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)

1. invest in the best
Instead of filling a room quickly with things you can afford, enjoy the process and slowly add pieces you absolutely love.
2. borrow your own clothes
If you love the hue of a blouse (or anything smooth-textured), bring it to a paint store to be scanned and reproduced.
3. lighten up
Reflective, sparkly fabrics and wallpapers draw light into any space.
4. work with what you've got
Play up a room's assets. If it has high ceilings, put up really tall curtains. If it's a dark box, don't try to alter it—painting it bright white will only make it seem dingy; instead, go for cozy.
5. lights!
Even in small rooms, aim for at least three light sources—ideally a floor lamp and matching table lamps—to banish gloomy corners.
6. go antique-chic
Invest in one fabulous antique per room, to set the tone for the entire space.
7. think outside the welcome mat
Don't neglect your entryway! Think of it as an appetizer for what comes next. It should reflect your home's overall style but also contain something special, so guests want to see more.
8. collect more
Collect something that speaks to you. No matter what it is, there's impact in numbers.
9. skirt the issue
Skirted tables in offices or entryways can hide all manner of ills: shoes, kids' backpacks, mail—even filing cabinets.
10. beyond wallpaper
Upholstering, rather than papering, walls yields a layer of softness and luxury for about the same price.

Posted by Kerstin

During this important year (presidential election and all), I readily admit that I don't rush to the front page of the New York Times or the Washington Post each morning.

More than likely, I am flipping through party pictures on style.com or my new favorite: a weekly blog feature on New York magazine hilariously dissecting the latest "Top Chef" victim.

See the latest cooked turkey, Spike, below.

I plan to return each Thursday (the day after the Bravo show airs) to read through the silly commentary. After that, I will look through this and last season's archives.

It's frivolous. I am not learning a thing. But a girl needs to ease into the weekend.

Share your online guilty pleasure -- we won't tell your boss.

I was at the beach relaxing without surfing the internet this week, so I had time to soak in some articles and discuss a favorite book while my father was reading it. I thought I’d share. If you have not read The Devil in the White City yet, go order it now! It’s such a well-researched, fascinating look into the Chicago World’s Fair, and into the context of a turbulent and exciting time in American history. Skyscrapers were soaring, unions were forming, cross country and intercontinental travel had become a reality, Frederick Law Olmsted was turning flat abandoned sites into rambles and lagoons*, electricity was thrilling, Wild Bill Cody was performing his Wild West Show to record crowds, and well, I’ll save the rest as a surprise. I had studied the Columbian Exposition first in American Studies and again in architecture school, but I did not know a fraction of what this great book taught me. I can’t imagine such feats of engineering, construction and bureaucratic/political nightmare budget solutions could ever be repeated today.

**

The Wall Street Journal featured a scathing and really well-written review of the Jeff Koons retrospective at the The Chicago Museum of Contemporary Art. I just love this cynically bored bit from Tom J. Freudenheim:

But if, like me, you’ve wondered what all the Koons-fuss was about, MCA’s flashy and even sparkling retrospective won’t persuade you of his significance. Indeed, the wall text can only be described as a generic narrative: “[insert the artist of your choice] mirrors society’s obsession with popular culture and negates simple divisions between appearance and reality, surface and depth, and art and commodity.” That Koons’s work “blurs the distinction between art and commercial objects as well as high and low art” further places him in the category of the ordinary.

I loved this wacky “Funny Farm” feature from today’s New York Times. Roy McMakin’s work is kinda Rem Koolhaas meets Quaker? I’m not sure, but I like it.

This is the craziest rotating structure I’ve seen since Hank’s LookAround Cafe. OK, if you get that reference, I want to marry you. Anyway, on the flight home I caught this NYT article about Francois Massau, a Belgian builder who built this rotating house in the fifties, and seemed to have a bit of Howard Roark in him. Read the full article here.

I HAVE to include one blog post I just spied: So Sylvie’s sourcing for the Mama Mia set design look. I was DRAGGED to that movie; I find listening to people sing in movies incredibly uncomfortable. It’s all Edward Norton and Woody Allen’s fault. Anyway, check out this dreamy post from So Sylvie.

*(EVERY THING you see in the above photo was built, including the lagoons, the island, the buildings, and the trees were all planted for the exhibition, etc.)

** I’m not even going to try and mess with the copyright issues related to sharing photos from the Koons exhibition; click on the MCA link above to see them online. I would have used Michael Jackson and Bubbles if I could have.

• Columbian Exposition photo from either Shepp’s World’s Fair Photographed, Chicago and Philadelphia, 1893, and from Glimpses of the World’s Fair Through a Camera, Chicago, 1893; it’s not clear which, but go to Boston College’s website to see more mind-blowing photographs of the fair!

• funny farm photo by Jason Schmidt for The New York Times

• rotating house photo by Jock Fistick for The New York Times (or maybe the Wavre Journal?)
• Mama Mia photo from Cinema Blend via So Sylvie.

Photo by Scott Francis

Michael Schaible's stunning retreat on the North Shore of Mexico's Lake Chapala. Amazing.

Photo by Durston Saylor

The very glamorous New York apartment of the very glamorous Geoffrey Bradfield. It is worth a look just to see Mr. Bradfield in his pastel pink suit!

Photo by Mario Ciampi

The flat in Venetian Palazzo owned by Belgian designer Axel Vervoordt. There is so much in this article, I can't even begin! It is a breathtaking masterpiece, and this piece alone is worth the full cover price.

Photo by Scott Francis

The Mid century Yacht design of Mitchell Turnbough. This is a nice break from the unreachable over the top luxury yachts you typically might see. It is so well done in a more understated way, and something that takes me back to my "sailing" days. There is something reminiscent here of the yachting days of the early 20th.

Photo by Derry Moore

The Spanish country house of Jaime Parlade at Alcuzcuz in Andalusia. There were so many beautiful photos here, it was very difficult to just choose one "teaser". I thought this bedroom was a very personal space that let Mr. Parlade's personality shine through. It is a smile producer.

Photo by Leigh Brown

The Sonoma County Craftsman Hillside Farmhouse of Jacques Saint Dizier. The interiors keep to the Craftsman roots without becoming expected. Loved it!

Photo by Durston Saylor

The Manhattan apartment Of Francine Coffey. A decidedly different look from the other choices for this issue, it is a very boldly colored Neoclassical design she refers to as "nouveau Federal". Hmm. There is alot of plaid. In this particular photo I could be sold. I would love your thoughts on the rest of the apartment!

Photo by Mary E. Nichols

The Pacific Heights home of Banana Republic President, Jack Calhoun. I thought many of you would be very curious to see this home!

And if this weren't enough, there are several captivating hotels from around the world...each very different and unique:

Photo by Tim Beddow

The Taj Mahal Palace and Tower. The Ceiling!

Photo by Scott Francis

Huntley Santa Monica Beach. So very cool.

Photo by Erhard Pfeiffer

The Ritz-Carlton, Bahrain Hotel & Spa. Ready to go?

There are, of course, all of the extras that you would normally expect from AD.

On top of that you can see the first four homes of the Open Auditions which AD began in October of 2007. Over the next seven months, the AD panelists saw over 1000 projects and have narrowed the field to 50 that have been chosen for publication.

I may be taken in by the quantity of very good stuff in this issue, but it also seems that the photography is fresher, brighter. Scott Francis, I have been informed, has been shooting for AD for many years and has a number of projects photographed for this issue. Very beautiful photos all around.

I just know I was very pleasantly swept off my feet by this issue. I think you will be too. Let me know what you think!

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.)

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.

I had the chance to visit the showroom of Joe Nye New York last week, and I was not disappointed! There are so many great pieces there that I was ready to ship half of the store home to Atlanta. Many of the finds can be attributed to Joe himself, while others are courtesy of the guys from Downtown. (I mean really, is this not a winning combination? Joe is the walking embodiment of style with a capital "S", while David and Robert of Downtown know what's going to be hot eons before the rest of us do.)

What really caught my eye was a new line of hand-forged wrought iron and steel patio furniture that is being sold at JNNY. The chairs, benches, and tables (the large basket-shaped one doubles as a planter) are powder coated in a choice of sixteen different colors, although custom colors can be special ordered (all pieces are made here in the States). And they don't rust! To me, the furniture looks a bit Elsie de Wolfe with some Mathieu Mategot and Rene Prou thrown in for good measure. How neat are these shield-back chairs?





Here is just a sample of what was in the showroom last week. If you see anything of interest, I encourage you to contact Karen at the showroom. She is really knowledgeable and nice too! (Tel. 212-486-7551)

I know many of you are in the throes of planning Spring parties and charity events, and believe me, I know that it can be daunting to decide on a scheme for an event. Sometimes all it takes is a spark... which is why I thought I would show some images from last week's New York City Ballet Spring Gala which was designed by none other than Charlotte Moss in collaboration with the talented DeJuan Stroud. (Moss and her husband Barry S. Friedberg were also Chairmen on the event.)

The event kicked off the Ballet's Jerome Robbins Celebration, so naturally the evening's program included such Robbins' works as Circus Polka, The Four Seasons, and of course West Side Story Suite. It was the graphic backdrop of this last piece that inspired the design duo's scheme for the event: yellow and black. I think this was an interesting choice because this color combination is graphic and gutsy and is not usually seen in Moss' residential work. But this is where Moss and Stroud were absolutely correct- when planning an event, sometimes you've got to think big and bold. What might work in a small room at home might fall flat in a large space, especially one like Lincoln Center.

Stroud and Moss, seen above attending to pre-gala details, kept things interesting by mixing up the table settings. Some tables had yellow cloths and small arrangements of yellow roses and protea, while others were all about black- black tablecloths, big black vases, and tall branches of forsythia.








Mixing up the table settings keeps things interesting.

Of course, the table settings are not the only things that need to be considered. What to do with the general atmosphere of the space? Are there architectural details that can be incorporated into your design scheme? Are there large voids that need to be attended to? In a place like Lincoln Center, it was important to make sure guests did not feel overwhelmed by the vastness of the space. I think they managed the space issue quite successfully, both with the tall masses of yellow flowering branches and with the yellow sculptural pieces hanging from the ceiling. And how great does the yellow and black striped banner look behind the Nadelman sculpture?


Bringing a large space down to size


It's all about the details

I hope that these tips might help you in planning your next event. With a little creativity, forethought, and careful planning, not only will your party be a success, but you too will be cool as a cucumber the night of the event. Just like Charlotte Moss.


Moss making her entrance at the Gala.

(For more information on the New York City Ballet, click here.)

(Image of Moss at top courtesy of Erin Baiano/Paul Kolnik studio. Decor shots and image of Moss at bottom: Mary Hilliard.)