From Julie:

Fernlund + Logan—a New York City firm that counts design god Ted Muehling among its clients—creates a thoroughly mod interior within a classic Manhattan townhouse, mixing classics (a Le Corbusier LC4 chaise) with future classics (Jasper Morrison Glo-Ball lights and a Marcel Wanders New Antiques table). Candelabras and a ghoulish crucifix over the mantle add an edgy note. Photos by Herman Verne.

Below: Recreate the look with the Le Corbusier LC4 Chaise Longue in natural canvas with black leather headrest and matte black enamel steel base; $2,585 at Design Within Reach.

Below L: Felted Wool Stones, $298 for small, $495 for medium, and $595 for large at Viva Terra. Below R: Gray Ludde Sheepskin, similar to the one draped on the Le Corbusier chaise; $39.99 at Ikea.

Below: Marcel Wanders New Antiques table for Cappellini; $2,529 at Unica Home.

Below: The Moroccan Zig-Zag Rug, handknotted in ivory and chocolate wool, starts at $1,825 for the 9-by-12-foot size at Williams-Sonoma Home.

Below L: Designed in 1962 by brothers Achille Castiglione and Pier Giacomo Castiglione, the Toio Floor Lamp was inspired by a car headlamp; $1,212 at Design Within Reach. Below R: Jasper Morrison’s large Glo-Ball Basic 2 Table Lamp by Flos is $872 at Lumens; Glo-Ball Basic 1 Table Lamp, a smaller version, is $596 at Lumens.

Below: The formidable (and formidably priced) Dorian Table by Dominique Matthieu features curvy lacquered legs and a heavy glass top; $10,500 at Conran USA; available in black or red.

Below: Beech Black Enamel Bentwood Chairs; $79 each at Kurt Peterson.

From Sarah:

We approach the coffee table category with trepidation: passions run high when it comes to the “drinks table.” We’ve narrowed this post to simple wood coffee tables, midcentury classics mixed with a few contemporary interpretations.

Below: Ligna Coffee Table from Belgium with solid oak top and stainless-steel frame; $2,150 from Lekker Home.

Below: The classic and unassailable Eames Molded Plywood Coffee Table. $799 from DWR; available in ash, ebony, natural cherry, or walnut.

Below: We love the Terence Conran–designed Roller Coffee Table with solid oak top and rubber wheels; $2,250 at Conran.

Below: Solid maple Nelson Bench from Room & Board; available in three lengths, starting at $699 for the 48-inch size.

Below: The Cubic Coffee Table Rectangle of oak veneer with a steel base is $750 at Design Within Reach.

Below: Hans Wegner ch008 Low Table available in ash, oak, or walnut and in several sizes; prices start at $1,640 at Hive Modern.

Below: The Stockholm Coffee Table features a sleek mid-century profile; $199 at Ikea.

Below: The Tiago Coffee Table from Crate and Barrel. Bamboo top with black steel frame for $299.

Below: The soigné Atlantico 010 Coffee table by De La Espada is $1,095 at Bluehouse.

Below: Perfection does exist in this life: in the form of the CT01 Basso coffee table from German-based e15, one of our favorite furniture purveyors. Cut through the red tape and contact our friends at 14Feet for ordering and shipping information.

This desk from Stanley’s new Coastal Living collection, in a Sea Grass painted finish, features a drop-front keyboard drawer with cord management opening.

There is one design legend who I fear is slipping into obscurity, and it would be a dreadful shame if that happened. That person is the late Sybil Connolly. If some of you are not familiar with her name, I'm sure you would recognize her work.

Born in Wales to Irish/British parents, Connolly began her career as a clothing designer, first in London and later setting up shop in Dublin. Proud of her Irish heritage, Connolly worked tirelessly to promote the native crafts of Ireland. Many of Connolly's clothing designs incorporated tweeds, woolens, and most notably Irish linen. In fact, Connolly garnered praise and notoriety for her pleated linen dresses. The handkerchief linen was so fine that it took nine yards of linen to make 1 yard of pleated material. Much adored in Ireland, Connolly also developed a devoted fan base here in the States with Jacqueline Kennedy, Rockefellers, and Duponts becoming clients. (You might recognize the official portrait of Kennedy below in which she is wearing a Sybil Connolly design.)

As the swinging Sixties and early 1970s rolled around, Connolly's designs fell out of favor with the liberated woman. Refusing to capitulate to the latest trends, Connolly once said "There comes a time in everyone's life as a designer when you have to decide whether you want to create the beautiful or the merely fashionable. Sadly, there can be a conflict between the two." With her glory days of fashion design waning, Connolly ventured into designs for the home. And this, to me, is the work that is most striking.

Connolly designed collections of textiles for Brunschwig & Fils and F. Schumacher as well as tabletop items for Tiffany & Co. Ever the champion of Irish handiwork, Connolly incorporated Irish motifs- flowers, basketweave, and the like- into most of her creations. In fact, I'm sure many of you recognize Tiffany's classic Tiffany Weave China which was designed by Miss Connolly.

But her greatest work of all had to have been her beautiful home on Merrion Square in Dublin (in my opinion, one of the most charming areas in all of Dublin). With the ground floor dedicated to her design business, Connolly's private quarters were comprised of the upper floors as well as a mews house. Her home reflected her style, her elegance, and her passion for the best that Ireland had to offer. Connolly once remarked: "Perfection is not human and we shouldn't pretend that it is. The ideal house should look lived in, as if somebody reads the books on the shelves." This sentiment is one with which I agree wholeheartedly and one which I have tried to convey on this blog, although not as eloquently as Miss Connolly.

Back in the mid-1990s, I had the opportunity to hear Sybil Connolly speak while I was employed with Tiffany & Co. Unfortunately, a fellow employee fainted and Connolly's talk was cut short. It was something that I always regretted, especially as Connolly died a few years later. But, I suppose I can take consolation with photos of her work. As you can see, she had a varied, productive, and fruitful career, and it is one which deserves some posthumous attention.

(An aside: when I was researching this post, I came across a New York Times article from October 1980 announcing a buffet dance at the downtown Rich's department store here in Atlanta. The dance was a benefit cook-off for the March of Dimes. And...Sybil Connolly cooked a marinated lamb, Robin Roberts of Clarence House made deviled chicken breasts, and Mary Jane Pool prepared an avocado salad called riboon. Now that was a stellar event! Had I been older and known who these people were at the time, I would have paid my $100 to attend.)


The Mews House's cheery yellow Living Room. The plaster shells on the cornice were duplicated from some real shells that she purchased in California with Tony Duquette.


The Living Room in the main house. The curtains were made of an Irish floral fabric.


Connolly's bedroom which was inspired by her antique Angoulême porcelain. Connolly found the Angoulême patterned wallpaper in London, and she then had the Irish textile industry copy the same print onto linen. Nancy Lancaster was so taken with the charming green and white bedroom that she asked Connolly if she could copy it.


A table set for tea in Connolly's garden


The dining room of the Mews House. Connolly's collection of blue and white Irish delftware grace the walls. It also looks as though the panelling on the walls was actually painted on in shades of blue.


The dining room of the main house. The wallpaper's floral print is fuschia, which grows wild in Ireland.


A blue and white toile that Connolly designed for Brunschwig & Fils (Image courtesy of The Hunt Museum)


"Tipperary" wallpaper designed by Connolly for Brunschwig. Do you think this looks like the Angoulême print in her bedroom?


A glazed chintz pattern, "Lily of Galtee", designed for Brunschwig (image from The Hunt Museum)


Tiffany Weave china, designed by Sybil Connolly



The late, great, and discontinued china pattern known as "Mrs. Delany's Flowers". Designed for Tiffany & Co. by Connolly, the floral pattern was inspired by amazing collages created by Mary Delany in the 18th century. Delany was admired throughout England and Ireland for her charm, intellect, and artistic skills. She used thousands of pieces of colored paper to create collages of flowers.


A paper collage by Mary Delany, c. 1777. Delany's collages inspired "Mrs. Delany's Flowers". (Collection of the British Museum)


One of Connolly's famed pleated linen dresses (photo courtesy of The Hunt Museum).


Jacqueline Kennedy's White House portrait, painted by Aaron Shickler, features Kennedy wearing a Sybil Connolly gown. (Image courtesy of The White House Historical Association)

 
for the past few weeks we’ve been exploring the major design hubs in australia. but as with anywhere, there are those incredibly talented artists and designers who are able to make a name for themselves from off the beaten track. today’s final regional roundup: australia covers everywhere in between. and while these features have been focusing on the contemporary design scene, aboriginal art - a history that covers 40,000 years - continues to make it’s mark on australia, and is something i still hope to explore (talk about patterns! . . . luckily, one of the best collections is at the kluge-ruhe aboriginal art collection at my beloved university of virginia, of all places). but that’s the beauty of these roundups - they’re a starting point to discover a place, begin a conversation and in a world that is constantly changing and each can be revisited. it’s been nearly three months since i started on this piece - which features over 40 designers - and it’s still only brushing the surface. so please continue the dialogue in the comments, sharing your new discoveries, favorite aussie designers, inspiration and observations. in case you missed any, you can find all the posts here. and to view this full post (and many more designers) just click here. [an incredible thank you to everyone who participated!!!] -anne

[aboriginal painting by roslyn ann kemp, above]

Magic Jelly

1. Where are you from? Where do you live now? 
Born & bred right here in Adelaide, South Australia.

2. Describe your work 
Most important to me is to communicate & connect.  I’ve just started a project called The Paper Chase, trading art for paper, it’s all about collaboration & communication.  I try to make my work as accessible as possible.  I like to use low-tech equipment (Gocco for instance) & commonplace materials, & to lavish care & attention on the forgotten, overlooked & discarded.  I tend to work on a small scale, firstly, because I’m a finicky fuss-budget obsessed with detail, but also because I want my work to be intimate & personal rather than to shout at you from across the room.  I hope a little bit of wit & levity creeps in there somewhere too.

3. How is your work influenced by where you live?
I often trawl the local secondhand markets for bits & pieces to use in my work, & take lots of photos, particularly of signage & architecture.  In fact, I’m combining my interest in architecture & ephemera at the moment by building a house out of paper, loosely based on a lovely row of late-Victorian terrace houses on the seafront near where I live.

4. Where do you go in Australia when you want to feel inspired? 
Anywhere that’s out of the house!  Every spring I start feeling restless & want to take a trip to Sydney.

5. How would you describe the Australian design scene? 
I really can’t say as I don’t feel that I’m a part of it - I’m a total hermit!  It’s a small market, that’s for sure - especially in Adelaide - & I tend to sell more internationally & do more commissions for overseas clients.  I think the Australian scene is growing though.

6. If you could go anywhere where would you go? 
I’m planning a visit to the US in a few months’ time to take a road trip along the West Coast.  Now, if you have a time machine handy, where I’d really like to go is back to the mid-20th century so I can go wild amassing huge quantities of ephemera & toys, & taking lots of photos.

Click here for more work by Karena and visit the Magic Jelly Etsy shop here.

Bison Home

1. Where are you from? Where do you live now?
I am From Grenfell NSW (population 2000 ). My family came on the Sirius…the first Fleet of White Settlers/Convicts who came to Australia in 1788. I currently live in Canberra and my studio is in a rural location (Pialligo) surrounded by plant nurseries and vineyards.

2. Describe your work
My work…best described as a ceramics designer. I am drawn to simple, classic forms and I produce a large range (140 profiles and 30 colours) of dinnerware and decorator pieces. I’m a former archaeologist and ancient historian who became tired of excavating broken pots in Syria … so I taught myself how to make them instead! We create forms which reflect the relationship between beauty…and practicality. I am fortunate to have a wonderful team of craftspeople who support me in crafting our Fine Australian Stoneware Collections.

3. How is your work influenced by where you live?
As a person who was training to be an academic… I was captivated by the evolution of design in Classical History…and the amazingly poignant social contexts behind ceramic vessels. To unearth a piece of pottery…over 2000 years old with a fingerprint in it sends chills up your spine. I also went to School in Malmo Sweden and the colours and subtlety of Scandinavian seasons and design…obviously filter through my palette and shapes.

4. Where do you go in Australia when you want to feel inspired?
I absolutely love The Great Ocean Road in Victoria. Crusing along the stark coastline in a car or just spending time at our family Beachhouse near Portsea. Simple, unpretentious…and better still…uncomplicated.

5. How would you describe the Australian design scene?
Australia is changing rapidly in terms of global visibility and credibility. I always find it ironic though that within our own country people find it hard to conceptualize that viable design and manufacture can occur outside of Sydney and Melbourne. People look somewhat bemused when you tell them your studio is in Canberra (Our capital is better known for the Greenhouse gasses which come out of the Parliament Buildings!) That being said I see numerous whimsical and elegant works from talented artists/designers emerging…particularly working with textiles.

6. If you could go anywhere where would you go? If I could travel anywhere and spend time it would be south America…Belize in particular. The fusion of Jungle (with panthers) Mayan Pyramids and Amish/Mennonite settlers….sounds so disparate you’d have to get inspiration!

Click here for more from Bison Home.

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Before

Ilove using SIMPLE SOLUTIONS in decorating. When it comes time to repaint a room, it is quite possible to spend forever trying to decide what paint colors to choose for woodwork and walls, how to fix less than perfect features, and then another eternity painting straight lines between woodwork and walls (not my favorite task). Sometimes I want a QUICK FIX and an easy answer so I can have a new color in a day (or so!).

I’ll admit it, I’m an impatient decorator. And, honestly, I am too busy to fuss over each and every decision and project in life. In order to get on with enjoying life, yet still have a beautiful home, I have to simplify.

In this space, the simple solution to giving this room a lively new look was Sherwin Williams Westminster Gold #200. Everywhere.

The secret to making this one color paint technique work is to vary the sheen…put a glossier paint on the woodwork to contrast with a satin or flat paint on the walls. That contrast will give just enough variation for interest.

The overall look is cozy, fresh, hides imperfections and lets the furniture and accessories take center stage. The background becomes an effective backdrop to a beautiful room.

And it wasn’t complicated! I like that.

PHOTO:Country Living: Keith Scott Morton