At Home with Designer Kendall Wilkinson

California native Kendall Wilkinson has spent over two decades creating beautiful spaces for both residential and commercial clients. Her sensibility is rooted in classical design, often creating authentic period looks or mixing modern pieces with older gems. Wilkinson has become one of the most sought-after interior designers and her projects span the globe. Her collection for Fabricut, launched Spring 2016, features indoor/outdoor fabrics in a sophisticated mix of neutrals, bold colors, and innovative patterns. 

In 2017, the San Francisco Fall Show invited Wilkinson to create a Designer Vignette for that year’s Flower Power theme. Each of the four designers that year was given a season on which to focus their vignette, and Wilkinson’s was Autumn. She dubbed it ‘The Secret Garden’ and it remains a favorite Show memory for her. “It was inspired by a Valentino dress and our amazing partners, de Gournay,” she shared. “They hand -painted and hand-beaded a floral motif onto an iridescent silk wallpaper in autumnal colors resulting in the most exquisite wall covering. We also incorporated wonderfully crusty stone garden elements from (Fall Show dealer) Finnegan Gallery in Chicago.” I chatted with Wilkinson about running her design firm from home, and how the lockdown has affected her business, her clients and her family life.

‘The Secret Garden’ Designer Vignette by Kendall Wilkinson for the Flower Power theme at the 2017 San Francisco Fall Show.
Custom hand-painted wall paper by de Gournay.
Photo by Drew Altizer Photography

When the lockdown started, Wilkinson and her sons stayed close to her office, in their home in the Sea Cliff neighbourhood of San Francisco. “The boys still had virtual school to attend”, she shared. “My senior team and I had to piece a plan together to organize my entire staff to work from home.  Once school finished, and ‘work-from-home’ became our new normal, we relocated to Stinson Beach close to where I was born and raised. The light, patterns, and nature of this magical place served as inspiration for my fabric collections, and I have realized they continue to inspire my color choices to this day.”

Living Room in Kendall Wilkinson’s San Francisco home Photo by Bill Reitzel


In Wilkinson’s view, memories make a home: “a house is a physical structure, a tangible edifice that is cold and empty.” She believes. “A home is when the house is filled with love, living life, and its inhabitants’ vitality. It’s the culmination of memories–photographs of trips taken, of children growing up, and trails of everyday life. Special pieces that pass on from generation to generation, gifts received, or the art and objects collected over time create a sense of home, belonging, and sentiment!” Her favourite piece is a photograph. “My dear friend Barbara Vaughn captured an exquisite reflection image in Sausalito, titled “Kyrtotis” and hung prominently in my living room, she says.  ‘I often sit watching the fire, reading and catching a view of my absolute favourite piece in my home.”

Barbara Vaughn photograph, “Kyrtotis” in Kendall Wilkinson’s Living Room
Photo by Bill Reitzel

While the lockdown has turned everyone’s lives on end, Wilkinson has found a silver lining. “I have enjoyed observing and interacting with my teenage sons during quarantine in a way that working in the office, going to events, and traveling for projects just didn’t allow me to see day-to-day. The constant companionship of my boys and seeing how they have grown in subtle and overt ways brings me endless joy.” But sharing a house with teenagers does have it’s hurdles “ When school was in session, my house was rotating musical chairs – some days, one of my boys would be at my desk in my “office” located in my upstairs library, and I was relegated to using my laptop on the dining room table.  Other days we flipped and sometimes worked on our laptops at the kitchen counter.  It all depended on the day! She laughs.  “Funny enough, I was the one who had to be utterly nomadic about finding a work spot–sidebar”, she adds—”I have now found my dining room chairs to be terribly uncomfortable and will definitely be needing to find new ones soon- hopefully I’ll be able to purchase them when the antique show comes next year!”

With all the chaos of three people working and home schooling together, Wilkinson retreats to her private space. “not many people know”, she reveals, “but I have a home sanctuary filled with meditative elements, a Moroccan prayer rug, and incense.  No one else, not even my beloved pup Biscuit is allowed here. It is the definition of calming and quiet!”

Kitchen in Kendall Wilkinson’s San Francisco home Photo by Bill Reitzel

The isolation of the past several months has changed us all. For interior designers, it is an interesting time as clients are spending so much time at home, and many of us are looking at our homes in a new way, and thinking about how we use our homes and what’s important to us. Wilkinson concurs, “my clients are now far more involved with the details than they were in the past,” she shares. “The extra time has allowed them to be more curious and engaged in the actual business and logistics of design and why we make certain decisions. There is a more inquisitive approach. Hopefully, that means a greater appreciation for what we do and the service we provide.”  Kendall Wilkinson Design has always prioritised comfort above form and for current clients she says “they are now fully experiencing their homes and what we designed and created for them.  I think they are developing more appreciation for the details and the comfort.”

Library in Kendall Wilkinson’s San Francisco home Photo by Bill Reitzel

Working from home has not slowed Wilkinson down, or opened up her schedule. “My days have been even more consumed than they were pre-COVID.  I am on at least 6-8 hours a day of Zoom calls with my team, clients, and vendors before any actual “work” gets done,” she says. 

Design is such a collaborative and hands on creative process and that has been the most difficult part of the quarantine for her: “I have missed my team’s interaction, being in the office with them, working with them, and the time spent in my office creating and designing.  I also miss site visits and installations, sounds crazy, but even travel! And most of all, the broader design community and my industry friends.”

Kendall Wilkinson with Hannah Cecil Gurney of de Gournay posing in front of
‘The Secret Garden’ Designer Vignette at the 2017 San Francisco Fall Show
Photo by Drew Altizer Photography

By Ariane Maclean Trimuschat
Ariane served as Show Director for the San Francisco Fall Show for 7 years through 2019. She is now the show’s international liaison as Director at Large, living in London with her family.  Follow Ariane on her blog, Sojournest, where she focuses on all things home and travel.

A Chat with Sisters Hannah and Rachel Cecil Gurney of de Gournay

By Ariane Maclean Trimuschat

Hand painted Amazonia Chinoiserie wallpaper on Pink xuan paper.
Photo by Mariam Medvedeva

Walking into a room lined with de Gournay paper is like walking into a painting. This is no mere wallpaper, but rather, exquisitely rendered, custom created scenes that draw you into another world. Claud Cecil Gurney founded de Gournay almost 40 years ago and today it is widely known as the world’s most beautiful hand-painted wallpapers. Every inch of de Gournay paper is painted by skilled artists and artisans, every project a work of art. Their collections cover a breathtaking range: the exotic and flamboyant, Chinoiserie, the stunning block-print-style panoramics of the Scenic Collection, the striking, delicate Japanese & Korean Collection, the graphic and floral patterns of the Eclectic Collection, and the abstract and ornate designs inspired by the decorative movements of 20th century art found in the Diaghilev Collection, among others.

‘Erdem’ hand painted Chinoiserie wallpaper on Adam Grey dyed silk. Photo Sarah Piantadosi

I recently chatted with Claud’s daughters, Rachel Cecil Gurney and Hannah Cecil Gurney about the company, the creation and production process and what sets de Gournay apart.

Ariane: This is very much a family business, can you share how you all work together and what your roles are?

Hannah: My father started the company in 1982 with his nephew, my cousin, Dominic Evans-Freke, so I grew up surrounded by walls filled with designs and colour as the brand grew. My sister, Rachel started working with my father after university and I followed shortly after. My father remains involved in every aspect of the company, and Dominic too, who oversees our production. It’s lovely to be able to work so closely with my family despite the odd and inevitable disagreement!

Rachel: My father is the one with boundless energy even at 70 so funnily enough he is the one who constantly looks to develop new fields in the business and has recently set up our embroidery studio in India offering stunning hand embroidered fabrics. He is also the one opening new showrooms around the world, the latest one in Beirut, an exciting cultural melting pot of creativity. He loves travelling and meeting people. My cousin manages the production in our studio near Shanghai and helped my father set up the studio back in the 1980’s so he oversees all the detail and has a huge depth of knowledge in all the technical side of things. My sister handles PR & marketing and is always dreaming up a new collaboration or looking for inspiration for a new design. I manage worldwide sales so am constantly in touch with all our showrooms worldwide about their projects and trying to keep all our clients happy!

‘St. Laurent’ hand painted Chinoiserie wallpaper on Edo painted xuan India Tea Paper Interior by Martyn Lawrence Bullard. Photo by James McDonald

For our Chinoiserie collection we look back to iconic 18th century rooms such as Yves Saint Laurent’s drawing room or Pauline de Rotshchilds’s bedroom and try to recreate the depth, beauty and aged feel of the original papers.

Detail of image above

Ariane: What is the process for developing a new wallpaper design? Where does the inspiration come from?

Hannah: We’re always looking for ways to develop our collections and create new designs. Inspiration can come from anywhere – the world around you, art, books, history, that’s the beauty of creating something from scratch – there are limitless sources to be inspired by. As well as creating new designs, some of our wallpapers are based on beautiful originals, which can be found in grand English houses or taken from ancient Chinese scrolls.

Rachel: Our more traditional wallpapers tend to be reproductions of original designs. For our Chinoiserie collection we look back to iconic 18th century rooms such as Yves Saint Laurent’s drawing room or Pauline de Rotshchilds’s bedroom and try to recreate the depth, beauty and aged feel of the original papers. Our Papiers Peints Panoramiques collection refers back to 19th century hand block printed wallpaper but we hand paint in this style giving much more flexibility for the client to customize colours and tailor the design to fit the space. Our Japanese & Korean collection is inspired by works of art from the Edo period such as kimonos and screens.
Some designs are developed as a result of a collaboration such as our whimsical English garden re-interpretation of a Chinoiserie with Erdem, our tropical Chinoiserie design with monkeys and toucans inspired by the Amazon developed with Aquazurra or our Anemones in Light wallpaper inspired by Kate Moss’s favourite flower and reflecting her more modern aesthetic.

‘Fishes’ hand painted wallpaper with hand embroidered beaded embellishment
on Tarnished Silver gilded silk

Ariane: What materials are used in your wallpaper design? What sets it apart from other wallpapers?

Hannah: Our range of finishes and grounds are what makes de Gournay wallpapers special. We’ve spent a great deal of time developing these over the years by studying various techniques and materials used around the world, particularly from China, which is renowned for producing the most stunning hand painted porcelain & murals. Our wallpaper grounds play a large role in the overall effect of the wallpaper. For example, ‘Williamsburg’ is a finish with an antique feel to it, whereas Metallic silk is a far more contemporary finish which plays with the light. We also have finishes such as pearlescent antiquing, beading and embroidery which, as a final flourish, has the ability to turn the wallpaper into something mesmerizing.

Rachel: The wallpaper is usually made of painted Xuan “rice” paper or a paper-backed silk onto which the design is painted. The background is typically painted in gouache, and then the design is meticulously painted on using watercolour. Every detail and element of the design is first outlined in pencil — so if you look very closely at any of de Gournay’s wallpaper, you’ll see the pencil marks, which is obviously a sign that it’s handmade.

‘Houghton’ hand painted Chinoiserie wallpaper in Rose design colours on Williamsburg

Ariane: How long does it take from idea to completed product?

Hannah: The time varies relative to the complexity of the design, the size of the project and the client. We work very closely with our clients from start to finish to ensure they are truly satisfied with their finished product but of course, minds can change! Once the order has been confirmed then the time frame for production starts at around 3 months.

Rachel: There’s always a team of artists — generally about six to ten people — working on one order. An average panel is about 90cm wide and about 2.5 metres high. It takes around 150 hours for six artists to produce one panel. Most of our designs are about 20 panels, so a full order can take anywhere from three to six months — longer if there are bespoke elements. I think a lot of people, when they see the wallpaper, think, “Oh, it’s printed.” They don’t realise that it’s all painted by hand.

‘Wisteria’ design hand embroidered upon Almost Mauve dyed silk

Ariane: Where is your wallpaper produced? And has production slowed or changed during the pandemic?

Hannah: We have a team of incredibly skilled artists based in a studio just outside Shanghai where all of our wallpapers are hand painted. As well as the painting studio, we also have a team of designers based in our London showroom, who play a vital role in the development of new designs and ongoing client projects. Our painting studio in Shanghai went into lockdown before the UK and was back up and running whilst we were still in the thick of lockdown so I’m please to say we have been able to keep orders in production despite the expected slight lull in the middle. In spite of this, lockdown provided a good opportunity for our designers to work on a lot of in house projects so we’ve certainly stayed busy.

Rachel: There are still artisans on the mainland using the original wallpaper-making techniques that have been passed down from generation to generation. My father’s idea when he set up de Gournay was to bring these chinoiserie wallpapers back into European homes, and to produce them in the same way as they were originally made.
Our production ironically enough was not affected by the pandemic as we are based in China and they recovered the most quickly from the pandemic so we were only closed for a few weeks. Unlike many other suppliers clients did not have to experience any significant delays to their orders.

‘Anemones in Light’ hand painted wallpaper in Dusk design colours on painted xuan paper. Designed with Kate Moss. Photo by Simon Brown

Ariane: How does wallpaper change a room?

Hannah: I love how wallpaper holds the ability to be able to transport oneself. I have our Flamingo’s design in my bathroom and I always look forward to the evening when I can slip into the bath and be carried to a watery land full of gossiping pink birds! There’s something special about a wallpaper which draws you in so you can’t resist the temptation to be lured in to inspect the finer details.

Rachel: It transforms a room bringing life and colour to it and lifting your mood. It is a window onto another world, stepping into a fantastical ‘Narnia’ like landscape.

‘Flamingos’ hand painted scenic wallpaper on Sterling Silver gilded xuan paper
with Yellow ombré effect. Photo by Douglas Friedman

Ariane: You’ve been collaborating with the Fall Show for 5 years. What are some good memories, your favourite show theme?

Hannah: The theme which stayed with me was ‘Animalia’ in 2016, it was so playful! The show is truly special to me as it brings together the most amazing group of antiques dealers all under one roof, each with a perfectly curated exhibit of products to pour over. I love that every exhibitor goes the extra mile to make their stand a masterpiece, decorated beautifully and full of inspiring vignettes.

Rachel: We love the show and look forward to it every year. There is always such a buzz around it and everyone gets dressed up which I know is unusual for San Francisco! My father is an avid collector of antiques and is always on the lookout for new pieces for our showroom. I loved the year where the theme was ‘Flower Power’ as each designer had a different season so there was a very different feel to each vignette. Last year there was an incredible Mexican red lacquer cabinet which stood out amongst the other pieces.

Designer Vignettes at the San Francisco Fall Show
Custom wallpapers by de Gournay in collaboration with the designers
Clockwise from top left by: Faux Bois hand embroidered Moire by Alessandra Branca (2019, Wanderlust), Zodiac hand painted wallpaper with embroidery by Ken Fulk (2018, The Sun, the Moon & The Stars), Ferns hand painted wallpaper by Veere Grenney (2019, Wanderlust), Dancing Arucaria hand painted wallpaper by Geoffrey De Sousa (2015, Time After Time) Photos by Drew Altizer Photography

Ariane: Let’s get practical. What should one think about before adding wallpaper to a room?

Hannah: It’s certainly important to take into account the practical aspects of a room – like light and purpose, but don’t let this make you feel like you can’t be adventurous. As I mentioned, my house is covered in de Gournay wallpaper, so I believe each wall should receive attention, no matter where it is. That’s no means to say you should have an bold and colourful design in every room and corridor, even if it’s just a beautiful silk wallpaper in a soft hue, this still makes a difference as it adds texture and interest.

‘African Savannah’ hand painted scenic wallpaper in monochromatic design colours
Photo by Douglas Friedman

Ariane: What are important considerations when selecting a wallpaper design?

Hannah: I think it’s important to gather your feelings about what you want to experience from a finished space. Perhaps you want to walk in and feel instantly calm, or maybe you want to be transported to a far land filled with beautiful birds and verdant vistas. Once you have established this, you will be able to guide your mind towards the right design. Although I must admit, there is so much to choose from so this can often be very tricky. My house is covered head to toe in de Gournay wallpapers, it’s mad! But I’m delighted with how it all works together, and this is because I trusted in the process, there’s my tip!

Rachel: The design needs to suit the aesthetic of the house so for example in a Georgian property interior, I would recommend one of our historic Chinoiserie designs, garden scenes of Chinese birds and flowers, hand painted onto an aged handmade rice ‘Xuan’ paper, which are the most faithful reproductions of originals, unaltered in scale or design to suit modern interiors.
Our Japanese & Korean collection lends itself well to a more modern interior with its bold imagery and more free flowing brushwork. We can paint these onto our metallic grounds gilded with precious and non-precious metals, in addition to more subtle pearlescent grounds, for an even more contemporary feel.

‘Coco Coromandel’ hand painted Chinoserie wallpaper on Burnt Umber xuan paper
Photo by Douglas Friedman

Tips for Adding Wallpaper to a Room:

HOW TO PREP A ROOM:
Hannah: Prepping a room for wallpaper, especially de Gournay, is an extremely important part of the process. If the joinery and walls aren’t ready for the paper, it will show and can end up being a time consuming mistake to correct. We recommend using lining paper before all of our installs, this is to ensure a smooth finish and act as a barrier between the raw wall and our paper. It also means that the wallpaper can be removed at some point down the line, re-backed, then re-installed somewhere else! So my tip is to pay attention to all the small details in a room to ensure it’s completely ready for the wallpaper, it’s much easier to notice and tweak details before the paper is up then have to deal with correcting them after install!

Rachel: Old uneven walls would need to be re-plastered before applying de Gournay wallpaper to ensure a smooth even finish and good design join from panel to panel. All walls need to be lined prior to applying the wallpaper to avoid moisture coming through to the surface of the panels and to get a more professional finish.

Pay attention to all the small details in a room to ensure it’s completely ready for the wallpaper.

‘Early Views of India’ hand painted scenic wallpaper.
Interior by Miles Redd. Photo by Simon Upton

PROPER WALL SURFACES:
Hannah: There are spaces which lend themselves to paper, with tall, straight and smooth walls, and some which don’t. For example, my son’s room has strange angles and sloping walls and naturally the paper I chose for the room was one of our more complicated designs with animals and foliage (oops!). We used a preferred installer and he did a fantastic job, so it is important to research your installer before. I think you have to be realistic with a room and wallpaper – if it’s a very intricate design and you have an awkward space with no straight lines and sloping walls, it could end up being a very tricky project.

Rachel: Before adding wallpaper to a room you should think about whether the scale of the design suits the room and whether a lighter or more dense design would work better in the space. You also need to think about which construction type is most suitable for the space for example a silk with a lustre, a gilded reflective ground or an aged matt painted ground. It is also very important to see the sample options in the space to see how the light affects the colour. For taller rooms it may be nice to install a chair rail to start the design higher up whereas for a shorter room it would look better to have the design run the whole height of the wall and even be cut off at the top to give an illusion of height.
If your room has lots of light it is best not to go for a silk but to go for a ground which will not fade such as our dyed paper, metallic or scenic paper grounds. For a bathroom we would always suggesting adding a glaze to the wallpaper in case of splashes. We can help guide you as to what wallpaper would best suit your purpose.Most clients choosing a de Gournay wallpaper will start with that as their focal point then work the other elements around it, sometimes to contrast against the colours in the wallpaper and sometimes to incorporate or tone with the colours in their wallpaper. Providing the colours do not clash, I think it is important not to be afraid of layering rich colours and patterns within a room; Colour and pattern are what brings a room to life. A lot of colours from our papers and fabrics refer back to colours used frequently in classic Georgian interiors-soft greys, dusky pinks, sage greens, blue greys and burgundy’s-and I think Georgian colours are timeless and elegant and work as well today as they did then.

‘Amazonia’ hand painted Chinoiserie wallpaper on Pink xuan paper

Ariane Maclean Trimuschat served as Show Director for the San Francisco Fall Show for 7 years through 2019. She is now the show’s international liaison as Director at Large, living in London with her family.  Follow Ariane on her blog, Sojournest, where she focuses on all things home and travel.

At Home with Tastemaker Steven Stolman

Photography credit: Nick Mele

Steven Stolman knows a thing or two about style. The designer, tastemaker, and man-about-town is an expert on the subject. And he has the resume to prove it. From his own sought-after line of resort wear to his tenure as President of the textile house, Scalamandre, he is an observer of good taste, which is why we love having him to speak in the Fall Show Lecture Series. Stolman has been a longtime supporter and speaker at the show. 

Scalamandre Haute Decor by Steven Stolman (Gibbs Smith 2013)

I chatted with Stolman about how he manages to stay stylish with nowhere to go these days, and how the concept of home has changed, starting with where he has been sheltering in place. “My husband Rich and I were at our home in Palm Beach from the start of Florida’s Safer at Home directive in March until our annual migration to our summer home on the east end of Long Island, New York in June.” He said. For a moment of quiet, Stolman looks to the ocean “We’re very fortunate to have a balcony overlooking the Atlantic. There’s a certain calm from simply staring out into that huge expanse of water and sky. Until it got too hot, we would end every workday out there.” Style has taken a back seat to comfort these days, with a few standard rituals put on hold “shaving daily for one,” he shared “and dressing without an awful lot of thought. Even though our condo pool was closed for much of the lockdown, I wore a bathing suit pretty much every day. I also stopped wearing a wristwatch.”

Stolman admits that he and his husband are the opposite of homebodies, so staying home has not been easy. “I suppose there’s a peace of mind that comes with knowing you’re in a safe place.” He says. “There was and still is the constant worry about others-especially those most vulnerable to CoVid19. It’s ever present.” 

As the author of two books on entertaining, Confessions of a Serial Entertainer (Gibbs Smith, 2015) and The Serial Entertainer’s Passion for Parties (Gibbs Smith, 2016), the most difficult part of lockdown for Stolman has been the inability to entertain. “Generosity of spirit and gracious hospitality make a home.” He shared. “The toughest part of lockdown has been not being able to welcome friends into our home the way we usually do. It has been agonizing!” Although parties are on hold for now, work still has to be done, from home.  “Rich has worked remotely or traveled for work for almost 20 years. I’m a bit newer to the game. While Rich can work from anywhere- I like a proper desk. I found a wonderful desk by Jack Cartwright for Founders at a local vintage dealer. It’s in our guest room and serves as my command center.” 

Desk by Jack Cartwright for Founders

Desk by Jack Cartwright for Founders

The things we live with, the treasures we collect make our homes unique and for Stolman, his favorite pieces are the bookcases “oddly, in the dining area of our home,” he says. “They hold a lifetime of memories. If I had to pick one thing, it would be a little ceramic ink pot in the shape of a bear. It belonged to Babe Paley, who kept postage stamps in it on her desk.

With all the extra time saved from not traveling, commuting, or social engagements, Stolman has found that he has more time on his hands, but his free time gives him more time to worry “This pandemic has weighed heavily on us. The way it’s disproportionately affecting communities of color and poverty is a disgrace to our society. How could this possibly happen in the world’s supposedly most advanced nation?” 

With the annual San Francisco Fall Show at Fort Mason Center on hiatus during the 2020 pandemic, I asked Stolman to share a favorite memory of the show. “Seeing so many friends from across the country. I cannot tell you how much I look forward to the opening night every year- and it’s not just because of the caviar. There’s a joie de vivre that I have never experienced at any other similar event.”

Opening Night Gala at the San Francisco Fall Show

Of course, there was always one small painting- usually impressionist- that would bring tears to my eyes. But it was really the joy of seeing so many wonderful friends all in one place at one time for such a great cause. I’d be lying if I didn’t mention that Rich’s favorite part of the evening was the eye-popping candy bar at the exit. He’s such a big kid at heart.” 

The ever popular End-of-Evening Candy Bar at the Fall Show Gala

The one thing Stolman misses most these days? “Cocktail parties. And peace of mind. There won’t be any of that until there’s an effective treatment or a vaccine.” Let’s hope that comes soon.

By Ariane Maclean Trimuschat
Ariane served as Show Director for the San Francisco Fall Show for 7 years through 2019. She is now the show’s international liaison as Director at Large, living in London with her family.  Follow Ariane on her blog, Sojournest, where she focuses on all things home and travel.

A Conversation with SagreraBrazil Design

For 15 years the design team of Cecilia Sagrera-Hill and George Brazil of SagreraBrazil Design have created unique and unexpected results for their clients, and their Designer Vignette for the 2019 Fall Show did not disappoint. For the Wanderlust theme, they focused on “West” and worked with de Gournay on a custom scenic wallpaper illustrating Venice and its role in the silk trade, its appeal to those on the Grand Tour and its sometimes perilous existence. The result was mesmerizing.

Cecilia Sagrera-Hill and George Brazil in their Designer Vignette “West” at The San Francisco Fall Show 2019 (Photo – Devlin Shand for Drew Altizer Photography)

I recently chatted with Sagrera-Hill and Brazil about their approach to decorating with antiques. “We love to incorporate antiques into our interiors, as they are pieces that tell a story” they shared. “Most of our projects are contemporary or modern designs and the idea of incorporating antiques seems foreign to most of our clients. Once they see the completed space, they understand how antiques add a warmth and depth that an otherwise contemporary interior might lack,” they explained.

Photo-Christopher Stark Photography

Their favorite periods are Biedermeier and Art Deco. “They are styles that can effortlessly be incorporated into contemporary interiors. Their restrained geometry, fine craftsmanship and rich materials deliver a modern aesthetic.” When shopping for antiques the sculptural quality of an antique is important to them, “we can’t deny that craftsmanship and rich materials are also key components. The uniqueness contributes to the overall story of a project.”

Photo-Christopher Stark Photography
Photo-Christopher Stark Photography

When I asked them each to name a favorite decorative piece in their home, not surprisingly, both turned to their love of travel. Brazil chose an entire wall, “a gallery wall of art in our dining room that we have collected together over the past 20 years. The art reminds me of our travels and shopping at antique fairs and markets, he shared.” Sagrera-Hill named two pieces that make her smile every time she sees them, “an Indian head my husband, Harold and I found on our trip to India to celebrate our 5th anniversary,” was the first. The second one is a large painting titled Frijol Negro by Arturo Monroy, a Guatemalan artist. “As the title describes, it is a painting of a large black bean which I found in a local gallery in San Salvador, El Salvador, where I am from. I fell in love with it, it reminds me of my childhood. The original piece I saw was sold by the time we decided to purchase the piece so the artist commissioned one for us,” she shared.

Indian Head Sculpture

Both have been longtime supporters of the Fall Show and are sad to see 2020 take a hiatus due to the pandemic. “I love the Opening Night Gala” says Brazil, “reconnecting with guests and dealers you don’t see that often. And I love that the show can be a great educational experience if you want it to be. All the dealers are so willing to educate you. I always learn something new.” Sagrera-Hill concurs “the galleries that participate are always willing to provide you with an education, and what better way to learn than from someone who is passionate about what they sell.”

The San Francisco Fall Show Opening Night Preview Gala 2019
(Photo – Andrew Caulfield for Drew Altizer Photography)

Their most memorable purchases at the show? “it was really a series of purchases for a client we made a few years back,” says Brazil. “Being able to preview the show and pre-shop (as members of the exclusive Designers Circle) helped us identify the perfect pieces of art and accessories for our client. Later, we were then able to spend a few hours with our client taking them through the show and finalizing our selections. It worked out so perfectly for them,” he reminisced. Sagrera-Hill added “it was fantastic. We would otherwise have taken multiply trips to various galleries. At the show we were able to see things in person over the course of a few days and create relationships with these galleries that we might not have had an opportunity before.” Sagrera-Hill has also has become a repeat customer of a show dealer, Rainforest Baskets, “the Embera Woven Masks” she shared. “So far we have a hummingbird and an owl. The owl is super special to me because anything that we have associated with owls always reminds me of our daughter, Sofia, which means wisdom.”

Rainforest Baskets Booth at the 2019 Fall Show

For Brazil, the pandemic and isolation has had a silver lining “It has been great being home with my partner Vasili and just slowing down a bit, cooking a lot and spending time with our dogs. Also, I’ve been on the phone a lot more with family and friends catching up – something I normally don’t do.” For Sagrera-Hill, “It has been great being home with my husband and two children.  The challenges outweigh the time we are spending together, which has been joyful. I have found that we create more art projects, build new Legos together and simply hangout with each other.”

SagreraBrazil’s Collecting Do’s and Don’t’s
It is all about a cohesive and orchestrated interior that respects the architecture as well as enhances the design and reflects the client’s personality:

A single piece at the end of a hallway can be that signature piece and becomes a sculptural element, which we would consider a “do” moment.

Don’t choose pieces that scream “Look at me, I’m an antique!” This tends to create a division of the overall aesthetic and feel of the space.

Do choose pieces that provide a function as well as provide beauty and authenticity. There’s nothing worse than an antique chair or table and the client has to tell someone not to sit on it or use it.

By Ariane Maclean Trimuschat
Ariane served as Show Director for the San Francisco Fall Show for 7 years through 2019. She is now the show’s international liaison as Director at Large, living in London with her family.  Follow Ariane on her blog, Sojournest, where she focuses on all things home and travel.

At Home with Designer Allison Caccoma

Walking into Allison Caccoma’s boutique, Decoration, in San Francisco’s chic Presidio Heights neighborhood is like entering an impeccably curated home that still feels inviting and relaxed. You just want to sit down in the middle of the shop and open a good book. She has an intuitive sense for mixing colors and patterns together and an eye for stunning objets d’Art to bring a sense of whimsy to a room.

Allison Caccoma Decoration storefront on Sacramento Street in San Francisco

Allison Caccoma Decoration

In 2015 when the show introduced a curated revival of the Designer Vignettes, Caccoma was a natural choice. In keeping with the theme that year, “Time After Time”, each designer picked a period on which to focus their vignette and Caccoma chose “Lounging in the Reflection of the 18th Century” and masterfully mixed old and new, with the walls wrapped in a stunning custom de Gournay wallpaper, a bold version of an 18th century British textile design, and a high gloss graphic painted floor with a mix of mid-century and 18th century furniture. She took the theme to heart.

Allison Caccoma, sitting in her vignette, “Lounging in the Reflection of the 18th Century,
at the 2015 Fall Show

With such an affinity for mixing beautiful things, I asked her to confess one favorite piece she owns. “it is of sentimental value,” she shared. “I ‘inherited’ a small slipper chair that was Albert Hadley’s and was left by him at our workroom when he passed away. I don’t know its provenance, but it has a beautiful gilded base with carved fluted legs and stretcher. Every time I look at it, I think of him and am grateful for all that he taught us.”

Slipper chair from Albert Hadley’s workroom

For Caccoma, history makes a home. “By history, I mean unique pieces of furniture, objects, books, or art that have a story of who you are or where you have traveled”, she says.  “Even if the house is new, it instantly becomes a home when filled with interesting items and collections. You can have a beautiful room with pretty decorating but if it doesn’t have a story, it doesn’t have soul.  Soul makes a house a home.”  

Travel is an important part of Caccoma’s life and work. “I typically travel once a month” she shares, “so I finally have the opportunity to truly enjoy my home during this shelter-in-place time. I have loved being home during the day as I can appreciate how beautiful the natural light is. I wake up each morning and open the windows the gentle breeze is amazing. I’ve made it a point to have fresh flowers everywhere as well.  Flowers seem to be bringing us all joy. Maybe because it’s spring too.”

With so much time spent at home these days, workspace has become something new. “The most beautiful room in my home is the dining room—which is why it has become my temporary office. It is a corner room with two stunning original arched windows overlooking a street intersection in Presidio Heights. The architecture is 100+ years old with beautiful plaster mouldings. There is a fireplace in the room—we believe this room was once the parlour.” 

Dining Room

Separating work life from personal is not an issue for Caccoma. “I don’t think I have separate lives!” she confesses. “My work is truly my life but that is largely because decorating is so much about lifestyle. My creative space for drawings, finish samples, schemes, etc. and other desk work remains in one space, but I spend hours in my living room perusing my design books and magazines or on my laptop sourcing, listening to podcasts or webinars, etc.  It’s really all one space for me.

The lack of social engagements or commuting time has not slowed Caccoma down. “Even without my normal busy schedule, I have no free time now.” She says. “I have the interior design business, and my shop to run, plus I’m President of the Institute of Classical Architecture and Art (ICAA) NoCal Chapter – all of which have had to pivot and adapt to our new world.  It has honestly been an inspiring challenge as we are all in it together!”

Living Room

With the recent announcement that the San Francisco Fall Show would take a hiatus for 2020 due to the pandemic, and return in 2021, I asked Caccoma what draws her to the show each year, and if she has a favorite “find”. “I love everything about the SF Fall Show, she replied. “Not only is it a visual feast but it is truly an iconic San Francisco design community event that we all cherish.  I’m passionate about antiques and am always delighted to see dealers travel from all over the world to join us.  I so look forward to shopping the show with my clients. One of my favorite finds is a rare set of four unusually large early 19th century antique Chinese framed wallpaper panels from Daniel Stein Antiques this past year.  EVERYONE wanted them and my client purchased them!  They now adorn her living room absolutely perfectly!”  

By Ariane Maclean Trimuschat