I'm not sure how many of you read World of Interiors, but the May issue has a great but brief article on the bathrooms of the Duke and Duchess of Windsor at their Bois de Boulogne home. Photos of both bathrooms as well as the rooms' contents were included in the Sotheby's auction catalogue from 1997. But beyond what was included in the catalogue, I knew little about these rooms.

In the article, writer Hugo Vickers (who has written a book on the famous couple) touches briefly on the Duke's bathroom, which was elegant but rather plain (Vickers writes that the Duke, who preferred showers to baths, had a "Psycho" like shower in his bathroom). But fortunately for us, Vickers focuses on the Duchess' charming bathroom.

I learned that Dmitri Bouchene, a Russian painter and set designer, painted the ceiling of the bathroom to give it a tent-like effect. If you look closely in one of the photos, you will see an oculus painted in the ceiling which reveals a cloudy blue sky beyond the tent. Bouchene also painted garlands of flowers on the walls, and even painted scenes on the walls of the loo (see the photo below of the figure who is blind-folded, giving the Duchess her privacy!). I was always curious about the gilt-framed small paintings that were hung around the bathtub. According to Vickers, these paintings are actually New Year's cards that Bouchene sent to the Windsors every year. Lucky for Vickers that he successfully bid on many of these cards at the 1997 auction.

Of course, we're all familiar with the Cecil Beaton painting of the Duchess, hung on the mirrored wall above the bathtub. And those purple towels? They're by Porthault and are monogrammed with Wallis' cypher "WW" (Wallis Windsor) as well as the royal ducal coronet. I remember seeing the towels, or at least the bath mat, in the auction catalogue; I wonder who the lucky bidder was?

But I think that the most amusing anecdote from the article was Vickers' reminiscence about his shock upon seeing that Wallis' toilet had a plastic seat! And Wallis evidently was not alone- Vickers claims that Diana Vreeland had one too. Quelle horreur!







(All images from World of Interiors, May 2008; photographer Fritz von der Schulenburg)

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)

I really went gaga over legendary magazine editor Mary Jane Pool's apartment that was featured in the March Domino. I thought it was such a beautiful mix of graceful antiques, 20th century pieces, and gorgeous fabrics and wallpaper. So, while I was reading Tiffany Taste(aka Table Settings of the Rich and Famous) the other day, I came across a chapter on Ms. Pool and her style of entertaining.

According to the book, Ms. Pool has a fondness for all things Venetian (this is confirmed by the Domino article, which notes that Pool has a decent sized collection of 18th and 19th c. painted Venetian antiques). For a summer lunch, Ms. Pool would likely start with a salad of shredded celery, mushrooms, Gruyère, white truffles, and a vinaigrette of olive oil and balsamic vinegar. The main course might be a pasta gratinée of green tagliarini, béchamel, prosciutto, and tomato. For dessert? Chocolate twigs or truffles, grapes, or strawberries accompanied by mandarin orange tea. Oh, and no wine- "nothing dangerous"- with lunch, only San Pellegrino. After all, when you're an editor of a magazine, you have to stay on your toes!

What I enjoyed most were the photos of Pool's Sutton Place apartment circa 1986. Author John Loring wrote that Pool "knows as much as anyone about the domestic pleasures that make life sweet." I wholeheartedly agree.


What a sumptuous mix of yellow satin curtains, yellow walls, and red satin(?) chairs. In fact, those chairs appear to be the same ones that were featured in Pool's Olympic Tower apartment, although at that time they were covered in orange cotton pique. The mirror is 18th c. Venetian. And notice the pedestal table, which Pool still owns today (see image of Pool at top). According to Tiffany Taste, the base is in the shape of a neoclassic Italian urn.


Another Venetian piece- this time an 18th c. painted commode. The tea service is Royal Berlin, and the silver Tiffany basket is filled with chocolate twigs.


Tiffany's classic "Chrysanthemum" flatware and "Nymphalidae" dessert plates adorn the table. Strawberries are nestled in a Tiffany sterling basket.

(Image at top of Pool- photographer Annie Schlechter)

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)

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.

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.

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

Known for his spare interiors as well as his use of humble, natural materials, Jean-Michel Frank is one of those designers who is often credited by contemporary designers as being a major influence, yet he has remained a bit of an enigma. Perhaps this was due to his all-too brief career and life, having committed suicide in 1941. Or maybe it was because some critics labeled Frank a society decorator. Whatever the reason, critical study of Frank's career did not begin in earnest until the 1980s with a monograph written by Leopold Diego Sanchez. Unfortunately, this book is a bit scarce as well as cost-prohibitive. There is, however, a new work on the design legend that is not only quite comprehensive and informative but will probably prove to be yet another authoritative work on Frank.

Jean-Michel Frank: The Strange and Subtle Luxury of the Parisian Haute-Monde in the Art Deco Period (Rizzoli) initially took shape as the doctoral thesis of Pierre-Emmanuel Martin-Vivier, a historian and authority on twentieth-century applied arts. The book provides the reader with a biographical account of both Frank's life as well as an in-depth look at his career as a designer of both spaces and furniture. While Frank's success was certainly guided by his talent, it was also nudged along by Frank's fortuitous friendships with the French and European beau monde, something which is explored in the book.

But Frank certainly developed a style that was all his own, and this is really the heart of this book. Much attention is given to Frank interiors, including his work for Jean-Pierre Guerlain, Andre Meyer, Templeton Crocker, Cole Porter, and of course Charles and Marie-Laure de Noailles. Today, Frank seems to be recognized more for his furniture designs than his interiors, so the text and photographic record of Frank's tables, lamps, and chairs are a major asset of Jean-Michel Frank. Also, Frank's career was characterized by collaborations with other gifted designers and artists, most notably Adolphe Chanaux, Alberto Giacometti, Christian Berard, and Emilio Terry, and this work is given due diligence in the book.

I'll admit that I have not yet finished this book; I'm taking my time reading the text, and I find myself getting lost in the gorgeous black and white photos chronicling Frank's work. But so far, I do feel that I better understand the genius and the style of this sad artist, and for this alone I highly recommend this book.



The Sitting Room in the penthouse of Templeton Crocker, San Francisco, 1929. The walls and ceiling were covered in squares of parchment, while the armchairs were upholstered in white leather. One of the Parsons-style cocktail tables was covered in brown shagreen, while the other was sheathed in patina bronze.


The Music Room in Cole Porter's Paris apartment. Although Armand-Albert Rateau was responsible for the paneling (silver lacquer at that), Frank designed the furniture.


Image at top: A Fire Screen covered in straw marquetry, c. 1924. The cabinet at bottom was covered in parchment, c. 1931.


A set of parchment nesting tables and an X lamp made from terra cotta.

There has been much talk lately about the fate of Brooke Astor's apartment. I think many of us are on pins and needles waiting to see if the new owners (whoever they might be) will destroy the famous interiors, preserve them in all of their glory, or simply refresh them. But closer to my home there is another prominent house I'm worried about: the Goodrum House located on West Paces Ferry Road in Atlanta.

Built in 1929 by famed architect Philip Shutze, the house is considered to be a prime example of English Regency architecture. Before it housed its current tenant, the Southern Center for International Studies, the house was a private home. While growing up, I always heard it referred to as the "Peacock Mansion" because the homeowner kept peacocks on the estate. (In fact, I remember on a few occasions going to school and seeing traffic held up because a peacock had gotten loose and was wandering the streets!) There were many other wild stories associated with the house which I won't print on my blog, but needless to say they only added to the home's allure- at least to this wide-eyed gal.

And now the Southern Center is selling the home. My biggest fear is that whoever buys the Goodrum House will rip it asunder and remove anything original and unique to the home. Believe me, Atlanta is losing its beautiful old homes at an alarming rate. The whole thing upsets me, so perhaps I should put my money where my mouth is and join the Preservation Center. In the meantime, I wanted to show you a few photos of this beautiful home. They certainly don't make them like they used to. I just hope whoever buys this home realizes it.





A few shots of the entryway. Is that a banister or what! Wouldn't you be thrilled to have that in your home?




The dining room is famous for its glorious Chinoiserie mural painted by Allyn Cox.


The ceiling of this octagonal breakfast room was painted by Athos Menaboni. The effect is like being inside of a bird-cage. Menaboni also painted the niches as well. Can you imagine a better way to start your day than by having a cup of coffee in this room?



The living room. Although it's sparsely furnished today, the room has real potential. Just look at the molding and carvings.

You Midwesterners are certainly lucky. Alessandra Branca, doyenne of snappy and snazzy design with a lot of sizzle, has just opened a new retail shop in Chicago (17 East Pearson to be exact). The shop, called Branca, is filled with things that Alessandra both loves and actually uses. Table accessories, furniture, books, candles, and African feather headdresses are all here, much of it in Branca's beloved black, white, and RED color scheme (the red is what gives everything the sizzle.)

Travel plans aren't taking you to Chicago this summer? No worries, because currently a limited selection of items are available for sale via the website (you'll need to call the shop at 312-787-1017 to actually place the order, but online shopping on the website will be up and running this summer.) While you're visiting the site, you can also view some images from Alessandra's gorgeous portfolio.

Here are a few items from the website that caught my eye (also available in the store for those of you lucky enough to visit in person!):


Pair of 19th century German Neoclassical style fauteuils (the fabric is vintage red Turkish ticking)


White glass optik glasses- highballs, lowballs, and stemless champagne glasses


Branca Signature Candles: I-Mint, Musk, & Tea; II-Tomato Leaf, Basil, & Black Currant; III-Fig Tree; IV-Green Tea with Lime


Branca Red Hide Rug

Images at top: A view of the new shop, and one of the shop owner herself.

Todd Romano Antiques & Decorations is one of my favorite stores in New York. For me, no trip to the Big Apple is complete until I pop into this stylish mecca of design. Romano has such an amazing eye, so it's no wonder why he is such an in-demand designer. Everything in the shop- deGournay wallpaper, antique porcelain, Christopher Spitzmiller lamps- is perfection!

And now, Romano has added candles to his repertoire. The candles, available through his shop, come in two fragrances: Thé and Tige de Bambou. Thé (the brown candle) is a fitting name as it does smell a bit like spicy tea- the scent is really unique and totally intoxicating. Tige de Bambou is a bit lighter and is redolent of Spring flowers and freshly cut grass (at least to this nose). The added bonus is the chic yet discreet "TR" monogram on the votive.

So if these crazy gas prices have cut into your design budget and the de Gournay wallcovering and porcelain have been put on the back burner, why not indulge in one of these candles? What a great way to add some Todd Romano flair to your home!

(To order candles dial 212-879-7722. Retail price is $50. And make sure to stop by the store on your next trip to New York.)

A while back, I wrote about the much loved Le Lac print and its popularity with designers. Well, with so many wonderful prints on the market, Le Lac is not alone in the pantheon of iconic designs. What other prints seemed to have passed the test of time? Why, La Portugaise by Brunschwig & Fils, and it's one of those prints that seems to pop up over and over again.

According to Brunschwig & Fils Up Close, La Portugaise is reminiscent of indienne prints and is "a nineteenth-century adaptation made up from the borders of a palampore formed into stripes." And in Keith Irvine: A Life in Decoration, Irvine notes that the print, one of his favorite fabrics, used to be available at Rose Cumming's shop before Brunschwig & Fils began to offer it. Just another tidbit to add to the print's illustrious history.

Now, I know that many of you might look at this print and think "No way!" La Portugaise is certainly not for everyone. I like how the print has been used in the rooms below, but would it work in my home? Probably not. Still, there is a delightful quality to this print that lends to its allure. And as it is a favorite of so many design legends, it certainly deserves recognition as a top ten fabric!

How can you argue about a print that is found in THE most famous room in the history of American design, Brooke Astor's famed oxblood lacquered library designed by Albert Hadley. (My tip to you: save any photos you can of this glorious room- just in case the new owner decides to disassemble this masterpiece.)




Keith Irvine has used La Portugaise throughout his career. It seems that this print as well as Le Lac are his two favorites.




Jeffrey Bilhuber used the print on an upholstered chair in this room; it's a nice counterpoint to the hushed neutrals used in the rest of the room.



And that charming, erudite Mark Hampton used the print in the living room of his Hamptons home. With a painting like this, who needs a photograph?

Image at top: A close-up shot of a La Portugaise upholstered chair in the library of the late Brooke Astor.

I've recently become enamored with a designer whose work is no longer featured on the pages of shelter magazines. I read or hear very little about him these days, which probably adds to the mystique. I'm sure many of you are familiar with this designer, although to me his work is quite new. (Back in his heyday in the 1980s and 90s, I was preoccupied with homework and school activities, preventing me from focusing too terribly much on the design world.) Of course, the fact that he died almost 13 years ago is part of the reason why this designer's work is no longer at the forefront of our design consciousness, and it's really a shame because this designer- Richard Lowell Neas- created rooms that were stylish, sophisticated, beautiful, elegant, and timeless.

I first became familiar with Neas' name when I found out that he was responsible for Brunschwig & Fils' "Bibliothèque" wallpaper- one of my all-time favorite wallpaper designs. As Neas was an accomplished muralist and trompe l'oeil artist, it's no surprise that he would design such a charming print. Then I learned that Neas gradually made his way into a career as a decorator. And what decorating he did!

I've tried to collect a few images of his work, and in some ways it surprises me that I'm so taken with these very traditional rooms. While I am a traditionalist at heart, I do like to mix in some modern pieces- it's a bit like a design checks and balances system. I think that what has drawn me to his work is the fact that Neas created rooms that were completely livable. His New York projects seem to capture the spark that is so evocative of that city: urbane, sophisticated, and cosmopolitan. Yet there's nothing cold or stiff about these rooms. Neas imbued his projects with a softness and warmth that was so inviting. Perhaps it was the collection of unique and striking furniture and objets. Or maybe it was the mix of prints and patterns that was so pleasing to the eye. I actually believe it was a combination of all of the above.

I think Neas described the success of his rooms perfectly when he quoted his friend Annette de la Renta, "some of the most wonderful rooms are ones that seem as though all the objects were inherited from relatives with different styles and tastes- yet everything fits together magically." And this, to me, is the magic formula- and one that makes Neas' work so appealing.


An image of Neas' tiny Manhattan apartment. Note the trompe l'oeil swagged curtain at the top of the mirror. I just love this room.




Two photos of a Manhattan apartment that Neas designed around 1990.




I believe this dining room and bedroom were part of Neas' home in Charente, France. Neas certainly created environments that were appropriate for their surroundings.


A close-up shot of the "Bibliothèque" wallpaper.


Nina Campbell used "Bibliothèque" in her home.

Image at top: Richard Lowell Neas with a chicken at his home in France. (This image and those of his French home courtesy of House Beautiful, 2001. Images of the Manhattan project from HG, September 1990.)

Neas/de la Renta quote from the New York Times, "Home Design; Objects of Much Affection" by Carol Vogel, October 21, 1984.

It's not even Summer yet and I'm already looking ahead to all of the great Fall book releases. Crazy, huh? One book that I'm excited about is Jeffrey Bilhuber: Defining Luxury. In the book, Bilhuber explores luxury- what it means and why we need it in our daily lives. To Bilhuber, luxury can be found in small thin