English Exuberance

The English are masters of the eccentric look (I'm referring specifically to interiors, but many Brits have proven to be eccentric dressers too). And despite the notion of the British "stiff upper lip", they can also be an exuberant people. British history is filled with grand homes and estates that displayed a vibrancy and an enthusiasm that was uniquely their own.

Whereas our American ancestors might have been tempered by their Puritan roots, many members of the British upper class did not seem constrained by such humility. To me, one of the most exuberant British houses was Brighton Pavilion, that wild and lavish fantasy commissioned by George IV while he was Prince Regent. While many of the Prince Regent's contemporaries ridiculed the Pavilion (and let's face it- many of the rooms are a bit, well, should we say tacky?), perhaps old George had the last laugh. The Pavilion is still standing, still beckoning visitors, and continues to influence interiors, albeit on a smaller scale, around the world.

And while the British were ardent fans of Chinoiserie, they also displayed an eagerness to embrace other styles as well. Here are a few colorful examples:


The Peacock Bedroom at Sezincote, the early 19th century home designed by Samuel Pepys Cockerell in the Mughal style.


The Gallery at Syon House, home of the Duke of Northumberland. Robert Adam was responsible for the glorious interiors of the house.


A bed designed by Robert Adam as a Temple of Venus, c. 1775-76. Located in the State Bedchamber at Osterley


The State Bedchamber at Kedleston Hall. The bed was built in the late 1760s.


Recognize this room? It's the Gothic bedroom at Haseley Court, Nancy Lancaster's country home. The bedroom was a collaborative effort between Lancaster and John Fowler.

Image at top: The Banqueting Room at Brighton Pavilion

Lighting Millinery

Before I left home for college, my mother warned me about mixed drinks and alcoholic punches- too much and I might end up with a lampshade on my head. Well, I heeded Mother's advice and thankfully got through school without any major embarrassments. But after seeing these lamps by mat&jewski, I say bring on the Hunch Punch! I'm ready to wear these lampshades.

Now, I'm not really a fan of flouncy or cutesy lamps and shades. And despite the whimsy of the mat&jewski lamps, they unfortunately would not work in my home. But I just couldn't help but think of those great feathered hats that women used to wear. You know, women like Doris Day, Audrey Hepburn, and the like. Maybe it's time for feathered millinery to make a comeback. And you can start with one of these lamps at your next party. Just don't say that my mother and I didn't warn you about the punch.

All lamps by mat&jewski; vintage fashion photos from Conde Nast Archives; images of mannequins with feathered hats by Stephen Jones.

Paying Homage to the Past

Have you ever noticed how Chinese ancestral portraits seem to grace many stylish interiors? Once I spotted them in one interior, it seemed that I started to see them everywhere. Of course, the paintings found in the interiors below were used strictly for decorative purposes, and I can certainly see why. There is something very dignified and regal about these portraits, and they also seem to add a little touch of Eastern exoticism to their surroundings. But what we shouldn't forget is that the purpose of these paintings was anything but decorative.

Ancestral portraits were long an important part of a Chinese culture which revered and worshipped family ancestry. From what I've read, it seems that these paintings were commissioned by family members not just out of respect for their forebears, but also out of fear. A disgruntled ancestor might be tempted to become a ghost and make life difficult for the living. In order to prevent this from happening, and to elicit good will and fortune, the portraits were worshipped by family members either in their homes or at family temples. Ceremonies, which at times included offerings to the ancestors as well as kowtowing, were often performed before these portraits.

So with this in mind, here are a few of the interiors that I have found which display these ancestral portraits. In a way, it seems that even today these portraits still command respect and awe, much as they did centuries ago.

(If any of you are experts on Asian art and wish to add to this, please do so by commenting- I would love to learn more about these portraits.)



Frances Elkins used them in a few of her projects, including one of her most famous: the library of Mr. and Mrs. Kersey Coates Reed. I think the portrait looks smashing against the Hermes goatskin paneled wall.


Jean-Michel Frank tried his hand at stage design in this set from "Les Fleurs des pois". The Chinese portrait rather dominates the set.


Yves Saint Laurent was obviously a fan.


Here are a pair of Chinese ancestral portraits in a contemporary setting- the living room of Liz and Steve Weinstein, decorated by Miles Redd (photo from Elle Decor; photographer Simon Upton)

Image at top: A pair of ancestor portraits, c. 1700-1800. From the collection of the Victoria and Albert

Thoughts on Stripes

As my week has turned out to be a bit crazy, I decided to dispense with a lot of the chit chat and simply show some photos of big and bold striped walls. I think I first fell in love with stripes after seeing some old photos of Dorothy Draper's work (that woman certainly influenced me and legions of others!). I like stripes of all kinds, but particularly a wide stripe in a graphic color combination- think green and white, red and white, and of course black and white. Of course, with striped walls it's advisable to keep the rest of the room a bit simple. Too many prints fighting each other is guaranteed to give you a headache. That said, you can introduce some pattern into a striped room. Just look at Draper's florals and Redd's animal print below.



I have always adored Dorothy Draper's living room. Those bottle green stripes are beyond snappy! (Image courtesy of Condé Nast Archives)


A striped room by Anne Coyle. I love how the stripes are reflected in the mirrored cocktail table.


Miles Redd used one of his favorite striped fabrics for the walls of this living room. (I know, you've seen this room a million times before, but it's still gorgeous!)


How smashing is this bar in the home of designer Sam Blount? The black and white stripes mixed with red curtains and flowers is bold and snazzy.


My, oh my! Are these some stripes or what? Here, the stripes are railroaded rather than vertical. Although a bit too gutsy for my tastes, I just had to show you this photo. (Design by Melvin Dwork, whose work I do like!)

Photo at top: A Dorothy Draper designed room at the Arrowhead Springs resort. Unfortunately, I don't know if the stripes are pink and white or blue and white.

R-E-S-P-E-C-T

There is a design giant alive today who seems to get overlooked and sometimes even dissed by young designers and design enthusiasts. Many disregard his work as being too 1980s, too traditional, too English country looking, and too frou frou. And it's really a shame because this designer is truly quite talented. He has a remarkable sense of color and a keen understanding of what makes a room comfortable. His look is one that has changed little through the years- he honed his style as a young man and has stuck to it, perhaps with some tweaking over the years. Bottom line- his rooms are unabashedly pretty, and in my mind pretty is not a dirty word.

Who am I talking about? None other than Mario Buatta (a.k.a. Mario Buattachalotti-Sister Parish's pet name for him- and most famously "The Prince of Chintz"). The man has an impeccable design pedigree. He studied at Cooper Union and later at Parsons, studying under legendary teacher Stanley Barrows. He considered John Fowler a friend and mentor (one can see Fowler's influence in a Buatta room), and he also worked for Keith Irvine for a short time.

So why the disrespect? Perhaps his rooms are a bit conservative for some. Perhaps others don't like the amount of "stuff" in a Buatta room- at times, his rooms can be a bit over the top. And maybe some people can't stand Buatta's use of chintz (although maybe he is having the last laugh- after all, chintz's popularity is once again on the rise). But don't you agree that even if Buatta's look does not suit you, his rooms are incredibly inviting? Don't you just want enter one of his rooms and sit in comfortable chair and while away the hours reading a good book? Or what about relaxing in one of his nighttime rooms with a stiff drink and good friends?

I think what I am trying to say is that even if Buatta's traditional and at times maximalist look may not be hot or trendy right now, there are elements to his rooms that are timeless and stylish. But if you keep an open mind and look past the fabrics or furniture that may not be up your alley, you might just learn some important design lessons.

(I also would like to say I can't understand why no one has written a book on Buatta and his work. So many other designers have books devoted to their work, why not Buatta?)


How gorgeous are these Prussian-blue glazed walls? Alright, so the bow from which the painting is hanging may be a bit precious, but see how great that peach color looks against that shade of blue? I think this Buatta room is a lesson in rich color.


Buatta loves to design both daytime and nighttime rooms, of which this room is the latter. Nobody does a lacquered room better than Buatta. See how the gold frame looks so rich against the glossy walls? If you're a modernist at heart, just think how about a modern picture in a plain gold frame would look against the aubergine walls. Or what about a modern cream colored sofa in place of the traditional one above?


I know, I know- those of you who don't like florals might be apoplectic right now. However, look how effective the repetition of the floral print is. Think about whatever your favorite print is and then imagine it on walls, pillows, and chair and ottoman. I think that in this case, more is more!


Buatta decorated this bedroom in 1971. It's slightly dated, but look at that pink, that yellow, and the acid green. This color combination is bold and gutsy. No grooviness for Buatta; even back in the early 70s he was striving for sweet and pretty.


This shot of a Buatta room is one of my favorites. Take away the traditional pictures and pillows and insert some modern paintings and graphic pillows and I think you just might have a rather Miles Redd-esque room.

Dining Duquette Style

Or should I make that Hutton Wilkinson style? In the June/July issue of C magazine, there is a neat little article about the way Hutton Wilkinson and his wife Ruth entertain at their home "Dawnridge" (you know, Tony Duquette's former home). On the table above, set for a luncheon, Wilkinson chose an emerald green tablecloth for the table, which is adorned with Chinese figures and pagodas from Duquette's collection. I just love the ballroom chairs with their malachite-patterned chair pads. And continuing with the malachite theme are the plates by D.L. & Co.

And what will the guests eat and drink at this elegant luncheon in a rather exotic setting? Hibiscus lemonade, Fattoush salad, and fromage blanc with berries and honey for dessert. I don't know if the guests will get the chance to have a piece of the "coral" cake, seen below- it's too pretty to cut!

Finally, the satiated guests will get to take home a very stylish party favor- a D.L. & Co. Duquette candle. My luncheons and dinners tend not to end with favors, but I just might change my mind!


A cake too pretty to eat! Cake by Cake Divas in Los Angeles


I'm smitten with these malachite plates D.L. & Co.


The Duquette candle by D.L. & Co.

(Image at top and of cake from C Magazine; Peter Wintersteller photographer)

Coleen's Back!

Exciting things are underway at Coleen and Company! After years at her eponymous Newport Beach shop, Coleen Rider decided to sell off most of her inventory and make the big move to Los Angeles. The new showroom, located near Culver City, will be opening the first week in July with all new inventory, and based on what Coleen has told me, it's going to be fabulous! I'll be posting photos of the showroom once the dust has settled. But in the meantime, Coleen has completely revamped her website in honor of the upcoming opening. Here are some sneak peeks of some of the new merchandise, and not to worry- Coleen's Tole Tent Lanterns and Chinoiserie Panels are still available for sale both online and at the new space. Oh, and don't forget to sign up for the $500 Gift Card contest- but you must visit the website to enter!

(Image at top: In addition to her custom Chinoiserie panels, Coleen has now added the Orange Tree topiary and the Kumquat Tree topiary panels to the collection- sold separately.)


Italian Gilt Barcart with Tassels


Pair of Faux Painted Obelisks


19th c. French Damask Linen Screen


Vintage Tole Fruit Centerpiece

Revisiting the Career of William Pahlmann

Isn't it amazing how people who were once celebrities can fade into obscurity? The same thing can be said for celebrity decorators, especially William Pahlmann. Okay, so perhaps he's not an obscure designer, but he does not have the name recognition of Dorothy Draper or Elsie de Wolfe. If this were 1950, we would all be talking about Pahlmann. After all, he was one of the most famous decorators of the 1940s through the 1960s.

Pahlmann, who was educated at Parsons in the late 1920s, first gained notoriety after designing a mirrored bed for the first Mrs. William Paley (this according to Legendary Decorators of the Twentieth Century by Mark Hampton). Getting her seal of approval was the impetus he needed to go onward and upward, eventually landing him the job of head of the decorating and antiques department at Lord and Taylor. Pahlmann became known for his model rooms for the department store- rooms which garnered attention by the press and brought flocks of customers to the store. After a brief hiatus during World War II (serving in the Air Force), Pahlmann returned to New York where he set up his own decorating firm. He even had his own syndicated newspaper column titled "A Matter of Taste".

Pahlmann's interiors after WWII are quite evocative of the post-war era. While Pahlmann was quite capable of designing in the traditional style, much of his work celebrates mid-century modernism. Pahlmann was a champion of modern materials, including rubber flooring and rayon and other synthetic fabrics. The exotic also played a role in his interiors. Artifacts and objects of various cultures and countries mixed freely, lending his rooms a sort of well-traveled look. And let's not overlook Pahlmann's love of color. There was nothing primary about his chosen color schemes. In fact, in his book The Pahlmann Book of Interior Design, he wrote about various color combinations that he had used thus far in his career. These included cerulean, lime, magenta pink and white as well as deep sage, ripe persimmon and French blue.

Pahlmann was so well-regarded in the design world that when a young Albert Hadley first ventured to New York seeking a job as a designer, he sought out a meeting with his design idol. Hadley describes Pahlmann as "a man of great charm with a flamboyant personality and certainly he was not shy about anything."* Pahlmann encouraged Hadley to enroll at Parsons School of Design, just as he had.

While many of Pahlmann's room may seem a bit dated today, don't you think it's worth revisiting the career of this late, great decorator?

(Pahlmann's work is featured in the upcoming Acanthus Press release New York Interior Design, 1935-1985. Another "lost" designer whose work I greatly admire is George Stacey. I'll be writing about him soon!)



A great example of Pahlmann's fearless use of color. This bedroom's colors were inspired by a vineyard.


The mod floor in this living room was rubber! The mix is a bit unexpected: modern furniture with a Victorian sofa and Spanish altar candlesticks mixed with French candle sconces.


This was Pahlmann's own living room. I love the gunmetal gray walls and the robin's egg blue leather chair. According to Mark Hampton, the cabinet is actually a snakeskin Victrola.


I couldn't resist this image of an Empire-style tented room. Pahlmann admired Napoleon and Malmaison- might this have influenced the design scheme of this room?


Pahlmann designed this living room for Mrs. Walter Hoving in 1948. In my opinion, this room is one of Pahlmann's more elegant designs. Much of his later work seemed to be more casual, much in keeping with the times.

(*Hadley quote from Albert Hadley: The Story of America's Preeminent Interior Designer)