Still current, the 1969 Horst Manhattan studio, pied a terre. A sometime home away from home, Horst decorated his studio in black and white. Reminiscent of his photography, Horst used houndstooth, zebra, and a cartoonish free form design to connect the dots of his studio. A vintage luxury ship ad poster glides along over the concealed desk area. Horst added a necessary daybed for overnights, a table/desk in colour blocked red and patterned zebra. Slashes of red adds more drama to Horst's already smashing studio.
Horst and Veruschka
"All forms, inventively used, can be diverting. Cost is secondary. "
"It is an exercise in decorating with forms, and also an exercise in economy. It cost very, very little."
Horst and Perry Ellis
"Because the ceiling was so high, the room seemed to soar right up through the roof. So I tailored the perspective with a false molding of black paint. It stops the eye. Then I amused myself by seeing how much variety I could give the walls by cutting them into geometric patches with wallpaper, paint and mirror. I didn't want to jangle, just diversion, and I think I have it. It's a harlequinade, claimed down by that big photostat I took years ago of a stature in Rome. The abstract and the classic can be very nice bedfellows, and in this case, that's exactly what they are."
Horst studio images House and Garden July 1969
Horst photographs-- Veruschka , New Yok 1962, Perry Ellis ,perfume advertisement, New York, 1982 (from Horst)
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What a terrific tour of a bold space. Somewhere I have photographs of George Platt Lynes's studio/apartment; just might have to post as a complement to your Horst post!
ReplyDeleteAs it is always a beautiful post when you do this type of post juxtaposition of Horst's photography and his studio is wonderful. I have not seen these photographs before and thank you once again for sharing something new instead of the sickly churning out the same articles from current publications.
ReplyDeleteHello- I've just stumbled upon your blog and I love it! Just thought I'd say so--
ReplyDeleteKami
Aesthete, would love to see that, I think it is interesting-the approach Horst took in this space.pgt
ReplyDeleteAnon, merci!I try.
Kami, welcome and thank you for touching base, please continue to come by. pgt
The varied scale of his geometry
ReplyDeleteis perfection !
Jjj
LA,
ReplyDeleteThis is exquisite. I've long adored this man's work, mostly from a fashion sense as well as his dealings with "the queen of the whole thing", Coco Chanel, but to see his "eye" applied to interiors is a marvel.
So much to appreciate: Harlequinaide, the geometry in space and fashion, the pairing of abstract with classical and, of course, the stunning photo of Veruchka, which I never tire of.
Judith, It is not surprising that. His photographs give Us that perfection too. pgt
ReplyDeleteEA, I am so glad you like this post, I thought the discriminating reader would! I love his reference to "photostat"ing. Did you catch the his garden and terrace post I did a week or so ago. I had his photographs of the space and Ivan Terestchenko's photographs 30 years later, Beautifully timeless in both-and virtually identical. pgt
"The abstract and the classic can be very nice bedfellows." Couldn't agree more. Also, how clever is that black false molding?! I didn't even notice the false-ness until I read the caption. It works like a charm, though.
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