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JEWELS THAT TELL TIME
NEW YORK BEVERLY HILLS SAN FRANCISCO LAS VEGAS CHICAGO DALLAS HONOLULU
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HARRYWINSTON.COM
© 2019 Harry Winston SA. HIGH JEWELRY TIMEPIECES BY HARRY WINSTON, ULTIMATE EMERALD SIGNATURE
W I N T E R 2023
CONTENTS
THE ESCAPES ISSUE
A 2,000-square-foot
pool is the focal point
at architect Christina
Seilern’s home on
the Greek island of
Paros (page 76).
68
76
84
90
98
HERE TO STAY
TO INFINITY
ZOU BIJOU BIJOU
For one Los Angeles couple,
a sun-dappled resort town
on Mexico’s Pacific coast
became a new way of life.
An architect’s family home in
Greece invites guests to take
in the stunning views—and
appreciate the rich history.
Winter doldrums got you down?
Kiss them goodbye with high
jewelry fit for every escape plan.
Bon voyage!
HOUSE OF
THE FALCON
TIERRA
INCÓGNITA
BY DAVID NASH
ARCHITECT DIEGO
VILL ASEÑOR
BY CAMILLE OKHIO
ARCHITECT STUDIO
SEILERN ARCHITECTS
BY SEAN SANTIAGO
12
ELLE DECOR
BY MARELL A
CAR ACCIOLO CHIA
DESIGNERS FILIPPO CHIA
AND PAOL A IGLIORI
In Argentina, a wild hilltop with
sweeping mountain vistas is a
London landscape designer’s
true creative canvas.
BY ANA K ARINA ZATAR AIN
DESIGNERS JENNY AND
JONNY GR AHAM
Subscribe to ELLE DECOR at elledecor.com/join
MAT THIEU SALVAING
On a family estate north of
Rome, an abandoned farmhouse
and tower is transformed into
a striking retreat.
Mastering the art of outdoor living since 1945.
Brown Jordan is a registered trademark of Brown Jordan Inc.
CONTENTS
24
EDITOR’S LETTER
27
WHAT’S NEXT
Fanciful finds sure to hit the
right notes for any occasion
30
FASHION +
FURNITURE
These 3D-printed designs
marry craft traditions with
an avant-garde approach
51
POINT OF VIEW
34
Would you live in the metaverse?
The interiors of the future have
arrived.
JEWELRY BOX
BY KRISTEN BATEMAN
Micromosaics prove that
what’s old can gleam anew.
57
BY JILL NEWMAN
BUILDER
36
See how primary bathrooms are
taking self-care to new heights.
SHORTLIST
BY STEPHEN TREFFINGER
Actor Jennifer Coolidge
shares eight things she
can’t live without
104
38
108
THE AGENDA
A hot restaurant debut at
New York’s Lincoln Center.
Plus: Ways to engage all your
senses this season
RESOURCES
MY KIND
OF ROOM
Architect Germane Barnes finds
inspiration at a Neutra landmark
in Los Angeles
40
HAUTE TAKE
An elegant new Hermès
flagship brings design ingenuity
and Parisian panache to
Madison Avenue
54
APPRAISAL
An upcoming Tiffany auction at
Christie’s celebrates the natural
world’s many facets.
PRESENTED BY CHRISTIE’S
62
A bedroom at
Villa Lina, Paola
Igliori and Filippo
Chia’s estate near
Ronciglione, Italy
(page 90).
FURNITURE
FANTASY
Janus et Cie’s year-round outdoor
furniture collections are perfect
for catching up with friends
en plein air.
PRESENTED BY JANUS ET CIE
ON THE COVER
The outdoor living room at Casa Torre, Sally and Michel Perrin’s
villa in Costa Careyes, on the Pacific coast of Mexico.
Scan the QR code to join
ELLE DECOR All Access
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ELLE DECOR
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ELLE DECOR
RUZA CHAIR
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20
ELLE DECOR
THE DESIGN
OF THE FUTURE
What do the Audi sphere concept cars have in common
with Vitra design furniture? A great deal! Because
excellent design means setting new standards with a
brilliant idea that others follow.
CONCEPT VEHICLE SHOWN. NOT AVAIL ABLE FOR SALE.
Future
ADVERTISEMENT
EXCEPTIONAL DESIGN IS AN EXPERIENCE—
FOR THE USER AS WELL AS FOR THE VIEWER.
Trendsetting design exceeds all expectations,
just as Audi does with its family of concept
cars. Audi is setting standards that will shape
the design of concept vehicles for the next few
decades to come. The Head of Brand, Audi,
Henrik Wenders, describes the idea of progress as follows: “You have to lead very early
with a very good idea, so that the others can
follow you.”
Technological innovations create the space for
visionary design, and electrification creates
new freedom to experience the interior of a
vehicle. Technical achievements, in combination with a far-sighted company that boldly
implements great ideas, were what drove the
designs of legendary furniture icons such as
the “Eames Chair” or the “Panton Chair”.
The architect, Verner Panton, had to travel
across Europe to find a suitable partner in the
design giant Vitra. Dr. Mateo Kries, Director of the Vitra Design Museum in Weil am
Rhein, is thus the right expert to explain what
constitutes the design of the future. “It needs
attention to detail. The designer Charles
Eames said: the detail is not the detail, it’s the
design.” Audi approaches its vision of Human
Centricity with this obsession for detail.
“The vehicle becomes an experience device.
We design from the inside out and can then
put people’s needs at the center of the design
CONCEPT VEHICLES SHOWN. NOT AVAIL ABLE FOR SALE.
process,” says Wenders. To achieve this, the development process, which previously led from the engine
to the chassis to the interior, was turned upside
down. “Wanting to create something completely new
requires a certain attitude, a lot of courage and a lot
of curiosity,” notes Wenders, “and designers are at a
very special interface.”
“The vehicle becomes
an experience device.
We design from the
inside out and can
then put people’s needs
at the center of the
design process”
—HENRIK WENDERS
H E A D OF BR A N D, AU DI
There is hardly a design discipline as complex as car
design. It is tied to ingenuity and a more sustainable
mindset,, engages with people’s desires, and offers
an individualized experience. In the Audi concept
car, the fusion of form, function, and the digital
dimension is visible. “We familiarize people today
with the experiences of the future”, says Wenders.
A good way to strive even more towards tomorrow.
With the Audi activesphere concept—a symbiosis
of elegance and functionality—Audi continues to
share the brand’s vision of the future and premium
mobility.
HENRICK WENDERS WITH DR. MATEO KRIES
To learn more, visit PROGRESS.AUDI/CONCEPTCARS-US
EDITOR’S LET TER
A view of the
Pacific from
Sally and Michel
Perrin’s home in
Costa Careyes,
Mexico (page 68).
THE
ESCAPES
ISSUE
24
ELLE DECOR
ASAD SYRKETT
EDITOR IN CHIEF
@as4d
TREVOR TONDRO; PORTR AIT: NAIMA GREEN
A
ssembling our annual Escapes Issue is always an exercise in repressed
envy. The villas and family compounds, the hotels and spas, the latest
staggering high jewelry: Each of the design wonders in our Winter
edition elicits no small amount of covetousness. But, look, let’s be real.
Making it to the end of a tumultuous year like this one calls for gratitude, not
jealousy. With that perspective, cozy season affords a chance to “escape” not
just into luxurious environs—though if you’re hungry for a top-tier getaway,
we have you covered—but also into new ideas of what our future world can
be. For our Point of View column, writer Kristen Bateman checked in on
design in the metaverse, including interiors and architecture. In this issue,
we also explore the creativity coming out of 3D printing these days,
via designers like Kelly Wearstler and Bradley Bowers, and visit a new
exhibition at the Museum of Contemporary Art North Miami by the Haitianborn artist Didier William, whose brilliant work explores questions about
American immigration and identity.
If you have wanderlust and a love of design, turn to our cover story on
the home of fashion couple Sally and Michel Perrin on Mexico’s Pacific coast.
Their hideaway in Costa Careyes became even more precious to them during
the COVID-19 pandemic, when they decamped there from Los Angeles with
their two teenage daughters. What they found in Mexico is something all the
homes in this issue provide: the setting to find a deeper sense of oneself and
an opportunity to escape not just out into the world, but inward, too. ◾
CARLYLE COLLECTION
Fanc
if
ul fi
he
t
it
WRIT
TEN AND ST YLED B
YP
AR
KE
R
BO
W
IE
LA
RS
O
nds
sur
e
to
h
G
N
I
ACT
C
N
A
L
A
for any occas
s
e
t
o
n
ion.
B
t
h
rig
ON
PH
OT
OG
C
R A P H S BY V I N
EN
I
TD
LI
SET THE SCENE
CLOCKWISE FROM TOP
LEFT: Tortoiseshell lighter by
Tsubota Pearl, $45. jayson
home.com. Marbella Ebony
fork by Alain Saint-Joanis,
$90. abask.com. Urbani fresh
Burgundy truffles, $190 for
four ounces. eataly.com.
Double Cone candle by
BzzWax, $42. bzzwax.co
.uk . Tie-dye plate by Marie
Daâge, $98. mariedaage
.com . Marbled glass bud
vase by Glass Studio,
$126. abask.com.
ELLE DECOR
27
W H AT’S N E X T
APRÈS DINNER
CLOCKWISE FROM TOP:
Pink crocodile napkin by
Thomas Fuchs for NapKing
Italy, $85 for a set of four.
thomasfuchscreative.com .
Joyful glassware by
Irina Flore, $350 each.
irinaflore.com. Tic-tac-toe
set with frog figurines by the
Haas Brothers for L’Objet,
$1,100. l-objet.com. Serving
Friends wood spoons by
Selena Liu, $55 for the
set. areaware.com. Classic
Chinese mah-jongg set by
Chop Suey Club, $198.
chopsueyclub.com.
28
ELLE DECOR
FA S H I O N + F U R N I T U R E
1
NEST OF THORNS
BY JONATAN
NILSSON
In the spirit of Iris van
Herpen’s otherworldly
runway looks, this mirror
combines materials
from resin and metal to
rubber and plastic.
ANOTHER
DIMENSION
The latest 3D-printed designs
marry craft tradition with an
avant-garde approach.
BY
30
ELLE DECOR
HELENA M ADDEN
IRIS VAN HERPEN: GET T Y IMAGES
34″ w. x 9″ d. x 52″ h.;
price upon request.
cultureobject.com
M Y L A G O S M Y W AY
C AV I A R C O L L E C T I O N S
LAGOS.COM
FA S H I O N + F U R N I T U R E
5
PINE CUPS
BY NATALIA
TRIANTAFYLLI
2
These homewares unite
traditional porcelain with
shiny purple plastic for an
object that channels and
celebrates the handmade.
3
8″ dia. x 13″ h.; $73 each.
adorno.design
6
5
MAWJ BY MEAN
2
Named for the Arabic word
for “wave,” this gray and
blue chair’s undulating
ridges of plastic resemble
ripples in still water.
Taking cues from the way
flowers open and close
beneath the sun’s rays,
Cerra is made with a sugar
cane–based filament.
25″ w. x 35″ d. x 38″ h.;
$3,050. nagami.design
12″ dia. x 64″ h.; $398.
gantri.com
SATELLITE LAMP
BY KOOIJ
CERRA BY
BRADLEY L BOWERS
3
GRADIENT BENCH
Yes, you can put concrete
into a 3D printer and
achieve striking results.
Here, the light-green
palette gives the tough
material a soft, inviting look.
4
7
Sometimes it’s worth
viewing things in a different
light. The printed layers of
plastic offer texture and
a diffuse glow.
6
22″ w. x 20″ d. x 22″ h.;
$5,450. kellywearstler.com
59″ w. x 22″ d. x 18″ h.;
$4,809. philippaduatz.com
4
GIRIH VASE BY
WONMIN PARK
Inspired by the star and
flower motifs found at
the Alhambra palace in
Granada, Spain, Park’s
3D-printed works for Trame
Paris present new possibilities for the ceramic medium.
6″ w. x 5″ d. x 11″ h.;
$1,140. minted.com
NEW
THREADS
Over the years, 3D printing has become a more sustainable method of manufacturing, not just for
chairs and dressers, but in the world of fashion as well. Early adopters include couture collective
threeASFOUR, whose most recent collection, Ancestors Digital (right), features a series of as-ofnow virtual garments inspired by 3D-printing techniques. Others have dipped their toes into the
burgeoning medium as well, including Dior, which decorated the staircase of its recently reopened
Avenue Montaigne store in Paris with 3D-printed versions of its most well-known garments.
32
ELLE DECOR
BOT TOM RIGHT: CG ARTIST: SHINGO EVER AR
7
Because you give your dreams the love you deserve.
Experience now the drēmər® bed at your nearest Hästens store.
HASTENS.COM
JE WELRY BOX
HISTORY
REPEATING
Jewelry’s mosaic moment proves that
what’s old can gleam anew.
The artist Maurizio Fioravanti takes a
different approach. Rather than exposing the
intricate tilework, his elaborate designs
appear to be painted with vivid colors.
“The more you study the piece, the more
there is to discover,” says the Roman
designer, who uses thousands of tesserae in varying hues to create his
dynamic, diminutive masterpieces, of
which he produces only about 10 a year
for his Vamgard collection. Similarly,
the Italian family-owned tile-maker Sicis
shapes tesserae for jewelry from crushed
semiprecious stones with a focus on color.
“We create hues that can’t be realized with
gemstones,” explains Gioia Placuzzi, the company’s creative director. “Good micromosaic
design is all about color.”
But like Michele, some designers prefer to
put their own idiosyncratic spins on the classics. The Brazilian jeweler Silvia Furmanovich,
for her part, juxtaposes vintage micromosaics
with bold gems, wood, and even beetle wings.
Whatever your preference, one thing is certain:
T his time-tested technique has enduring
appeal. —Jill Newman
ALESSANDRO MICHELE, CREATIVE DIRECTOR AT GUCCI, IS KNOWN FOR
revisiting wardrobe staples with an eye for modernity, reinterpreting
suiting, scarves, and the house’s signature loafers. So it’s no surprise that
his latest high-jewelry collection, Hortus Deliciarum, shown this past
summer in Rome, included pieces that recast the ancient art form of
micromosaic in an entirely new context.
The Vatican workshops recruited micromosaic artisans from Venice
during the 18th century to save the deteriorating frescoes of St. Peter’s
Basilica; they worked to reduce mosaic tiles into tiny pieces to cover the
fading paintings. Those small tiles, or tesserae, were later deployed to
create finely detailed portraits, jewelry, and furniture. The form’s popularity rose during the 19th century when it was used to depict the
Eternal City’s ancient monuments, from the Pantheon to the Colosseum,
and to make wearable souvenirs for tourists on Europe’s Grand Tour.
Today, the Vatican’s mosaic studio still trains new generations of
apprentices in classic imagery, but a number of practicing artisans are
transforming the craft into something more contemporary. One of those
is Francesca Neri Serneri, whose company, Le Sibille, creates micromosaic florals, scarabs, and playful patterns in distinctly fashionable
jewelry designs. “We are evolving and innovating this ancient technique,” says Neri Serneri, who herself trained with a Vatican master.
Instead of creating f lat images, she uses rounded tesserae to forge
three-dimensional pieces, like a ring inspired by the cupolas from the
Hagia Sophia cathedral in Istanbul.
34
ELLE DECOR
FROM TOP: Gucci
bracelet. gucci.com. Silvia
Furmanovich earrings.
silviafurmanovich.com.
Prices upon request.
ROOM
FABRIC AND WALLPAPER
HARLEQUIN.SANDERSONDESIGNGROUP.COM
OWN
THE
SHORTLIST
5. VEGAN BAGS
1. SUNSET BOULEVARDIER
This is the company of Danielle
Motor, a brilliant mixologist in Los
Angeles. She’s the best in the world.
I remember a time when you couldn’t
go into a designer showroom and
find a purse not made of leather.
sunsetboulevardier.com
nanushka.com
2. VINTAGE
TABLE LINENS
6. NATURAL
FRAGRANCES
I have big dinners
for lots of guests,
so I like the
look of a long
table set with
vintage linens—a
tablecloth, runner,
and napkins.
When I was 13,
I would wear every
chemical I could
think of. Now I have
to be careful.
henryrose.com
sundayshop.co
You can give me the
smallest room in the
hotel—it doesn’t have
to be fancy, it really
doesn’t. But what I want
the most is a bathtub.
Lotus has a thing or two to say
about the finer things in life.
Here are eight of her favorite
finds from around the world.
AS TOLD TO
4. FRENCH
BURGUNDIES
It’s always nice
when someone
brings me a bottle
of my favorite wine,
French Burgundy.
parcellewine.com
SE AN SANTIAGO
7. FLOWERS
I love to fill my house up with them,
but they have to have a strong,
beautiful scent and look amazing.
bouqs.com
8. HÔTEL
PETER &
PAUL
I have a house in
New Orleans,
so I saw the work
they did renovating this place.
They really saved
the integrity of the
buildings.
To be honest,
I’m also kind of
into crumbly.
ash.world
36
ELLE DECOR
PORTR AIT: PEGGY SIROTA/ TRUNK ARCHIVE;
WATERWORKS TUB: TREVOR TONDRO PHOTOGR APHY;
ROSES: GET T Y IMAGES; HOTEL: COURTESY OF HÔTEL PETER & PAUL
3. BATHS
JENNIFER
COOLIDGE
The star of HBO’s The White
bebitalia.com
TH E AGE N DA
Tatiana’s chef Kwame
Onwuachi (left) and
architect Preeti
Sriratana of MN.
LEFT: The dining room.
STAGE
SETTER
At New York’s Lincoln Center, a
welcoming new restaurant makes
its stunning debut.
W
hen the under-the-radar architecture firm Modellus
Novus learned that they had won the commission to
design Tatiana, the new restaurant at Lincoln Center,
they’d be the first to admit they were surprised. The studio, known as
MN, had made its reputation on designing such cool downtown Manhattan spots as Saga and Crown Shy. After a six-week proposal process, “we beat out all these heavy hitters for this commission,” says
Preeti Sriratana, a principal at MN. Even better, they were selected by
a pair of their idols: architects Billie Tsien and Tod Williams, who
recently completed a transformative revamp of David Geffen Hall, the
home of the New York Philharmonic. “MN makes spaces that are intimate and seductive,” Tsien says of the selection of the small studio to
design the hall’s restaurant. “We went to several of their restaurants,
and each one had a different character. Each one was memorable. The
entirety of the public space we designed is about welcome and glamour. MN’s work is a different take on the same values.”
Sriratana and his partner, architect Jonathan Garnett, set out to
fashion an interior in keeping with the values of Tatiana’s chef, Bronxborn Kwame Onwuachi. “I think New York needs more places where
38
ELLE DECOR
people of African or Caribbean descent can see
themselves ref lected in the food while also
enjoying a beautiful setting,” says Onwuachi,
who named the restaurant after his sister.
The architects had also come to that realization and began their research by looking back
at the history of San Juan Hill, the historic Black
and Brown neighborhood on the Upper West
Side that was completely destroyed in the 1950s
to make way for Lincoln Center. As a counter to
that act of erasure, MN teamed with Onwuachi
to create a space centered on transparency. Tatiana’s kitchen and service stations are all on
view, and the material palette consciously references the texture of the city. Guests ease into
velvet banquettes whose form is reminiscent of
park benches; dishes like oxtail with rice and
peas are served to a soundtrack of Erykah Badu,
Lauryn Hill, and Jay-Z. Chromated-steel columns shimmer like the oil spills that inspired
them, while gold chain-link curtains bring
fences to mind. In this way, the design for Tatiana becomes a prism, reflecting the best of the
surrounding city while making all feel welcome.
“To us,” Garnett says, “this is a civic project.”
—Camille Okhio
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5 MORE WAYS TO ENGAGE EVERY SENSE THIS SEASON
ED ITED BY
SHOP
PARIS
Originally opened in 1899,
Cartier’s Paris boutique at
13 Rue de la Paix is where
many of its most iconic jewelry lines—from the Trinity to
the Panthère collections—
were born. That kind of legacy demands a home worth
its weight in, well, gold.
The two-year renovation
of the 32,000-square-foot
flagship (its first refresh
since 2004) was overseen by three Paris-based
firms: Moinard Bétaille,
StudioParisien, and Laura
Gonzalez. In late October,
the maison unveiled the
very chic results—a showpiece for watches, fine
and high jewelry, private
appointment salons, and an
archive, as well as a dedicated “residence” that captures the essence of Parisian
life, Cartier-style. cartier.com
— Sean Santiago
INGRID ABR A MOVITC H
CHILL
The Jean Cocteau Salon
at the newly renovated
Cartier flagship in Paris.
Claridge’s Spa, London
The storied Mayfair hotel has a
new amenity: a 7,000-squarefoot spa designed by André
Fu. Inspired by his visits to
Japanese temples, the soothing
retreat boasts water features
and cherry blossom artworks
by Damien Hirst. claridges.co.uk
Botánica Spa at
Rancho Pescadero,
Todos Santos, Mexico
Designed by Mexican
architect Alejandra Templeton
with owner Lisa Harper, this
Baja California resort recently
launched a 25,000-squarefoot spa with a garden and
on-site apothecary for transforming plants into treatments.
ranchopescadero.com
Thistle at
Wildflower Farms,
Gardiner, New York
SEE
MIAMI
To belong is one of life’s
most fraught pursuits. It’s
also the central theme of
artist Didier William’s
new retrospective, “Nou
Kite Tout Sa Dèyè” (“We’ve
Left That All Behind”),
at the Museum of
Contemporary Art North
Miami (through April 16).
With dozens of paintings,
prints, and drawings on
display, as well as a
monumental 12-foot sculpture, William—who was born
in Haiti and is now based in
Philadelphia—uses his colorful mixed media works to
ask fundamental questions
about American attitudes
toward immigrants. “The
paintings require that viewers reexamine their own
internal barometers for
what constitutes belonging
and kinship when looking at
one another,” William
explains. One of the best
arguments for American
exceptionalism—a reason
so many people risk life
and limb to come to the
United States—is that we
are a nation of immigrants.
And yet depending on
one’s skin color, the artist
notes, newcomers get different receptions. “How do
we make space for care
and curiosity,” he asks,
“rather than skepticism and
violence?” mocanomi.org
— Charles Curkin
ABOVE: Didier
William’s Mosaic
Pool, Miami (2021)
in a survey of the
Haitian-born artist’s
work in North Miami.
This new Hudson Valley resort,
with interiors by Ward + Gray
and architecture by Electric
Bowery, has a spa befitting its
pastoral locale. Treatments
feature local botanical
ingredients, and outdoor hot
tubs overlook the property’s
meadows. aubergeresorts.com/
wildflower-farms
—I.A.
H AU T E TA K E
FRENCH
EVOLUTION
One maison’s elegant new
flagship brings design ingenuity
and Parisian panache to a historic
corner of Madison Avenue.
BY SE AN SANTIAGO
PHOTOGR APHS BY NIC HOL AS C ALCOT T
The limestone staircase
at the new Hermès
flagship in Manhattan,
designed by Parisbased firm Rena
Dumas Architecture
Intérieure.
TOP RIGHT: Detail
of a bas-relief.
RIGHT: The store’s
beauty alcove.
I
f heaven is a place on earth, luxury acolytes will surely
find it on the top floor of New York City’s new Hermès
f lagship. Here, guests are greeted by a domed ceiling
composed of 20 bas-relief panels—based on ink drawings
by the French artist François Houtin—each of which took
more than 100 hours to create; they had to be installed
on-site with a custom-made lifting cradle. The result is as
much an engineering marvel as it is a testament to the
artistic integrity of this famed luxury brand—and that’s
before you notice the exquisite leather goods beneath it.
40
ELLE DECOR
At approximately 45,000 square feet, 706 Madison
Avenue is one of the largest Hermès outposts in the world.
The store is, in fact, three buildings combined: a neoFederal-style landmark bank building from 1921 flanked by
townhouses. It sits just up the block from the former
Hermès flagship, closed this year, a roughly 20,000-squarefoot space that had served the brand since 2000.
The new store centers guests’ comfort while courting
their sense of wonder, thanks to a four-and-a-half-year
renovation overseen by Denis Montel, artistic director and
FOR DETAILS, SEE RESOURCES
hermes.com
H AU T E TA K E
general manager of Rena Dumas Architecture Intérieure
(RDAI). Founded by Hermès artistic director Pierre-Alexis
Dumas’s late mother in 1972, RDAI has been working on the
brand’s retail spaces since 1976. “Hermès is a very creative
company,” Montel says. “There is no fixed brand identity—it’s
always an evolution. So we try with our designs to accompany the brand, to be another way of expressing the house
values. We don’t want it to feel like a department store.”
The core value at Hermès is, of course, its dedication to
craft—the company has 52 workshops in France, where it
employs more than 6,000 craftspeople—and that emphasis
on artisans’ skills is in evidence throughout the interior.
Color is used to establish a dialogue between rooms in
the historical building, accented with a manor-worthy deep
green, and its contemporary counterparts, where spaces are
outfitted in beige-straddling shades of pink. From the
terrazzo flooring to the jacquard wall fabrics, every finish in
the space is custom, as are the furnishings.
42
ELLE DECOR
LEFT: In the jewelry
salon, a display panel
is upholstered in a
woven jacquard fabric
with an abstracted
mushroom motif
designed by
Grethe Sørensen.
RIGHT: On the first
floor, the original
vault gate and a clock
pay homage to the
section of the store
that was a bank.
This is all in service to the wares of each of the maison’s
16 métiers, f rom t he more recent i nt roduction s—
a beauty alcove swathed in gold-leaf lacquered wallpaper,
assembled on-site, showcases rows of Pierre Hardy–
designed lipstick tubes—to the equestrian accoutrements
on which the brand was founded in 1837.
Mosaic tiles and the Hermès coat of arms inlaid on the
ground floor are familiar signatures, as is the Greek key
motif that frames the main entrance and ceiling. But the
threads between the various retail environments are
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more ephemeral by design. Montel and his team worked to
create a visual language that felt unique to New York while
emphasizing the connection between the city and Paris, the
maison’s founding capital. “We treat it like an embassy,”
says Sybil Debu, RDAI architect and project director.
The pièce de résistance, if one had to choose, could be
the monolithic stone staircase that anchors the space. Made
of Portuguese limestone strengthened with post-tension
cables, it took almost a year to build. “It’s very high-tech but
completely invisible,” Montel says of the structure’s complex
engineering. Elsewhere, the original bank vault gate has
been repurposed, in this instance cleverly appearing as a
first-f loor point of sale; these details keep the past in
conversation with the present and heritage with ingenuity.
On the terrace, landscape architect Miranda Brooks has
created a charming rooftop garden filled with native plants,
presided over in iconic Hermès fashion by a cast-iron
cavalryman. A fifth-floor atelier houses artisans-in-residence
working on leather, jewelry, and timepieces. “We combine
these elements by looking for harmony,” Montel says. “You
can have a certain color of carpet beside a certain piece of
stone, but there’s an established relationship between the
two. In the end, it’s one single vision.” ◾
ABOVE: A private
lounge on the flagship’s
top floor features a
unique lighting scheme
hidden behind built-in
wall panels. The sofa
and rug are custom,
and the floor lamp is
by Egg Collective.
RIGHT: Clothing and
accessories are displayed in environments
with custom millwork
and furniture.
44
ELLE DECOR
P R O M OT I O N
ELLE DECOR|LIFE
C R AF TI N G LUXU RY
P R O M OT I O N
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Ring in
the New Year
in Style
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frontgate.com
POINT OF VIEW
WOULD YOU
MOVE TO THE
METAVERSE?
Pro or con, the interiors of the
future are coming together nicely.
Here’s how—and why.
BY
KRISTEN BATEM AN
Iceland House, a
digital architectural
project by London
designer Charlotte
Taylor and Milan’s
Évoque Lab.
ELLE DECOR
51
POINT OF VIEW
P
icture a world in which you exist only as a
digital avatar. Your home is designed with
waterfall walls rather than oa k. T he
exterior is surrounded by flames rather than
lush green landscape. As for your property’s
location, please consider the most remote part
of the globe, where neither the laws of physics
and geography nor permits and budgets exist.
It’s hard to envision, right?
Enter tech’s new obsession: the metaverse.
A term coined by the writer Neal Stephenson
in his 1992 novel Snow Crash, it refers to a
place where virtual, augmented, and physical
realities collide in a fully digital world. It goes
beyond non-fungible tokens (NFTs) and cryptocurrencies and crosses into gaming. If you’ve
ever created a house in Animal Crossing or the
Sims, then you’ve experienced interior design
in the metaverse at its most basic level.
“The metaverse offers a sense of ‘familiarity’ with the physical world but challenges
scale, materiality, physics, and function,” says
architect Luis Fernandez, whose MetaEstates_
Gallery project put a focus on displaying art in
surreal natural settings, juxtaposing elements
that don’t coexist in the real world. Tiffany
Howell, the interior designer behind Night
Palm studio in Los Angeles, adds: “You can
b u i ld s p a ce s t h at wou ld ot h e r w i s e b e
architecturally impossible in locations that one
could only dream of—it’s an opportunity to
bring dreamscapes to life.”
But is this real or simply a gimmick? And
if it’s just a gimmick, should we be celebrating
it? In March 2021, the f irst digital house,
created by artist Krista Kim, sold for 288 ether
tokens—equivalent to $514,557.79 at the time. In
August 2022, Fernandez’s MetaEstates_Villa
sold out as an edition of 42, with buyers ranging from NFT collectors to award-winning TV
and film producers.
“You can build spaces
that would otherwise
be architecturally
impossible.”
—TIFFANY HOWELL
52
ELLE DECOR
Though it seems that the biggest benefit of buying a meta-property
right now is bragging rights, there are other reasons. “These assets are
being purchased as sets for shoots and movies or a digital space to
ex hibit art collections,” Fernandez says. He also sees them as
entertainment venues or even just places to interact with people in a
more personal way than over Zoom.
Often, the metaverse is positioned as an overcomplicated idea. Yet
many of us are already there, using multiple platforms to communicate
and meet in the virtual world. And while Facebook’s parent company
may have changed its name to Meta in October 2021, its platforms have
never been complex beacons of innovation. A simple scroll on Instagram
(another Meta company) shows avatars of its employees that neither look
like them in the most basic sense nor eschew the beauty standards of
today. Part of what makes social media interesting is its spectrum from
unfiltered reality to aspirational fantasy, and Meta’s avatars deliver neither.
Added to that, this October internal documents revealed that Horizon
Worlds, the company’s metaverse platform, is falling short of internal performance expectations, with glitchy technology and disengaged users.
(The company’s stock price dipped below $100 for the first time since 2015.)
But don’t be fooled by one company’s short-term challenges.
Whether we like it or not, global interest in the metaverse is building to
a fever pitch. That means we will be seeing more digital interiors soon,
simply because of just how intertwined the space is with shopping. The
fashion world is obsessed, and as brands expand their digital presence
they’re going to need pleasing interiors for their stores. At the end of the
day, it’s all about getting people to spend money.
As your avatar becomes more like you, it will be individual
designers who entice us in with improved architecture and interiors.
“Their understanding of the technical limitations of space will ease the
shifting between the real and digital worlds,” says Ismail Tazi of Trame,
in Paris, who is working on an art collection that seeks to push the
boundaries between physical and digital spaces. Likewise, designers are
using the metaverse as a new platform for exploration. “The surprise
is discovering that within this seemingly limitless space, you can
encounter new challenges you’d never considered,” says Harry Nuriev of
Crosby Studios in Brooklyn.
Metaverse interiors still feel so primitive that the escalating hype
seems overwrought. That’s not unexpected; most technological advances
follow that pattern. Design in the metaverse as it exists now is more a
form of entertainment than anything else. The average person will experience it through brands and gaming much sooner than they’ll own a
second metaverse home on Mars. But it’s that idea of limitless potential
that will undoubtedly continue to pique our collective interest.
Those who dismiss the metaverse will be left behind, simply
because it will eventually become even more pervasive. But only when it
surpasses gimmick and starts to change people’s lives through
practicality will it have real impact. Consider shopping online from your
living room: Your avatar, built to scale, tries on outfits in the metaverse.
All this within a wild digital interior that’s much more appealing than
anything in reality. That’s the future. ◾
Kristen Bateman is a writer based in Brooklyn.
Secret Garden by Guo Pei
THERUGCOMPANY.COM
x
STUDI OML IG HTI N G .CO M
APPRAISAL
DARWIN’S
DELIGHT
LEFT: Turtle-back
and Geometric
chandelier,
circa 1915.
BELOW: One of two
Dragonfly table
lamps, circa 1905.
The upcoming Tiffany auction
at Christie’s celebrates the
natural world’s many facets.
THE GILDED AGE MAY BE LONG GONE, BUT YOU CAN STILL
own a bit of the era’s decorative glamour. Christie’s has
amassed more than 40 Tiffany Studios objects to be auctioned off on December 9 in Manhattan, ranging from
Favrile glass and iconic lighting to pottery and enamelware. The lots, which mainly consist of pieces
produced between 1895 and 1920, highlight the
exceptionally fine quality of Louis Comfort
Tiffany’s glass workshops in the early 20th
century. Motifs from the natural world
run through the collection: Flowers and
other flora and fauna offer a counterpoint
to the story of a rapidly modernizing
world following the Industrial Revolution. The hankering
for greenery in the era was met with an equally enthusiastic embrace of geometric patterns, repetitive forms, and
vibrant hues. These points of inspiration blossomed in the
metalworking of Tiffany’s ateliers, where the company’s
craftsmen seamlessly married materials and techniques.
The lamps on view at Christie’s have become some
of the most renowned works to come out of Tiffany
Studios, and the detail-oriented skills of these storied
artisanal workshops are on full display. Tiffany’s lamps
were sought after then, as now, for their all-encompassing
refinement—bases were as beautiful as shades, colors were
paired in unexpected and inventive ways, and shape and
scale were opportunities for constant experimentation.
A circa-1902 lamp in blue, green, and orange carries
the name Dragonfly for the graceful insects that decorate
its intricate shade. The piece is as striking from above as
it is from below, where a base in patinated bronze takes
the form of a pond bursting with cattails and lilies. Mother
Nature’s delights appear again in a rare Geometric and
Turtle-back chandelier. There is also a Laburnum table
lamp circa 1915 with edges that follow the flower petals’
forms, and an Elaborate Peony table lamp whose title undersells the intricacy of its design—a decorative menagerie,
just in time for the least green of seasons. —Camille Okhio
54
ELLE DECOR
PRESENTED BY
ABOVE: Geometric
and Turtle-back ceiling
light, circa 1905.
BELOW: Laburnum
table lamp, circa 1915.
P R O M OT I O N
ELLE DECOR|LIFE
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The latest in primary-bath design takes selfcare at home to gleaming new heights. BYOB.
BY
STEPHEN TREFFINGER
ELLE DECOR
57
BUILDER
A
lthough the past couple of years are not entirely in
the rearview mirror, as a whole, humanity seems to
h ave rebou nded . But one aspect of t he long
isolation—that the primary bathroom became a refuge
when everyone was always home—has remained. We’ve
developed an unyielding need for personal space, and that’s
not something we’re apt to give up quickly.
Bathrooms as we know them are a relatively recent
phenomenon. Ancient Romans and medieval Europeans, for
instance, used public facilities for communal bathing, thus
both getting clean and socializing. It wasn’t until the early
20th century that having a discrete bathroom in one’s house
was regarded as de rigueur. Today, people redoing their baths
are pushing hard to keep—and extend—that separation.
Anna Karp, CEO of New York design-build firm Bolster,
says she is seeing a shift in priorities: People are putting
more money into a space’s overall layout than into expensive tiles and fixtures. Additionally, sofas and built-in
shower seating have become mainstream. This is partially
for comfort; but also, “for those who are aging in place, it
has become quite common if people are staying in their
home for a very long time,” Karp says. (It’s also handy to
have a ledge for shaving one’s legs.) Some of her clients are
seeking sound insulation, which includes using heavier
doors for additional privacy.
For Los Angeles interior designer Pamela Shamshiri, the
primary bathroom is more and more about wellness and how
that is achieved: “What singular spa ritual does the client want
to get out of it? Because you usually can’t do everything.” (With
space constraints, sometimes you have to choose between a
large soaking tub and a steam shower.) These rooms are often
more multifunctional as people now meditate and work, so
furniture such as armchairs and armoires are finding their way
in. Shamshiri once lived in a Rudolph Schindler house that
featured a bathroom with heated floors on which she would lie
and work for long periods. Although it had only shoji doors,
when they were closed they sent a clear message: “Everyone
knew I was in self-care mode.”
Making the bathroom more connected to the rest of the
house is key, according to New York interior designer Joy
Moyler. She particularly dislikes cold and clinical spaces,
which she says are “like something out of One Flew Over
the Cuckoo’s Nest.” To combat asylum austerity, she
recently placed table lamps on a long vanity, which she
ALICIA WAITE
In a London home
designed by Buchanan
Studio, an enclosed
toilet is sheathed in
pink-and-white
checkered tiles.
58
ELLE DECOR
PRESENTED BY
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deems to have been a great success. “It doesn’t, however,
wo r k we l l fo r wo m e n w h o n e e d to p u t o n t h e i r
mascara—and not stab themselves in the eye.” The solution
is multiple layers of lighting that are appropriate for
different moods and tasks.
Architect Chris Fogarty of the firm Fogarty Finger, who
designed the luxury residential project Astoria West, in
Queens, New York, is firmly Team Tub. “If you’re English
like me, having the bathtub is critically important,” he says.
For walls and floors, he prefers porcelain tile—especially
the new thin, large-format versions—for their marblelike
appearance and longevity. Also, the more spare and simple
the bathroom, the more complex the construction process
can be. Floating vanities, for example, require hidden steel
bars or else they’ll eventually sag. “The modern bathroom
probably has more going on behind the walls than you could
ever imagine,” he adds.
In addition to being refuges, separate bathrooms for
couples can also provide added benefits. Moyler has recently
had requests by women for a particular medicine cabinet
with a lockable drawer in it. “This is where they can store
the good jewelry,” she says. “And if they need to
leave in the middle of the night, they can take it
with them instead of waiting outside the bank
to get into the safe deposit box.” ◾
Sandy hues and
a wooden tub in a
California home by
Studio Shamshiri.
1. STATEMENT
RAIN HEAD
3. VENEZIA
BY VENINI
A bright brass
shower fixture lets
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60
ELLE DECOR
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PROMOTION
ELLE DECOR | LIFE
DESIGN. FASHION. CULTURE.
BARBADOS TOURISM
Holidays are a little different in Barbados.
Surrounded with the perfect shade of blue
and brimming with spirit and rich heritage,
Barbados is a place that offers a unique
travel experience. Each day promises new
discoveries and memories to last a lifetime.
It’s just different in Barbados.
visitbarbados.org
YORK WALLCOVERINGS
“Capiz Offering”, made of natural,
translucent oyster shells, was the designer’s
choice for new product featured at High
Point Market. Curated in the Carol BensonCobb, Signature Wallcoverings collection
by York Wallcoverings.
yorkwallcoverings.com
SCAVOLINI
Musa, the new Scavolini kitchen
Sophistication, versatility and innovation: these
are the special features of Musa, the new Scavolini
kitchen by Vuesse Design. A solution designed
to embellish contemporary style and formal
elegance thanks to a new modularity and a wide
range of finishes that enable endless scenarios
to be created, heralding the most extensive
customizations possible.
cavolini.com
F U R N I T U R E FA N TA S Y
TOGETHER, NATURALLY
Janus et Cie’s year-round outdoor furniture collections are
perfect for a day of catching up with friends en plein air.
WRIT TEN AN D PRODUC ED BY
62
ELLE DECOR
PARKER BOWIE L ARSON
PHOTOGR APHS BY
T YLER JOE
ON THE
WATERFRONT
CHAMPAGNE
TOAST
THIS PAGE: Serengeti
armchairs and dining table
by Philippe Starck and
Pizarro natural slate bowl,
all by Janus et Cie. Raami
bowls and tumblers and
Ultima Thule highball
glasses by Iittala.
OPPOSITE: Lucy chaises
longues and side table by
Janus et Cie.
FASHION, FROM LEFT:
Sweater by Sacai, dress by
Brooks Brothers, bracelet by
Tiffany & Co., earrings by
Laruicci, sunglasses by Tory
Burch, shoes by Sperry;
sweater and pullover by
Dior, pants by Brooks
Brothers; jacket, shirt, and
pants by Armani, sunglasses
by Chloé; jacket and shirt by
Officine Generale, pants
by Brooks Brothers, scarf by
Kenzo, shoes by Sperry.
FASHION, FROM LEFT:
Dress by Markarian,
earrings by Adeam; dress
by Oscar de la Renta,
shoes by Manolo Blahnik,
earrings by Laruicci,
bracelet by Kate Spade.
janusetcie.com
For details, see Resources.
PRESENTED BY
F U R N I T U R E FA N TA S Y
FRIENDLY
COMPETITION
Serengeti side tables,
sofa with canopy, and
cocktail table by Philippe
Starck and Quinta teak
and woven tray, all by
Janus et Cie.
FASHION, FROM LEFT:
Sweater and hat by
Closed, polo and shoes
by Lacoste, shorts by
Ralph Lauren; sweater
by Brooks Brothers, polo
and shoes by Lacoste,
shorts by Lululemon.
PRESENTED BY
ST YLIST: LIZ RUNDBAKEN; HAIR: BOK- HEE AT ART DEPARTMENT; MAKEUP: MISUZU MIYAKE AT ART DEPARTMENT;
MANICURE: SHIRLEY CHENG AT SEE MANAGEMENT; MODELS: CHI KUYNH AT MUSE NY, ANNAISE BERCY AT MA JOR,
ETHAN THOMPSON AT ONE MANAGEMENT, FR ANCOIS ANGOSTON AT NEX T
BEFORE SUNSET
Lucy lounge chair by
Janus et Cie.
FASHION: Suit by Lapointe,
shoes by Tory Burch,
earrings by Jennifer Behr.
ELLE DECOR
65
TROPICAL TREAT
Design takes a holiday
with the latest eyecatching gems. Hemmerle
tourmaline earrings in
aluminum, bronze, and
white gold. hemmerle.com.
David Yurman dianthus
beetle drop earrings.
davidyurman.com.
KEIRNAN MONAGHAN AND THEO VAMVOUNAKIS
For more of this season’s
most dazzling jewels,
see page 86.
In this issue:
the dreamiest
interiors—and
high jewelry—
to inspire your
winter escape.
ELLE DECOR
67
Sally and Michel Perrin decamp from Los Angeles to
a sun-dappled resort town on Mexico’s Pacific coast.
BY
DAVID NASH
PHOTOGR APHS BY
TRE VOR TONDRO
ST YLED BY
ANITA SARSIDI
The pool at the home of
Sally and Michel Perrin
in Costa Careyes,
Mexico, designed
by architect Diego
Villaseñor. Landscaping
by Eric Nagelmann. For
details, see Resources.
ELLE DECOR
69
n a terraced hillside, high
above Mexico’s Pacific coast,
sits a villa named Casa Torre.
The residence— in an area
near Jalisco developed by
the late Italian banker Gian
Franco Brignone and dubbed
Costa Ca reyes (“tor toise
shells” in Spanish)—is home
to fashion-world bon vivants
Sally and Michel Perrin. For
Michel, the chairman of his family’s 130-year-old French
leather-goods house, Perrin Paris, and his American expat
wife, Sally, who serves as the heritage brand’s creative
director, Careyes is more than a part-time escape, it’s a way
of life. “It’s a place that has brought us great joy,” she says.
They were introduced to Costa Careyes when they
were invited down from Los Angeles for a birthday party 14
years ago. “It was a real watershed moment for us—we just
fell in love with the vibe,” Sally says. With their two then
teenage daughters in tow, the couple returned later that year
for a few weeks at Christmas and were totally hooked. “The
community was so warm and friendly, so we kept coming
back year after year and rented different houses each time,”
Michel says. Then in early 2019 they learned Casa Torre was
for sale, and the stars had suddenly aligned. They sold their
L.A. house and started a new chapter living between Paris
and Brignone’s world.
It’s been almost 55 years since Brignone first set eyes on
the nearly six-mile stretch of jungle, cliffs, and beaches that
make up Costa Careyes. Peering down from the cockpit of a
single-engine Cessna in 1968, in search of an idyllic spot to
retire with his family, he instantly became enamored with
the area, and the rest is colorfully preserved history.
Once an uninhabited coastline that had to be accessed
by boat and explored on horseback, Costa Careyes is now an
exclusive enclave of about 60 stunning private homes
designed in what’s become known as the Careyes style.
With their open-air, thatched-roof palapas, curvilinear
architecture, and electrifyingly colorful facades, these
coastal castles dot the region’s modest expanse like delicious confections. Apart from his architectural ideology,
Brignone’s mission—along with that of five decades of
residents—has always been to support the local communities and safeguard the vast area of wetlands along the coast,
which includes a sanctuary for sea turtles.
Designed by Mexican architect Diego Villaseñor and
built in 1988, the Perrins’ five-bungalow raspberry sherbet
and golden yellow–hued home, with its living palapa and
three separate dining palapas—each used at different parts
of the day based on the sun’s positioning—offers gloriously
unobstructed views of Playa Rosa and the coastline. The
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ELLE DECOR
property’s lush tropical gardens came with their own
incredible pedigree, having been created by Eric Nagelmann, the landscape designer behind Lotusland, the fabled
botanical garden in Montecito, California. “Communing
with nature—the outside experience—is almost more
important than being inside,” Michel says. “We don’t have
glass windows anywhere in the house. It’s all open to
nature, and that’s the key element. It’s extraordinary, like a
moving painting—you can stare out at the sky all day.”
Most of the furniture is built-in, including expansive
lounge-style seating, side tables, and platform bed frames.
“Apart from a few pieces of artwork, we didn’t import anything from the L.A. home,” notes Sally of the thoughtfully
curated interiors. “None of it would have worked, and
besides, it’s nice to have a fresh start.” At the beginning of
the pandemic, the Perrins spent six months living comfortably in the welcome oasis, with minimal furnishings,
learning how their lifestyle fit with the home’s flow. From
hiring a master woodworker and skilled upholsterer based
in nearby villages to sourcing retailers of indigenous goods,
the couple created their own version of Shangri-la.
When in residence, they’re up early managing business
in Paris, and, while the days are full, there’s always time for
fun and relaxation. “I swim in the ocean each afternoon,
and we play backgammon and have cocktail hour every
night,” says Michel, who favors an Americano (“it’s a
Negroni without gin”) while his wife prefers a spicy
margarita at game time. “There’s a word in French, ludique,
which means whimsical, clever,” Sally says. “I think that’s
what we were trying to accomplish with this house—to
keep it light and playful.” ◾
In the dining palapa, the
table was reimagined
using several colors of
flooring paint. Locally
made equipale barrel
chairs; wall art by Marie
Khouri; sculpture by
Lørag & Søndag.
OPPOSITE: Sally Perrin
wears a Marco de
Vincenzo skirt with a
Perrin Paris belt bag,
and Michel Perrin is in
a shirt by Etro. Custom
1985 Volkswagen Bug
with wicker seats.
The outdoor living room
has a Careyes-style
built-in sofa, and the
cocktail table is by local
artisans. Monkey
console table by Mario
Lopez Torres; lamps by
Rosario Guerrero; wall
art by Saul Kaminer.
ELLE DECOR
73
A second dining palapa,
with a thatched roof made
of dried palm leaves,
overlooks the Pacific
Ocean. Dining table’s
resin top by Monica
Calderon; chandelier
by Mario Lopez Torres;
barrel chairs covered in
leather by Perrin Paris.
74
ELLE DECOR
“Communing with
nature is almost
more important
than being inside.”
—MICHEL PERRIN
RIGHT: In the bathroom, the
hand-carved wood mirror is
by David Hurwitz, and the
sconces are custom.
BELOW: The Acapulco
chairs by artist Marilo
Carral sit in one of the
bungalow bedroom
suites. Throw and pillow
designed by Sally Perrin
with ELE Studio.
An architect’s
family home in
Greece invites
guests to take in
the view—and
appreciate history.
BY C A MILLE OKHIO
PHOTOGR APHS BY M AT THIEU
Architect Christina
Seilern’s Cycladic-style
vacation home on the
Greek island of Paros.
Designed by Studio Seilern
Architects; landscape by
E Landscape. For details,
see Resources.
76
ELLE DECOR
SALVAING
n the Greek island of Paros,
where the Swiss-born, Columbia
University–trained architect
Christina Seilern has built a
vacation home for herself and
her family, strong winds are as
persistent an element as blue
skies and clear seas. “This house came out of very pragmatic and romantic notions,” says Seilern, who had no plans to build on the site at the time
it was inherited from her late in-laws. Then local regulations changed,
forcing her hand: It was build now or lose the right to build forever.
The resulting house is of a piece with Seilern’s studied approach,
despite its unexpected genesis. Her 16-year-old London- and New York–
based f i rm, Stud io Sei lern A rch itects (SSA), has developed a
research-intensive practice tackling briefs as varied as concert halls,
private libraries, and restaurants. She recounts an early collaborative
project in Zimbabwe as a career turning point: “At the time, construction
materials were hard to come by. If we needed gutters, for example, we
would have to cut them out of stone we found on-site. Sometimes you
have to work in a totally different way from what you are used to.”
From then on, SSA has countered the Western tradition of architectural imposition, producing work informed by local materials and the
heritage of each project’s location. “We don’t pigeonhole ourselves into
one typology,” Seilern says. “It’s about finding the right clients, rather
than the right buildings.” With herself as the client, Seilern turned to the
dialogue between nature and history for inspiration.
Perched on an isolated peninsula overlooking the Aegean Sea, the
three rectilinear, flat-roofed structures that make up the home flow into
each other via exterior corridors, positioned on an east-west axis to
withstand the at-times-overpowering winds. (A wind consultant was
brought on to help find structural solutions that further mitigate its
impact.) Informed by Cycladic archi tecture, the buildings follow
medi eval examples in the area, updated with a contemporary bent
toward sustainability. Sharp edges replace rounded ones, and precision
is valued over patina. Marble dust from ancient quarries on the island
was mixed with stucco to finish the exterior walls of each building,
which are made of aerated concrete blocks that utilize a third of the
material weight that poured concrete surfaces would require. The outdoor spaces were conceived of as a series of overlapping slabs that follow
78
ELLE DECOR
The outdoor living
and dining area of the
home. Custom table
by Michalis Akoglanis;
chairs by Rodolfo
Dordoni from Cassina.
the natural terrain and are done in variations of
terrazzo so that guests can go barefoot. “Stone
can get much too hot,” Seilern says. “But the
terrazzo is like soft butter on your feet.”
The focal point is the pool, which takes up
more than 2,000 square feet and juts out over
an olive tree orchard. It is mirrored by a curved
laminated-wood and bamboo pergola that
covers an outdoor lounge, a bar and dining
area, and built-in pool lounge chairs.
Inside, Seilern eschewed a formal dining
room in favor of a modest dine-in kitchen. She
carved out a deliberately small footprint for the
open-plan living areas to accommodate as
much entertaining space outdoors as possible.
“This house is about the sunset,” says Seilern.
“That’s what guests see as soon as they enter.”
Rather than whitewashed adobe, she opted
for built-in beds, benches, desks, and headboards made of light gray microcement, a thin
coating that does not need joints and does not
crack. Custom cushions and linens were made
in a complementary calm and cloudy palette. Further inspiration was
drawn from the island’s traditional architecture in framing windows and
doors with hammered Aliveri marble, akin to the ornate stone thresholds of Parian churches and wealthy villagers’ homes. “This is an
element we derived from the historical context, rethought and reworked
so as to create something familiar to the island yet new to the
experience,” Seilern says.
This, of course, is precisely wherein the success of the home lies:
bridging the distance between the interior and the exterior; addressing
the needs of a family and the whims of Mother Nature; and melding the
ancient past with our present moment. ◾
ELLE DECOR
79
The pool cantilevers
over the landscape with
a base clad in mirrors to
further the illusion that
it is floating.
ABOVE LEFT: A fig tree
on the private terrace of
one of the guest suites.
ABOVE RIGHT: In the
kitchen, the dining table
is by Thomas Lemut.
Chairs in soaped oak by
Carl Hansen; backsplash
in Grey Delta marble by
Delta Marble, Athens.
OPPOSITE: The living
room features a built-in
bench. Upholstery and
pillows by Dimitrios
Kalyvianakis; cocktail
table by Delta Marble;
rug by the Rug Company.
ELLE DECOR
81
ABOVE LEFT: A sloped
wall constructed with
local stone was designed
to bring light into a basement courtyard.
82
ELLE DECOR
ABOVE RIGHT: In one
of five guest rooms,
the built-in headboard
doubles as a writing desk.
Chair by Carl Hansen.
OPPOSITE: The terrace
of the primary bedroom
overlooks the Aegean
Sea. Custom pillows by
Dimitrios Kalyvianakis.
“The whole house celebrates the views
of the sea and surrounding islands.”
—CHRISTINA SEILERN
Kiss the winter doldrums goodbye with high jewelry
fit for every escape plan. Bon voyage!
ST. MORITZ
The slopes have never
shone like this—until now.
Harry Winston cushion-cut
yellow diamond ring and
diamond cluster necklace.
harrywinston.com. All prices
upon request.
K AHN
PROP ST YLIST: MIAKO K ATOH
BY SE AN SANTIAGO
PHOTOGR APHS BY KEIRNAN MONAGHAN
A N D THEO VA MVOUNAKIS
PRODUCED BY WILL
MIAMI
Opt for an Art Deco
twist to upgrade your
fair-walking fits. Hermès
Lueurs du Jour necklace.
hermes.com. Taffin by
James de Givenchy
green jade disk earrings.
taffin.com.
ELLE DECOR
85
BORA-BORA
Slip out of your scuba suit
and dive into some shoresafe looks with a little
more drip. Bulgari highjewelry poncho necklace.
bulgari.com. Temple St.
Clair Pyramid tourmaline
cuff. templestclair.com.
PALM BEACH
Put your own twist on
tradition with classical
pieces that pop. Tiffany
& Co. Schlumberger
Two Fruit brooch and
Fleurage Stitches
bracelet. tiffany.com.
ELLE DECOR
87
PARIS
An archival blueprint for
the Jardin des Tuileries
inspired this arrangement:
a suite of gems to write
home about. Van Cleef &
Arpels diamond clip, bow
necklace, and double
boule ring. vancleefarpels
.com. Louis Vuitton Fantasy
bracelet. louisvuitton.com.
GOA
From the coastline to
your neckline, these
gems have the range.
Sabyasachi necklace.
646-799-9400. Gucci
tiger-head bracelet.
gucci.com.
ELLE DECOR
89
On his mother’s
bucolic estate
north of Rome,
Filippo Chia
transforms an
abandoned
farmhouse and
tower into his own
striking retreat.
PHOTOGR APHS BY
SIMON WATSON
The vast gardens at
Villa Lina, Paola Igliori’s
estate near Ronciglione,
Italy, include tall
cypresses and a 1930s
waterfall fountain by
Raffaele de Vico.
OPPOSITE: Igliori’s son,
Filippo Chia, restored the
Torre del Falco, a farmhouse and tower on the
property, with his mother
and architect Pietro Belei.
For details, see Resources.
ELLE DECOR
91
he story of Torre del Falco—the Tower
of the Falcon—begins in Italy’s hilly
Tuscia region north of Rome. There, on
the outskirts of the town of Ronciglione, Paola Igliori returned some years
ago to her family’s estate, Villa Lina, a
sprawling and picturesque property
surrounded by the Cimini, a range of volcanic mountains.
Igliori, a writer and filmmaker who had been living in New
York City, inherited a 1920s villa, built on the remains of
one erected more than two centuries earlier; an 18thcentury botanical garden; and a symbolic landscape created
in the 1930s by the noted architect Raffaele de Vico. She
now lives there full-time and has spent years transforming
the estate into a country retreat, where she welcomes travelers interested in discovering the treasures of the region.
But while she restored and decorated most of the buildings on the property, she did leave one structure untouched:
Torre del Falco, a crumbling 19th-century farmhouse built
around an ancient tower. That is, until it became the dream
project of her son, Filippo Chia (who is my stepson).
In 2004, Chia was 21 and studying photography at
New York University. He returned that summer to Italy,
where, as usual, he shuttled between his mother’s Villa Lina
and Castello Romitorio, the vineyard near Montalcino, Tuscany, where his father, artist Sandro Chia, is based. While
visiting his mother, he ventured out to explore the old farmhouse and tower, which had been uninhabited since the
1950s and was on an isolated part of the property in the
midst of a hazelnut forest. “I used to play here with my
friends as a child,” says Chia, now the CEO of the Castello
Romitorio winery.
Covered in brambles, its roof collapsed, it was a
mysterious place, even a little eerie. And yet its interiors
still showed traces of the original pastel-colored paint—all
shades of green, blue, and purple—that had adorned its
walls. That summer, exploring once again those remains
from a long-lost past ignited in him a fervent desire to
salvage the building.
Back in New York, Chia supervised the plans sent to him
by Igliori and Pietro Belei, the architect in charge of rebuilding the farmhouse. With the help of old photographs, they
re-created the volume of the main house, the old tower, and
an adjacent small pavilion. Restoration of the interiors
began as soon as he returned to Italy the following summer.
“The idea was to create a place that was in the same eclectic
spirit as the other houses on the property,” he says.
Inspiration was found in the genius loci of this region,
known for both the elegance of its Renaissance villas and
the rough-hewn farmhouses that date back to medieval
times. At Torre del Falco, for example, the facade was covered
LEFT: Chia collects antique
tiles and used them in the
restoration, from the
terra-cotta ones laid in
a checkerboard pattern
in the living room to the
Neapolitan Riggiole tile
in the entry (right).
92
ELLE DECOR
OPPOSITE: The kitchen
has a border in handpainted Neapolitan
maiolica tile.
in a stone-colored plaster finish reminiscent of the exteriors
of the Villa Lante della Rovere in the nearby village of
Bagnaia—a Renaissance gem that once belonged to the
family of Igliori’s mother, Angela Lante Montefeltro della
Rovere. In the main living room on the ground f loor, he
inserted a pattern of triangular pigeonholes, a characteristic
feature of rural architecture in the area.
Chia also looked southward, to Naples and the island of
Capri, where he and Igliori are part owners of Villa Quattro
Venti, the historic palatial home built in the early 1900s by
the American symbolist painter and poet Elihu Vedder.
When sections of that house were sold off, Chia —who
collects 18th- and 19th-century maiolica—salvaged the
hand-painted tiles for his kitchen and bathrooms.
The minimalist open staircase at Torre del Falco also
pays homage to a different Capri monument: the modernist
Villa Malaparte. Another of Chia’s passions, Roman archaeology, found its way into the ground-floor library, where a
bookshelf was built around a huge Etruscan-style vase, and
wall murals pay tribute to Pompeii and Herculaneum.
The house is filled with art by friends, such as Lola
Schnabel, whose engraved print hangs in the living room.
Another acquaintance, Giorgio Franchetti, the late civil
engineer and art collector, taught Chia the ancient Roman
method for laying terra-cotta floors, in which tiles are placed
in a checkerboard pattern and the seams are filled with a
mixture of marble dust, white cement, and water.
There is a genre in Italian Renaissance and Baroque
architecture known as capriccio, called a folly in English.
Buildings and interiors of this kind were inspired more by a
need for creative expression than for practical reasons;
these whimsical structures are often motivated by a desire
to rekindle long-lost worlds through design and decoration.
Torre del Falco is Chia’s own poetic construct—a folly, and
a home, that is both experimental and timeless. ◾
ABOVE LEFT: To paint the
library’s vintage console,
Chia used a cement-based
formula that was given to
him by the artist Cy
Twombly. 1890s Murano
chandelier; decorative
wall and ceiling treatments
by Marina Moscetti.
LEFT: Inspired by ancient
Rome, the guest bathroom
has an 18th-century
Murano mirror and
19th-century Riggiole tile.
A guest bedroom’s plaster
walls are tinted in natural
Verde Veronese pigment.
Vintage 1920s sofa;
1820s armoire in Roman
walnut; 19th-century
French cocktail table;
curtains of a striped
Cesari silk.
ELLE DECOR
95
A saffron-yellow cast-iron
staircase by Fonderia
Carnevale leads from the
second to the top floor.
OPPOSITE: A guest room
has a Louis XV caned
bed and a 19th-century
faux-marble nightstand.
Stucco walls in natural
ocher; 19th-century
Neapolitan tile handpainted to mimic
parquet flooring.
ELLE DECOR
97
98
ELLE DECOR
Native scrub plants,
including many varieties
of cacti, surround the stark
architecture of a concrete
home that Jenny and Jonny
Graham designed in northwestern Argentina.
OPPOSITE: In the living
room, the vintage fiberglass chair is from
Spitalfields Market in
London, and the cocktail
table on wheels was
designed by Jonny.
Artworks by Mariano
Cornejo. For details,
see Resources.
In Argentina,
a wild hilltop
with views
of the Andes
becomes a
creative canvas
for a London
landscape
designer.
M ARK LUSCOMBE -WHY TE
he northwestern Argentine province of Salta
offers a dramatic landscape where the imposing peaks of the Andes mountains frame
Spanish Colonial architecture. Here, the farm
where landscape designer Jenny Graham
spent her childhood later became the same
place she and her husband, Jonny, a commodities broker, chose to settle after three decades
of living in London.
T hough the vast terrain of the farm
encapsulates areas for crops and cattle, it consists primarily of the sort of untouched nature that
characterizes the region—low scrub vegetation and the
surfeit of wildlife it attracts. “I believe the landscape should
dictate what the architecture becomes,” says Jenny Graham
of the site they selected for the home they designed. “We
found a little barren zone on a hill where there wasn’t much
wilderness to remove, and then the project just emerged.”
The ample one-bedroom residence, organized around
an interior patio, is a contemporary take on the traditional
typology of local farmhouses, with a nearby guest cottage
featuring the same dimensions as the courtyard, as if
extruded from the main volume. With a landscape so
untamed, there is often a desire to mimic nature in the
Jenny Graham
with a vintage armchair in orange,
her favorite color.
architecture by employing natural materials and a subdued
color palette. But Graham took a different route: The main
home’s front doors are painted in bold hues of blue as well
as in orange, her favorite color. The juxtaposition stands in
pleasant tension with the enveloping wilderness that meets
the facade.
Built in concrete block, the house was intended to feel
not just connected to but inextricably linked with the landscape in all its scales: the surrounding greenery so close to
the ground floor that one can make out all its details; the
wide vistas of the mountains and sky framed by the
upstairs windows. And so, the project functions almost as
an allegory of our contemporary condition—the encounter
between the artificial and the natural realms, a struggle in
which one suspects and, perhaps unwittingly, even hopes
the latter will emerge victorious.
For any landscape designer, including Graham, the
decision to leave a terrain largely intact is an intentional
one. “I did add some aloe plants and some agaves that are
kind of scattered around,” she says of her subtle domestications. “I opened up, ever so slightly, a few views to the hills.
But primarily, it is wilderness all around.”
In tune with the running theme of dichotomy, the sleek
interiors are a different story altogether—polished concrete
floors, details in chrome and aluminum, and pristine white
walls contrast the occasional and vividly colored objects
and artworks. One painting, Graham’s own, stands out—an
orange crescentoid, one of the study drawings for a sculpture she made while living in London. Otherwise, the
rooms are airy and minimal.
Early on, the owners decided to embrace their large,
fairly empty spaces. “When we were designing, many
people asked, ‘How are you ever going to fill this up?’ ”
recalls Graham. “I said, ‘I’m never going to!’ ”
The couple’s days begin early, with the sun’s rise flooding their rooms with light. Leisurely breakfasts prepared in
the vast kitchen are enjoyed in the even vaster dining area.
Later, meandering walks through the farm in the company
of Dulce and Rosa, their two dogs, are a fixture of their
afternoons, which are otherwise spent working or painting
in the studio, picking and arranging flowers, and conducting art workshops with the children who live on the farm.
But Graham’s favorite activity is one in which the landscape
is once again the protagonist.
“Depending on the time of day, there are shadows of the
trees being cast on the walls, changing all day long,” she
says. “You’re always aware of the weather here, of what the
sun and moon are doing.” Hearing her say this, one understands her decision to leave most walls bare; her house is a
stage upon which nature is projected. For someone who
traded the buzzing streets of London for a slice of wilderness, this daily spectacle is surely worth making room for. ◾
The kitchen’s complementary color scheme
includes an aluminum
door painted orange
and Formica cabi netry
in a custom cobalt.
Dividing wall and
floors in poured
concrete; counters
in polished cement
with stone insets.
ELLE DECOR
101
“I believe the landscape should dictate what
the architecture becomes.”
—JENNY GRAHAM
102 E L L E D E C O R
The antique enameled
cast-iron tub in the primary
bath came from Graham’s
childhood farmhouse
in Argentina.
OPPOSITE, LEFT: A pair
of puppy toys by Eero
Aarnio for Magis perch
on the folded sheet metal
staircase. Artwork by
Graham’s brother,
James Leach.
OPPOSITE, RIGHT: With
no heating in the house,
the bedroom’s woodburning fireplace comes
in handy in the chilly
winters. Custom bed and
artwork above mantel
by Graham.
RESOURCES
Items pictured but not listed are
from private collections.
FRENCH EVOLUTION
Interior design: Rena Dumas
Architecture Intérieure, rdai.fr.
PAGE 42: Wall upholstery:
Grethe Sorensen, grethesorensen
.dk. PAGE 44: Floor lamp: Egg
Collective, eggcollective.com.
FURNITURE FANTASY
PAGE 62: Dress: Markarian,
markarian-nyc.com. Earrings:
Adeam, adeam.com. Dress: Oscar
de la Renta, oscardelarenta.com.
Earrings: Laruicci, laruicci.com.
Bracelet: Kate Spade, katespade
.com. Ring: Tiffany & Co., tiffany
.com. Shoes: Manolo Blahnik,
manoloblahnik .com. PAGE 63:
A quiet corner at
Villa Lina, Paola
Igliori and Filippo
Chia’s estate north
of Rome (page 90).
Jasper Morrison bowls and tumblers: Iittala, iittala.com. Sweater:
Sacai, sacai.jp. Dress: Brooks
Brothers, brooksbrothers.com.
Bracelet: Tiffany & Co. Earrings:
Laruicci. Sunglasses: Tory Burch,
toryburch.com. Shoes: Sperry,
sperry.com. Sweater and pullover: Dior, dior.com. Polo: Tod’s,
tods.com. Pants: Brooks Brothers.
Shoes: Sperry. Sunglasses: RayBan, ray-ban.com. Jacket, shirt,
pants, and shoes: Armani, armani
.com. Sunglasses: Chloé, chloe
.com. Jacket and shirt: Officine
Generale, officinegenerale.com.
Pants: Brooks Brothers. Scarf:
Kenzo, kenzo.com. Shoes: Sperry.
Sunglasses: Ray-Ban. PAGE 64:
STATEMENT OF OWNERSHIP,
MANAGEMENT & CIRCULATION
Tapioca Wirkkala highball
glasses: Iittala. Sweater and
hat: Closed, closed.com. Polo:
Lacoste, lacoste.com. Shorts:
Ralph Lauren, ralphlauren.com.
Shoes: Lacoste. Sweater: Brooks
Brothers. Polo and shoes: Lacoste.
Shorts: Lululemon, lululemon
.com. PAGE 65: Suit: Lapointe,
shoplapointe.com. Shoes: Tory
Burch. Earrings: Jennifer Behr,
jenniferbehr.com. Ring: Swarovski,
swarovski.com.
1.
Publication Title: ELLE DECOR
2.
Publication Number: 0005-5830
3.
Filing Date: October 1, 2022
4.
Issue Frequency: Monthly; except combined issues in Dec/Jan/Feb and
Jun/Jul/Aug
5.
No. of Issues Published Annually: 8
6.
Annual Subscription Price: $15.00
7.
Complete Mailing Address of Known Office of Publication:
300 West 57th St., New York, NY 10019
8.
Complete Mailing Address of Headquarters or General Business Office
of Publisher: 300 West 57th St., New York, NY 10019
9.
Full Names and Complete Mailing Addresses of Publisher, Editor,
and Managing Editor:
Publisher: Jennifer Levene Bruno, 300 West 57th St., New York, NY 10019
HERE TO STAY
Architecture: Diego Villaseñor,
dva.com.mx.
PAGE 70: Skirt: Marco de
Vincenzo, marcodevincenzo.com.
Shirt: Etro, etro.com. Belt bag:
Perrin Paris, perrinparis.com.
Car: Volkswagen, vw.com.
PAGE 71: Wall art: Marie Khouri,
mariekhouri.com. Sculpture:
Lordag & Sondag, lordagsondag
.com. PAGE 73: Console table:
Mario Lopez Torres, mariolopez
torres.com. PAGE 74: Resin tabletop: Monica Calderon, monica
calderon.net. Chair upholstery:
Perrin Paris. PAGE 75: Chairs:
Marilo Carral, marilocarral.art.
Editor: Asad Syrkett, 300 West 57th St., New York, NY 10019
Managing Editor: Jeffrey Bauman, 300 West 57th St., New York, NY 10019
10. Owner: Hearst Magazine Media, Inc.,
300 West 57th St., New York, NY 10019
Stockholder of Hearst Magazine Media, Inc., is:
Hearst Communications, Inc., 300 West 57th St., New York, NY 10019
11.
Known Bondholders, Mortgagees, and Other Security Holders Owning
or Holding 1 Percent or More of Total Amount of Bonds, Mortgages,
or Other Securities: None.
12. Tax Status: Not applicable.
13. Publication Title: ELLE DECOR
14. Issue Date for Circulation Data: September 2022
15. Extent and Nature of Circulation:
a. Total no. of copies (net press run):
TO INFINITY
Architecture: Studio Seilern
Architects, studioseilern.com.
PAGE 81: Dining table: Thomas
Lemut, thomaslemut.com. Chairs:
Carl Hansen, carlhansen.com.
Backsplash: Delta Marble, delta
marble.com. Cocktail table: Delta
Marble. Rug: The Rug Company,
therugcompany.com. PAGE 82:
Chair: Carl Hansen.
491,901
452,535
354,980
328,676
2. Mailed in-county paid subscriptions
stated on PS Form 3541 (Include paid
distribution above nominal rate,
advertiser’s proof copies, and exchange
copies):
n/a
n/a
20,982
17,200
n/a
n/a
375,962
345,876
67,319
84,999
2. Free or nominal rate in-county copies
included on PS Form 3541:
n/a
n/a
3. Free or nominal rate copies mailed
at other classes through the USPS®
(e.g., First-Class Mail):
n/a
n/a
11,969
11,872
4. Paid distribution by other classes
of mail through the USPS®
(e.g., First-Class Mail):
PAGE 90: Interior design: Paola
c. Total paid distribution [sum
of 15b (1), (2), (3), and (4)]:
Igliori and Filippo Chia, relaisvilla
lina.com.
d. 1. Free or nominal rate outside-county
copies included on PS Form 3541:
TIERRA INCÓGNITA
PAGE 102: Puppy toys: Eero
Aarnio, eeroaarnio.com.
In the story “Chuffed to Bits” in
our November issue, the maker
of the outdoor furniture shown
on page 80 was misidentified.
The furniture is by Munder Skiles.
SIMON WATSON
4. Free or nominal rate distribution outside
the mail (carriers or other means):
CORRECTION
e. Total free or nominal rate distribution
[sum of 15d (1), (2), (3), and (4)]:
79,288
96,871
f. Total distribution (sum of 15c and 15e):
455,250
442,747
g. Copies not distributed:
h. Total (sum of 15f and 15g):
i. Percent paid (15c divided by 15f times 100)
16. a. Requested and paid electronic copies
ELLE DECOR (ISSN 1046-1957) Volume 34, Number 1, Winter 2023, is published monthly except for combined issues in December/
January/February and June/July/August, by Hearst, 300 West 57th Street, New York, NY 10019 U.S.A. Steven R. Swartz, President & Chief
Executive Officer; William R. Hearst III, Chairman; Frank A. Bennack, Jr., Executive Vice Chairman; Mark E. Aldam, Chief Operating Officer.
Hearst Magazine Media, Inc.: Debi Chirichella, President; Kate Lewis, Chief Content Officer; Regina Buckley, Chief Financial and Strategy
Officer & Treasurer; Catherine A. Bostron, Secretary. © 2022 by Hearst Magazine Media, Inc. All rights reserved. ELLE and ELLE DECOR
are used under license from the trademark owner, Hachette Filipacchi Presse. Periodicals postage paid at N.Y., N.Y., and additional
mailing offices. Canada Post International Publications mail product (Canadian distribution) sales agreement No. 40012499. Editorial
and Advertising Offices: 300 West 57th Street, New York, NY 10019. Subscription prices: United States and possessions: $15 for one
year. Canada: $41 for one year. All other countries: $60 for one year. Subscription Services: ELLE DECOR will, upon receipt of a complete
subscription order, undertake fulfillment of that order so as to provide the first copy for delivery by the Postal Service or alternate carrier within
4–6 weeks. For customer service, changes of address, and subscription orders, log on to elledecor.com/service or write to Customer Service
Department, ELLE DECOR, P.O. Box 6000, Harlan, IA 51593. From time to time, we make our subscriber list available to companies who
sell goods and services by mail that we believe would interest our readers. If you would rather not receive such offers via postal mail, please
send your current mailing label or exact copy to Mail Preference Service, P.O. Box 6000, Harlan, IA 51593. You can also visit preferences
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104 E L L E D E C O R
No. Copies of
Single Issue
Published
Nearest to
Filing Date:
b. 1. Mailed outside-county paid
subscriptions stated on PS Form 3541
(include paid distribution above
nominal rate, advertiser’s proof copies,
and exchange copies):
3. Paid distribution outside the mails
including sales through dealers and
carriers, street vendors, counter sales,
and other paid distribution outside
USPS®:
HOUSE OF THE FALCON
Average No.
Copies Each
Issue During
Preceding
12 Months:
36,651
9,787
491,901
452,535
82.58%
78.12%
55,075
58,400
b. Total requested and paid print copies and
requested/paid electronic copies (15c)
431,037
404,276
c. Total requested copy distribution (15f)
and requested/paid electronic copies
510,325
501,147
d. Percent paid and/or requested circulation
(both print & electronic copies)
84.46%
80.67%
17. Publication Statement of Ownership
If the publication is a general publication, publication of this statement
is required. Will be printed in the Winter 2023 issue of this publication.
18. Signature and Title of Publisher
I certify that all information furnished on this form is true and complete.
I understand that anyone who furnishes false or misleading information
on this form or who omits material or information requested on the form
may be subject to criminal sanctions (including fines and imprisonment)
and/or civil sanctions (including civil penalties).
Jennifer Levene Bruno
Publisher
THE FRAGRANCE BY GLAD
@ELLEDECOR_COLLECTION
TH E E LLE D E CO R CO LLE CTI O N
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MY K I N D O F RO OM
The living room at
the Neutra VDL
Studio, a landmark
house museum in
Los Angeles.
Architect Germane Barnes
finds inspiration in the
precision and privacy of
Richard Neutra’s VDL Studio.
108 E L L E D E C O R
architect Francois Perrin on the first edition of ‘Architectones’ [a series
of interventions] during the summer of 2012. We made these
site-specific installations for each room at the Neutra VDL house, which
is beautifully situated in Silver Lake overlooking the city of Los Angeles.
As you enter, the first thing you see is this cool staircase that feels like
it’s floating. When you walk upstairs, you immediately come into the
living room, which is odd because that’s usually on the ground floor.
The space is extremely intimate. The room teaches you that it’s
fine to separate the public and the private and that a house is about
different experiences. The work I did there absolutely shaped my
practice—the level of consideration given to every detail and the attention paid to everything from the built-in furnishings to the material
choices influence what I make now.” —As told to Camille Okhio
ELIZ ABETH CAR ABABAS
SUCH GREAT
HEIGHTS
“I WAS WORKING WITH THE ARTIST X AVIER VEILHAN AND THE L ATE
SHE always PREFERRED THE CLASSICS.
E X C E P T W H E N S H E d i d n’ t .
THE MODERN GODDESS
FEATURING THE KINTSU® BATH COLLECTION