Fringe Benefits

I'm trying to figure out the seating situation in my bedroom. (After I wrote that, I realized that this is a loaded statement.) I think it's nice to have a chair in one's bedroom as a place to sit and read. I have a temporary one in there right now. It was my childhood armchair and ottoman that is, well, a little dated. Both pieces are a bit low to the ground which is perfect for a child (of which I am no more...), and they're upholstered in a Colefax & Fowler check. It was great for the 1980s, but not so much anymore. Those two pieces will, I believe, be heading to the consignment store.

What I plan to use in its place is a hand-me-down wing chair that used to be in my parents' library. I adore a traditional, honest to goodness wing chair. You can dress them up, you can dress them down. I want this wing chair to be a little glam, much like those you see in the old movies. And if you look closely at wing chairs from the 1930s and 40s, you'll notice that many of them have brush fringe. I'm thinking of doing this to my chair. Perhaps a solid mohair or silk velvet with a contrasting brush fringe. The deal is, though, that the fringe needs to be short. After trolling my books for images of brush fringe, I noticed that one trend from this era was adorning everything- chairs, sofas, lampshades- in a long fringe. No, this is not for me. I think I'll just stick to a well-groomed fringe.


Billy Haines used fringe on this armchair for actress Constance Bennett. Check out the fringe on the lamp shade!


It pains me to write me this because in my mind, Frances Elkins could do no wrong. But...that fringe is a little too long for me. Other than that, it's really pretty stunning. (Living Room in the home of Mr. and Mrs. Leslie Wheeler, Lake Forest, Illinois, c. 1934)


A great example by Syrie Maugham in the home of Mr. and Mrs. Harrison Williams, New York. (Drix Duryea, photographer)


Leave it to Rose Cumming to make brush fringe so glam. This makes me want to upholster my wing chair in silk. Not the best choice for a home with a dog, but still... (Home of Mrs. C.S. Petrasch, New York City)


In the Beverly Hills salon of designer Adrian, Tony Duquette was enthusiastic in his use of brush fringe.

Image at top: Designer John Gerald trimmed this blue satin strie upholstered armchair in a beige fringe. I think this is a great example of what I may do with my chair.

(Image #1: House & Garden's Complete Guide to Interior Decoration. #2 from Class Act: William Haines Legendary Hollywood Decorator by Peter Schifando. #3 from Frances Elkins: Interior Design by Stephen Salny. #4 and #5 from The Great Lady Decorators: The Women Who Defined Interior Design, 1870-1955 by Adam Lewis. #6 from Regency Redux: High Style Interiors: Napoleonic, Classical Moderne, and Hollywood Regency by Emily Evans Eerdmans.)

Watch This Movie (Sort of): Ziegfeld Follies

I've been wishing a lot lately that I could have a day- just one day- to do nothing. Well, ask and ye shall receive...although I received in the form of a stomach bug. No fun at all. So what else was there to do than to watch a movie? Ziegfeld Follies had been on my list for a while, and I was dying to see Tony Duquette's handiwork on the film's set. In case you're not familiar with it, the 1946 MGM film was a musical tribute to the late Flo Ziegfeld, Broadway producer extraordinaire. The extravaganza included musical numbers and skits by Fred Astaire, Judy Garland, Fanny Brice, Red Skelton, and others. If musicals give you hives, I wouldn't watch this movie. It was good but I was glad when it was over. (I now wish that I had watched a darker movie like Leave Her to Heaven or Born to Be Bad. There is nothing like whiling away an afternoon with a twisted movie.)

But back to Ziegfeld. I captured some screen shots of the Fred Astaire & Lucille Bremer number that is pure Tony Duquette. The scene begins in a red ballroom with enormously tall masked pages keeping watch over the room.

And then there's an impressive chandelier that crowns the room. Another uniquely Duquette flourish:



Outside the ballroom, guests are shown arriving in front of a naive but totally charming blue backdrop with white flowering trees.

When Fred and Lucille decide to take the action outside, the walls of the ballroom close to reveal more Duquette statues:



They dance amongst a faux bois bench with tasseled feet (wouldn't you love to have this on your patio?) I also am taken with the white painted urn with white branches. Hmmm, that might look nice somewhere in my home...



And after much twirling and dancing, the number ends with couples surrounding Astaire and Bremer on a revolving dance floor. How beautiful is this scene with the female dancers and their pink-hued dresses? See how the dancers are arranged according to the shade of pink that they're wearing? And look at white barren trees that they're standing in front of. At first, I thought they were holding horns above their heads.




There was one other number that charmed me- yet another involving Astaire and Bremer, only this time they're supposed to be Chinese. I don't believe that Duquette was involved in this number, or at least not that I have been able to determine. This gorgeous Chinoiserie set may be the work of one of the Art Directors, perhaps Cedric Gibbons or Merrill Pye. Don't you think these shots, below, look like handpainted wallpaper. Perhaps something from de Gournay or Fromental? This has to be one of the most inventive and fantastical sets I've seen.







If something like this were recreated today, it would be computer generated, something which would have far less charm than these sets from sixty years ago. Then again, I doubt anyone would do a Chinoiserie scene like this today. How many theatergoers would want to see something like this? Not many, except perhaps you and me.

(All screen shots from Ziegfeld Follies, MGM, 1946)

Random Thoughts

Another deadline approaching, another brief post. But, it's a topic that I actually want to explore in the near future, so I'm treating this one as a warm-up.

I absolutely adore high gloss and lacquered walls. When I bought my condo two years ago, the very first decorating decision that I made was to choose a high-gloss paint for my living and dining rooms. I wanted to create a nighttime apartment as this was to be the time of day during which I spent the most time at home. And let's face it- glossy, shiny walls look their best at night. I chose Farrow & Ball's Powder Blue in an oil-based high gloss. I know, I know- not really an environmentally friendly choice, and one that truthfully smelled to high heaven for a few weeks. Still, to have walls sprayed in a high gloss paint cost a lot less than having my walls hand-lacquered. And quite frankly, it was the only way I knew how to achieve the look that I wanted.

One tidbit that you may not know about me is that I enjoy walking around my home at night and admiring the walls. (A strange habit perhaps.) I also painted the crown molding the same color and finish as the walls, and at night, depending on how the light hits it, the trim still looks wet. I love the fact that two years later, it still looks super shiny, highly reflective, and wet. As great as it looks, I'd like to be able to take a photo to show you what I see at night. Unfortunately, my photography skills are such that I can't seem to capture the richness and the luster that one sees in person. Perhaps this is why the photo at top stopped me in my tracks. It's actually from a cookbook, Lee Bailey's New Orleans: Good Food And Glorious Houses.

The walls of this New Orleans house are painted such a handsome shade of green yes, but really, isn't it all about that seriously glossy finish. See how they still look wet? This is exactly why many of us love the high-gloss effect. This photo captured the beauty of the room at night when lit by soft-light, not an easy feat to achieve. The photographer, Langdon Clay, did such a great job with this shot. Now, if only I could take similar photos of my living room.





An aside: I was in New York very briefly last week, and I was reminded of my very favorite star-studded door. (Remember when I wrote about them a few weeks back?) This one is at The Carlyle, just off of the elevator lobby. If I were to do a star door, this would be the one I would try to imitate. The black paint and the bronze stars are classic, yet they have pizzazz. And see that blinding light bouncing off of the door? This is why I don't dare try to take a photo of my living room walls. I just can't seem to figure out the flash thing. Obviously, I need to stick to my day job.


(Top image from: Lee Bailey's New Orleans: Good Food And Glorious Houses by Lee Bailey, Langdon Clay photographer. Bottom image by Jennifer Boles.)

Arabesque Anyone?

I found an article from House & Garden, August 1967, about Arabesque. So what exactly is Arabesque? Good question. According to H&G, it's an "ebullient, this-minute style of decoration and furniture arrangement" that was derived from the "Arabic-Islamic arts of the Middle Ages." Sounds rather serious, no? Fortunately, it doesn't look too terribly serious, or at least it didn't back in 1967.

Seeing that I've got a deadline fast approaching and am pressed for time, I'm going to cut to the chase and just show the photos. Let's start with the photo at top. Pretty fabulous, huh? I love the Palampore fabric used for the bed hangings and the walls. The matting on the floor and ceiling is kind of wacky, especially when you see that it was also used on the molding and trim. The designer? It was none other than Billy Baldwin.


This room, decked out in one bold print, was decorated by Joan Axelrod. I'm taken with the low-slung sofas that were placed in front of each window.

Of all four rooms, I would say that this one is the most dated looking. Don't you think the fabric on the walls and sofa looks a bit Holly Hobby?


You might remember this photo from the Domino article about House & Garden editor Mary Jane Poole's apartments. Poole was inspired by the photo of Lee Radziwill in her Mongiardino decorated room. My favorite part of the room just might be that blue ceiling.

(All images from House & Garden, August 1967)

The Good, The Bad, and the Definitely Not Ugly

My obsession with deep, dark purples and raspberry pinks has reached a feverish pitch as of late. These are the colors that are on my mind, and when I see them on the pages of books and magazines, those colors just seem to leap from the page.

Take flowers, for example. Back in my former life as a married gal, I had the most gorgeous wedding bouquet. It was very simple- chocolate cosmos and really dark purple calla lilies. The bouquet almost looked black, but rather than coming off as Goth, it seemed sophisticated, a bit stark, and dramatic. (If like me you love Porthault linen, Mario Buatta, Tiffany china, and Rigaud candles, then Goth is an adjective that will never be used to describe you.) I can't take full credit for that choice in flowers; I believe that I saw something similar in a very early issue of Martha Stewart Weddings.

Last week, I hosted an event at my apartment, and I threw together a really pretty arrangement of dark, dark dahlias and pink tulips. (That's it, at top. Trust me, it looked a lot better before the tulips grew.) The tulips lightened the look and kept the dahlias from looking too femme fatale. The dark is smoldering; the pink is sweet. It's good girl/bad girl. And let's face it- we all have two sides to our personalities. This color combo kind of encompasses that.



Let's move on to Hamish Bowles' Manhattan dwelling. This chair, above, just killed me. A Louis XV chair upholstered in purple tweed. The color is so rich and luscious. I just have to find something in my home that I can cover in a similar fabric. And then there's Hamish, below, amongst deep raspberry, green, and animal print pillows. Rather decadent looking, don't you think?





There's the Framboise Rose china that I wrote about last week. I'm still convinced that it would look terrific against an aubergine colored cloth or, better yet, in a lacquered aubergine dining room. The aubergine would help to tone down all of that pink in the china.


And then I'm sure you remember this garden party layout from Domino. (It was no ordinary party; it was hosted by Miles Redd.) I always liked how Nick Olsen's hot pink polo looked next to that gorgeous raspberry Oscar de la Renta dress. What a statement, and a most stylish one at that!

(Photos of Bowles' apartment from Vogue Living Australia, June 2010 ; Domino image, Paul Costello photographer)

Star Struck

I've been stuck on stars as of late, and it's not the Hollywood variety that appeals to me (quite frankly, I tend to find many of those stars big bores.) No, it's the star motif that I find positively brilliant. Think Albert Hadley's "Trixie" wallpaper which, by the way, covers my study's walls and ceiling. Or those classic Moravian star chandeliers. But what's really got me starry eyed are doors with, well, stars on them. Sound peculiar? Perhaps, but you'd be surprised how many doors have been decorated with stars on them.

Take the door above, for example, one replete with bronze stars. It was designed by my parents' late decorator, David Byers, when he was a young man. I think this flourish was the result of youthful exuberance because I don't believe that he repeated this as an older, more established decorator. What I might like even more than the door, though, is the Regency clock framed in a plaster swag.


I do realize that there is a lot going on here for such a small entrance hall. There are striped walls, patterned floors, doors with stars painted on them, and vertical strips of lighting along the side walls and ceiling. And, I wouldn't recommend copying this room. These doors do not earn a gold star because they look a little cheap to me. Still, they do support today's theme of starred doors, so for that reason alone they're part of the mix.


A little difficult to see, but actor Eddie "Rochester" Anderson stands before a pair of over the top paneled doors with star insets. The doors led to a boudoir fit for a star in the 1941 film "Kiss the Boys Goodbye".


Is this room decorated within an inch of its life? Absolutely. The door frame is a bit fantastical, and the stars are repeated on the fireplace mantel.

If I were to give the star treatment to one of my home's doors, I'd probably go the easy route and use stencils for a discreet, Empire kind of look. I might even do something similar to this door, above.

And speaking of doors, here is my latest project that was just completed:



I decided to upholster the swinging door that hangs between my dining room and kitchen. What do you think? I wanted to go for a 1930s look which is why I chose the design that I did. The leather, Moore & Giles' Vienna in Deep Sea, is a gorgeous, deep blue that works well with my Farrow & Ball Powder Blue walls. The nail head trim is antiqued nickel. Thank goodness that my fantastic upholsterer, Craig Swenson, knew what he was doing. It was a leap of faith and I think he did a bang-up job.

I'm just hoping that Alfie doesn't decide to 1) slobber or 2) scratch at the door. If that happens, we're going to have a real come to Jesus quite soon!


(Image at top: House and Gardens Complete Guide to Interior Decoration; #2 from House & Garden, February, 1960; movie still from Forties Screen Style: A Celebration of High Pastiche in Hollywood ) ; #4 and #5 from House & Garden's Complete Guide to Interior Decoration)

Back to the Blue and White

For some, the difference between right and wrong is as simple as black and white. For others, there are many shades of gray. Some of us live in red states, while others in blue ones. But regardless of where we live and how we see things, I think it's safe to say that there is something that most of us would agree on. Blue and white is always right in decoration.

(The image at top is a foyer that was designed by William Machado. The effect of the blue and white paper not to mention the blue ceiling is crisp and clean and not too sweet.)



I've always loved this photo. There's my favorite Pierre Frey fabric on the headboard. And look at that gorgeous blue and white Porthault linen. But the main reason I love this shot? It was designed by Mario Buatta, one of the masters of the blue and white color scheme (just one of his many design talents!)



Carolyne Roehm is no johnny come lately to blue and white. She was using it long before her recent book came out. Here, in her Southampton house, there is a wonderful blue and white Portuguese table placed in front of the blue and white tiled fireplace and wall. The blue and white quilted fabric with trim completes the breezy look.




Hmmm, quite an exuberant use of blue and white. You've got the Manuel Canovas porcelain print on the walls and curtains; blue and white plaid on the chairs and window shades; blue dining chairs; blue china; and blue and white lattice rug. Oh, and it appears that the top of the white chest is blue, too.



Mallory-Tillis designed this soothing room in the late 1950s. In a weird way, I'm kind of taken with that blue floor. I'm not so crazy about the arched panels over the windows, but I do like the blue-backed bookshelves and white dust-jacketed books. And that marbleized blue shelf is rather wild.


(Machado photo from The New York Times Book of Interior Design and Decoration; Buatta photo from The New Tiffany Table Settings; Roehm photo from The Tiffany Gourmet Cookbook; exuberant blue photo from House & Garden's Complete Guide to Interior Decoration; House & Garden's Complete Guide to Interior Decoration)