“Everything here is kind of a mix of things I show, things I collect personally, things that are on consignment from other dealers.”
Apartment, office, showroom: this stunning Greenwich Apartment is all three to young designer Charlie Ferrer. And the result is stunning. It might in fact be one of the most beautiful Manhattan apartment I’ve seen in a long time. Maybe ever. I’m not surprised: Ferrer is one stunning furniture collection. And I’m putting it all straight to my dream house wish list. Most of the pieces in the apartment—the bedroom chandelier, the dining chairs, the mirrored dresser—are part of Ferrer’s furniture collection. Other objects are on consignment for other dealers. The showroom/apartment can be visited on appointment, and virtually every single object in the space can be purchased (with a very healthy budget). Can you imagine the discipline?
The monochrome blue-grey painting with the moroccan beni ourain rug and the brass sconce might be my favorite vignette of the house., but truthfully I wouldn’t change one single thing. And I don’t throw around these words lightly.
“I don’t have a background in design, but I do know what I like.”
For Haven’s Kitchen‘s Ali Cayne, mother of five, creating this inviting family home close to her restaurant was the key ingredient to a healthy work-life balance. After moving from the Upper East Side to a townhouse in the West Village, Cayne underwent extensive renovations with the help of her architect, but tackled all the décor, and finishes herself. Talk about over-achiever.
Ali Cayne’s strong sense of style comes through in her bold choices: floor-to-ceiling subway tiles with dark grout, monochrome gallery walls, yellow George Smith sofas, and wide collection of vintage Moroccan rugs, to name just a few. “I always love black and white with a splash of color” she says. The icing on the cake? A rooftop garden where she grows lettuce, berries, and sunflowers alike. Positively dreamy.
“She has both polish and mischievousness, and that comes through in her home.”
Once owned by a railroad tycoon, this historic 1868 home in New Orleans’ Garden District is what made Sara Ruffin Costello—founding Creative Director of Domino, interior designer, author, and mother (among other things)—relocate to the south. Once living in a comparatively crowded Manhattan apartment with her husband Paul and three children, she fell in love with this grandiose house. “Houses that speak to you come so rarely into your life, and when they do, you have to seize the moment” says Sara.
“It’s got kind of a formal flow to it with the center hall and voluminous rooms on each side and this grand staircase, but it’s not so formal that you feel like you can’t have a ping-pong table in the dining room”.
Sara Ruffin Costellos’s style is more than just combining old and new. “It all boils own to tension, which I find exciting” she says. “The theme of light and dark—of old and new and curvy and straight—is established at the front door, and it weaves through the whole house”. Keeping to a strict color palette (she chose black, white and wood) is her key to building harmony in this eclectic mix of styles.
A seasoned entertainer and mother of three, Sara knows the value in pieces that are already a little worn or teared. Most furnishing in the house are low-maintenance, allowing both children, and guests to roam freely and without care. Shop Sara’s exclusive sale on One Kings Lane.
“We just love this house, It is very private and serene, with glimpses of greenery from just about every window. It feels like a true family home.”
Blame it on Project Meatpacking Glam—which is taking up a lot of my attention these days—but I’m increasingly drawn to minimalist and monochrome interiors. Naturally I was instantly drawn to this layered monochrome family room on MyDomaine.
This Victorian terrace home in Melbourne belongs to Architect duo Stephen O’Connor and Annick Houle; their 11-year-old twins; a cat (Couscous), and a brown lab named Nutella (side note: put these food-themed pet names down as some of my favorites ever).
One thing that’s typical of Australian interiors (more specifically Victorian ones) is the almost stretched-out tension between traditional and modern (the heritage laws can be very strict in Australia). This tention between architectural styles can sometimes work very nicely (like in this case), but it can also go very very wrong.
Fun fact: my third house in Australia (yes, I move a lot) was a Victorian cottage. We too, had an overly modern extension at the back of the house. The front remained period appropriate: ornate plaster mouldings, exterior ironwork, marble fireplaces, stained glass windows, ceiling roses, wide oak plank flooring… The back was all concrete floors, steel window frames and butcher block counter tops.
Would you dare make radically modern renovations to a historic home, or are you more of a traditionalist? Discuss in the comments below.