Elle Decor USA May 2022

SHORTLIST Monica Khemsurov (left) and Jill Singer. 1. MAGNA CHAIR MONICA 5. ORMAIE FRAGRANCES KHEMSUROV This is one of Charles Constantine’s It sucks to fall for branding, but original designs for our new line. It’s AND Ormaie is not just a beautiful bottle; like a little bowl that scoops you up. JILL SINGER Les Brumes is truly that good. bestcase.co With their first furniture collaboration launching in May, ormaie.com 2. ORACLE the Sight Unseen founders share OLIVE OIL eight things that inspire them. 6. TETRA ASHTRAY The matte blue AS TOLD TO SEAN SANTIAGO This hand-sculpted glass of this bottle is ashtray could also work to hold straight out of a your keys. It’s really a catchall. Dutch painting. It looks very shop-tetra.com sophisticated on your counter. 7. CASA SHOP oracle-oil.com They always stock the perfect expression of whatever is trending, 3. BUTTERFLY and it’s generally affordable. LAMP shopcasashop.com The top of this vintage Flos lamp feels pretty and delicate, which is a neat contrast with the metal base. pamono.com 4. VILLA 8. VOLUMETRIC PORTR AIT: CHARLIE SCHUCK; 1: CHARLES CONSTANTINE; STENERSEN SEGMENT DESK 3: PAMONO & MARCO CAPPELLO VINTAGE & DESIGN; 4: NASJONALMUSEET/ANNAR BJØRGLI; 5: L A MAISON ORMAIE House museums A work table that’s (this one’s in Oslo) chunky or sculptural in one solid color is give you ideas nice, because it can fit that you wouldn’t well into any interior. necessarily 1stdibs.com come across on Instagram. nasjonalmuseet.no 50 E L L E D E C O R



SHOWCASE THE CAT’S PAJAMAS A legacy of feline inspirations animates this covetable new collection of hauts bijoux. PHOTOGRAPH BY BENOIT PAILLEY AMONG LOUIS CARTIER’S MANY CONTRIBUTIONS in reds and greens—most notably coral and emeralds, accented STYLED BY BERTILLE MIALLIER with black and white diamonds—in designs considered quite avant- to the legendary house founded by his grand- garde for their time. But it was under Toussaint’s reign that the father was the introduction of animal motifs Panthère collection expanded to include brooches, earrings, and a in jewelry, beginning with the Panthère de bangle, with the big cat front and center. Cartier wristwatch, which debuted in 1914 and featured onyx and diamonds set in a The Panthère motif, as well as red and green stones in combi- pattern that mimicked a leopard’s spots. nation, both remain brand hallmarks to this day. Cartier’s Sixième His inspiration was a panther-coat-clad Sens High Jewelry collection is a case in point. Ravishing coral Belgian ingenue named Jeanne Toussaint, is the undeniable star, but the leopard’s spots are ever present in who caught his eye, captured his heart, and onyx and brilliant-cut diamonds, the animal’s glistening eyes became his muse. Louis originally hired his represented by cabochon-cut emeralds. It takes 227 hours to “Petite Panthère” (as he called her) to design hand-craft the Panthère Spicy earrings, which feature 25 carats handbags and accessories. In 1933 she of coral, and 180 for the more than 75-carat drops on the Acraga became Cartier’s director of fine jewelry, a earrings—powerful pieces whose real-life sightings will no doubt position she would hold for almost 40 years. be as rare as the big cat that inspired them. —Rima Suqi Louis is credited with leading the house The latest installment from Cartier’s Sixième Sens High Jewelry collection features the out of its aesthetic comfort zone by incorpo- Panthère Spicy earrings (left) and the Acraga earrings, both in coral, onyx, diamonds, rating bold combinations of colored stones and emeralds. Prices upon request. cartier.com 52 E L L E D E C O R



STUDIO VISIT Designer Lisa Perry (center) with a group of artists, designers, and gallery owners at Onna House in East Hampton, New York. FRONT AND CENTER A Hamptons house with an art-world legacy is reborn as a gathering and exhibition space for creatives. BY JACOBA URIST Without Instagram, it’s likely the Hamptons’ great.” And it seemed the perfect setting for a new JORDAN TIBERIO. FOR DETAILS, SEE RESOURCES newest art haven, Onna House, would never project: a center for woman-identifying artists and have come to be—and a modernist landmark designers (on’na means “woman” in Japanese). may well have vanished to the annals of time. “There is this fantastic real-estate agent I was following,” says It did not hurt that the house, designed in 1962 by Lisa Perry, the fashion and interiors designer and art col- the architect Paul Lester Wiener, is the stuff of art-world lector. The glass structure in East Hampton, New York, legend. The home was built for the taxi mogul Robert that the agent posted reminded her of the midcentury Scull and his wife, Ethel, who were major collectors of house of her childhood in Riverwoods, Illinois. Pop and minimalist art. (Andy Warhol’s first commis- sioned portrait, Ethel Scull 36 Times, was made in 1963 According to her broker, many buyers tear down at Robert’s behest.) The Sculls’ Hamptons home was a vintage properties—and this one was in serious nexus of the 1960s art world. “Just imagine all these disrepair. But Perry, who has a weekend house in nearby people gathering there—Rauschenberg, de Kooning, North Haven, says she could “tell that the bones were Pollock,” Perry says. “I want to bring that back.” 54 E L L E D E C O R

She enlisted Christine Harper, an architect with An artwork by Nina Munk hangs in a guest- whom she had worked on several previous projects, to house for visiting artists. Bed, Haiku Designs; restore the home. The goal was to stay as faithful as vintage Paul Secon pendant, Russ Steele. possible to Wiener’s original vision, while making enhancements. For the kitchen and primary bathroom, ambitious—recognition for women, both acclaimed and however, Harper suggested adding new, larger windows emerging in their field. And it has already become a to embrace the property’s recently landscaped garden. gathering space for local artists. “We all had a story They also renovated the guesthouse, which Perry plans about making art as a woman, and how it is different to offer to visiting artists. from being a man,” says Lisbeth McCoy, whose collage and wire works were acquired for the permanent This spring the home will officially get its second collection, of one such get-together. life when Perry opens the doors of Onna House. She has been busy gathering a permanent collection of art, Bastienne Schmidt was thrilled when Perry selected objects, and furniture by women. The works include two of her hand-sewn multimedia works for Onna Almond Zigmund’s site-specific, punchy wall decals, House. “It’s very inspiring and life-affirming just to Linda Miller’s mini-Dubuffet sculpture, and furniture by be along for the ride with Lisa and with each other,” she designer Anna Karlin. says of the artists involved in the center. “It’s something that will grow—I’m certain of that.” ◾ On May 28, two inaugural solo exhibitions will open to the public: “Listening to the Thread,” a show of works by Mitsuko Asakura, a Japanese weaver whose practice melds traditional silk dyeing techniques and tapestry; and a look at designer and artist Ligia Dias’s jewelry, mirrors, and “Paper Dress” series, an ode to 1960s poster dresses. Between blue-chip gallery outposts and outdoor installations, the Hamptons has no shortage of art destinations. But Onna House brings something freshly The living room’s 1950s bench is by Charlotte Perriand, and the Anni Albers rug is from Christopher Farr.

TALENT Brother and sister on an original Maria Yee design, sized for them. CARRYING ON A brother and sister take their mother’s design lessons to heart. PORTRAIT BY SEAN DAVIDSON Maria Yee in Beijing in the 1980s. Antares (left) and In their youth, he and Capella, who ARCHIVAL IMAGES COURTESY OF SUN AT SIX Capella Yee with a joined the brand this year from Google dining set from the Maps to lead development and operations, Sun at Six collection. spent summers in their mother’s hometown of Guangzhou. (Maria even made scaled- BELOW: The Kiral down versions of her furniture specifically nightstand, a new for the kids’ “time-outs.”) There, Maria introduction, in the established her factories with an eye toward Sienna oiled finish. sustainability—groundwork Antares can now leverage when sourcing hardwoods, sunatsix.com employing many of the same tradespeople he remembers from his childhood. ANTARES AND CAPELLA YEE ARE SIBLINGS WHO HAPPEN TO BE NAMED AFTER The significance of being able to follow stars, which is fitting when you consider that celestial bodies seem in their mother’s footsteps on their own to have aligned to get them where they are today. Antares founded terms is not lost on either sibling. “For my the furniture design studio Sun at Six in 2017, following in the mom, it was a little bit more about survival footsteps of his mother, Maria Yee, who started her eponymous than design sensibilities,” Capella says. Now, furniture business in China in the 1980s. they’re able to build their business from a place of plenty, providing innovation in Maria’s early work was traditional in style, referencing Ming tandem with opportunity. —Sean Santiago dynasty designs. Her business took off when she innovated on a classical joinery technique that uses no nails or screws, allowing the pieces to withstand transport between disparate climates. It’s this carpentry technique that is the hallmark of Sun at Six today and the backbone of designs that mix Chinese intricacy with echoes of Japanese and Scandinavian minimalism. “I’m Chinese American. I grew up in California, I live in New York,” says Antares, who’s made the line available to the trade and direct-to-consumer. “I think that’s apparent in our work, that we have influences from everywhere.” 56 E L L E D E C O R

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BUILDER Commercial appliances contrast with majolica tiles and terrazzo in the kitchen of a villa on Capri, Italy, designed by Giuliano Andrea dell’Uva. NATHALIE KRAG NOW WE’RE COOKING The secret ingredient to living well at home? A dramatic, exceptionally equipped kitchen. BY JULIE LASKY E L L E D E C O R 61

For more than a century, kitchens have OUTDOOR Polished stainless evolved at a steady clip. Victorian models KITCHENS steel cabinetry in an were no-nonsense workspaces buried apartment in Tbilisi, downstairs or in the back of the house and 101 Georgia, designed managed by servants. During the first half by Eka Papamichael. of the 20th century, they blossomed into In a 2021 survey of cheerful rooms where housewives cooked kitchen trends conducted yellow. “You need contrast. If everything is three meals a day while keeping an eye on by the American Institute light, you get no dimension.” their children. After World War II, a hunger for sociability and a thirst for efficiency led of Architects, outdoor “I think it’s cool to have a moody to kitchens that opened to surrounding kitchens topped the list of kitchen,” echoes designer Brittany Marom, rooms, with islands holding the appliances popular features. Advice who likes mixing wood accents like tam- as well as the storage space that had gone bour doors and oak hoods into her kitchens. missing when walls were taken down. for those hopping on “It’s a bigger pain to constantly maintain the bandwagon: your white cabinetry and marble.” And that is pretty much the story of kitchens today. The question is, When is the Consider the We have been stuck on the white white-kitchen trend finally going to die? Materials kitchen because of a meetup of influences. There is the belief that because cuisines are “People are very attached to this light Teak seems like a natural so central to our lives, they should present and airy thing, which is my ultimate pet for cabinets, but it weathers no risk of getting on our nerves. There is the peeve because not everything needs to be and needs to be restained fear that a unique kitchen affects the home’s light and airy,” says designer Danielle resale value. And there is the Instagram Colding, who recently did one kitchen with every year, designer phenomenon of certain white ones taking on cabinets painted in high-gloss saffron Brittany Marom says. the totemic allure of the Parthenon. In Bronson Van Wyck’s Consider the Fun But now the needle is finally moving. idiosyncratic Manhattan After two years of confinement, people are home, a custom island “I did one recently thinking less about what the next owners clad in salvaged pine. with a rosé tap,” might want in a kitchen and more about them- Emma Beryl recalls. selves. Or as Colding puts it: “They’re saying, ‘This kitchen is for me, and I want to enjoy it.’” Consider the Management This attitude yields not just greater visual daring but also less preciousness. Will you be constantly Designer Ernest de la Torre persuaded the schlepping supplies from owners of an early-20th-century mansion inside? The outdoor kitchen in Tuxedo Park, New York, not to rip out the that can store what you 1960s St. Charles kitchen but to paint need may not have been the stainless steel cabinets turquoise. (The wood floor was painted, too.) “It’s their invented yet, designer favorite room in the whole house,” he says. Ernest de la Torre says. Emma Beryl says she sees her design THIS PAGE, FROM TOP: FRANCESCO DOLFO; PERNILLE LOOF. OPPOSITE PAGE, TOP: FRANCESCO LAGNESE; LIGHTS: ALBI SERFATY

Kitchen millwork BUILDER gleams in high-gloss clients gravitating to “living” materials like Red Wine by Fine stone and wood “that will age with them.” Paints of Europe in These people have come to terms with stained and nicked marble and the idea that a Manhattan “your home should look more like a home.” apartment designed For perfectionists seeking alternatives by Nick Olsen. to natural stone, there is the evolving world of engineered quartz slabs from firms like Caesarstone and Cambria, which are highly resistant to stains and scratches and come in a variety of colors and finishes. Appliances from brands like Sub-Zero, Wolf, and LG are ever higher-tech. And for fans of color, Big Chill’s retro-style stove comes in pastel green with a brushed copper trim, and Bertazzoni’s ranges are coated in sleek automotive paint inspired by Italian racing cars. “It used to be that La Cornue was one of the only brands that did the fun, colorful ranges, and now that’s expanded tenfold,” Colding says. For all these advances, one kind of modern kitchen harks back to Victorian times. De la Torre says more of his clients are requesting discreet chefs’ kitchens for private cooks to prepare meals. Because these spaces often occupy a lower f loor, he added, “old-fashioned dumbwaiters are back.” ◾ ALL THE FIXINGS 1. OG RANGE 5 Turn up the heat in your 3 Add a splash of something kitchen with these serene with a range in colorful accoutrements. Pantone’s color of the year, Very Peri. 74″ w. x 29″ d. x 38″ h.; price upon request. officinegullo.com 2. TIGER LILY SLAB BY HELENA MADDEN 2 This onyx surface features 1 a sage-green stone with orange veining for extra chromatic drama. 4. TUBULAR PULLS $126 per square foot. Inspired by the clean artistictile.com geometries of the 3. VELOX FAUCET Bauhaus movement, this hardware adds Isenberg’s stainless-steel vibrancy to your cabinets. faucet is available in a Starting at $40. neststudiocollection.com rainbow of hues. 5. C4 AND C3 5.5″ w. x 9″ d. x 17″ h.; PENDANT LIGHTS $650. isenbergfaucets.com 4 Illumination from a sculp- tural piece with a shade made of vivid silk? Chic. 15″ dia. x 18″ h. and 16″ dia. x 13″ h.; $1,800 and $1,691. aquagallery.com E L L E D E C O R 63

PROMOTION ELLE DECOR|LIFE STYLE. DESIGN. CULTURE. CHANTECAILLE Infinity Cube Studios by Dave Cicirelli. Chantecaille’s beach-ready Lip Tint Hydrating Balms glide sublime Photographed by sheer, glossy color onto lips for optimal summertime style and ease. Jenna Bascom. Infused with Rose and Cherry Fruit Extract to hydrate and nourish lips. chantecaille.com NYCxDESIGN’S 10TH ANNIVERSARY FESTIVAL New York City’s official celebration of design returns from May 10 to 20, 2022, for its tenth anniversary edition. Join the NYCxDESIGN Festival to celebrate creative accomplishments, share new ideas, and get inspired through hundreds of captivating design events taking place across the city’s five boroughs. festival.nycxdesign.org SCAVOLINI Walk-in Fluida project by Scavolini, design by Vuesse: a modular furnishing system for creating the perfect wardrobe with maximum efficiency and functionality. Pictured: the corner configuration with the structure in Iron Grey finish, Pearl Grey Leather push-pull doors and transparent Smoked glass doors with Anthracite Grey finish frame and built-in handles. scavoliniusa.com

SPOTLIGHT SpioxuDnftPudNWSttPoePrERHhhAHInAlOsTeetITTiNLiErOgiotNIboPrGSunfARArnFNsAreIRaNPDpaetIHrnTEPaiSsRIFDmdnAOlBMiYrGDaaaUAOnCukNEDe. BrY CESTLAVIE ACCESSORIES By GamFratesi Inspired by traditional sewing baskets, these decorative storage solutions are handwoven using strips of Cuoio saddle leather. Supported by a lightweight aluminum structure, each piece can double as a side table, with spacious interiors and tops upholstered in Pelle Frau leather. All products available at poltronafrau.com. SET DESIGN: JOHN LINGENFELTER PRESENTED BY E L L E D E C O R 65

ARCHIBALD REN SIDE TABLE LET IT BE SOFA ARMCHAIR By Neri&Hu By Ludovica and By Jean-Marie Roberto Palomba Massaud Part of a wider collection of complementary A modular sofa system that The Archibald Gran Comfort furnishings inspired by takes its name from the features a goose-down the Chinese character Beatles song, the Let It Be cushion upholstered in a for “person” or “human is a testament to refined removable Pelle Frau being,” this versatile comfort. The die-cast- Safari leather. A beech- piece has a walnut-veneer aluminum frame supports wood seat is supported base and a leather-uphol- soft down cushions on a steel base offset stered-brass tray tabletop. suspended on saddle by slim metal legs. A handle allows for leather straps—a cozy easy rearranging. haven for the whole family. 66 E L L E D E C O R

SPOTLIGHT ISADORA CHAIR By Roberto Lazzeroni The solid wood structure of the Isadora chair is complemented by sumptuous Cuoio Saddle Extra leather, tailored to perfection with raw-edge seams and finished with tone-on-tone stitching. Inspired by the American dance icon Isadora Duncan, this special seat looks great in a pair—and is also available with armrests. KYOTO TABLE By Gianfranco Frattini Originally introduced in 1974, this understated table, a part of the perma- nent collection at Milan’s Triennale Design Museum, was reissued in 2020. It features a series of wood strips connected with 45-degree joints that form a square pattern and comes in multiple sizes. PRESENTED BY

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A dining table on the terrace at the home of Lorraine and Patrick Frey in Provence. See page 100 for more. THE FAMILY ISSUE JOANNA MACLENNAN Five stunning and welcoming homes, from New York to Milan, that show how great design will keep us together. E L L E D E C O R 69

HIS The living room of the downtown New York apartment Gabriel Hendifar designed for himself in an interior created by the architect John Pawson. Sofas, ottoman, tables, pendants, and throw by Apparatus; rug by Stark; curtains in a Decortex velvet; antique Japanese embroidered artwork, Sutter Antiques. For details, see Resources. NEXT 70 E L L E D E C O R

In both his Manhattan apartment and his newly refreshed design studio, Apparatus’s Gabriel Hendifar shows the audacity and theatricality of his vision. BY CAMILLE OKHIO ACT PHOTOGRAPHS BY STEPHEN KENT JOHNSON STYLED BY MICHAEL REYNOLDS

In the dining room, a bronze-mirrored wall reflects a panel sheathed in spice- colored velvet. Table, chairs, banquette, and pendants by Apparatus; Chinese bronze vase, Naga Antiques. 72 E L L E D E C O R

igh above a cobblestone block in York apartments straight out of Rear Window. Hendifar lower Manhattan looms a matched the floor-to-ceiling velvet curtains with the Herzog & de Meuron residential pistachio walls, drawing a line of continuity throughout building with a twisting cast- the apartment. At the far right is the dining area, where aluminum gate and a facade of a banquette in faux-bois velvet—dead stock discovered at mirror-polished stainless steel, Mood Fabrics in the city’s Garment District—is paired glass, and pre-patinated copper with a burl-and-brass oval table and olive wool sateen in brilliant green. The grandeur chairs of Hendifar’s design. There is a small kitchen, (and shine) of this material too, but Hendifar prefers takeout to cooking. (The palette gives the 11-story 40 Bond evening I visited he served steak and artichokes ordered the feel of an urban fairy-tale palace. from Via Carota, a favorite West Village restaurant.) That would make Gabriel Hendifar, artistic director and CEO of the New York–based lighting and furniture At the opposite end is his bedroom, a seductive den design studio Apparatus, a rather buff, burly (and bald!) with plush bedding and a mirrored wall facing the bed. Rapunzel, peering down from a floor-to-ceiling window Tucked behind an almost invisible door is the bathroom, in his apartment. Hendifar, who has claimed an elevated where a vintage marble bust overlooks a deep tub. perch not only in this building but also, increasingly, on These two spaces bookend the heart of the home, a the international design scene, moved into the apart- living area with a curved sofa and an L-shaped tête-à- ment in 2019 with his former partner in life and tête that lends itself to conversation. Plush leopard-print work, Jeremy Anderson. After the couple split at the end carpeting reaches up and pulls you wholly into it. of 2020, Anderson left both their shared home and (Hendifar admits he spends many hours relaxing on the Apparatus to focus on his burgeoning ceramics practice; rug.) He is fond of creating a fully immersive sensory since then, Hendifar has fully taken the reins at the experience: At any given moment there are scents company. He also put the finishing touches on the inte- wafting, jazz playing, and candles casting shadows. riors of his apartment, turning it into both a design laboratory and a place to unwind; relaxation is as central Gabriel Hendifar, to his creative practice as ideation. in the foyer, wears In the decade since cofounding Apparatus in 2012, a Prada sweater Hendifar has spent quite a bit of time ideating—and and Nanushka building his brand. From the start, and owing largely to leather pants. his creative direction, the studio was one to watch, with lighting and furniture designs that oozed sex appeal and boasted fine craftsmanship. No surface went unconsid- ered. No detail was overlooked. After the split with Anderson, Hendifar retreated inward. His home played a central role in this period of contemplation and experimentation. “After 10 wonderful years of living with someone, you start to understand what it means to be constantly negotiating space,” he says. “What I’ve allowed myself to do in this apartment is to let my brain go where it wants to go, to guard my time alone, and indulge in whatever feels inspiring.” Hendifar’s apartment was designed by the British minimalist architect John Pawson and has a tripartite configuration, divided by two floating panels. When you walk in, your eyes meet a wall of windows that extends the length of the space, with views into a series of New

Equally important are the finishing touches: a Larry as a teenager, when he concocted the most expensive Collins still life picked up in Provincetown, Massachu- theater set in the history of his high school in Pacific setts, which makes a contemplative composition of a Palisades. The production he dreamed up for Guys and pair of bread rolls and spilled cream; an antique incense Dolls was so striking, it got him his first interior design burner used as an ashtray; an inlay-and-marble bowl client—a classmate’s mother. He was 17. inspired by a delicate khatam marquetry box inherited from his Persian grandmother. Every object, he explains, Now 40, he is just as theatrical. Each Apparatus is part of the narrative he is consciously creating. “These collection is treated as an all-encompassing production micro moments,” as he calls them, “help tell the story.” with titles that reference the structure of literature and drama. In 2018, for instance, the Act III collection of Hendifar’s comprehensive approach to design is lighting and furniture was introduced with a short film, all-consuming. There is not a surface here he hasn’t directed by filmmaker and photographer Matthew embellished, from the hand-glazed finish he applied to Placek, in which a boy perches high above a desert land- Pawson’s panels in the living room to the languorous scape. Hendifar’s mother sings a Persian song in the bronzed-mirror cladding on walls in the dining and background. “There are always musical and film sleeping areas. His eye never seems to stop, crafting references that provide the mood,” he says. “These are spaces that are quietly cosmopolitan and filled with rich the mechanics of creating emotion.” hues and opulent materials. Hendifar’s aesthetic is thoughtful and sumptuous, Hendifar’s personal history is the font from which as influenced by the simple luxury of Pierre Cardin and this creativity flows. His parents, who fled Iran in 1979 Halston as it is by the modernist utilitarianism of the and settled in Los Angeles in the early 1980s, were both Wiener Werkstätte. In many ways, the design of his musical: When he was a child, he loved to watch his apartment represents a rediscovery of himself that father perform on the Persian drums while his mother embraces every version of who he was, who he is, and sang and played the piano. He inherited that sense of who he hopes to become. And so it is, too, with the showmanship. “My currency is my ability to perform objects he creates for others. “Through Apparatus I’m and create,” he believes. expressing a need for human connection,” Hendifar says. “The creative act is one of hope, ultimately.” ◾ It’s fitting, then, that his first foray into design was 74 E L L E D E C O R

A custom brass bed is OPPOSITE: Panels carve topped with a bedcover out distinct “rooms” in and bolster in Zak+Fox the loftlike apartment. fabrics. Pendant and night- On the table, the brass stand by Apparatus; art- candlesticks are from the works by Peter Brooke-Ball 1970s; 1920s Chiavari (on pedestal) and Liam chair (right); painting Pitts (over bed). by Larry Collins.

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At their newly revamped midtown-Manhattan studio, the Apparatus team gathers in Hendifar’s velvet-swathed office. From left: Andrew Cinnamon, Robin Allstadt, Hendifar, Nick Grinder, Tara Carroll, and Tracey Walther. Desk, shelves, and pendant by Apparatus; walls in a Phillip Jeffries velvet; Edo period screen, Naga Antiques.

78 E L L E D E C O R

TOP: A lounge in the studio Pendant by Apparatus; SETTING THE STAGE is furnished with a table backsplash in Cipollino in hand-cast resin and a Ondulato Verde marble; The pumping heart of Apparatus lives on an unas- sectional in an Houlès fabric, 1930s Indonesian bowl. suming block in midtown Manhattan, in a studio both custom. Hand-painted that had remained relatively unchanged in this loca- canvas wall panels by OPPOSITE: In the studio’s tion since its first renovation in 2015. When the company Callidus Guild; carpet by Gallery I, the rug, a opened its own factory in Red Hook, Brooklyn, last year, Stark; curtains in a Pierre collaboration with CC-Tapis, it provided the impetus for a reimagination. With space Frey moiré; artwork is from the newest Apparatus freed up, Hendifar set out to transform the studio into a by Brenda Buck Riley. collection, Act Four. Table communal spot where his tight-knit creative team could and lighting by Apparatus; be inspired, while at the same time fashioning a dramatic ABOVE: In the staff kitchen, vestibule wallcovering by space to make an outsize impression on visitors. “I a custom terrazzo table is E´litis; 1920s Japanese wanted a feeling of arrival,” he says of the studio, which surrounded by leather stools. screen, Naga Antiques. is unveiled here for the first time. A heavy patinated- metal door leads through an arched hallway into a soar- ing gallery with steel-gray walls and chain-mail curtains. A series of more intimate exhibition rooms showcases new collections and past designs. There is also a mir- rored dining room with a square dining table for eight where Hendifar plans to host salon-style dinners for cre- atives from different fields. Just beyond is a new staff kitchen, with an oversize terrazzo table. A leopard- carpeted hall leads to Hendifar’s private office. It’s like a modern-day memory-mill, with one foot in a Visconti film and the other in Warhol’s Factory. E L L E D E C O R 79

Hendifar’s aesthetic is thoughtful and sumptuous, as much inspired by Pierre Cardin and Halston as it is by modernist utilitarianism. The studio dining room’s square table is set with Rosenthal china by Walter Gropius. Chairs, rug, and pendant by Apparatus; circa-1875 Japanese screen, Naga Antiques. OPPOSITE: An Apparatus Synapse pendant hangs above an antique repro- duction of a painting by Claude Monet. Chair, sconce, and brass mesh wall panels by Apparatus. 80 E L L E D E C O R



KITH ANDBY ASAD SYRKETT PHOTOGRAPHS BY FRANCESCO LAGNESE STYLED BY BEBE HOWORTH 82 E L L E D E C O R

Through a door framed by Boston ivy, a view of design researcher Alyse Archer-Coité’s backyard in Poughquag, New York. OPPOSITE: The rear facade of the Georgian- style residence, built in 1770 by Benjamin Noxon. For details, see Resources. Moving full-time into an 18th-century house in Dutchess County, New York, deepened one ex-Brooklynite’s sense of community. KIN

Alyse Archer-Coité, in Totême, and her mother, Gloria, with Archer- Coité’s long-haired calico, Pip, in the sitting room. Antique Azande burial sculpture (left). OPPOSITE: Flowers in a vintage Venezuelan pitcher sit on a kitchen island. Plates (from left) by Gio Ponti, from Dudley Waltzer, and from Galerie Patricia Dorfmann. 84 E L L E D E C O R

lyse Archer-Coité knows design. in pretty quickly,” says Archer-Coité. “I was like, ‘Oh, That much is evident in her work: my god, I’m a single person and I’m moving to a remote as an editor at several independent location. Is this the beginning of my Grey Gardens?’” print and digital art and interiors titles; as former programming A friend reminded her that she traveled to the director at the defunct Brooklyn world’s biggest cities on business and suggested that architecture and urbanism incu- when she was home again, the house would be a place where she could spend quality time with friends over a Abator A/D/O; and, now, at Apple, weekend, rather than the kinds of quick drinks or meals where she leads research for the typical in the city. That conversation got Archer-Coité tech titan’s industrial design team. questioning her ideas of family and community in new What she did not know, until recently, was just what ways. And the house complicated her answers. “I found moving herself full-time from Brooklyn to the hamlet of myself asking, ‘Who are your people, really? Who is Poughquag, New York, two hours north of the city, your tribe, really? Who do you want to host? Who’s would mean, beyond the evident allure of space and going to come?’ You just realize how much geography fresh air. “The day after I got the keys, we got a foot of plays a part in community,” says Archer-Coité. Interac- snow,” says Archer-Coité, recounting her earliest days in tions with close friends willing to make the trip and her stately 1770 Georgian retreat, all hipped roofline and commit to a weekend together felt “more nutritious,” elegant red brick. “When the snow stopped, I realized I she adds. “The city is a sugar high.” didn’t have a shovel. It was a very quick initiation to life in the country,” she adds, laughing now, but with an air The house, which has the four-over-four floor plan that indicates the story is only funny in retrospect. and central staircase typical of Georgian homes of the Before the storm, Archer-Coité had enlisted two period, was built as a tavern by the local Noxon family friends—fellow “city-ots,” she jokes, using a local several years ahead of the American Revolution and term of not quite endearment—to help her settle in later became a Noxon family homestead. Over the years, overnight. With her car snowed it passed hands among Noxon descendants and into the garage and no way to dig themselves out, they decided to go on a run. Along the route, her nearest neighbors offered to plow her driveway; they struck up a conversation about the house, and an enduring friend- ship ensued. Easily forging genuine con- nections is something of a gift for Archer-Coité, a knack that seems to be inherited from her mother, Gloria, who lives an hour and a half north in Albany. It was Gloria who encouraged Archer-Coité to consider the anchoring benefits of owning a country house away from the crush of the city. But leaving the warm embrace of familiar connections—and, no less, for an aging house, the upkeep of which would demand a high level of time and effort—was daunting. “Buyer’s remorse set



Weekends with friends in the OPPOSITE: A vase passed ABOVE: The sitting room’s house feel “more nutritious. down by Archer-Coité’s 1980s glass cocktail table The city is a sugar high.” grandmother rests on is flanked by vintage club a vintage dining table chairs and a Ligne Roset —ALYSE ARCHER-COITÉ surrounded by Louie sofa by Pierre Paulin. Stool Isaaman-Jones chairs. by Alvar Aalto; vintage Handwoven Indian jute wooden table lamp; Achille rug; pendant, Ikea; wall Castiglioni and Pio Manzu paint, Wimborne White pendant, Flos; photograph by Farrow & Ball. by Joshua Woods. E L L E D E C O R 87

eventually became the fixer-upper project of On a recent visit, two Shaker-style high- ABOVE: In the library, a couple who took to the house’s period back chairs were installed like art in the entry a Vitsœ shelving system charms (and flaws). When the pair sought a hall, mounted upside down on the pegs of a holds a selection of buyer in 2020, they felt they had found the wooden wall rack Archer-Coité found in an Archer-Coité’s books. right steward for the place in Archer-Coité, upstairs closet during a cleaning spree. “It’s Putnam oak stepladder; who they sensed would keep the house very clear the house is old,” she says, noting Studio Shamshiri rug, “weird” as they intended rather than that she didn’t feel a need to underscore that Christopher Farr; original smoothing its rougher edges. in the furniture and accessories. “And if you wood beam ceiling; forget, the occasional mouse will remind you.” artwork by Matt Jones. With “nutritious” interactions as the goal, Archer-Coité’s urbane and relaxed decorating Archer-Coité’s collection of contempo- OPPOSITE, CLOCKWISE is a sort of mise en place: To play against the rary photography—which includes works by FROM TOP: The guest beds house’s symmetry and complement its Joshua Woods, Shaniqwa Jarvis, and Kate are painted in Duck Green original details, she layered furnishings and Friend—also helps cut through any potential by Farrow & Ball and lighting in a mix of midcentury and modern- preciousness. Rather than collecting with a dressed in Jeanette Farrier ist sensibilities alongside period-appropriate specific aesthetic aim, she explains, she for John Derian blankets; antiques and decorative objects. You may, for seeks out pieces that bring her joy, even if Moroccan rug (under- example, turn a corner and find a heavy, she doesn’t always know right away where neath beds), Form Atelier; metal chair with a Surrealist flair atop a they’ll end up. “I’ve moved that Shaniqwa Shaded White and Ash section of wide-plank red-pine floor original Jarvis photo [of a swimmer] into every room Grey wall paints by Farrow to the house; in the second-level library a in the house,” she says wryly. Now, it pre- & Ball; photographs by sleek Vitsœ shelving system sits feet away sides over her home office, where, she Hiroshi Sugimoto (above from a thrifted floor lamp with a rough-hewn reports, it feels right to have work by a bed) and Robbie Lawrence wooden base. friend at her shoulder. ◾ (on brickwork). Archer- Coité’s bed, a Michel de Blois design, is dressed in a Charvet Editions linen from John Derian. In the hallway, Pond Chair by Kendall LeCompte; vintage cabinet and bust; Dana Arbib vase, courtesy Tiwa Select. 88 E L L E D E C O R



IT’S The interior courtyard of Milan’s Casa degli Atellani, the Castellini family compound. The palazzo was renovated in 1919 and after World War II by architect Piero Portaluppi, and most recently by his grandson, architect Piero Castellini Baldissera, who lives in his grandfather’s former home on the property. For details, see Resources. REL ATIV

WRITTEN AND PRODUCED BY CHRISTOPHER GARIS ALL PHOTOGRAPHS BY SIMON UPTON E In the center of Milan, the city’s quintessential design clan shares a centuries-old palazzo renovated by their forebear, the legendary architect Piero Portaluppi. E L L E D E C O R 91

In Castellini Baldissera’s private apartment, a living room alcove is lined with mesh-fronted wooden shelves holding a rare col- lection of antique marble, including some pieces from ancient Rome, and the ceiling is decorated with a working sundial designed by Portaluppi.

he first time I met Piero Castellini Atellani and looks out over the garden. It is the most Baldissera was at his home in Casa eccentric section of the property, with verdant frescoes degli Atellani in the center of Milan. in the entryway and a working sundial painted on the Nicolò Castellini Baldissera, his son ceiling. While Portaluppi preferred a restrained decora- and my partner, hadn’t provided tive style, Piero—himself a renowned architect and much forewarning about his family interior designer—has filled the apartment with collec- palazzo—about its likely connection tions of coral branches, contemporary art, books, and to Leonardo da Vinci while he was anything that sparks his unrestrained curiosity. He has also added his own touches, such as the trompe l’oeil T painting the Last Supper at Santa door he tucked under an arcade in the courtyard. Maria delle Grazie church across the street, or about the attached apartment building filled Portaluppi’s influence is ever present: His former with members of his extended family, or even about the workplace, around the corner from Casa degli Atellani museum and café run by his cousin in the middle of in his 1939 Casa Portaluppi building, is now a foundation the compound’s courtyard. and also holds the offices of the architectural firm Piero runs and collaborates on with Nicolò. When Piero’s ancestor Ettore Conti purchased the 15th-century palace in 1919, he enlisted the help of the The palazzo and nearby buildings serve as a home legendary architect Piero Portaluppi (the husband of base to any number of businesses owned by this family Conti’s niece Lia Baglia, whom he later adopted) to restore that lives and breathes design. When Piero and his cousin it. He engaged him a second time to repair the complex Emanuele Castellini started their luxury fabric brand following damage incurred from shelling during World C&C Milano in 1996, they worked out the details in the War II. Portaluppi reimagined the crumbling Renaissance palazzo’s communal dining room. Piero brought with him architecture in the neoclassical style while incorporat- a history of design and style, while Emanuele had mana- ing such 20th-century Milanese references as geometric gerial experience from running the family’s former tex- mosaic floors and an elaborate butterfly window. tile factory. Meanwhile, a discovery of grapevine roots in the courtyard was traced to Leonardo da Vinci’s 16th- The afternoon we visited, the courtyard was buzzing century vineyard here; a matching vine was found in with activity. “Ciao, Nicolò!” called his aunt, Letizia Emilia-Romagna, replanted, and first harvested in 2018. Castellini Baldissera, who has her own apartment here and who came over to let us know about an event that In a memorable opening scene from Luca evening. “Dior rented the garden for dinner; the table Guadagnino’s 2009 cult film I Am Love, Piero himself stretches all the way down to the vineyard. By the way, toasts the fictional Recchi family, who in the movie cele- have you seen your cousin?” she asked as we started to brates the passing of the torch from one generation of go. “No, but I’m sure we will,” Nicolò responded. fabric producers to the next. It was a bit part, the kind a producer might give to a friend, or an in-law, but in Even in Italy, where children (especially boys) Milan the casting spoke volumes: a nod by the director sometimes choose to live at home well into their 30s, it to the world his characters inhabited and the type of is unusual to have such a concentration of family all family to which they belonged. Throughout the movie living and working together. “How many are you?” I more clues are dropped—Tilda Swinton, in the role of overheard someone ask at a party. “We came from many, the Recchi family matriarch, sports a C&C Milano bag, and now we are more,” was the response. for instance—to show that the visual vocabulary and enterprising spirit of the film’s Recchi family owes a In his nearly six-decade-long career, beginning in great deal to Milan’s Castellini clan. 1911, Portaluppi helped define modern architecture in Italy. His magnum opus, Villa Necchi Campiglio, was The movie was largely shot at Villa Necchi a revolutionary work of Art Deco set in a private garden Campiglio, which was restored by Piero shortly before in the center of Milan. His unique style can be seen all filming began, as well as in his own apartment at Casa over the city and beyond—from his civic planetarium to degli Atellani. In scene after scene, we see C&C’s stripes the Piedmont power plants he designed for Conti’s and chevrons, in the creamy colors and linens that are electric company. characteristic of the brand. A decade later, the company’s success has led to an expansion, with showrooms in Portaluppi’s house—the section where his grandson New York, Paris, and London. Both Nicolò and his Piero Castellini Baldissera now lives with his partner, cousin, the fashion designer Gigliola Castellini Curiel, Paola Reggiori—sits within the courtyard of Casa degli have been enlisted to help out. For the Castellinis, the design conversation continues across the generations. ◾ E L L E D E C O R 93

In the dining room of OPPOSITE, Baldissera’s bedroom Castellini Baldissera’s CLOCKWISE FROM is dressed in a quilt house, 17th-century TOP: In the entry, the from the fabric firm Italian chairs surround garden frescoes and he co-owns, C&C an 18th-century Venetian-style semi- Milano. A guest room French mahogany nato mosaic floor features twin Louis table. Seventeenth- were designed in XVI headboards, century Sicilian 1930 by Portaluppi. and bedcovers in chandelier; pale- The Louis XVI canopy a Braquenié toile green boiserie walls. bed in Castellini de Jouy. 94 E L L E D E C O R



96 E L L E D E C O R

The family gathers in the boiserie-paneled draw- ing room in a communal section of the house, the former living quarters of Count Ettore Conti. From left: Nicolò Castellini Baldissera, Letizia Castellini Baldissera, Gigliola Castellini Curiel, Piero Castellini Baldissera, and Emanuele Castellini.

In a meeting room RIGHT: Castellini OPPOSITE, TOP: at the Portaluppi Baldissera’s architec- An omnibus maple- Foundation, the floor ture studio, also and-briar desk with is made of various in Casa Portaluppi. rotating drawers marble tiles that the On display are at the Portaluppi architect used as 17th-century Foundation. options to show clients. models of an altar and a church. 98 E L L E D E C O R