Elle Decor

POINT OF VIEW BUT DOES IT SPARK JOY? Taking a cue from the art market, more new design is being described as collectible. Some say that’s not right for makers—or the industry. BY RIMA SUQI Marc Newson and one of his Lockheed Lounges. O ne can’t get away from the phrase collectible house, confirmed that “many successful active contempo- design these days. These two deceptively simple rary designers have yet to establish a secondary market and words joined forces nearly 20 years ago and therefore appear less frequently at auction.” have since gained steam, spawning a contemporary design There are exceptions, most notably Australian designer Marc Newson. A prototype of his Lockheed Lounge, a market with an increasing number of galleries offering sculptural aluminum-and-fiberglass chaise designed in the late 1980s, was auctioned for just over $2 million in 2010, pieces touted as collectible—and the rise of a collector class setting a record for the highest price paid for a work by a living designer. In 2015, another of the edition sold for wanting to be affiliated with this much-hyped movement. $3.7 million, and last year, his Pod of Drawers achieved $882,000 at Sotheby’s. Other contemporary makers seeing Historically, collectible implied scarcity or provenance, success at auction include Jeff Zimmerman, whose Vine ceiling lamp sold for $38,000 over the high estimate at and with vintage or antique pieces, scarcity was often a Phillips last year. At the same auction the year prior, a pair of bronze tables by French artist Ingrid Donat sold for MICK BRUZZESE/HEADPRESS/REDUX given, even if said works were originally mass-produced. $100,000 over the top estimate. Donat is represented by Carpenter’s Workshop Gallery, co-owned by her son, But when it comes to contemporary furniture and acces- sories by living designers, it’s become a loaded word, implying that these pieces are worthy investments that will increase in value. But often the appreciation doesn’t occur for decades, if at all, and the secondary market for contem- porary design is virtually nonexistent. Cordelia Lembo, head of the New York design department at Phillips auction E L L E D E C O R 49

POINT OF VIEW “The term Because nobody has coined a more acceptable phrase, appeals to according to Zesty Meyers, cofounder of R & Company, the a certain gallery that catapulted the Haas Brothers to fame and class of currently represents the likes of Jeff Zimmerman, Katie people.” Stout, and Roberto Lugo: “When the market exploded, nobody knew how to write about it. Does it go in a design –Damon Crane, magazine or the art section of the New York Times?” Damon Crane, founder of the gallery Culture Object, feels gallerist that “the term appeals to a certain class of people, and that’s not a bad thing, because we need them. I’m not saying let’s Julian Lombrail; the gallery’s business model is built around murder collectible design in its sleep, but I think we can do offering editions of eight plus four artist’s proofs. better.” Many have tried. For decades, what we now call design was referred to as the decorative arts, and while still In today’s world of collectible design, limited editions in use the phrase seems to have fallen out of fashion, are de rigueur, creating the perception of scarcity from the especially in the contemporary design world. start. “It’s an approved artistic strategy,” says Glenn Adamson, a design curator and historian. Alexandra Cunningham The irony is that the one word that truly speaks to the Cameron, a curator at the Cooper Hewitt, Smithsonian handmade nature of so many of these works is that other Design Museum, and former creative director of the Design pesky term. Craft, Alhadeff says, is the “real crossover Miami fairs, where it is believed the term collectible design between the design and art worlds,” citing ceramics as an originated, tells me the design market came to fruition example. It may be time to take a cue from the jewelry about 20 years ago to mimic the art market: “People thought market—which employs words ranging from fine to high as craft just wasn’t sexy enough, so the signifiers of both craftsmanship and price—and reclaim idea was to embrace design as a term craft and attach it to the proper modifier. to create different types of interest, connoisseurship, attention, and In the meantime, the collectible design market contin- increased monetary value.” ues to grow, and that is a good thing. “It is giving opportuni- ties to a new generation, allowing new voices to emerge that It clearly succeeded, what with might not have had an opportunity before,” says Lee F. all the design fairs that popped up. Mindel, an architect and gallery owner. But he warns Yet usi ng col lectible desig n to against buying to flip. “To go in with this notion that every- describe offerings at said fairs is a thing is collectible, wrapped in a bow as an investment tactic that every person I spoke to piece, is foolish,” Mindel says. “The most important thing is found problematic and hollow. that it has value to you in the present.” ◾ “Something about it feels akin to the way luxury became overused to Ingrid Donat the point that nobody knows what and one of her it means anymore,” says David bronze tables. Alhadeff, founder of the Future Perfect, a gallery representing design COURTESY OF CARPENTER’S WORKSHOP GALLERY darlings Chris Wolston and ceramist Eric Roinestad. So why is the term still in use? 50 E L L E D E C O R

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THE AGENDA OFF THE WALLS What’s shaping our tastes and topping our to-do lists this month. BY LAURA RASKIN EDITED BY INGRID ABRAMOVITCH SEE SHOP VILLA MEDICI: SILVIA RIVOLTELLA NEW YORK CITY TOKYO, LONDON, AND MORE Boasting the largest collection of Spanish You’d have to be seeing spots to miss and Portuguese art outside the Iberian Louis Vuitton’s mashup with immersive, Peninsula, the Hispanic Society Museum & world-creating Japanese artist Yayoi Library reopens its main building and upper Kusama: From Tokyo to New York, the terrace in Washington Heights this month brand’s flagships have been festooned with after a six-year renovation by Selldorf infinity dots to highlight the Kusama collab Architects and Beyer Blinder Belle. inside. Part deux of the collection drops The restoration includes a refresh of the March 31, with the house’s signature lug- Spanish Renaissance–style Main Court, gage dipped in dots and sprouting pump- with its terra-cotta details and kins, flower-festooned slides, and special Goya portrait. hispanicsociety.org editions of LV scents. louisvuitton.com VISIT TOP: The Main Court at the Hispanic ROME Society Museum & Since 1803, the Villa Medici, a Library. Renaissance palace, has been home to the French Academy in Rome. Now ABOVE: A room Fendi artistic director Kim Jones and the designed by Fendi brand’s architecture department have at the Villa Medici. teamed up to transform six of the villa’s historic salons. Newly restored and open RIGHT: A perfume to the public, the rooms feature fresh pal- bottle and a store ettes, Fendi Casa furniture, and pieces interior from by designers such as Noé Duchaufour- Louis Vuitton’s Lawrance, Ronan and Erwan Bouroullec, collaboration and Toan Nguyen. villamedici.it with Yayoi Kusama. 52 E L L E D E C O R



THE AGENDA DRINK LONDON This month, the 1931 Dorchester Hotel unveils its most significant reno- vation in more than 30 years, and the new Artists’ Bar perfectly encapsu- lates the Mayfair icon’s legacy of glamour and creativity. Designed by Pierre-Yves Rochon, the bar shines with a mirrored ceiling, crystal chandelier, and powder-blue seating surrounded by a gallery of contemporary British artwork. Ann Carrington’s large-scale mother-of- pearl-buttons silhouette of Queen Elizabeth II and Ewan Eason’s gold-leaf aerial map of Hyde Park share the spotlight with Liberace’s gleaming piano. dorchestercollection.com ABOVE: The Artists’ Bar at the Dorchester Hotel in London. RIGHT: Salon Jupiter at the Musée National Picasso-Paris. BELOW: Artist Wangechi Mutu and her piece Musa. SEE GO VIEW WANGECHI MUTU: CYNTHIA EDOR NEW YORK CITY PARIS PHILADELPHIA A complete survey of To honor the 50th anni- An exhibition at the Wangechi Mutu’s career versary of Pablo Picasso’s Center for Art in Wood spans the entirety of the death, the Musée National takes a fascinating start- New Museum, including its Picasso-Paris invited ing point: the art of the glass facade, coalescing British designer Paul Smith mashrabiya, the wood- more than 100 works that to curate masterpieces turned lattice screens that explore the legacies of from the museum’s collec- have been a key feature colonialism, globalization, tion. After all, the two share of Islamic architecture and African and diasporic a love of objects, dress, since ancient times. For cultural tradition. Called and playfulness. Smith the show (through July 23) “Intertwined,” the exhibi- also invited contempo- six international artists, tion (through June 4) also rary artists like Mickalene including Susan Hefuna steps back to highlight Thomas and Chéri Samba and Hoda Tawakol, were the important role that to contribute works of commissioned to create New York institutions have their own in response works based on the played in the development to Picasso’s oeuvre cultural significance of Mutu’s practice. (through August 27). of the craft. newmuseum.org museepicassoparis.fr centerforartinwood.org 54 E L L E D E C O R



COLLAB TO COVET THE MIX MAESTRO Rafael de Cárdenas brings cosmopolitan cool to his debut furniture collection. IF R AFAEL DE CA´RDENAS IS NOT QUITE CLOCKWISE FROM TOP: Furnishings from a household name, it may be because Rafael de Cárdenas four walls can’t contain the architect for Mitchell Gold + and designer’s prodigious talent. His Bob Williams. Stiletto is a name often dropped at cocktail dining stool. De parties—shorthand for design with a Cárdenas on the global perspective and studied sensual- Sunbeam lounge ity. Since founding his eponymous firm chair; select fabrics in 2006 in Manhattan’s Chinatown, were specially devel- de Cárdenas has worked his magic on oped for the capsule. everything from yachts to villas, retail Lily ottomans. boutiques, and city apartments. mgbwhome.com This spring, de Cárdenas launches his first furniture collection with a ADRIAN GAUT; OTTOMANS: capsule line for Mitchell Gold + Bob COURTESY OF MG+BW HOME Williams. With influences as disparate as 1940s French Art Deco and Demi Moore’s apartment in the 1985 film St. Elmo’s Fire, the collection lends itself to the idiosyncrasies of city life while appealing to this all-American, North Carolina–based brand’s loyal customer base. De Cárdenas’s designs don’t break the mold so much as refine it; he worked with MG+BW’s artisans on the factory floor to finesse details such as piping and seat height. The goal was to “evoke the zeitgeist with a light touch,” he says. A headboard has optional wings, for instance, and versatile ottomans come in varying sizes and graphic patterns. “It was exciting to think about what feels true to the brand while finding a wider appeal,” de Cárdenas says. “The audience for this collection needs to see themselves in it.” —Sean Santiago 56 E L L E D E C O R



TALENT LEFT: A self-portrait from one of Willi Smith’s sketchbooks. BELOW LEFT: A Willi Wear ensemble. BELOW: A Jay Sae Jung Oh chair acquired for the museum by Cunningham Cameron. cooperhewitt.org GOOD EYE Her first show at the museum, MATT FLYNN © SMITHSONIAN INSTITUTION (3) Willi Smith: Street Couture, opened As a design curator at right as lockdown began in 2020. The New York’s Cooper Hewitt, exhibition spurred something of an overdue renaissance for the brilliant, Alexandra Cunningham previously overlooked Black American Cameron marries rigor designer whose namesake sportswear line, Willi Wear, was an exacting fusion of and creativity. grace and accessibility. “Alexandra under- stood that Willi’s impact on culture was PORTRAIT BY ELLIOTT JEROME BROWN JR. much more important than the clothing itself,” says Paper magazine founder Kim EARLY AMERICAN STREETWEAR, PLAYTIME DESIGN, EXPERIMENTAL NATIVE Hastreiter, a friend of Smith’s. “Her work is totally out of the box and executed with a American craft—all are disparate subjects that Alexandra Cunningham deep care for cultural context.” Cameron has contextualized and made fresh over the course of the past Next up for Cunningham Cameron is 15-odd years. In her current role as contemporary design curator at the the Cooper Hewitt’s design triennial, in Cooper Hewitt, Smithsonian Design Museum, in New York, she spends 2024, which she is co-curating alongside her days interpreting the museum’s existing collection and expanding Michelle Joan Wilkinson and Christina L. the canon of design through new acquisitions. De León. “We are at the beginning of discovering what role museums can play in Her path to the Cooper Hewitt was a nontraditional one. She came broader cultural production,” she says. “They to the museum in 2018 not with a Ph.D. but from the arts publication are serious institutions of course, but they are Miami Rail, where she served as editor in chief. She had previously been also a space for play.” —Camille Okhio the creative director of Design Miami and an independent curator of shows at contemporary art museums across the United States. During that time she threw her considerable weight behind public art commis- sions with artists like Dozie Kanu and the design firm Charlap Hyman & Herrero. “I think there is something to be said for bringing together many different types of people with diverse experience and seeing what happens with that dialogue,” says Cunningham Cameron. 58 E L L E D E C O R



STUDIO VISIT 2 3 ROOM TO RISE Artist Cheyenne Julien’s vivid interior worlds exorcise her anxieties and focus on ascension. 1 WHEN THE 29-YEAR-OLD BRONX-BASED ARTIST CHEYENNE JULIEN 1. was three, she covered the walls of her family’s apartment Dad’s Tools, 2021. with scribbles. But unlike most toddlers, she was rewarded 2. for her defacements with a wall on which she could express Front Door, 2021. herself with impunity. After she’d covered every inch, a new 3. coat of paint went up—a tabula rasa to continue working Between Heaven her creative muscles. Now, those same images and the and Here, 2022. murder of George Floyd. A child’s drawing of a rainbow in the background recalls spaces they decorated appear in the background of her cheyennejulien.com PORTR AIT: SHOT TI NYC; ART WORK: COURTESY OF THE ARTIST AND CHAPTER NY, NEW YORK; paintings and drawings. “I see life as a cartoon,” Julien says. Julien’s neighborhood. PHOTOGRAPHS BY CHARLES BENTON “My mind can be a very dark, jumbled place, so a lot of that Julien, whose parents still live near the top of the comes through humorously in the work.” Creating is a way 41-story Bronx housing project where she grew up, also for Julien to examine herself, organize her thoughts, and prioritizes spaces of communion. “The only way you could exorcise traumatic events. “The work comes from my reach our apartment was by elevator,” Julien says. “So anxiety,” she says. elevators became a place for us and our neighbors to Turmoil continues to provide fodder for Julien. Tread- congregate.” For her, they are symbols of ascendance. And ing Water, a painting from 2020 that was recently acquired with works on view at the Frieze Los Angeles Fair in by the Whitney Museum of American Art, depicts a police February and a group show at the Museum of the City of officer puncturing the water bottle of a protester after the New York in May, she’s on her way up. —Camille Okhio 60 E L L E D E C O R ELLE DECOR IS PROUD TO BE ONE OF 12 HEARST MAGAZINES PARTNERING WITH THE WHITNEY MUSEUM OF AMERICAN ART TO AMPLIFY THE VOICES OF FEMALE ARTISTS IN HONOR OF INTERNATIONAL WOMEN’S DAY 2023. THIS PROGRAM IS BEING PRESENTED IN PARTNERSHIP WITH JOHNNIE WALKER, WHICH HAS AWARDED MORE THAN $1 MILLION IN GRANTS TO WOMEN-OWNED BUSINESSES AND IS HELPING WOMEN OVERCOME HISTORICAL BARRIERS BY SHOWCASING STORIES OF THEIR PROGRESS.

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HOUSE CALL FALLING INTO PLACE BY SEAN SANTIAGO PHOTOGRAPHS BY BLAINE DAVIS How a collector and his designers STYLED BY ANTHONY AMIANO made an art-forward New York loft. 1 Y ou could call it kismet, the way collect- thematically focused on The Picture of Dorian SITTING PRETTY ing led Ilan Cohen to this apartment in Gray. The exhibition opened on Oscar Wilde’s Manhattan’s Chelsea neighborhood. birthday and brought a number of new relation- The living area features ships with emerging talent into Cohen’s life. work by the artists Sam “When I started, back in 2009, I would buy any McKinniss (left) and Doron FOR DETAILS, SEE RESOURCES Creating a space that reflected this per- Langberg (center) and a contemporary work that I saw,” Cohen says. sonal history—and provided ample room to sculpture by Oren Pinhassi. nurture and expand on it—fell to Noam Dvir The sofas are by Vipp, the “But over time I created my own eye and my and Daniel Rauchwerger, founders of the cocktail table is by Thomas architecture and interiors studio BoND. Here’s Barger, and the side tables own taste.” Upon his discovery of the practice how they made Cohen’s loft come together. are by Alvar Aalto for Artek. A ceiling-height doorway of queer artist TM Davy, his collection evolved, into the bedroom allows for cleaner sight lines and a ultimately becoming fodder for a 2012 group better sense of scale. show, co-curated with 1969 Gallery’s Quang Bao, 62 E L L E D E C O R



HOUSE CALL 2 SALON STYLE “Having them on the wall is like Cohen’s collection includes living with the more than 45 pieces on ar tists.”–Ilan Cohen the main salon wall, with another 100 or so through- around natural light, with out the apartment. Cohen, a secondary goal of inte- who was 41 at the time he grating functional elements started collecting and works in a way that wouldn’t take in finance, goes through away “wall real estate” several permutations from Cohen’s art collection. when placing works. “At Turning to Donald Judd first I had everything on the for inspiration, the firm floor, laid out like a jigsaw achieved this by creating puzzle,” he says. “In my built-in pieces, using a experience, the fourth or restrained material and fifth iteration usually sticks.” color palette, and keeping all furniture 36 inches tall DESIGNING FOR ART or under. “This kept the eye level completely open,” When work on the project Rauchwerger says. began in late 2021, the simple rectangular form of the main living area was obscured. Dvir and Rauchwerger sought to reorient the apartment 64 E L L E D E C O R

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HOUSE CALL “Over time I created my own eye.” HAPPY RETURN –Ilan Cohen Cohen lived in another unit at the same address in the early 2000s and was “very familiar” with the bones of the building. He brought Dvir and Rauchwerger along on his initial viewing for their first impressions. “But I knew it was the right fit as soon as we walked in,” he says. BUILDING SUCCESS BoND first worked with Cohen on his modernist beach house on Fire Island, New York. While this space lacked an architectural identity, it gave the firm the chance to articulate a more nuanced approach to liv- ing with art. “The singular material of wood, the min- imal sculptural nature of furniture in the room— together, these types of considerations informed our overall layout,” Rauchwerger says. MODERN WORKS In the bedroom, seen at top right, the custom headboard is in a Dedar fabric. The shelving is a custom design fabricated by Zuerlein Furniture. The artwork is by Wolfgang Tillmans (top) and Doron Langberg. At right, the kitchen, an open, modu- lar concept by Vipp, features artwork by (from left) Alex Olson, Alison Rossiter, and Lisa Williamson. The original flooring was sanded and restained. 66 E L L E D E C O R

Y V ES D ELO R M E .C O M

HOUSE CALL “This 7 project just c l i c k e d .” –Daniel Rauchwerger PRIVACY, PLEASE In the bedroom, the bench is by Thomas Barger, and the rug is by Nordic Knots. An office nook, shown at top right, features inset white oak paneling that mirrors the design in the foyer, both fabricated by Alban Krasniqi. THREE’S COMPANY Daniel Rauchwerger (left) and Noam Dvir, founders of BoND, pictured above. Ilan Cohen, seen below, flanked by works by Josh Smith (left) and TM Davy. ◾ 68 E L L E D E C O R

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KIRK DAVIS SWINEHART BUILDER William Cullum chose Beach Plum by Benjamin Moore to complement the gallery walls in his Greenwich Village apartment. THE SUM OF ITS PARTS Nothing elevates a room—any room—like the perfect gallery wall. E L L E D E C O R 73

BUILDER T he year was 1667, and the Académie Royale de The grand piano is Peinture et de Sculpture in Paris had a problem: How the focal point of to display the massive amount of art by École des this green music Beaux-Arts graduates all at once? The answer lay in what was room in New York reportedly the first-ever salon wall—also known as a gallery City designed by wall—an overwhelmingly beautiful bit of controlled chaos, a Robert Couturier, riotous run-on sentence à la française of artworks, mostly yet the gallery wall pictures, hung from side to side, floor to ceiling. steals the spotlight. Fast forward 356 years and gallery walls are more popular than ever, and just as excruciating to arrange today as in the 17th century. “Sometimes people get really caught up in, well, all the mats have to be the same, or all the frames have to be the same, or whatever the case may be,” says New York–based designer Corey Damen Jenkins. “There’s great fun and enjoyment in releasing oneself from those rules.” In Jenkins’s private office, abstract pieces, architectural prints, a gilt Louis XVI mirror, and more hang against a gold flame-stitched wallcovering from Arte. “A gallery wall is a great solution when one has a large collection,” he says. Lathem Gordon, principal at Atlanta firm GordonDunning, similarly stockpiles all manner of finds. “I’m like a black T-shirt,” she says, “collecting everything but money and men.” One of the great things about a gallery wall, she says, is “its ability to elevate treasures and give cohesion to some- thing that may otherwise feel scattered.” A winning combina- FROM TOP: DOUGLAS FRIEDMAN; EMILY FOLLOWILL tion of Thibaut drapery, pastels, and a gallery wall in an Atlanta home by Lathem Gordon. 74 E L L E D E C O R



BUILDER Still, it’s vital to limit what you hang to “things that little bit of chippy gold next to modern lacquer.” Gordon speak directly to your heart,” says New York City decorator intentionally includes a few highly functional frames from Miles Redd. “And look for a contrast of tension. If you have big-box stores alongside custom ones: “We vary how they’re only paintings, it feels kind of one note. The great gallery framed so that you can trade what you need to trade, like if walls are a really disparate mixture of things: It’s the you’re going on a trip next year and know you’re going to watercolor next to the abstract next to the piece of porcelain take a photograph that will go there.” that really makes them sing.” Jenkins advises selecting an anchor piece to serve as a focal point and laying your The key height for your anchor piece, Rabel says, is arrangement out on the floor—then sleeping on it (figura- typically 60 inches from the floor to the center of the art- tively)—before you commit. “It’s important that you step work. Beyond that, according to Jenkins, there’s no need to away for a while and come back to it to see if it still looks space each piece out equally to fill up an entire wall. “It’s good,” he says. And keep your most special pieces on their better to group them all together only two inches apart and own. “You don’t want a gallery wall full of paintings with a make a statement,” he says. Rembrandt in the middle of it,” says Richard Rabel, a New York designer and former senior vice president at Christie’s One of Redd’s biggest challenges is sourcing a gallery specializing in Old Master paintings. “Viewers today are wall’s small but impactful pieces that he’ll add to the mix in kind of like hummingbirds in that they go here and there, an odd way to take your eye down low or up high, such as not really focusing on anything.” the diminutive reverse-glass painting displayed between a Velázquez reproduction and a sconce in his own living When it comes to framing, Redd finds the magic is also room. “It’s always the small pieces that are the hardest to in the mix: “If you’re going for an eclectic, collected vibe, it’s find that really make a gallery wall,” Redd says. “They’re good to mix up the frames—a little bit of wood next to a the exclamation point.” It’s just what every riotous run-on sentence needs. ◾ 1. MANOIR PICTURE 4. JAXTYN WALLCOVERING THIS EASEL TABLE LAMP Arte’s architectural Accentuate your home gallery with A brass finish roll brings a pop of color these high-design elevates this practical pick. to the background. accoutrements. 21″ w. x 17″ d. x To the trade. BY HELENA MADDEN 38″ h.; $599. arte-international.com arhaus.com 3. ZAIRE MIRROR A mirror, like this faux malachite piece, can add yet another layer to your gallery wall scheme. 35″ w. x 1″ d. x 47″ h.; $2,495. jaysonhome.com 2. ROSEN DAYBED 5. PLINTH PEDESTAL WALLCOVERING: VINCENT DILIO BY NORM ARCHITECTS Sit back, relax, and appreciate the art you’ve got hanging in If you’ve got sculptures this soft and sculptural seat. or plants, consider 84″ w. x 48″ d. x 20″ h.; price upon request. lovehouseny.com displaying them on a 76 E L L E D E C O R sleek rose marble plinth. 12″ sq. x 30″ h.; $2,695. menuspace.com





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In the primary bedroom, the upholstered bed is by EQ3. Chair (beside bed) by Gerrit Rietveld; lamp by Achille Castiglioni. ABOVE LEFT: Upstairs, the vintage furnishings include a pair of Togo lounge chairs by Ligne Roset and a side chair by Pierre Jeanneret. Artwork by Carsten Beck. LEFT: In the bathroom, the vanity, mirror, and sconces are original to the home. Ceramic urn by Jayne Adaie.

“To live in a Gehry house, let alone an older one, is an amazing opportunity.” —FLORIAN MARQUARDT E L L E D E C O R 87

The Manhattan living room of Sara Tayeb-Khalifa and Hussein Khalifa, which was designed by Patrick Mele and architect Nasser Nakib. Vladimir Kagan sofa from R & Company; vintage French rope chairs in a Fortuny leopard velvet; cocktail table by Sam Orlando Miller; armchair (rear left) by Ralph Pucci in a Duro Olowu fabric for Soane Britain; artwork (above sofa) by Selma Gürbüz. For details, see Resources.