The Aesthete: Lindsey Adelman opens her black book of style

The celebrated sculptural-lighting designer loves Alumnae’s slides, land art and Afrobeats tracks. By Christina Ohly Evans

My personal style signifiers are my wedding rings: nine very thin, simple gold bands – the tiniest rings you could imagine – each embedded with teeny black and white diamonds. They’re by Satomi Kawakita, an independent designer based in Tribeca and I chose them when I lost my original wedding ring. In terms of clothing, I like modest, classic silhouettes but with a bit of bite, so my go-to designers are Rachel Comey, Maria Cornejo and Rick Owens.

Adelman’s Alumnae snakeskin slides | Image: Nicholas Calcott

The last thing I bought and loved was a kiln by Skutt. It’s a medium-sized, electric commercial model that I use for prototyping light fixtures in our studio. I’m a beginner on it, though someone on my team is super-accomplished, so he uses it to make pieces for our custom chandeliers. My son, Finn, who is 15, taught me how to throw on the wheel, and I’m loving having a new hobby. 

In my fridge you’ll always find Stella Artois, because it’s so easy to keep beer fresh and cold for a really long time. Whenever we open a bottle of wine, we never finish it before it spoils. I have zero interest in cooking, so my fridge is filled with things that give me a quick pick-me-up, like Jacques Torres dark chocolate with almonds. Jacques Torres Dark Chocolate Almond Bark, $9, from mrchocolate.com

On Adelman’s wishlist: a Mies Van der Rohe for Knoll coffee table

On my wishlist is a coffee table for my living room. I’ve been looking at the Barcelona coffee table by Mies van der Rohe for Knoll. It’s so elegant. I swap furniture all the time between my Brooklyn home, my showroom and our house in Water Mill – it’s all pretty fluid where pieces end up – and I know this simple chrome and glass design will work equally well in each of these environments. $2,053.

Adelman’s wedding rings by Satomi Kawakita | Image: Nicholas Calcott

My favourite room in my house is our living room in Brooklyn. It’s cosy and creative, and it represents a lot of what matters most to me about family life. I love the ceiling height and the sun that comes through the windows that have no shades. We have a full wall of records, turntables and books, and another wall with candle sconces. There’s a big rug, a Togo sectional by Ligne Roset, a fireplace and a backgammon board for playing with my son – and it all feels perfect throughout the seasons. 

The 1970s denim shorts that Adelman found at Mother of Cod, a vintage shop in Nova Scotia | Image: Nicholas Calcott

The design that inspires me is the Integratron in the Mojave Desert in California. It’s a giant wooden dome where you go for relaxing, healing sound baths. The architect – who built it in 1954 – claimed he received the plans from aliens. My sound bath could have been as short as 20 minutes, but it felt like 20 hours, with all of us lying on blankets in a circle and looking up at the ceiling. I was transported somewhere else entirely. The nearby Joshua Tree Natural Park is always a magical place for me too. 

Apartamento magazine

The last book I read was The Mars Room by Rachel Kushner. It’s rough, elegant and insightful all at the same time, and the language and the quality of every sentence are masterful. I think she’s one of the best living writers. 

Stella Artois – a staple in Adelman’s fridge

The last thing I added to my wardrobe was a pair of snakeskin slides by Alumnae in the West Village. It’s a great store and a great brand. I went in for mules and came out with slides in shades of black, grey and white that work with almost everything. $625.

One of Adelman’s recent reads: The Mars Room by Rachel Kushner

If I weren’t doing what I do, I would be a land artist in the vein of Andy Goldsworthy and James Turrell, completely immersed in nature. I love the idea of making pieces that only look a certain way for a moment in time before nature changes them an hour later. 

“I was transported somewhere else entirely”: The Integraton in the Mojave Desert

The last meal that truly impressed me was at a restaurant called Claro, in Brooklyn. I went with my husband for our anniversary and it was delicious. I had an Ultima Bruja cocktail made with Chartreuse and birch lime – it was an incredible electric green. We shared chipotle shrimp tacos with fresh greens and a delicious short-rib and molé dish. The atmosphere is great as well – low-key with a rustic-chic Mexican vibe. 

Amaki Jasmine and Rose Nourishing Oil

My style icon is Emmanuelle Alt, editor-in-chief of Vogue Paris. She is so beautiful. French people typically look beyond anything that I can imagine looking like, and she is the epitome of this effortless chic. I love that she wears little jackets and high heels and these slightly masculine pants. She can definitely play with the boys.

Adelman in her dining room | Image: Nicholas Calcott

The grooming products I’m never without include Jasmine and Rose Nourishing Oil by Amaki, which I use for my face, body and hair. I have several of these lovely little bottles with floating rose petals that I use throughout the day. For shampoo, I like Shu Uemura’s Color Lustre for conditioning highlights. Amaki Jasmine and Rose Nourishing Oil, $27.50. Shu Uemura Color Lustre, $49.

Vinyl, books and turntables in Adelman’s living room | Image: Nicholas Calcott

The best gift I’ve received recently is Lisa Taddeo’s Three Women. It focuses on three women who were interviewed extensively about their thoughts on sexuality and desire. It was given to me by a good friend because I think it’s something that we both know is an area of our society that is not written about enough. 

The last music I downloaded was by Burna Boy. I love several of his Afrobeats tracks, including Dangote, On the Low and More Life. A woman who works in our shipping department always has her earbuds in and she’s always super-chilled-out, so I asked her what she was listening to and she sent me her playlist. This is amazing music that makes you want to dance, but in a really relaxed, mellow way. When I put Burna Boy on, I can feel the anxiety start melting away. 

A recent “find” was Mother of Cod, an incredible vintage shop in Crescent Beach, Nova Scotia. I bought a pair of faded 1970s cut-off denim shorts that had the pockets ripped off, with deep-blue denim hearts handstitched in their place. I think they’re fabulous.  

The one artist whose work I would collect if I could would be Yayoi Kusama – her Infinity Nets paintings, in particular. I admire the fact that she did something with her struggles, and made them productive. As a creative person, I find great hope in that.

An unforgettable place I’ve travelled to recently is Bali. I was there for a yoga retreat near Ubud, organised by a group called Oneworld Retreats. It was incredibly authentic and I felt immersed in the Balinese way of life, from the belief systems to the ceremonies. I stayed in one of its stone dwellings that are built into a cliffside – it’s like a terrace in the jungle with little altars everywhere, moss growing on everything and billowing smoke for added effect. I don’t like anything fancy or forced, or the western idea of luxury being imposed on another country, and this place felt like it was coming from a Balinese idea of beauty. Seven-day retreat, from $1,900. 

The best souvenir I’ve brought home is a beige linen cocktail napkin from a party at Nilufar gallery in Milan. It came with my drink, before I knew anyone at the party, or had even met the owner, Nina. We are now friends and shortly after the party I started showing my work at her gallery. This napkin always reminds me of an exciting starting point, and it was the opening up of an idea. For me, it stands for potential. 

If I had to limit my shopping to one neighbourhood in one city, I’d choose the corner of Howard and Crosby Streets in New York. There’s got to be some kind of vortex right at that spot. At Opening Ceremony, I love the kooky vibe and the clothing edit, including its own label. And I can’t resist the furniture and decorative-design store BDDW. Close by, I find stores such as de Vera every bit as inspirational as any museum in terms of the objects and jewellery, and Michele Varian is an excellent resource for housewares. 

The people I rely on for my wellbeing are both in New York: Stephen Thevenot at David Mallett Salon, who has been doing my hair for a very long time, and an acupuncturist named Thomas Droge who specialises in necks and backs. I went to him when I was getting cricks in my neck and they went away after just one appointment. His questions really brought the words out of me – the words I already had in my mouth that I just needed to spit out. I realise now that any blockage in the body is really created by thoughts. 

My favourite websites are The New Yorker for opinion pieces, and Apartamento and Pin-Up for art and design. I think Pin-Up is the best magazine on architecture and design out there. I also really love See Saw – an app that highlights art critics’ picks for the best of what’s on. You can also make a list of things you want to see in a particular city and the app makes a map and puts pins in place so you can easily access everything.

The object I would never part with is... nothing at all. I feel strongly about this because I design objects for a living, and nothing material is too precious. 

Lindsey Adelman on Alumnae’s slides, land art and Afrobeats tracks

The celebrated sculptural-lighting designer opens her black book of style

Four must-visit Los Angeles boutiques

Hot shopping spots for fine jewels, high fashion and furniture

Hammer and Spear

“We hunt, curate, and ferret out timeless design,” says Kristan Cunningham of the shop she opened in downtown LA’s Arts District in 2013 with her husband and design partner, Scott Jarrell. The industrial-cool space has a distinctive SoCal-meets-Memphis vibe, showcasing an eclectic mélange of interiors pieces – from Vancouver studio Hinterland’s hand-etched Oxbow mirror ($3,200) to a pair of cocktail tables resting a meteorite cross-section on brass or copper legs ($5,000 each), made in LA by Christopher Kreiling. Smaller purchases, meanwhile, include, textural hand towels by Japanese maker Kontex (from $12) and restorative skincare products by Australia’s all-organic Grown Alchemist. “The fact that our space is quite hidden gives us a certain cachet,” says Cunningham – although Bill Clinton and Jennifer Aniston have found their way here as well. 255 S Santa Fe Ave, CA 90012 (hammerandspear.com). CHRISTINA OHLY EVANS

From top: Irene Neuwirth turquoise, pavé diamond and gold ring, $6,930, and opal, turquoise and gold earrings, $3,260 | Image: Amanda Friedman

Irene Neuwirth

“The high jewellery stores that line Rodeo Drive always felt a bit intimidating and I wanted to create the antithesis of that,” says LA-based jeweller Irene Neuwirth, who opened her light-filled boutique on nearby Melrose Place in 2014. “This is a place where people can relax and even have lunch while browsing, and everything is meant to be touched.” Behind the ivy-covered façade, white plaster walls, gently curving archways and marble floors are the backdrop for the colourful, whimsical pieces she designs for clients including Ruth Negga and Julia Louis-Dreyfus. Her style is a vibrant mix of rare, semiprecious and precious stones, brought together in pear-shaped Cutout Drop earrings ($2,490); an eye-catching rose-gold necklace adorned with “charms” of pink Australian opal, moonstone, tourmaline, beryl, Mexican fire opal and full-cut diamonds ($67,960); and a carved turquoise and pavé diamond ring ($6,930). 8458 Melrose Place, CA 90069 (ireneneuwirth.com). CHRISTINA OHLY EVANS

LA designer Greg Chait of The Elder Statesman | Image: Steve Schofield

Just One Eye, the LA concept store co-founded by Paola Russo

The Elder Statesman

The cashmere label founded in 2007 by LA designer Greg Chait takes its name from 18th-century British parliamentarian William Pitt. “I was inspired by his no-nonsense approach,” says Chait, whose spare and striking shop in a 1950s West Hollywood bungalow is an extension of this design standpoint. The zen, copper-roofed structure –complete with a desert garden – is a blank canvas for Chait to focus on exquisitely fine yarn – made in Italy and Scotland, hand‑spun in Mongolia, and loomed, knitted and embellished in nearby Culver City. The Baja pullover ($2,140) is the brand’s signature sweater, a slightly oversized hoodie ranging from muted beige to vibrant, dip-dyed indigo; the Favorite Tee ($445), with its relaxed silhouette, is another year-round classic. “My clients range from 20 to 80 years old. They are attracted to products with soul.” 607 Huntley Drive, CA 90069 (elder-statesman.com). CHRISTINA OHLY EVANS

Just One Eye

In a storied art-deco building – once home to Howard Hughes’s film empire – you’ll find Just One Eye, a concept store co-founded in 2012 by fashion veteran Paola Russo. A favourite among style insiders, the 5,000sq ft (soon to be 13,000sq ft) emporium is a mine of unexpected brands and innovative artistic collaborations. Russo brings a serious fashion CV to the boutique and her picks pay homage to the quirky, the elegant and street-chic. Clothing from Prada, Chloé and Church’s is interspersed with pieces from more cutting-edge designers, including Lisa Marie Fernandez and Leisure Society. A curatorial eye is also behind the shop’s artwork, which has included Alexander Calder wall hangings and edgy prints by NYC-based Marilyn Minter. Meanwhile, cool collaborations include limited-edition Converse trainers ($25,000) co-created with contemporary artist Nate Lowman. 7,000 Romaine St, CA 90038; from end of October, 915 N Sycamore Avenue, CA 90038 (justoneeye.com). CHRISTINA OHLY EVANS

Marlon Brando’s prized Rolex among the gems in “Game Changers” auction

Phillips New York hosts a watch sale that’s well timed for the holiday season

The New York “Game Changers” sale presented by Phillips in Association with Bacs & Russo – the watch department at the auction house – promises to be a horologist’s treasure trove. As the name asserts, several of the pieces set to go under the hammer are deemed game-changing, including the iconic Rolex GMT-Master (ref 1675) worn by the late Marlon Brando in Francis Ford Coppola’s 1979 epic Apocalypse Now.

The iconic Rolex GMT-Master (ref 1675) owned by Brando

The iconic Rolex GMT-Master (ref 1675) owned by Brando

Its place in cinematic history withstanding, this particular timepiece is unique due to the never-before-seen “M Brando” inscription on the caseback, which the actor engraved personally. It is said that Brando was asked to remove the watch when filming in the Philippines, as it was considered too distracting on camera. “If they’re looking at my watch, then I’m not doing my job as an actor,” he is claimed to have retorted – and so the Rolex remained in the picture (although with its bezel removed), becoming synonymous with Brando’s rogue character, Colonel Kurtz.

The watch is unique due to the actor’s personal engraving on the caseback

Brando pictured with his daughter Petra and her mother, Caroline Barrett, at Petra’s graduation in 1994, when Brando gave her the Rolex | Image: Courtesy of Petra Brando

The watch is unique due to the actor’s personal engraving on the caseback

Brando pictured with his daughter Petra and her mother, Caroline Barrett, at Petra’s graduation in 1994, when Brando gave her the Rolex | Image: Courtesy of Petra Brando

The piece remained in Brando’s possession until 1995, when he gifted it to his daughter Petra on the occasion of her graduation from university. Brando included a hand-written note that read: “This watch is like a tank. You can do anything you want to it and it will keep on going. I want you to have it as a reminder of how proud I am of you.” The piece remains beautifully preserved with its original dial, hands, crystal, crown and case.

An inspired website of woven furniture

Atelier Vime offers vintage and contemporary wicker and rattan creations from its historic South of France base

From the heart of Provence comes an online emporium bursting with beautiful furniture, lighting and decorative objects, almost all crafted from wicker and rattan. Atelier Vime is based in the small village of Vallabrègues, in what was once a grand 18th-century family home before morphing into a vibrant wicker workshop in 1878. Reviving both this historic building and its accompanying craftsmanship are Anthony Watson and Benoit Rauzy, who together created Atelier Vime in 2016 to showcase fine vintage examples – important Gio Ponti and Tito Agnoli chairs, for example. Next they paired up with designer Raphaëlle Hanley to create an accompanying contemporary collection produced by their own craftsmen in wicker harvested from the surrounding Camargue region. 

Rattan XXL Aramis Suspension light, €2,840

There are bold statement-making pieces such as the XXL Aramis Suspension light (€2,840), appealing to a growing global clientele that includes noted interior designers Pierre Yovanovitch (who commissioned a huge light for a Tel Aviv project) and Francis Sultana. Lighting is a strongpoint – from the large sun-like Gabriel Suspension light (90cm diameter, €980; 150cm, €1,380) to the smaller and simpler Solo Cone pendant €340) and Edith floor lamp (€980). There are also retro-chic Constellation mirrors (€995) and fine wickerwork baskets (price on request) traditionally braided into octagonal forms. 

c1960 Italian rattan and brass desk, price on request

These new designs are mostly handmade to order, with production taking eight to 10 weeks, but the site’s robust vintage section is full of gems ready to be shipped worldwide – be it a rare 1960s rope and glass table Mod lamp (price on request), a c1960 Italian rattan and brass desk (price on request), a c1950 pair of emerald-coloured rattan satellite-style chairs (price on request) or a 1947 wood and straw bed (price on request) by the famed French pioneer of modernism Charlotte Perriand.

Zohiko: a shrine to Kyoto’s elegant handmade lacquerware

Emperors et al are drawn to this elegant Kyoto store’s alluring array of locally crafted lacquerware embellished with silver, gold and mother-of-pearl

A visit to Kyoto will invariably lead to Teramachi Street, a mecca for smart shops since the Meiji period in the 1800s. Along an enticing stretch lined with antiques shops, washi-paper makers and a centuries-old tea emporium, is a sleek storefront that gives way to a magical world of glossy, hand-hewn lacquerware.

Zohiko has been in the same family since 1661, but was moved to its current gallery-like space in 2014. “We wanted a calm, clean atmosphere to bring out the elegance of the lacquerware,” says Kazumi Nishimura, who co-owns the store with husband Tsuyoshi. “We aim for simple beauty with our pieces. There’s no need for excessive design or harsh lighting.”

Ornamental red-lacquer boxes, about £220 | Image: Yasuyuki Takagi

A ground-floor showroom leads to an archive of rare pieces, some dating from the 17th century – minimalist white shelves display a mix of functional and decorative objects in the highly polished red and black lacquerware peculiar to Kyoto. The owners delight in sharing their history and the artisanal maki-e technique – a process of embellishment with silver, gold and lustrous mother-of-pearl – that makes Kyoto lacquerware so distinctive.

From everyday, heat-retaining bowls (¥16,200, about £110 for a set of two) to ceremonial tea services (price on request) inlaid with opalescent abalone shells, every piece begins with a slab of local keyaki wood or bamboo that’s carved and sanded to smooth perfection. Only after 20 or more layers of urushi lacquer (or tree resin) have been applied and polished is the piece ready for decoration at a nearby atelier.

“There are various lacquer colours – black, blue, red, white – but I think the most beautiful is still black,” says Nishimura. “It’s not a pigment but rather a shade born by oxidising lacquer with iron.”

Among the glossy creations on offer are ornamental red-lacquer boxes (about £220) with nature motifs – orchids, cranes and clouds recur – rendered in brushed gold, and minimalist matcha-tea canisters (about £485) in muted, matte-black lacquer. Elegant incense boxes (about £2,610) decorated with fire-breathing dragons sit cheek by jowl with a textural, one-of-a-kind, black jewel casket (about £8,210) bearing Kyoto’s pride – cherry blossoms in bloom – in gold with accents of shimmering shell.

Bespoke work (price on request) is a speciality and no project is ever deemed too small or too complex. The store has taken orders for inkstone boxes in unusual shades of sapphire, orange and ivory, created ornamental folding screens and received a commission for the elaborate thrones for the current emperor and empress that grace Kyoto’s Imperial Palace. Daily-use items – geometric trays, sake sets or plates in varying organic shapes – typically take three months to complete, while more elaborate items such as an incense burner (about £6,870) with a woven silver top “might take two years or more because of its unique shape,” says Nishimura.

“Lacquerware is part of day-to‑day Japanese living,” says Nishimura. “It’s antibacterial, hardwearing and, most importantly, the pieces are comfortable to touch and to hold, which makes eating and drinking a pleasure.”

Mate Gallery: a trove of nautical treasures

Seaside roots in Massachusetts and Scotland were the inspiration behind this ever-changing California emporium

“We thought, why not bring a bit of New England to the West Coast?” says Matt Albiani of the decision to open Mate Gallery in the oceanside town of Montecito, California. Drawing on their seaside roots, Albiani, originally from Massachusetts, and co-owner Ron Brand, from Broughty Ferry in Scotland, have created a magical 160sq ft space teeming with nostalgic nautical finds.

Set within the rustic-chic Montecito Country Mart, Mate Gallery is a preppy design-lover’s dream, stocked with rare pieces sourced from the pair’s travels. A mix of periods and styles makes the tiny space sing: a recent trip to Rome yielded marine oil paintings that line the walls, while an attic sale at a stately home outside Edinburgh led to a cache of binoculars, folding chairs and assorted decorative objects. “Our rule of thumb is to attend yard sales in upmarket towns,” says Brand. “Easthampton, Greenwich and Scituate, on the Massachusetts South Shore, are full of treasures.”

The magical 160sq ft space is teeming with nostalgic nautical finds | Image: Matt Albiani

These frequent buying expeditions mean that the shop rarely looks the same from one month to the next, and it’s this freshness that draws a clientele that includes Ellen DeGeneres and Katy Perry. “Tourists driving down the Pacific Coast Highway seek us out, and Instagram has been a total game-changer,” says Albiani. “Our graphic signal flags, maps and textiles go over particularly well.” 

Curiosities run the gamut from needlepoint caps and belts (from $41 to $135) bearing images of seagulls and sailboats, to ships in bottles ($75-$295) from Maine that are “a favourite, and very difficult to find in mint condition,” says Brand. There are vintage brass anchor and irons ($1,100) and cream Hudson’s Bay wool blankets ($425) with trims of navy, red and emerald green, which sit beautifully with Turkish and Moroccan rugs (from $295) “in muted neutrals that are wonderfully worn,” says Albiani. Images (from $1,200) of lifeguards and water pursuits by Albiani himself line the walls alongside oil portraits ($195-$3,000) of ships’ captains and lighthouses. Brand’s British roots can be seen in the blue and white ceramics (from $19) by Jersey Pottery, decorated with fish.

Tables and shelves are stacked with classic books – first-edition copies of Jaws ($125), for example – as well as the duo’s own Sun Burn soy-based candles ($41) that are scented to evoke a day at the beach. A pair of giant lobster claws in a 12in-high cloche ($295-$695), rare cotton California state flags ($425) emblazoned with the grizzly bear, and textural rope-wrapped surfboards (from $1,100) are among Mate’s most eye-catching inventory. “We bring beat-up surfboards to a local artisan, who then wraps them in 500ft of rope,” explains Brand of these one-of-a-kind, very SoCal objets d’art.

“We keep it fresh and mix it up,” says Albiani of the elevated jumble sale-meets-Martha’s Vineyard vibe. “Hopefully people will come into the store and remember some part of their childhood, particularly the happy highlights of summer.”

The plaster maker of the moment: Stephen Antonson

Extremely chic, bespoke lighting and furniture crafted from a super-simple material

With a roster of discerning private clients and designers that includes Daniel Romualdez, Robert Couturier, Michael Smith and David Collins Studio, the bespoke work of Brooklyn-based plaster artist Stephen Antonson is much in demand. A specialist in lighting and furniture created using handpainted layers of chalky-white, matte plaster, Antonson is noted for his bold use of this simple material – favoured by Jean-Michel Frank, Serge Roche and Giacometti, and recognised for its subtle textural properties and resilience.

Macklin centre table, 42in x 29in, from the Shackleton collection

“People don’t necessarily think of plaster as a functional material, but we make tables ($3,000-$90,000) in all sorts of finishes that can be used as dining surfaces or for work purposes,” says Antonson of his sculptural, sometimes almost surreal, pieces. Each is created with a steel or wood base that is then layered with plaster much as a painter applies oil to a canvas, before being painted, sanded and finished with paint.

The sculptural James pendant light adds minimalist texture to the living room of a Soho penthouse | Image: Stephen Kent Johnson

A cheeky, historic-inspired bust takes centre stage in Antonson’s Brooklyn studio | Image: Matt Carr

But it is Antonson’s light fixtures that clients are currently clamouring for; whether chandeliers, such as the 4m model with 18 lights made for a Hamptons home, or the geometric Morandi sconces ($4,200) and table lamps (from $3,500). Each of Antonson’s larger chandeliers (from $10,000) takes 12 weeks to produce, while smaller commissions can take just a few weeks. The latest additions to Antonson’s range are torchières ($6,500) that stand 2m tall and cast a gentle glow.

“The possibilities with plaster are almost limitless,” says Antonson – he has created entire rooms from the material, such as an entryway for designer David Mann that included walls, shelving, a mirror and ceiling covered in seashells. He has fun with smaller objects (from $600) such as Zig Zag candlesticks, bowls and cheeky faux-historical busts. “There is this misconception that plaster is fragile,” he says, “but it can withstand weight as well as spills, and can be extremely elegant. It may be a humble material, but it’s one that really lets you see the hand of an artisan.”

A treasure trove of midcentury design in Stockholm

A bounteous collection of vintage Nordic furnishings – and a sprinkling of contemporary delights – put this Stockholm boutique firmly on the style map, says Christina Ohly Evans

Stockholm’s gallery-centric Ostermalm area abounds with antiques dealers and design purveyors, but real aficionados of vintage Nordic design all know one name by heart: Modernity. The exquisitely curated shop was opened in 1998 by Andrew Duncanson, a Scot with a design retail background (who was later joined by Isaac Pineus with Duncanson), and is anything but a typically spare Scandi-chic setting. “I wanted to get away from the 50-shades-of-white Swedish norm,” says Duncanson, “so I opted for grey walls.”

Within those walls you’ll find a bounty of furniture, lighting, jewellery and decorative objects by the greats of 20th-century design, including Hans Wegner, Finn Juhl, Georg Jensen, Arne Jacobsen, Poul Hennigsen and Alvar Aalto, as well as works by lesser-known but equally accomplished artisans. While 99 per cent of the pieces are by midcentury Nordic designers, there are a few contemporary items – and Isamu Noguchi’s famous Akari paper lamps (£630) as “the Japanese aesthetic works well with the Swedish sensibility”.

Modernity sells ethereal, organic vases such as this, from £3,500 | Image: Felix Odell

The jewellery and ceramics section is especially eye-catching. Custom shelves and glass vitrines highlight dramatic pieces, such as 1960s silver collar necklaces (from £1,000) by Ibe Dahlquist for Georg Jensen, and a gold and moonstone ring (£1,889) by Swedish maker Sigurd Persson, to dazzling effect. Delicate ceramic and porcelain objects are a passion for Duncanson, whose own Wilhelm Kåge ceramic sculpture and a glass vessel by Tapio Wirkkala were among the store’s first sales. Current highlights include ethereal, organic vases (from £3,500) by sought-after contemporary Italian maker Sandra Davolio; a 1980s celadon-glazed teapot (£598) by Signe Persson Melin for Rörstrand; and a rare, signed Axel Salto for Royal Copenhagen vessel (£50,000) from the 1950s.

Duncanson specialises in provenance: a 1949 Finn Juhl for Niels Vodder sculptural Chieftain armchair (£165,000) in teak and leather is “in mint condition, which is almost impossible to find”; and an iconic Poul Hennigsen Question Mark floor lamp (£22,000) from the 1930s is a rare find. Among Modernity’s most prized offerings is a one-of-a-kind Brazilian rosewood and brass sideboard (£35,000) designed by Ernst Kühn in 1935; it contrasts beautifully with a sleek, customisable bar cabinet (to order, from £30,000) by Ilse Crawford.

An array of 1930s textiles – hand-knotted kilims (from £15,000) by Märta Måås-Fjetterström; a leather and fabric 1950s tapestry (£2,917) by Sten Kauppi – lend the showroom a homely feel. Candlesticks (£533) by Swedish maker Stig Lindberg; a Finnish leaded-glass vase (£2,917) by Gunnel Nyman for Nuutajärvi Notsjö; and sculptural wooden bowls (from £300) by Jonny Mattsson from the 1950s round out the design delights.

With a client base that ranges from MoMA and the Los Angeles County Museum of Art to “people who just come in and want to buy something small and beautiful”, Duncanson buys with a breadth of products in mind. “With pieces ranging from £1,000 to £250,000, the whole concept is to offer an experience. Every object has a story to tell, and I really feel like each one ultimately finds its right home.”

Quirky nautical finds in Copenhagen

Danish emporium Maritime Antiques & reels in a diverse clientele with its seafaring antiques, cool nautical clothing – and a hidden history

Crossing the threshold of Maritime Antiques & in the historic district of Frederiksstaden, visitors are greeted by the scent of traditional Swedish tar ropes. “It’s the store’s perfume,” says co-owner Frans Pachner, whose father founded this Copenhagen anomaly within striking distance of the harbour 40 years ago. “The building dates from the early 1700s and withstood the onslaught of Lord Nelson and his navy in 1801,” he adds proudly. “Today we are surrounded by artisans – metalworkers, glassblowers. We love this location. We’re a bit hidden here, but we like the fact that people have to seek us out.”

Mister Freedom Waterfront pea coat, about £900 | Image: Maja Flink

A main draw, as the store’s name spells out, is its world-class collection of maritime antiques. Exceptionally precious pieces range from a Swedish binnacle (DKr170,000, about £19,900) dating from 1700-1750 and featuring exquisite handmade brass embellishments, to extremely rare half-hull model ships. Measuring up to 2m in length, these detailed replicas can fetch anywhere between £4,500 and £18,000.

But what of that ampersand in the name? Since taking the reins some 15 years ago, Pachner and his partner in both work and life, Magali Chiaberge, have added a somewhat unexpected fashion angle to their offering. The selection of “timeless, high-quality, functional clothes with a nautical vibe” includes stacks of utilitarian-chic jumpers in a largely neutral palette of navy blue, grey and black – and, of course, a smattering of stripes. Presented on rough-hewn tables accented with fishing nets, enormous clam shells and skeins of rope are fishermen’s sweaters (from about £160) by SNS Herning – a Danish staple brand founded in 1931 by Søren Nielsen Skyt – and indigo sailor crewnecks (about £330) designed in Denmark and manufactured in Italy by Andersen-Andersen.

One brand Pachner and Chiaberge are particularly fond of is Mister Freedom. “We are the only store in Denmark to carry it,” says Pachner of the California workwear specialist, whose pea coats (from about £900), buttery soft leather jackets (about £900) and selvedge denim jeans (about £300) are sought out by the store’s broad clientele, which on any one day might include actress Kirsten Dunst or executives from Danish shipping conglomerate Maersk. The latter tend to come in search of navigational antiques, says Pachner, but might also be tempted by a pair of delightful leather braces (from about £150) with ceramic buttons crafted by local artisans. 

Other standout items include rope keyrings (about £10), nautical mats (from about £85) and belts (about £80) that are all handmade by a Danish sailor, while the sculptural silver-coated-brass rings and bracelets (from about £90) are hand-hammered by Jean-Claude Chiaberge, Magali’s father. The creative endeavours of Chiaberge herself are also evident in the store: her intriguing fine art photography (from about £700 to £3,500), with ethereal figures as its subjects, completes this downtown cool-meets-maritime mise en scène, which always sends shoppers on their way with a final nautical flourish – every purchase is wrapped in brown paper and tied with delicately scented fine tar twine.

Craft gets a contemporary spin at a Mexico City lifestyle boutique

A Mexican showcase for contemporary craft with a fresh, modern feel

Mexico City is abuzz with creativity right now,” says Maria Eladia Hagerman, co-founder of the enticing boutique Onora. “From art and architecture to design, music and food, it is at the forefront of innovation and vision – and an enormous amount of exchange and collaboration is taking place between disciplines.” In a quiet corner of the upmarket neighbourhood of Polanco, Hagerman and her friend and fellow designer Maggie Galton are adding contemporary Mexican craft to this exciting melting pot. 

Huichol bowls, $30 each | Image: Pia Riverola

“We liked the idea of creating a whole lifestyle store,” says Hagerman of the space they launched in 2014, “but one that isn’t overly artisanal or folksy, as is so often the case in Mexico.” All their wares – from the delightfully understated bedding (duvet with pillowcases, from $500) combining linen and intricate gauze work, to huipil tunics with Oaxacan embroidery (from $125) – are created in collaboration with artisans while also adhering to the duo’s design-led brief. “We focus on authentic Mexican design, but the pieces are made more minimal for us,” explains Galton. 

Thus, the traditionally Mexican riot of colour is largely replaced with the pair’s preferred palette of muted beiges, blacks and greys, displayed to subtle effect alongside indigenous volcanic rock floors and whitewashed walls. “There is a dialogue between the space and the pieces,” says Galton, pointing out the striking wooden shelving system that showcases the duo’s latest discoveries. These might be sublimely simple black lacquer gourds (from $100) lined in gold and copper; brocade pillows (from $100) woven in rural Chiapas with traditional motifs; or richly patterned black and white Talavera pottery (set of three plates and two bowls, $90) from Puebla. 

Vibrant pops of colour do, however, make their way into the mix: the shallow, beaded Huichol bowls ($30 each), for example, feature bold patterns in bright mint green, azure blue, yellow and orange as well as black, and the wonderfully soft wool throws ($250), made using locally sourced plant and insect dye, come in hues of indigo and pink. Also adding flair to the otherwise zen environment are one-of-a-kind wall hangings: handwoven, feather-fringed rebozo shawls (from $250) in both earthy shades and bright reds, pinks and turquoises; and vibrant multilayered artworks (from $2,500) by Margarita Cantu crafted from recycled materials. 

This alluring, ever-changing inventory unsurprisingly draws an international clientele, from interior designers to Jean Paul Gaultier and Japanese tourists, “whose aesthetic resonates with ours”, says Hagerman. And the duo is always scouting for new artisans to add to this diverse collective; among their recent discoveries are the enormous – some 2m high – ceramic pots (from $100) from Cocucho in a rich red patina, which are lovingly hand-moulded and burnished by Michoacán potters, “who will now have more economic opportunities and alternatives,” says Galton. “We work with communities and family-run workshops in over 10 different states, and since our volume of production is small, people don’t need to sacrifice their crops or participation in village life in order to fulfil our orders. Our mission is to revive dying craft traditions through innovation.”

Step Inside a Parisian-Inspired San Francisco Home

It was a nondescript Edwardian stucco building that brought interior designer Lauren Nelson and architect Stephen Sutro together for their first design collaboration. The project began with a circa 1925 building in such disrepair that it was ultimately brought down to the studs. Working closely with the clients, Nelson and Sutro brought a Parisian sensibility to the space, showcasing its soaring ceilings and delicate moldings, and playing with juxtapositions of era, texture and color. “From the onset, the vision for this project was influenced by contemporary French interior design; there is an innate sense of style, effortless elegance, and a mastery of blending classic and more modern pieces,” notes Nelson. “We went for feminine details mixed with a high contrast palette and touches of glamour. But as the project evolved, we all sought to balance that formality with a casual California sensibility.”

Starting with a north/south orientation and maximizing the window openings at both ends to allow for light to penetrate deep into the center of the house, the main living level was transformed into a nexus for family life that now includes casual and formal rooms that can flow together seamlessly or be separated by pocket doors. A magnificent sculptural staircase, inspired by an image of an English Victorian newel post (provided by the client), serves to connect all four floors, as well as adding a “traditional yet slightly whimsical touch,” says Sutro. Stained oak floors, windows with an industrial-chic sensibility, and large slabs of Negro Marquina stone enhance the serenity of the space.

True to Parisian sensibility, the interiors are a mix of classic and contemporary, where crown accents, wall paneling and vintage light fixtures meet a mostly monochromatic palette and carefully curated furnishings. The entry sets the stage: A spare foyer features a cool, dark gray Pietra marble floor, a custom chevron-paneled door, and a selection of the owners’ graphic prints and illustrations.

Photographs by Aubrie Pick

Photographs by Aubrie Pick

Photographs by Aubrie Pick

Photographs by Aubrie Pick

From here, the stairway curves upward to the dining room, where a stunning table—handcarved of solid blackened maple—is surrounded by custom brass chairs in a Pierre Frey black mohair-velvet and an Osborne & Little stripe. An enormous black-and white photograph of a Scottish Highland cow (“a humorous image that appealed to the owner and me instantly,” says Nelson) adds an unexpected, cheeky touch.

The sensibility is slightly more formal in the living room, which is a study in neutral tones with crisp, high-contrast blues and greens that are also found throughout the home. Again taking design cues from contemporary French interiors, the room boasts sleek finishes: Walls in Benjamin Moore’s Boothbay Gray set the stage for a Schumacher teal velvet-swathed sofa, while a custom Lindstrom rug (Nimbus, in custom hues) complements brass chairs covered in a tonal, geometric Mary McDonald for Schumacher print. Above the bespoke marble mantel hangs a luminous seascape, a commission by painter Louise LeBourgeois.

Upstairs, the master bedroom features subtle silk Weitzner wallcovering, Cowtan & Tout silk-embroidered drapes and a greige, velvet-wrapped headboard that contrasts with a custom walnut faceted bedside table. A dressing table devoid of clutter adorns one corner of the room and is paired with a streamlined Jonathan Adler chair.

In a masterful transformation, Sutro turned a two-story San Francisco residence into a space that now measures just over 5,500 square feet and spans four airy, light-filled floors, while Nelson created an environment that is modern, not overly decorated and layered with California ease. The result is a warm, vibrant house that accommodates casual family gatherings and formal entertaining in high style. Concludes Nelson, “I think this home speaks to the clients, their personalities and their sense of place.”

A version of this article appeared in the June/July 2017 issue of SFC&G (San Francisco Cottages & Gardens) with the headline: Vive La France!

Modern Moroccan crafts at Marrakech’s 33 Rue Majorelle

The chef, restaurateur and newly minted hotelier shares hidden gourmet highlights and perennial cultural favourites with Christina Ohly Evans.

Our store is the antithesis of the crowded souk,” says Monique Bresson, who with Yehia Abdelnour runs 33 Rue Majorelle in the flourishing Guéliz district of Marrakech. This delightful two-storey space fuses the made-by-hand skills of the medina with the chic, calm aura of Paris boutiques such as Colette and Merci. “We specialise in modern takes on classic Moroccan crafts,” says Abdelnour of the wares by over 90 different artisans – from ceramics and paintings to design-led fashion and beauty products. “Under one roof you’ll find all the vibrant talents that exist in Morocco today, from both local master craftsmen who work with traditional techniques and foreign designers who have moved here.”

Crocheted Hamimi lantern, £71-£205 | Image: Terry Munson Photo

Bresson’s eye for emerging and established talent – honed during her years as the buyer for the boutique at the nearby Amanjena resort – results in “harmonies of colour and texture that are partitioned into spare, little corners, each telling a designer’s specific story.” From Atelier Nihal, for example, there are handwoven jacquard babouches (from Dh310, about £24) and leather pochettes (about £40-£125); Chez Zoé, which has a boutique in the city’s sleek La Mamounia hotel, offers simple cotton djellabas and pyjamas (about £55-£87); while local design star Noureddine Amir’s delicately embroidered tunics (about £158-£435) would pair beautifully with the statement-making, Berber-inspired brass jewellery (about £35-£55) by Australian expat brother-sister team Hamimi.

The range of homewares is equally tactile and tempting: Moroccan mint tea glasses (about £9 for a set of six) are made from recycled green glass by Beldi Country Club in contemporary shapes, and black and white patterned pottery (vases, about £31, coffee cups, about £10) by No.m Création is juxtaposed with patterned Plexiglas trays (about £63) by Le Collectif, Abdelnour’s own line that cannot be sourced elsewhere. Other hard-to-find pieces include carpets by Djeann (about £474-£632) that refashion torn strips of denim and hemp fabric into geometric designs, and embroidered vintage photographs (about £205) by BD Interiors, which line the store’s white walls. Particularly popular with holiday-makers are the striking crocheted Hamimi lanterns (about £71-£205) “in hues that vary with the seasons, from wintry greys to stripes for spring,” says Bresson, pointing out that they are “foldable, so can be brought home easily”.

Less suitcase-friendly, however, is the series of huge and intriguing metal cacti (about £237-£2,370) by artisan collective Orenzo, which are hand-painted to yield the perfect patina. But there is one element of 33 Rue Majorelle that won’t impact your luggage allowance: the bright and contemporary 16 Kawa Café, which specialises in pâtisserie orientale and organic juices – and is just the spot to take in all the woven, embroidered, henna-painted and sculpted joy this space exudes.

Woven metal artworks with the wow factor

Dougall Paulson creates shimmering statement pieces

“We envisioned a textile that vibrates with light, like an other-worldly seascape,” says Sean Dougall of the jewellery-grade metal weavings that he and partner Andrew Paulson create from their studio in Watts, Los Angeles. “We were immediately drawn to the potential of fine wire and quickly learnt that it is a material that doesn’t really want to be woven; it’s slippery, stiff and coils up on itself. But we were determined to master this exquisite – albeit stubborn – material.”

The results of this self-taught duo’s labour-intensive efforts range from woven tatami mats (from $1.50 to $5 per square inch, second picture) and lustrous wall hangings (from $4,500, first picture) to expansive screens and installations. Using a variety of metals – including black steel, bronze, brass and nickel alloys and sterling-silver-plated brass – Dougall and Paulson weave exquisitely simple patterns, as well as horizontal and vertical bands of colour, while other recent material explorations have included cultivated silk from Assam and a Japanese material comprising pigmented pure silver on rice paper. The glimmering finished textiles all have a magical molten-metal appearance and “straddle the line between fine, decorative and graphic arts,” says Dougall.

Each commission can take several months to complete, with the loom (third picture) alone taking a week to set up. “It’s impossible to mechanise the loom,” explains Paulson, “and the hundreds of wires comprising a warp must be put in the proper sequence, under the same tension.” But for these eye-catching, cosmic-tinged works of art, it’s worth the wait.

Step Inside a Nature-Inspired Modern Stanford Home

Photographs by Matthew Millman

A stately ash tree anchors the yard of this Stanford property,” explains Joshua Aidlin, cofounder of San Francisco–based architecture firm Aidlin Darling Design, “and, in fact, it became the focus for the entire project.” Taking inspiration from the Eames House, the Pacific Palisades home of iconic designers Charles and Ray Eames, Aidlin conceived an L-shaped home that wraps around the expansive tree and is “not your typical suburban house,” he notes.

The building was a 1950s ramshackle bungalow when the clients acquired it, but has been transformed into a minimalist masterpiece. It all began with extensive client meetings followed by a campout, “to get a feel for the nuances of the site at all times of the day,” says Aidlin. “The clients have a very sophisticated eye and are also very private people.” The intent was to build an informal, light-filled home with a modest street presence—and one that would capitalize on the southerly views of the Stanford hills beyond. Using a series of strong north-south anchor walls, and combinations of natural, cost-effective materials—plaster with planes of cedar wood, concrete, bamboo flooring—the firm achieved a streamlined, utilitarian space with a decidedly midcentury modern feel.

On approach, the property is a naturalist’s dream: The landscape design is by Monterey-based Bernard Trainor, whose aesthetic isn’t overly groomed, and the grounds feature indigenous plants and drought-resistant wild grasses throughout its Zen gardens and walkways. Because of the shade afforded by the signature ash tree, the architects were also able to create a two-story glass façade “that makes you feel as if you’re living in a tree house,” says Aidlin.

The transition from inside to outside is made seamless through decks—particularly the sweeping one off the living room that features a sitting area protected by a cantilevered roof. Iconic Butterfly chairs and a simple Vitra cork stool invite lingering, while the ash tree once again figures prominently by providing ample southern shade during the warm summer months.

As in many family homes, the combined kitchen/living room/dining area is the nexus of daily life: A sophisticated yet practical mix of brushed stainless surfaces, custom cherry cabinetry, and a Corian island designed to withstand spills and homework sessions are key to the family-friendly space. Durable bamboo flooring connects these rooms and adds a rich, textural element to the bedrooms and bathrooms as well. The study overlooking the backyard and an understated media room both have a pared-down aesthetic.

While most of the materials and colors employed are soothing neutrals, there are occasional vibrant pops including a deep blue central staircase “that was inspired by the saturated blues and greens of Sol LeWitt’s work,” explains Aidlin. Bathrooms feature grass-green tiles with translucent Bendheim etched glass, and window treatments are virtually absent from the entire house. “The master bedroom has custom wooden louvers. But for the most part, we just relied heavily on the shade from the surrounding trees,” says Aidlin. “This project was about building an effortless, spare suburban home to a specific site.”

A version of this article appeared in the June/July 2016 issue of SFC&G (San Francisco Cottages & Gardens) with the headline: Nature Study.

Tour an Airy Hillsborough Home

The desire for streamlined, lighthearted living drew an active, outdoorsy family with three teenagers to this home in leafy Hillsborough, says interior designer Heather Hilliard. Built in the ’90s in a postmodernist style, the 7,800-square-foot house was transformed by Hilliard and architect Stephen Sutro from a warren of small, underutilized rooms into an elegant, light-filled space.

After taking the structure down to the studs, Sutro and colleague Brooks McDonald devised a new layout to maximize flow around a central axis, and the outdoors were drawn in via the addition of walls of glass doors to the family room, living room and kitchen. Modern stepped crown molding, millwork and new oak flooring were also added to create a “rich, layered look,” explains Sutro. Outside, the original yellow stucco was replaced by a warm gray hue “to make the corners crisp,” Sutro notes, a new metal roof was added, and landscaping updates included refreshes to the pool and tennis court.

Perhaps the most significant stroke is the new foyer, where a sweeping, circular staircase connects the first and second floors, creating a dramatic entrance. Hilliard hung sculptural, overscaled Tom Dixon Mirror Ball pendants in the 24-foot-high space. “The pendants connect the spaces, and their scale is unexpected,” says Hilliard. “It’s a rhythm we used throughout—beautiful pieces interspersed with ample negative space.” An oversized pivot door designed by Sutro also “creates a welcoming sense of arrival,” she adds.

Extending from the entry is a hall painted in Farrow & Ball’s crisp Wimborne White, a hue chosen to “create a gallery-like setting that offsets the couple’s art collection,” says Hilliard. The focal point of the space is Katy Stone’s Constellation—a wall-mounted work in metal that casts changing shadows throughout the day.

To accommodate the family’s preference for low-key entertaining, Hilliard and her associate Phebe Apgar Williams created two separate arrangements in the living room. One is a seating area anchored by a sofa in a textural bouclé weave from Zinc Textile that they paired with white Mongolian chairs and custom ottomans. The designers also showcased large-scale works by female artists including Cynthia Ona Innis, Amy Kaufman and Suzanne Caporael. The opposite end of the room features a gaming area centered on a custom billiard table and a custom leather cabinet for cue storage. Bold blue drapery panels in a Jim Thompson silk add a luxurious yet thoroughly modern feel to both spaces.  

Just off the living room, the office is connected to bustling family activity, but glass pocket doors also afford it privacy. The cozy, clubby space has built-in cases lacquered in deep blue, and the walls are clad in blue tone-on-tone Phillip Jeffries grasscloth. Hilliard also designed a custom desk in varying shades of indigo. The blue story continues in the ever-so-slightly formal dining room, where C&C Milano linen sheers glow indigo when backlit, and a cloud-like Ted Abramczyk fixture seems to hover above an Antoine Proulx dining table.

One of the most dramatically altered spaces is the combined family room and kitchen, which now has 10-foot ceilings that maximize views of the terraces and plantings beyond. Many meals are enjoyed at an island topped with a Golden Laza slab. “This stone looks like a watercolor, with warm touches that are subtle and diffuse,” says Hilliard.

Upstairs, the relaxed sensibility continues. Giant Sea Urchin pendants from Coup D’Etat illuminate the playroom, where large swivel chairs, a homework table and a massive screen accommodate both studying and family movie night. Just down the hall are the children’s rooms and the master suite, a study in serene grays and blues.

“There is a lot of joy with this family,” says Hilliard. “I think this home reflects that spirit.” Adds Sutro: “The house is a balance of contemporary quality with friendly, modern elements. Above all, it isn’t too precious.”

A version of this article appeared in the June/July 2016 issue of SFC&G (San Francisco Cottages & Gardens) with the headline: Breathing Room.

Inside a Stylish Healdsburg Getaway

Photographs by John Merkl

“This house is all about patterns and color, unexpected materials and unique works of art—but not in overwhelming amounts,” says Jeff Schlarb of the Healdsburg home that he and wife Tray have lovingly renovated. Designed as a weekend getaway for the couple and their two young daughters, the 16-acre Sonoma County compound is where the family relaxes and entertains with competitive bocce games, barbecues with friends and even tented affairs in the sprawling backyard that overlooks the valley beyond. “This is a country house—an exaggerated cottage, really,” says Schlarb, “and we created it to be a forever place for our kids.”

The duo behind San Francisco design firm Green Couch, the Schlarbs were drawn to the 1982 house with its a retro pool (“It’s early ’80s, but with a ’70s hangover,” says Schlarb) and light-filled guesthouse. The couple embarked on the year-long renovation project with the goal of “replacing things in kind,” says Schlarb, so that new windows and horizontal cedar siding, though used to create a modern architectural aesthetic, were in keeping with the original house.

As with any home, the kitchen is the epicenter of family life. “It’s an easy space to be in,” notes Schlarb, “whether we’re cooking breakfast or drinking Champagne with friends.” The adjacent great room is another favorite sunny gathering spot and is filled with meaningful pieces. The photograph, for example, was taken by a friend just outside of Schlarb’s hometown of Kansas City, Missouri. “It’s of a wicked funnel tornado that she could see from her front door, and she took it on her phone!” says Schlarb, who also loved the pixelated look of the photo when it was blown up to its current size.

The family’s dining room is a study in whimsy and color. “We wanted a cozy, intimate space with wood beams,” says Schlarb. The two-tone, wallpapered space features a unique mix—a classic hunt pattern by Phillip Jeffries coexists with an urban toile motif by Timorous Beasties in muted shades of blue. Zele chairs in buttery soft leather surround an industrially-inspired dining table, while geometric artworks by Bay Area artist Aleksandra Zee and a rope sculpture bought at the West Coast Art Fair spark lively conversations.

Upstairs, the master suite is more in keeping with Tray’s love of light, airy colors, and wide-plank oak floors set the stage for the soothing oasis. The couple’s all-white bedroom has a dreamlike atmosphere highlighted by a bed with turned-wood posts from Noir; thick Mark Alexander window treatments in Tunis Snow and a whitewashed brick fireplace. A woven cotton carpet and blue Brentano throw pillows add subtle touches of color, while rattan chairs paired with a trio of garden stools creates a sitting area that evokes outdoor living.

This serene atmosphere extends to the master bathroom where linen drapes “create a soft, romantic environment,” says Schlarb, while a bold Elitis wallcovering and a stark, black stone floor give the room drama. The stand-alone bathtub is original to the house, and the PentalQuartz sink and bathroom fixtures were custom made to match.

Every furnishing, finish and fabric has been lovingly considered by the Schlarbs, and the result is a highly personal retreat for their busy family. “In San Francisco, we are in close proximity to our neighbors, but in Healdsburg, we have endless land and space to work with. We often center around the fireplace, or jam with friends,” notes Schlarb. “This home was built for memory creation.”

A version of this article appeared in the April/May 2016 issue of SFC&G (San Francisco Cottages & Gardens) with the headline: Modern Pastoral.

The New Spa at Sonoma's Farmhouse Inn is a Rustic-Chic Retreat

Set in the heart of the Russian River Valley, the Farmhouse Inn has been a favorite of oenophiles, gourmands and sybarites alike since its acquisition by siblings Joe and Catherine Bartolomei in 2001. Set amidst Sonoma’s wineries, and with a Michelin-starred restaurant on the picturesque premises, the property’s recent $8 million renovation includes a brand new spa that is making Forestville worth a restorative detour. Led by noted Healdsburg designer Myra Hoefer, the renovation was one of the iconic decorator’s final projects before her passing earlier this year. Hoefer brought her signature easy elegance to the inn and spa, giving it a grace that echoes sweeping valley vistas. 

At the entry to the spa, a stacked Napa fieldstone hearth and water features transition guests into a more tranquil state of mind. “This is the spot where people are drawn to sit and relax,” explains the inn’s marketing director Meghan Smith. “There is no rush here.” While beginning their repose, guests can peruse the personal apothecary cart, which holds organic and wild-harvested essential oils like bergamot, birch and cedar, all waiting to be hand-mixed to their specifications.

Drawing on farmhouse vernacular, San Francisco's SB Architects designed a modern stable to house the new spa. The firm designed a dramatic 16-foot peaked roof, a sliding barn door at the entry to the treatment area and a charming Dutch door to front the reception room. A slatted wall along the main passage also creates a breezeway that keeps the spa divinely connected to the outdoors. Hoefer’s selection of clean white beadboard for the walls and cabinetry completes its rustic-chic look.

Along the main hall, a succession of four "stalls" serve as treatment rooms, complete with hand-drawn equine murals by local artist Tina Wainwright. Continuing the play on equestrian life, each room also features a body pillow filled with fragrant herbs and alfalfa used in the spa’s Roll in the Hay treatment. And when the massage or facial is complete, guests can retire to their individual, private outdoor space with chaise longue and shower, perfect for reclining and relaxing under the wine-country sun. Adds Smith, “The rooms face out to the western hillside, which adds to the bucolic atmosphere.”

The spa’s products and treatments have been thoughtfully curated by Francis & Alexander—the firm behind the Spa at Auberge du Soleil—and include ginger-honey scrubs derived from owner Catherine Bartolomei’s nearby farm, as well as cucumber-scented sunscreens and lotions courtesy of San Diego suncare company Coola. The spa menu focuses on organic ingredients, many sourced from the inn’s own gardens.

Since unveiling its redesign, the Farmhouse Inn has earned accolades, but ultimately, its atmosphere is testament to Myra Hoefer’s legacy of quiet, timeless style. “We are lucky to live here,” notes Smith, “and Myra’s subtly chic design has capitalized on the natural beauty that surrounds us.”

A version of this article appeared in the November/December 2015 issue of San Francisco Cottages & Gardens with the headline: Stable Treatment.

Dara Rosenfield Designs a Nob Hill Pied-á-Terre for Carpet Couturier Mark Nelson

"I wanted a luxury hotel suite,” says couture carpet designer Mark Nelson of his first Bay Area home, a petite pied-à-terre atop Nob Hill. He achieved the look and feel of a sumptuous little suite with the help of noted Bay Area interior designer Dara Rosenfeld. Together, the duo transformed a 450-square-foot space into a jewel box of urbane textures and hues, finally giving New York–based Nelson—who for years has traveled regularly to San Francisco to provide exquisite bespoke carpets to the A-list of the city’s interior designers—a stylish residence in San Francisco.

Longtime collaborators and friends, Nelson trusted Rosenfeld’s aesthetic so completely that he put in a bid on the light-filled property sight unseen, based solely upon her recommendation. (A devoted foodie, Nelson was also seduced by the building’s proximity to b. patisserie and Bi-Rite.) The result of their six-month collaboration is a sophisticated space that is serene, intimate and, importantly, turnkey, for the bicoastal designer.

“I grew to love this city—the serious design community that share my aesthetic, my group of friends, all of the fantastic restaurants,” says Nelson. “I wanted a place here to call home.”

To maximize usable space, Rosenfeld conceived of a custom series of hidden closets, utilitarian cubbies and a Murphy bed—complete with bedside tables—that seamlessly merges into the wall. Recessed lighting casts a sleek glow, while custom-made, wall-to-wall European carpets (in a weave that, says Nelson, “looks like a sisal, but with more depth”) were chosen to make the room appear larger. And a stylish, art-filled work niche features a cantilevered walnut desk, with all cords and cables neatly tucked out of the way.

Since the home looks out onto city rooftops, “I wanted colors and finishes that mimicked the light of the dusk in San Francisco,” says Nelson. Rosenfeld adds, “The term ‘greige’ is often overused, but the color works beautifully here, especially when paired with hints of plum and lavender.” She began by wrapping the space in a smoky gray Soie wallpaper by Elitis, and then extended the colorway into sumptuous fabrics: drapes in Osborne & Little’s Oscura woven strié fabric in a khaki hue; sofa upholstered in DeLany & Long Neptune Velvet in Driftwood; and a set of dining chairs in a fine mohair—“our ultimate treasure-hunt find,” says Nelson.

An eclectic mix of contemporary pieces and fine antiques gives the apartment its unique flair. A clean-lined Paul Evans coffee table with silver and gold accents serves as a focal point for the room; a 1950s T.H. Robsjohn-Gibbings slipper chair provides a swank spot for reading; a classic Paul McCobb dresser adjoins the sofa; and a striking 1960s French amethyst lamp sourced from Lebreton Gallery adds texture and subtle hue.

“I trust Dara implicitly, so this was the easiest transaction ever,” says Nelson of the renovation. “I was looking for an understated, comfortable environment—with nothing flashy—that I could call my home away from home. This apartment is the yin to my New York yang.”

A version of this article appeared in the September 2015 issue of San Francisco Cottages & Gardens with the headline: Little Luxuries.

Designer Kimberly Ayres and Architect Ken Linsteadt Create a Picture-Perfect Mill Valley Home

Photography by John Merkl

On a charming, tree-lined street in Mill Valley sits a home that melds a traditional, East Coast shingle-style aesthetic with Northern California ease and accessibility. “The house is located in a neighborhood of Craftsman bungalows and clean-lined cottages,” explains architect Ken Linsteadt, “and the owners wanted a casually elegant home that would fit nicely into the tight-knit community.”

The result is a 3,100-square-foot, cedar-clad house where, notes Linsteadt, “a subtle, weathered-gray and white palette is predominant.” With interiors by noted Bay Area designer—and Kelly Wearstler alumna—Kimberly Ayres, the property has a classic feel, but features a mix of contemporary furnishings and unexpected flourishes of color. The surrounding landscape also plays a starring role: “All of the main public spaces flow out to the sun, garden and creek beyond,” explains Linsteadt of the L-shaped house that forms a south-facing courtyard.

This study in contrasts and exquisite finishes begins in the airy entry foyer and continues down a soothing, central front hall featuring floors hewn from French white oak and layered with an oriental rug “that is elegant, yet has a fresh, modern graphic at the same time,” says Ayres. Pendant fixtures by Palmer Hargrave are also new, but their design pays homage to the past. Ayres delights in blending antique elements with modern pieces, and nowhere is this more felt than in the family’s living room, where an exquisite 19th-century French limestone fireplace serves as the focal point. A sumptuous sofa swathed in a classic chocolate-brown Bennison fabric is juxtaposed with velvet cushions in a bright cerulean blue by Travers, while a custom chair in a striking shade of coral adds yet another punch of color.

The dining room is an extension of Linsteadt and Ayres’ approachable design philosophy and feels “cozy and communal,” says Ayres, “not overly formal or underutilized.” Chocolate-brown grasscloth by Phillip Jeffries wraps the room, giving it an intimate atmosphere. Upholstered Henredon chairs—as well as a pair of RH armchairs customized by Ayres—provide plush, comfortable seating, and a bay window functions as both a buffet and rotating gallery space for the family’s porcelain.

Upstairs, the master suite is painted in muted hues. “They wanted a quiet, calm oasis overlooking the trees,” says Ayres, who focused on integrating family pieces—a Baker bed and upholstered headboard; a dresser that was stripped and refinished—while enhancing the space with bespoke Italian bed linens and throws by Sue Fisher King. “Although there are classic design elements and materials, it has an approachable feel at the same time,” explains Linsteadt. “I think it strikes a nice balance.”

A version of this article appeared in the September 2015 issue of San Francisco Cottages & Gardens with the headline: Charmed Life.