16 December 2018

Mary Poppins Returns & Chairish~


(top row l. to r.)  Edwardian pearl handle umbrella (SOLD), Chinese majolica parrots (SOLD)early 20th c.wooden horse sculpturePearlware sponged spirits flasks,
(middle row l. to r.) vintage Italian weekender, Emily Blunt as Mz. Poppins, Victorian style mirror, (lower row l. to r.) Viennese bronze pigeon bowl, sterling overlay tea service, sheep sculpture ottoman in the style of Lalanne
all items are linked to chairish


(top row l. to r.) 19th c. umbrella stand, Olive Rush oil portrait, 1920's chandelier, Joshua Smith oil portrait, bronze parrot incense burner
(center l. to r.) hand blocked silk pillows 1of a pair iron French daybed c.1810, Ralph Lauren velvet pillows
(lower row l. to r.) 1940's chaise longue, vintage floral kilim, antique tray table, Napoleon III ebonized chair (1 of a pair)
all pieces available on chairish and linked.


(top row l. to r.) 1940's cupboard, bronze umbrellahooked pigeon rug, Aesthetic Movement brass chandelier, English bamboo cabinet 19th c.,
(lower row) Pierre Paulin tongue chair, Roberta Roller Rabbit quilts, Spode bowl, Roberta Roller Rabbit twin quilt, 1 of 4 Antique Gebruder Thonet chairs, c. 1850's
(center) Mary Poppins makes magic for the Banks children
all linked to chairish.

07 December 2018

DIORISSIMO! Dior & His Decorators

We like nothing better than looking at the past through new eyes. It's like seeing the thing we have seen, a thing we are seemingly familiar with—anew.
We take a New Look.

Maureen Footer's second book Dior and his Decorators opens our eyes to the world of the great Christian Dior in a way we haven't considered—through his decorators. Tracing the paths of Georges Geffroy and Victor Grandpierre, Footer threads the finest skeins of silk through Postwar Europe's beau monde for her readers, unearthing the rooms of these two decorators and their influence on Christian Dior. The decoration of Dior's first couture house was Grandpierre's vision. The antisceptic chic established in the fifties still defines the house today—in appearance and in branding—testimony to his unerring eye. Of course, Dior's chic was his inspiration, there's nothing quite like Dior, as Dior and his Decorators affirms.

Victor Grandpierre—A Study in Elegance and Understatement.
As witnessed here in one of his clients' chateau, Grandpierre, Christian Dior's decorator, was consistent in his personal design aesthetic, swanning from room to room reiterating elegance and understatement with impeccable French furniture, couture details, and subtle color. This 'Blue' Room even hints of that gray— Dior Gray. Both decorators were asked to decorate Dior's Paris townhouse and the results reflected the soigne of Dior's New Look.

Rene Gruau's evocative illustration for perfumes Miss Dior and Diorama, 1955.

Dior's perfume counter at 30, ave. Montaigne, 
—the first year of the House of DIOR was in residence.

In Christian Dior's Georges Geffroy decorated Drawing Room, all of Grandpierre's rules applied. There is an undisputable Elegance, coupled with discipline. Nothing more—Nothing less.
Both decorators were asked to decorate Dior's Paris townhouse.

In Dior's Winter Garden room, a ball gown from his 1953 collection dominates.

It is difficult to fathom the impact that Christian Dior made on couture during his brief tenure at the helm of Dior. The New Look debuted in 1947, and in just ten years Dior would be dead. His decorators continued their work as seen in the rooms Footer presents in the book and their rooms are the greater for having encountered Dior.

Dior offered this on Elegance in his book Le Petit Dictionnaire de la Mode, "This is a word that would need a book to give it its right definition!... "
For us, fortunately, we have Dior and his Decorators, undeniably elegant.

16 November 2018

Cabana Curated

If for nothing else than the singular covers each CABANA issue wears, the magazine itself is a design voyeur's dream.
Am I a voyeur?
Yes—a design voyeur and my dream would be to curate an issue of CABANA—or even a few pages.

The latest covers of CABANA are fabrics from my favorite fashion designer Dries Van Noten. Past covers are from the Dedar, Kravet, Pierre Frey & the F. Schumacher fabric libraries, and Gucci and Ralph Lauren's fashion house fabric collections.

INSIDE? Classic interiors, Classicism,  Chintz, French Lampas, Baroque, Americana,  Nomadic tents, Monticello. It's the way editor Martina Mondadori Sartogo lays them out—the pages of Cabana blur all the lines of design. The sacred becomes profane and then turns back on itself.

images above in no particular order, Sir Lawrence Alma-Tadema -Townshend House 1885, Louis Comfort Tiffany-Near Eastern Interior, Portrait of Lady Mary Wortley Montagu detail, paper cutting of flower urn from the American Folk Art Museum, Mantua from the Victoria & Albert Museum, Portrait of Dorothy Quincy by John Singleton Copley,18th c. Traditional Dress of Holland, Anthony Van Dyck self-portrait, Leonard Campbell Taylor-The Sampler, Dinka Mans beaded Corset- Southern Sudan, Ladies Album-signatures of textile cut-outs, Eileen Agar-Woman reading,cut-out 1936, Quilted Petticoat 18th c., Patchwork Caraco 17th c., Ellsworth Kelly, Ghirlandaio detail from the Madonna and Child Enthroned with Saints, French Textile Sample book 1825, Armenian bride, 19th c. Marble Paper, Portrait of Polish nobleman Kazimierz OssoliƄski1720s, Gheeraerts Detail from a Portrait of Anne of Denmark,1614.


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