Coast to Coast with Ken Fulk

Ken Fulk is not known for minimalism. One has only to visit his San Francisco Magic Factory, St. Joseph’s Art Society, or any of his restaurants, clubs, hotels or other myriad of properties he has designed to see the sheer breadth of his imagination. He is at once an old soul and a forward thinker and has become known globally as not just a leader in the design field, but a stylemaker across multiple platforms. He and his team of 75 designers, event specialists and architects are split between SoMa in San Francisco and TriBeCa in New York City conceiving, creating and producing for his namesake company, Ken Fulk, Inc.

Fulk is a longtime a supporter of the Fall Show, most recently serving as Chair of the exclusive Designers Circle, and, in 2018, designing a Vignette for the Grand Entry Hall of the Show. The theme that year was “The Sun, The Moon & The Stars” and in typical fashion, Fulk took it one further and dubbed his vignette the “Zodiac bar”, an imaginary 1980’s private lounge for Fulk and his jet-setting friends, lined with jewel encrusted custom-made de Gournay wallpaper. The vignette came complete with a story filled with scandalous activities, affairs, and courtroom drama, spun from his creative mind.

The ‘Zodiac Bar’, Designer Vignette by Ken Fulk at the 2018 Fall Show.
Custom Wallpaper by de Gournay. Photograph by Drew Altizer.

Fulk knows a thing or two about throwing a good party, so his take on the Fall Show’s Opening Night held some weight, “it remains the best party of the year” he exclaimed, – “everyone is dressed to the nines, you see all of your friends, and who doesn’t love mounds of caviar!” Indeed.

Ken Fulk with Diane Keaton and Ray Azoulay at the 2012 Fall Show Opening Night Gala, Photograph by Drew Altizer Photography

An active shopper at the show, Fulk shared one prized purchase in particular with me, “my favourite find at the show over the years has been a pair of 19th century Scottish urns (from Finnegan Gallery) shaped like trees that flank the entry to our home in San Francisco.”

Scottish Urns flanking Fulk’s San Francisco home, from Finnegan Gallery

With homes in San Francisco, Napa, New York City and Provincetown, and clients around the world, Fulk is not used to staying still. As with us all, 2020 changed all that for Fulk who was in San Francisco when the lockdown started. “We spent the first two months in San Francisco and then decamped to our home in Provincetown, MA.,” he shared. We make this annual pilgrimage and it felt important to uphold the tradition this year.” The home is charming and one can see what draws him to this summer fishing village and artist colony. His favourite room in the house is his library, “it has been adopted by the dogs as their room – so we tend to all gather there for naps, fires, and reading,” he says. It’s painted a glorious curry color and glistens in the morning sun and glows with candlelight in the eve.” Books, history and stories are important to Fulk, who is drawn to creature comforts, “I think it’s important to be surrounded by things you love that provide comfort, tell a story and anchor you in a place. Books, objects, furnishings – layered or minimal  – all help craft our own personal narrative. There’s nothing better than a deep comfortable chair by the fire and a great novel – oh and a nice glass of wine doesn’t hurt,” he adds.

Library in Provincetown Home

His favourite piece in the house is a painting. “We own a seven foot tall self-portrait of Charles Hawthorne from 1898.” he shared. “He painted it just a few years prior to founding the Cape School of Art establishing Provincetown as the foremost artist colony in the U.S.”

Self Portrait of Charles Hawthorne, 1898

Work does not halt while Fulk is summering in P-Town, “I am fortunate enough to have a studio space across the street in a home we recently restored. It’s a 1780’s sea captain’s house and later was home to Mary Heaton Vorse a key figure in the labor and civil rights movement and founder of the Provincetown Playhouse. It now houses the Provincetown Arts Society an extension of our non-profit arts hub – the Saint Joseph’s Arts Foundation in San Francisco,” he explained.   “Thankfully we have never been busier so there’s little free time – but it is nice to balance all the work with more time hiking and swimming with the family.” 

Mary Heaton Vorse House, Provincetown, MA

The pandemic has curtailed his schedule, but Fulk has found a silver lining. “Certainly I agonize over the immense tragedy and tumult we’ve experienced during this time – but simultaneously this period has been filled with great beauty for me; months spent with dear friends, my dogs & husband cooking, laughing and holding on to one another. I am deeply grateful to be healthy and safe, sheltered in a crooked house by the sea with creatures I love.” 

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.

David Phoenix at Home, and on the Move

David Phoenix

A master at combining modern and traditional design elements and creating interiors that are thoughtful, well designed and, most importantly, liveable, David Phoenix is one of America’s most influential interior designers. His firm, David Phoenix Interior Design has won numerous awards, and his interiors have appeared in, and on the cover of, the major national design magazines and industry publications. In addition to his full-service design firm, he has created a line of furniture, lighting and decorative accessories for Hickory Chair and a collection of fabrics and trims for Kravet.

I chatted by phone with Phoenix, who has attended the San Francisco Fall Show almost every year since 1994 and has been featured in the Lecture Series. He is a devotee of the show, “it’s the best of it’s kind” he shared. “The quality of the dealers–the Show has trusted dealers–which is nice; everyone puts their best foot forward. It is incredibly well run and has the best speakers. If you want great antiques, it’s where you go.”

Photograph by Jean Rendazzo

A Cross Country Move

2020 has been anything but boring for Phoenix who moved in the midst of the pandemic. “I wanted a new chapter,” he said. “I was in Los Angeles for the beginning of the lock down but I moved to Palm Beach in June. It’s a different vibe here, the light is different. It was something I had been wanting to do, and the pandemic brought the opportunity for looking at things differently. I’ve never been happier; it was time. I had been in L.A. since I was a teenager, for 35 years. The reasons I moved there were different than the reality of today, but this whole thing forced me into it. I felt like once I made the decision to do it, everything fell right into place. I was able to use the quarantine time to go through storage and lighten my load,” he shared. “There is something very freeing about letting go of things; being a designer I always want to redo rooms. When you start becoming controlled by your things, it becomes cumbersome. It’s cathartic to get rid of stuff, you learn what’s important to you. When you have things in storage-it’s impossible to remember what you have. I encourage people to purge,” he advises.

Turning a House into a Home

Phoenix believes the definition of home is different for everyone. “It’s about making it comfortable for you,” he says. “Some people are big into bedrooms, the right linens, pillows, etc. For me, I have a big collection of books: I read real paper books, and I like paper magazines and newspapers. I just like holding them, it’s easier. Once you look at a story online it’s hard to find again.” Phoenix finds his bedroom to be a place of quiet and calm. “I like to read in bed,” he admits. “I like to linger in the morning and ease into the day.” Home is also about food and Phoenix is an avid cook. “I spend a lot of time baking, I find it relaxing,” he says. “Then I bring it to someone.”

Photograph courtesy of David Phoenix

Running a Design Firm During Lockdown

Having just moved in the midst of a pandemic, Phoenix gave up his brick and mortar office in L.A. and has yet to open a new one in Palm Beach. “I like going someplace,” he admits. “I feel like as a designer, it’s nice to go to an office. I like the discipline of it and having a library of samples. Designers accumulate a lot of stuff,” he admitted. But business has not slowed. If anything, given how life has changed this year, for most people spending a great deal of time at home, says Phoenix, “I think everyone is in the redoing mood. When people are on the treadmill of life and have kids and work and life at high speed, they aren’t noticing things that were looking tired. Now that everyone is at home all day for school and work, people are looking at their homes differently, and they say, let’s redo this room now because its tired looking, or now that I’m cooking at home more I don’t have enough space. People are revisiting those rooms.”

Photograph courtesy of David Phoenix

An Active Dining Room

Phoenix is a great believer in dining rooms. “When I grew up you had dinner at home every night; going out was a special treat,” he says. “There is something to be said for eating at home: people gathering, coming together, whether you are single or in a family. (Pre-pandemic) many people were eating out seven days a week. Dining rooms are coming back in; people need a place to eat. We’re going to see a resurgence of dining rooms,” he predicts. “I have a library table/dining table in Palm Beach. It’s nice to get out of the kitchen, to set the table, making dinner special with flowers and music.”

Photograph courtesy of David Phoenix

On Shopping for Art and Antiques Online

The 2020 Fall Show, like many others is online this year, due to the pandemic. We chatted about buying art and antiques online versus at a show or gallery. Phoenix loves meeting dealers, developing relationships which then gives him peace of mind when buying from them online. “People need to touch and feel,” he admits. When buying online he offers some sage advice: “Ask a lot of questions” A few smart questions and requests he advises people to make before purchasing online:

• Ask for a photo of someone standing next to the piece, to get a sense of its true size
• Ask them to tip it over to see the bottom
• Ask them to hold a tape measure to it
• Double check how it is being shipped—who is paying for shipping?
Is it being white gloved delivered? Is it going to a receiver? Will the delivery person bring it in to the house or leave it on the curb?
• Is it insured on the trip?
• Is it blanket wrapped? Crated?

These questions are very important because you don’t want to get into a situation where you are finger pointing” he says. Sage advice.

A passion for Baking: Cake by David Phoenix

Life in the Era of a Pandemic

Now deep into 2020, we’ve all been through the ringer this year. “the first three weeks I did not leave the house,” Phoenix admits, “I would watch a movie in the middle of the day—if not now, when?” he laughed. “My diet went out the window with all the baking, I was definitely off my food game, it was hard. It got a little depressing from an isolation standpoint. I bought a bike and started bike riding, which I love and do everyday. It’s great to get outside and explore.”

“I’ve been very diligent about washing hands and wearing a mask–it’s not about taking a stance, it’s about being thoughtful—you wouldn’t sneeze on someone’s face or cough on them, it’s the same thing. I feel, especially now with everything going on, I have a new sense of gratitude: to be grateful that you are healthy. When you’re grateful, it’s hard to be angry or sad—when you switch your mindset from focusing on what you don’t have to the little things—I am grateful for my desk, good coffee, my Zoom meetings—it’s easy to add to that list.”

Such a simple and profound point of view.

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, design and travel.

A Conversation with Designer Beth Webb

On Virtual Designing, the Importance of Comfort, and Cooking Everyday

Beth Webb

Texture, tension and light are the three tenets that distinguish Beth Webb’s design sensibility. The Atlanta based interior designer is known for her sophisticated interiors that marry elegance with ease and simplicity–the result is a breadth of work that conveys a sense of well being–a combination of beauty and comfort. Her ability to layer and contrast textures and light creates an inviting warmth in the rooms she designs. Webb is recognised internationally for her interiors, and has been featured in magazines including Veranda, Elle Décor, House Beautiful, Milieu, and Luxe. She serves as a board member of the prestigious interior design and architecture organization, the Design Leadership Network (DLN).

In 2017, her book An Eye for Beauty (Rizzoli 2017) was published and that year she spoke on the ‘Mix Masters’ panel at the Fall Show Lecture Series, which focused on combining different styles, finishes and periods to create a room with multiple personalities. She has found the Fall Show to be invaluable in her search for pieces for clients, both while she is there and afterwards. When she buys online, she says, she buys from dealers she has met in person. “I’ve developed relationships with dealers at shows,” she explained. “when you are buying online, it’s good to know the dealer; dealers I have met usually follow up with me. If you are buying from a dealer you know and have a history with, have a conversation with the dealer first.”

Beth Webb (second from left) on the Mix Masters Panel at the 2017 Fall Show,
along with designers Ellie Cullman, David Phoenix and Suzanne Tucker.

I spoke by phone with Webb about work and life in an increasingly virtual world. Although her business is based in Atlanta, she has spent most of 2020 (and lockdown) in the weekend home on Brays Island in South Carolina that she shares with her husband. “It’s a sporting collective,” she shared “my husband built the house in 2006 in the Lowcountry, inland on the river. We were set up to go remote 3 weeks before the lockdown. My staff has been stellar, I have a principal who is in Atlanta and everyone is staggered coming in and out of the office,” she said. “At first it felt like slogging through quicksand, but we’ve really pivoted in a miraculous way. I’m finding our clients are doing well with Zoom. We’ve done installations remotely—hired local stylists, and I was on Facetime the whole time—we’ve had 2 or 3 installations during lockdown. As we’ve gotten further into it, we’ve learned safer ways to do things. We have stringent PPE rules and always call ahead to make sure everyone is safe and well”.

View from kitchen door on Brays Island, Photograph by Beth Webb

With so much of design being textures and colors, at some point people need to see and touch things first-hand. Webb has that covered, “when we have a virtual presentation, we send a box of “goodies”; physical assets to the clients in advance so they can feel everything. They are very much a part of it. We send renderings of the rooms, physical boards, a tactile presentation. It’s more thoughtful design,” she explained. “(Pre-pandemic) we were on planes 3-4 days a week. We had industry events constantly. We loved doing all those things but it takes time, and all of a sudden I have that time back, and I’m able to do more design work than I have in years. I have become much more circumspect and I’m more engaged with my clients and staff.”

Living Room in Brays Island Home, Photograph courtesy of Beth Webb

Silver Linings

Once the events of 2020 are a thing of the past, there has been much speculation about the lasting effects—what habits will remain? Webb hopes this new concept of time is one, “I hope it lasts,” she confesses. “I’ve been reminded of my early days in the business where I had one job and I had time to work on it. I’d stay up all hours of the night scheming and dreaming. I think we have found that we don’t need to travel so much; there was a lot of thinking that you couldn’t do without it, but you can! I am excited to be able to be on a job site again and do the work. On the other hand, I’ve learned that I don’t need to be there for five days–I can hire a stylist–we’re learning new tricks; that’s the silver lining. We’ve always had a lot of remote work–we’re all used to working all over the place, remote has always been in the equation–but we’ve gotten even more adept.”

A Tale of Two Homes

Webb’s two homes couldn’t be more different. “Atlanta is the more intimate, formal space,” she says, while Brays Island is ‘not decorated’. “My husband built the house-it’s a super modern glass house; when I met him, he had two sofas and a lamp!” she joked. “For the past five years we’ve been focusing on the yard.”

Atlanta House Dining Room, Photo courtesy of Beth Webb

Choosing a favorite piece in her homes was easy. “I do love art,” she admitted. “I was on the board of the Florence Academy of Art. If I have to pick one piece, it would be a drawing by Charles Weed, a head study-a portrait in the dining room in Atlanta. I love to collect. We buy antiques when we travel,” she shared. I shop a lot in London. I love Pimlico Road. We are always shopping the globe.”

Charles Weed drawing in the Atlanta dining room, Photo courtesy of Beth Webb


The one thing the two homes have in common is comfort. “I’m such a comfort person,” Webb admits. “Your house can be beautiful but if it’s not comfortable, no one wants to be there. You need to infuse your home with soul, create intimacy; the ergonomics of design are important to me,” she shares. Webb also focuses on the usability of rooms, “I like every room in a house to be used,” she said, “I don’t want a useless living room. If you engineer those rooms correctly, they will have all the parts and pieces that make it work–tuck a TV into a bookshelf in the dining room, for example, get custom cabinetry and comfortable upholstery,-relax the room, humanize it and make it less intimidating,” she advises. “I’m in the study all day long, then at night we’re in the main living area. The table is set for dinner every night and we have club chairs in the bedroom and go in there in the evening to have a cocktail.”

Living Room in Brays Island

Design Perspectives in a Time of Isolation

Webb has noticed an increase in the discussion around how the months of isolation have changed people’s perspectives on their homes and design. She typically gets two types of calls as a prospective designer for a client: “first, Zen,” she says, meaning a peaceful, relaxed design. The second is “traditional—comfort and familiarity. People are gravitating toward warmth,” she explains. “Hard edged metal surfaces, super modern, cold—that’s a hard sell. I’m always going to make it warm in some way whether it’s contemporary or not. I’m not a trendy designer; I listen to my clients and do what they want. You can make anything interesting–it’s tactile–you want to feel cocooned. Now more than ever, our home is our haven.”

Webb does miss travel though, “I love to travel,” she admits. “We were so lucky. Just before all this happened, we went to London, Paris, St. Barts. Back in the day, you used to get dressed up to get on a plane, one of the civilities that use to be a part of travel. I do hope that comes back—the thoughtfulness of travel.”

Japanese bronze Lobster from Cliff Leonard in Atlanta Living Room

Cooking is Like Design

With no travel, and no social engagements, Webb has never been busier. “we had a collection launched with Arteriors in March-accessories, furniture, and lighting. I am the guest designer for spring of 2020 and I’ll have a presence at Highpoint in October. And I’ve been busy thinking about my next book…” she shared.

The Beth Webb Collection for Arteriors

But there is time for relaxing and fun. “My husband has lost 15 pounds and I’ve lost 10! We walk more-we’re in a place where we can, and we ride bikes. We have a 5-acre community garden, and we had a glorious spring; we go to the garden every day and get fresh vegetables: squash, okra, melons. I love to cook, I cook everyday and my husband has learned to cook.” she shared.

Produce from the Brays Island Garden

“Cooking is like design: you have to plan for it. We also order food online—we’ve found all these great places that ship-pizzas from Italy, homemade chicken pot pie…” Sounds delightful.

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 Designer Timothy Corrigan

On French Châteaus, The Comforts of Home
and Being Grounded in 2020

For someone who travels around the world on a monthly basis, is renovating (not his first) 18th century French château, Château de la Chevallerie, and has been named to most of the design world’s ‘Best Designer’ lists, Timothy Corrigan is refreshingly down to earth. We chatted by FaceTime and our conversation went in several directions as we talked about our mutual passion for travel and tabletop settings among other things.

Timothy Corrigan | Photograph by Nathan Kirkman

I first met Corrigan in 2013 in my first year as Show Director of the San Francisco Fall Show, when he gave a fabulous lecture about his renovation of the 45,000 square foot Château du Grand-Lucé in France’s Loire Valley (he has since sold it and it is now a luxury hotel) and again in my final year as Director in 2019 when he spoke about living with stylish and comfortable rooms. He names the Lecture Series one of his favorite elements of the show. “I love the lectures and the programs.” he admits. I still remember several lectures I saw over the years, a wonderful talk with Lady Henrietta Spencer-Churchill, and the one with Nina Campbell, Charlotte Moss and Suzanne Tucker,” “The Divas of Design!” I reminded him. “To me,” he said, “the quality of your lecture speakers is second to none in terms of shows. And the support of the design community is amazing. It’s palpable.”

Timothy Corrigan, at his post-lecture book signing for “The New Elegance”
at the 2019 Fall Show | Photograph by Hernan Santander

Corrigan opened his design firm, Timothy Corrigan, Inc. in 1997 after a career in advertising, heading up Saatchi & Saatchi Bates Worldwide’s international operations. Today it is one of the leading design firms in the world, with offices in Paris and Los Angeles. He is a master at combining “European elegance with California comfort”. Corrigan has won numerous awards and is the author of two bestselling books, An Invitation to Château Grand- Lucé (Rizzoli, 2013), which chronicles his acquisition, restoration and decoration of a great French country house, and The New Elegance: Stylish, Comfortable Rooms for Today (Rizzoli, 2019).

With clients on four continents Corrigan is not used to sitting still, so the pandemic has been especially jarring. “I have not travelled this little in 30 years,” he admits. “I currently have projects in China, Southeast Asia, India, the Middle East and in six different states in America.” Despite this, he has spent most of 2020, during lockdown at his home in L.A., however, he was able to go to his office. “I’m very lucky, because our office has many windows and everyone has a private office. It helped me maintain structure and routine,” he shared.

Chateau de la Chevallerie in the Loire Valley

An Interesting Time for a Move

While most of us were getting used to the new normal as lockdown went into effect, Corrigan was moving. “The day L.A. was shut down was the first day of a 3-day move,” he shared. I was between two houses and spent the first three months unpacking. I had sold my last house unexpectedly and took a rental which I realised I hated; I did not like being home, he said. “I always tell clients their home should be a sanctuary, but this was not, so I moved and it was the most wonderful thing. I really do love this new house—the scale of the rooms—bigger rooms and fewer of them; I’m 6’4” and I need bigger spaces! And, it is much lighter and brighter—I need light.”

As moving usually does, unpacking gave Corrigan the opportunity to take stock of his art and furniture in a new way and he gained a new appreciation for one work in particular, “my Carolus-Duran painting—he was a portrait artist—a master of shadow and light,” he explained. “In the other house the walls were white, white, white. The color of walls really impact light; with paintings the background color really affects how you see the painting. I painted the walls in the new house a warm, golden, honey color—not a color that was in the painting—I just really knew that the painting needed the warm tones.”

Carolus-Duran painting | Photograph by Massimo Listri

Home Comforts

For Corrigan, home is about comfort. “We’ve all walked into a room and you can tell that no one uses it—the formal room—those are deadly rooms,” he says. “It’s partially that the furniture is not really comfortable. It’s also a mindset where you are decorating with fabric that is too fine, too delicate.” Corrigan favors comfortable furniture where you can put your feet up. “We often put marine varnish on furniture and antiques so that you can put a hot coffee mug or a wet glass down. We use performance fabrics so you don’t have to worry about spilling wine and you can comfortably use the room, all these elements are practical.”

Jardin Tibetan Knot rug designed by Timothy Corrigan for Perrenials
Photograph by Nathan Kirkman

Corrigan feels rooms should be used. “Every room has a purpose,” he explains, “a reason for going there. In my own living room, I wasn’t using it, so I put a desk in there. You don’t have to use a room for its intended purpose; the dining room can also be a library. Rooms can have dual or multiple uses, just make sure every room is working hard for you.” For Corrigan, his favorite room in his house is anywhere he can curl up and read in a comfortable chair. “I have really enjoyed doing a lot of reading these last months. I purposely don’t read the paper in the morning, instead, I save it and come home and read The New York Times at night. It creates these special occasions for me within my home. The world is so heavy and dark right now, I don’t want to start my day with the news.”

Photograph by Amy Barnard

The New Normal

The pandemic has not changed Corrigan’s design sense, but it has changed how he works. “With so many international clients, we always did Zoom meetings, even pre-pandemic,” he said, “but we didn’t do it as much with domestic clients. I’ve learned we can be just as productive and even once the pandemic is in the past, we’ll probably do more meetings this way. I believe that just as WWI changed so many people’s habits and patterns, so will this. Nothing is like connecting in person, that will always be important, but we can be very efficient these days with technology.” Corrigan has also noticed that his clients are looking at their houses in a new way, “we’ve received phone calls from clients who say they never really appreciated their home until now,” he shares. “For a lot of my clients, their homes are showplaces, as they have several and they haven’t really experienced them until now; they are gaining a new appreciation.”

Photograph by Lee Manning

The thing Corrigan is missing most at the moment is France. “I have a new apartment in Paris, and the château I am renovating. I have been trying to do it from L.A. but there is nothing like being there.” He is now working on a new book about Château de la Chevallerie called Town & Country which is scheduled to be published in 2022.

Room at Château de la Chevallerie | Photograph by Eric Piasecki

The lockdown has not slowed Corrigan down. “We’ve gotten four new projects during this process—new construction. That part has been busy. I’ve also used the time to develop a collection of new tiles for New Ravenna, the ‘Rolls Royce’ of tiles. I do the drawings myself. And I have a new collection of fabrics and rugs which I launched a year ago with Perrenials. I am also doing a third collection of china patterns for Royal Limoges. I have 14 sets of china at the chateau,” he admitted, which got us once again talking about tabletop.

Jardin Français Collection by Timothy Corrigan for Royal Limoges

With no social engagements or travel, he has found a bit of time for relaxing, “I have never been a television person, but I’ve started watching a new Australian series called ‘A Place to Call Home’, and time for reflection, he shared his perspective on this time we are living in: “I think it is so important for people to try to find the positive thing in all this; more time with family, not traveling so much. I am trying to consider what the gift is in this. To me that is the biggest lesson.”
Wise words.

By Ariane Maclean Trimuschat
Ariane served as Show Director for the San Francisco Fall Show for seven 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 in Connecticut with Designer Bunny Williams

Anyone who knows interior design knows the name Bunny Williams. She has made an indelible mark and is one of the most recognizable names in the industry. Her half-century career started with an apprenticeship at the legendary design firm Parish-Hadley Associates. Then, in 1988 she started her own firm and the rest is history. Bunny and her team work their magic for commissions across the globe, many for repeat, longtime clients.

Bunny has authored seven books on design and gardening, her latest Love Affairs with Houses (Abrams, 2019), presents new work from 15 houses she has decorated and fallen in love with. She has won numerous awards, has devoted her time to several philanthropic organisations and is a coveted speaker on the topics of design, gardening, and entertaining. The San Francisco Fall Show has featured her in its Lecture Series several times over the years.

Bunny and her husband, the antiques dealer John Rosselli, have their primary residence and offices in Manhattan, but for the last six months of 2020, they have been hunkering down in their home in Connecticut, which is where she was when we chatted by phone. “Do I ever want to go back to New York City?” she mused, “many people in the city have moved out.” But her Connecticut home sounds dreamy. “I have a studio that is my office–it’s a house up on a hill in the clouds—a separate building next to our house, and I have built up an incredible library of samples and textiles there. I can’t tell you how much this studio means to me,” she shared. “If you can do your work in another place, you can reduce the time you spend in the city.”

Bunny created this spacious, bright studio space as a place to work, paint, study and be absorbed in her many projects. She wanted the space to feel modern in contrast to her more traditional house and barn.
Photograph by Carter Berg

Bunny’s homes have provided inspiration for many of her books, and with a collection of so many beautiful pieces, she had trouble picking a favourite. “It’s usually the newest thing I bought,” she confessed. But if I have to choose, I have a Danish Neo-Classical secretary desk in Connecticut; my house is Federal and it fits with the house, it has personality and I never get tired of it. I like things that are unique, that have a soul.”

Bunny purchased this Swedish secretary desk from Danish antiques dealer ​Arne Schlesch​ at auction when he was closing his New York shop to return to Denmark. The height of the piece helps balance the elevation of the door on the other side of the fireplace. Photograph courtesy of Bunny Williams

The secretary desktop: Bunny likes to surround herself with small objects that bring back special memories when she sits down at her desk.
Photograph by Timothy Street-Porter

Not wanting to leave out her New York residence, she shared: “John found a four-poster canopy bed at a Sotheby’s auction 30 years ago. It was designed by the Parisian designer, Serge Roche. It is covered with antique mirrors and I just love it.”

In Bunny’s New York City apartment, a mirrored bed by Serge Roche takes center stage in her bedroom. It is from the 1940s and previously belonged to socialite Dorothy Hart Hirshon. Bunny’s husband, John Rosselli, spotted it dismantled at a Sotheby’s auction years ago. Photograph by Reid Rolls

It was also not easy to nail Bunny down on a favourite room. “I move around a lot,” she admitted. “I use the whole house; I think people should use their whole house. We use every room. Sometimes people need to force themselves to use a room. For instance, if you have a formal living room that you find you rarely use, put a square game table in there for puzzles and chess and checkers, or put a TV in there, somewhere that you can hide it away,” she suggested.

“In the summer, we’re out on the screened-in porch a lot, but I suppose my favourite space is my huge studio. It’s a dream. I have a drafting table and I work here, the dogs are outside playing, then I go down to the house and have dinner with John,” she shared. “You have to live in your house. You have to decorate it, of course, but it’s the newspapers on the bench, the books on the shelf, the flowers and plants that make it a home,” she explained. “I love ‘playing house’.” I do flower arrangements every weekend and the house comes alive. Flowers keep a home from becoming stale.”

Screened-in Porch, Photograph by Tony Vu

Wicker chaises with botanical pillows make for the perfect reading spot.

A metal mesh table with four chairs is a common summer lunch spot.
Photograph by Tony Vu

An antique plant stand is covered with ivies, ferns, and other plants. A wicker dog carrier and a few birdhouses (which Bunny collects) are tucked underneath.

These pieces were collected over time with little emphasis on matching – though there is a pair of matching tole tables and rush-bottomed Irish chairs.

The lockdown–and being at home for such an extended period of time–has not changed Bunny’s design sense, “but it has slowed me down” she admitted. “For the first time I have had no speaking engagements, and no travel for six months! It has given me more time to focus on design and to think about things. I work on so many projects, it has given me time to do research.”

But even with no events or travel on the calendar, Bunny keeps busy. “I have a huge garden and I have been trying to learn the plant names and do a herbarium on all my plants. Pre-pandemic, I took a course at the New York Botanical Gardens, but the irony is that once the pandemic struck, I had to devote most of my extra time to the computer—there was such a learning curve for me–to work remotely, and so I haven’t had much time for the herbarium!”

But the downtime has allowed Bunny to focus on herself, “one thing I decided was to take the time to exercise more. I have a little gym, and I have a trainer who comes three days a week. I’ve allowed myself to take better care of myself.”

The 11-foot-long library table in the middle of Bunny’s studio is from RT Facts in Kent, Connecticut. Floors are polished concrete and the walls have a natural, hand-troweled finish. Photograph by Carter Berg

Bunny built bookcases along the North wall to house her collection of design, architecture, art and gardening books. Photograph by Carter Berg

As the Fall Show will be online, (on InCollect) this year, I asked Bunny what she will miss and what she loves about attending the annual San Francisco fair. To her, it is all about the dealers: “I love the variety of the dealers the show brings: French, English, Asian, Modern Art and Fine Art, decorative objects and furniture…” she said. “And the price points vary wonderfully. I have always bought something. You have to really walk around the show, you have to look at every booth, there is such great variety, and it is all so beautiful.”

Bunny speaking to a packed house at the 2019 San Francisco Fall Show Lecture Series

And what does she look forward to when the world goes ‘back to normal’? “I’m very happy right now,” she confessed. “I’ll be missing the city when the Fall comes; the openings, the theatre, opera and the culture, but being in my house in Connecticut, I have been able to enjoy something I haven’t really had the time to enjoy for the last 30 years. The plus is that I’m married to someone I want to be married to.”

I’d call that a big plus.

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 Interior Designer Nina Campbell

When Nina Campbell opened her eponymous firm in 1972, one of her first commissions was a castle in Scotland; she has not looked back since. Her unmistakably rich and elegant colour palette has made her one of the most influential designers in the world and her design firm is internationally known and respected.

Blue Arles Tray, Blue Monkey Napkin, Blue Gien Nets Plate from Nina Campbell shop

The business has grown to include a successful line of fabrics, wallpaper and trimmings distributed by Osborne and Little, as well as her retail shop, (a favorite of mine) for home accessories and gifts in London’s Knightsbridge neighbourhood and a showroom at the Design Center Chelsea Harbour. She has also authored several books on design.

Interior of Nina Campbell shop at 9 Walton Street, London

Campbell most recently spoke in the Fall Show’s Lecture Series in 2018. The panel discussion, “Divas of Design” featured Nina Campbell and Charlotte Moss, moderated by Show Chair, Suzanne Tucker. The design divas spoke to a packed house (who knew those words would become so taboo!?) “The Fall Show is always so glamourous and beautiful” she muses “I have found wonderful things there. I think there is a comradship amongst all the dealers. It is lovely to just connect and meet and talk with them. You might change your view on a style, or a period that you start to understand better. It’s like going to a museum.”

Nina Campbell speaking at the Divas of Design Panel at the 2018 Fall Show Lecture Series
Photography by Hernan Santander

I chatted with Campbell by phone from our respective London homes about design in the era of a pandemic. Luckily, isolation was not so isolating for Campbell, as she spent the beginning of the lockdown with her daughter and granddaughter on a farm in the country. “I did come back to my own home in London in June and promptly started cleaning out my cupboards.” She says being home has made her appreciate it more “everyone is always in a rush, coming in and out of the house, spending more time there, you can be amongst your possessions and appreciate them more. I think your possessions—the things you have bought on travels, that hold memories, that mean something to you, make a home.” She says. “I have lots of people in my home, and two pets. I also have my paintings, most of which are done by friends, and it’s all very cosy with people and memories.” When asked to name a favourite piece, she thought it over and replied “a Kate Malone ceramic pumpkin, inspired by the gardens at Waddeston (the 19th Century Waddeston Manor built by Baron Ferdinand de Rothschild in Buckinghampshire).

Blue Sprig China, Blue Arles Tray from Nina Campbell shop

With more time spent at home, I asked what her favourite room is, where she goes for a moment of quiet and calm. “I love my bedroom because it looks out on the gardens” she shared. “It is peaceful. If I’m home alone I have the whole house, but with others there it’s wonderful to retreat to my bedroom.” But work needs a table “I work on my dining room table which is practically half in the garden.”

Tiffany Dining Table and Jennifer Chairs from Nina Campbell shop

She admits that the thing that has changed her perspective most is people’s attitudes. “Everything has become more casual” she says, “people coming by unannounced – the formality is gone.” But the isolation has not altered her design sense. “I haven’t really isolated as I was with family. Now I go into shops, talk with neighbours. It hasn’t really affected me. I talk endlessly to friends, especially in my neighbourhood. I have enjoyed the more casual social engagements. I haven’t been commuting. I am not travelling so my dogs are thrilled.”

A selection of Miami and Kendall desk accessories from Nina Campbell shop

Campbell says her clients attitudes have not changed much with one exception: “I think everyone has carried on, but in the shop I have seen people wanting new things. Tabletop has become much more in demand – people are growing tired of their place settings as they are now eating at home for breakfast, lunch and dinner. They want some variety, something new.”

Green Gallina Linen, Green Nets Gien Plate, detail, Nina Campbell shop

Blue Gallina Matte Linen, Blue Gien Nets Plate, Bistrot Cutlery, Nina Campbell shop

These days, spontaneity is what Campbell misses most, and the theatre, the opera, the ballet, and travel. Everything is just so much more complicated- “It stops you from being spontaneous.” She shares. “But there are people suffering so much more so I just feel incredibly lucky actually. In a way there have been many silver linings, but I feel uncomfortable enjoying it. I am very aware of it all.”

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 San Francisco Designer Geoffrey De Sousa

Known as one of the top interior designers in San Francisco and regularly featured in national design publications, Geoffrey De Sousa brings a mix of tradition, cosmopolitan flair and modernism to his projects. De Sousa Hughes, the 30,000 square foot showroom at the San Francisco Design Center that he co-owns with Erik Hughes, is known for its bespoke collection of furnishings, textiles, lighting and accessories by designers and artists across the United States and Europe. De Sousa served as Designers Circle Chair for the San Francisco Fall Show from 2016-2018 and hosted several fabulous parties in honor of the show’s designer patrons.

Geoffrey De Sousa working from his double parlour

He’s a busy man, but lately, De Sousa, like the rest of us, has been spending a lot more time at home. We chatted by phone, he from his 1874 San Francisco Victorian, with a black facade. “When I renovated it in 2013 it was just me and little dog,” he said. “Then Jose and I got married, he’s an interiors and architecture photographer and has his office downstairs. The pandemic has informed us as to how we are living here, how we use the space. I had been debating turning the second parlour into a dining room; it makes us think about what’s comfortable.” The double parlour is currently a living room and is where De Sousa gravitates to for work, and a moment of quiet and calm. His morning staff meetings happen there. “Because Jose is a photographer, he has lots of tripods. I set up right there and we have staff meetings every morning with the iPhone on tripods.” Right off the bat, I was thinking, how can we get people into our showroom? I called a friend who is a Realtor who recommended the company Matterport. They did a 3D tour of showroom to put on our website, it’s fantastic.

Diana the Warrior, prepared for the pandemic

The most interesting piece in the living room was bought from former San Francisco antiques dealer, Ed Hardy “a 19th century bust of Diana the warrior 3 ½ ft x 2 feet that sits on a pedestal in the bay window in the living room,” shares De Sousa. “I’ve had it forever. People stop in front of the house constantly to talk about it. It is one of the finest pieces I bought from Ed when I moved to San Francisco. About 2 weeks into the quarantine, I turned it around to face the street and put a black mask on her. It has become very instagrammable.”

De Sousa’s wall of family photographs

For De Sousa, home has to have a sense of history. “It has to be about you, your trips, your family, the things that bring memories, a small piece of glass, an amazing photograph, having those pieces interspaced within your interiors, that juxtaposition and the ability to combine those things in a house gives it soul.” He says. “I have a wall that is 60 photographs dating from the mid the 1800s of my family memories; all different sizes, I have my great, great grandfather and grandmother. I have an amazing photo of my great grandmother at a wedding when she first came to America in 1917. My mother’s side has been in Boston since 1632. Walking by the wall and seeing these people everyday makes my house a home.”

Communication was the biggest change De Sousa encountered from the new virtual workday. “At first everyone went into shock mode and then had to get the projects rolling. How we deliver to clients is different, but people are now used to it, they are adapting pretty well,” he says, “There are people spending a lot of time in their homes and looking at things a little differently. They want the spaces to be usable and comfortable. Each client is so individual. I am really fortunate to have a wide array of clients with very different aesthetics.” De Sousa is seeing a change in attitude and in how clients are using their homes. “I don’t see people asking for home offices right now,” he says, “but I do see people coming to me saying that they are using some rooms more often now than before–using rooms for the first time–using their outdoor spaces more now, not just on the weekends. I also see people who left the city and went to their second homes and they are now really looking at how they use those homes and how they can make them equally usable. People are thinking about nesting, comfort, and entertaining again.”

With no social engagements due to the lockdown, De Sousa anticipated having lots of free time, “I always wanted to learn to needlepoint; I opened the box and never touched it. I bought a Georgian dollhouse for my nieces, but have not started it. Once we started our meetings in the mornings, the day gets away. I’ve taken on three large projects during the pandemic!

‘Passagem do Tempo’ Designer Vignette by Geoffrey De Sousa Interior Design at the 2015 San Francisco Fall Show. Custom wallpaper by de Gournay.
Photo by Drew Altizer Photography

In 2015, De Sousa was among the three designers invited to participate in the inaugural return of the Designer Vignettes for the Grand Entry Hall of the Fall Show. Taking on the theme “Time After Time”, De Sousa called his vignette ‘Passagem do Tempo’ (Passage of Time), paying homage to the mid-20th century Brazilian furniture designer Joaquim Tenreiro and his language of organic simplicity. It was surrounded by the sculptural Araucaria forest hand painted on silk by de Gournay. I asked him about a favourite show memory. “Really and truly”, he confessed, “the Preview Gala is one of the ultimate parties of San Francisco every year. When you are all wrapped up in your business and life, to be able to stand with your contemporaries, talk about business, see clients, catch up. You know everyone is going to be there. It kicks off the holiday season. It’s always an upbeat feeling. That will be missed the most in this year.”

But with the isolation, there is an upside: “Jose and I are relative newlyweds so this time we have had and with my dog has been really lovely. We spend a lot of time together, watching a great movie–we watched Hamilton the other night–it’s been great. And we’ve been reaching out to friends on Zoom that I probably would not be talking to so much otherwise.”

Truly a silver lining.

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 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.

At Home with San Francisco Designer Jay Jeffers

San Francisco designer Jay Jeffers knows a thing or two about beautiful objects. His retail showroom Jay Jeffers-The Store offers a collection of furniture and pieces discovered along his travels. When he agreed to create a vignette for the 2017 Fall Show, the theme that year was Flower Power and the vignettes focused on the Four Seasons. Jeffers’ boldly graphic, deep plum showcase beautifully conveyed the warmth of a cozy winter evening.

2017 San Francisco Fall Show Designer Vignette “Winter” by Jay Jeffers
Photography credit: Drew Altizer

I recently chatted with Jay about the many cozy days and nights we are all spending at home during quarantine, and how that has impacted his life, and his appreciation of his own collection of beautiful objects. “One of my favorite pieces is by New York artist Forrest Williams. It has a mysterious haunting quality that I love” says Jeffers.

Photography credit: Matthew Millman

In designing a house, there are certain things that make it a home. For Jeffers, it is the personal effects that create memories, “whether it is art you have collected, or family photos, books, some kooky object that you bought when traveling in Africa—those things that invoke memories of a time and place. This is what created soul in a home.”

Photography credit: Matthew Millman

Jeffers is spending quarantine in the Napa home he shares with his husband Michael Purdy. “I have commandeered one of the guest bedrooms as my office. The closet holds my papers and files. There is a small desk, though I admit most of my computer and zoom meetings have taken place on the guest bed with my laptop.”

The best part of spending so much time at home? “Well, my dog, Olive is by my side, basically all day long, which is so nice. We have been cooking, setting the table every night with candles and linen napkins, and just generally slowed down a little bit.” He shares. His favorite room is the living room, “A fire in the fireplace, with the fire going is a good spot for me. I’m an early bird and always the first one up. It is so nice to sit by the fire and have my coffee and slowly wake up.”

Photography credit: Matthew Millman

When it comes to the San Francisco Fall Show, Jay has discovered many treasures over the years. His favorite find? “A pair of art deco club chairs that were made in India out of rosewood. Their new home are clients of mine that are of Indian descent so these chairs fit perfectly with our design and reminded them of home at the same time.” Jay has been a longtime supporter of the Show “it is so great to see the entire design community out and supporting an amazing cause that I have been involved with for years” he says. “But also for me it’s a chance to see beautiful things from galleries all over the world that I may not have visited. The internet, 1stdibs and all of the other sights are a wonderful tool for sourcing, but nothing compares to seeing the beauty and the condition of a piece in person.”

Photography credit: Matthew Millman

With no social engagements, travel or commute, Jeffers is appreciating the extra free time, and using it well. “I’m finding more time to deep dive into inspiration—Pinterest, Instagram, etc. There are some crazy talented people out there I am just discovering. In the evenings, I’m taking the dog for a walk or going on an easy bike ride.”

With all that is going on in the world, I think we all get a pass to break a rule or two. What is Jeffers? “Cocktails every night!” Cheers to that!

by Ariane Trimuschat, Director at Large/Europe