What Would Billy Do?

Sometimes when I'm faced with a decorating dilemma, I'll ask myself "What would Billy (Baldwin) or Albert (Hadley) do?". Silly, perhaps. But, by thinking about how these two design legends approached (or in Hadley's case still approaches) design, I'm usually able to think through my problem and find a suitable, and stylish, solution.

So, I was excited to come across a 1948 House & Garden article in which five of the top designers of the day (who are now considered legends) discussed their solutions to different design challenges presented by their clients. Today I'll profile the male designers featured, and tomorrow stay tuned for the women.

The master Billy Baldwin is photographed here with his client Mrs. Warren Pershing. The problem: Mrs. Pershing wanted to create a country house feeling in her Park Avenue duplex. She wanted the home to be rather informal but pretty as well.
The solution: Baldwin chose coral as the dominant color because it is a happy color (and one that would complement Mrs. Pershing's "dark beauty"). To achieve the country look, Baldwin used various chintzes for the upholstery and displayed vases with fresh flowers throughout.

What I find interesting is that though this room was a bit casual for the time (and for the Park Ave. setting), it is actually rather formal by today's standards. I think that what Baldwin achieved was a scheme that was fresh, comfortable, and elegant.

A living room designed by William Pahlmann for his client Mrs. Walter Hoving.
The problem: The living room was very large and rather long. Also, Mrs. Hoving wanted to create a room that was conducive to entertaining and an attractive background for evening clothes (aren't these fun problems to have?)
The solution: Palhmann created different seating groups allowing for conversation as well as better traffic flow. Also, he used two mirrored niches (visible on the far right) to create a sense of width. Pahlmann chose a green for the upholstery because he deemed it a flattering color for evening clothes (particularly against men's black and white evening attire).
All in all, a very elegant room in which to entertain! I especially love that Coromandel screen.


The problem: The client, Mrs. Vincent Astor, asked her designer George Stacey to create a cornflower blue room. She also wanted a room that was suitable for entertaining as well as relaxing with her family.
The solution: Because this shade of blue was a bit strong, Stacey chose white, crystal, and mirrored accents. He used a red fabric for the benches in front of the fireplace as well as a dark green for the sofa. In order to achieve the "comfortable" feel to the room, Stacey used a floral chintz for the armchairs (I think the use of floral chintz is a recurring theme in this particular article!).
I think Stacey's use of color is pretty smashing and bold. That said, what interested me most about this story is that one of the editors of H&G in 1948 was Brooke Marshall, later Brooke Astor (the third Mrs. Vincent Astor). And here is her predecessor Minnie Cushing Astor (the second Mrs. Vincent Astor).

Creative Framing

I was catching up on my 1st dibs browsing last night and came across these parrot prints from Chapman Radcliff (see above). Don't you like how the prints are mounted on the fabric covered mats? So clever! Of course there are certain types of prints that are best displayed in plain mats, but here the fabric adds a real flair.

Framing is one of those design details that is often overlooked despite the fact that it can add to the look of the artwork (and the look of the room). Some art, especially photographs, look best in simple frames with plain white mats. However, if you have some prints, drawings, or paintings that could stand a little pizazz, why not consider an unusual frame or mat? There are so many wonderful frames from which to choose, however, framing can be terribly expensive (I can't tell you how many times I've come close to having a heart attack when I got framing estimates). If you're on a budget, perhaps a colorful or textured mat may be just the thing.


These small Chinese Export paintings are framed in blue rice paper mats in gilt frames. Available at Heather & Company Inc.


Animal prints in striking frames and mats- in the Maher home, Elle Decor Aug '07 (photographed by William Abranowicz). I don't know which I like better- the prints or the frames.


Textured, neutral mats in the former apartment of designer Kelly Wearstler. The frames and mats look great against the aubergine walls.


I added this red mat on a delicate etching to draw attention to it.

Can You Identify This Table?

In my recent post on Albert Hadley, I included a few photos of a red zig-zag table. The table appeared in a tableau at the offices of Paris-Hadley and in Hadley's Manhattan bedroom. This table also appeared in a 2002 Elle Decor article on Ward Denton and Christopher Gardner's apartment. A reader has asked if anyone could shed some light on the manufacturer of this chic little table. If you can help us, please let us know!

See You Next Week!

I'm currently traveling this week and won't be posting. See you next Monday with more design dispatches!

Bye Bye Summer!

Summer's coming to an end and soon we will be dreaming of fireplaces, woolens, and sweaters (although here in the South this won't be a reality for a few more months!). So, in honor of this waning season, here are a few breezy homes that capture the spirit of summer.


Kemble Interiors

Steven Gambrel


Meg Braff


Eric Cohler Design

Katie Ridder


Miles Redd


Christopher Maya

Elsa Peretti

One designer whose work I've long admired is Elsa Peretti. Her jewelry and accessories were de rigeur in the 1970s and are still in demand today.

Inspired by nature, Peretti creates objects that are organic in shape and luxurious in material. Working predominately with sterling silver, terracotta, and glass, Peretti elevates such humble things as apples, bones, and even thumb prints into something completely chic and glamorous. Some of her iconic designs include the sterling bone cuff, the bone candlestick, the thumb print bowl, and the glass heart paperweight. While Peretti has designed mainly for Tiffany, she also is also known for her design of the Halston perfume bottle (she and Halston were very close friends).

The great thing about Peretti pieces is that they work in both modern and traditional settings. And while the designs may have been rather cutting edge when they were introduced over 30 years ago, their popularity proves that Peretti's work is truly timeless.



Silver thumbprint bowl, at Tiffany & Co.


Pair of Terracotta candlesticks available at Lost City Arts


Cobalt heart paperweight at Tiffany & Co.


The iconic sterling bone cuff, at Tiffany & Co.


A few Peretti objets in the home of Robert Rufino- mixed in with the Van Day Truex Bamboo flatware (House & Garden 11/04)


Halston perfume- the bottle was designed by Peretti

Image at top: A 1975 Helmut Newton photograph of Peretti

Exotic Fabrics

For many centuries, the exoticism of such far-away places as Asia, the Far East, and Russia captivated Westerners. This fascination is quite evident in much of the decorative arts that were produced in the 18th and 19th centuries. Although we now have a more accurate picture of these once distant lands, the traditional pictorials are still charming. So, in that vein I thought I would post some fabrics which capture the spirit of the exotic.


"Diaghilev", linen & cotton, by Clarence House


"Manchuria" by Vervain


"Jahangir" cotton by Lee Jofa


"Kipling" linen/cotton in Ebony by Lee Jofa


"Beauport Promenade", glazed chintz, by Brunschwig & Fils

Image at top: A 19th c. blue and white ceramic plate depicting an Indian scene; collection of the Victoria & Albert Museum

Fancy Feathers

The motif of the three ostrich feathers- actually part of the heraldic badge of the Prince of Wales- has been incorporated into the decorative arts through the ages. Many Hepplewhite chairs, for example, have the three feathers carved into their backs. Wallis Simpson, a.k.a Duchess of Windsor, had a diamond encrusted pin (above) with this emblem (it was later purchased by La Liz at auction).

While the ostrich feather motif may not be as recognizable as that other monarchical symbol of the fleur-de-lis, it is no less distinctive. In fact, it can be downright glamorous. Just look at those Jansen consoles below.


One of a set of 6 Mahogany Hepplewhite chairs, 19th c., from Thomas Jolly Antiques


Maison Jansen console tables, c. 1940s, available at Alan Moss


"Cheyney Walk" paper by Cole & Sons. Not technically the three feather motif but the lines are quite similar.


Pair of silver leaf brackets, c. 1850, from O'Sullivan Antiques


Grosfeld House crystal wall brackets, c. 1945, at Florian Papp. They may just have one feather each, but they're beautiful nonetheless.

Too Much of a Good Thing?

Some designers feel that one of the best ways to create a cohesive look in a small space is to repeat the same print throughout. I recently found these photographs of the late designer Greg Jordan's apartment, and I think he certainly adhered to this tenet.

Jordan's apartment had a living room that was 13' X 16' and a bedroom which was 10' X 15'- rather small. Jordan's solution to making the space seem larger was to use the same fabric on everything- walls, windows, upholstery, bed. By employing this scheme, the boundaries of the room seem to disappear. The fabric he chose was of his own design: a chain-link fence print. Obviously done tongue-in-cheek, Jordan wanted to create an "urban version of those eighteenth-century English trellis patterns."

To me, the effect is not necessarily overwhelming. I think that the other objects in the room- books, antique furniture, and other bibelots- soften the severity of the chain-link pattern. They also seem to take center stage against this unified background. I actually find the whole look rather charming.

That said, I don't think this look is for everyone. You would have to make sure that the print you choose is one that you love (and one that you will love for a long time!). Also, might one feel claustrophobic being surrounded by one print everywhere? In a quest to "eliminate" borders might you feel a bit caged in?


Jordan's living room


Another view of the living room


The bedroom with more of the chain-link print

(All images and quotations taken from "House Beautiful- Decorating for Small Spaces")

Graphic Classics

My post yesterday made me think about classic color combinations, and in my mind there's nothing more classic than black and white. Think black and white marbled floors, black and white striped awnings, and even black and white silhouettes. This graphic color combination is always crisp, tailored, and elegant. You may not want to design an entire room entirely in black and white, but perhaps these black and white items might inspire you to add a little graphic punch to your home.


"Tess" chair by Chair Couture


"Black Aves Platinum" by Royal Crown Derby


Black and white striped ottoman, one of a set of 3, at Dragonette Limited


Black and white obelisks at Biggs Powell


Chevron patterned black and white tray by Oscar de la Renta for Lunt


"Black and White Story" stationery from Kate Spade

Image at top: Hampshire House, New York, designed by Dorothy Draper. One of Draper's favorite color combinations was "dull white and shiny black". One of her trademark looks was black and white checkered floors- beautiful and stylish then, still so today!

The Classics

Trends may come and go, but there are certain "things" that never go out of style- and thank heavens for this! I have no issues with indulging in current fads- I'm guilty of having displayed the ubiquitous coral! But decorating your home entirely with trend-driven items is not the way to achieve a timeless look. Who wants to spend the time and money reupholstering a sofa a year from now because the chosen fabric is no longer stylish?

Fortunately for us there are many timeless pieces that have stood the test of time. Here are but a few classics that are always appropriate and always stylish.

(Stay tuned for future Classics posts...)

Classic Candle:

Yes, the heady scent of Rigaud candles is evocative of the go-go years of the 1980s, but there's no denying the allure of Rigaud. They were, after all, the preferred candles of Diana Vreeland.

Classic Lighting:

The swing-arm lamp was first introduced to the marketplace by George Hansen. Such a simple yet innovative idea. If you've ever used one, you know how handy (and stylish) these lamps truly are.

Classic Linen:

Alright, it seems a lot of people don't "get" Porthault prints. Some say they're too matronly and too old-school. Well, what's wrong with that? Jackie Onassis and Wallis Simpson certainly didn't have a problem with it. Trust me, once you get hooked on Porthault, there is no going back!

Classic Flatware:

"Bamboo" flatware by Tiffany & Co. First introduced in 1961, this legendary pattern was designed by Van Day Truex who, in my opinion, was a classic in his own right.

Classic Fabric:

"Les Touches" by Brunschwig & Fils. A graphic take on the animal print. I once read where Geoffrey Beene swathed an entire room in this fabric!

Classic Chair:

The slipper chair, seen often in interiors by the Billys (Baldwin and Haines).