "Spatter" in blue and white on the walls and curtains of Harry Hinson's East Hampton dining room.

Print Prozac

I was so excited to open the October issue of House Beautiful and see an article on "Happy Prints". Because you see, this is totally me. As I'm writing this post I'm sitting in my bedroom, and it's depressing me terribly. The walls are coated in wallpaper primer which make them look cold and sterile. I am counting the days until my wallpaper- yes, a print- arrives so that my bedroom can be transformed into a room that makes me feel chic and happy. In the meantime, I have to get up and run into another room to look at color and my other prints for a temporary lift.

I adore prints that have pep and spunk. I love prints that make you stand up and take notice. Of course I do believe in the old adage to beware of too much of a good thing. In fact, my love of prints has forced me to be a ruthless editor. I've got so many that I would love to use but... not enough space and too little time.

The way I work with happy prints is by toning them down a bit with the use of sophisticated color. Because my other love is color. I absolutely cannot live without it. The irony of it all is that I don't wear color. Occasionally a little pale blue, but mostly blacks and grays. Not only is this practical, but it makes me feel elegant too. But in my home I prefer prints with pizzazz combined with rich color. And when I say rich I don't mean bright, because that's not me either. I'm thinking creamy blues, mossy greens, aubergine, even powdery pink.

Now, I'm not immune to the charms and the quiet elegance of a neutral room. In fact, one of my very favorite Billy Baldwin rooms is one that is rather monochromatic and neutral. But for my own home? It's all about color and prints. Because at the end of the day, that is what makes me happy.


Chinoiserie prints always make me sing, especially those that are not so serious. I have two chairs upholstered in "Ping" (Scalamandre), and they make me very happy.


And all of Sister Parish Designs' prints are upbeat, especially "Chou Chou"


How about Meloire Reverse from Quadrille/Alan Campbell? This might just get your mind off of the economy- at least temporarily!


"Asparagus Plaid" by Brunschwig is such a funny print. While it's not my style, I can definitely see where it might make others smile.


Again, not a print for everybody, but it might be just the thing for a porcelain collector. "Imari Trophy Plate" by Carlton Varney


Prints don't have to bold, colorful, or whimsical to make you happy. I used this Tyler Hall print- "Exeter"- in my old powder room, and it gave the room some flair... which in turn made me happy!

Image at top: A room designed by Albert Hadley- in my mind, the pied piper of the happy, handsome, and understated print. His fabric and wallpaper for Hinson is by far my favorite.