THE INTERNATIONAL DESIGN AUTHORITY MARCH 2O16

Celebrities at Home
AD VISITS
KOURTNEY +
KHLOÉ KARDASHIAN
MARC ANTHONY
FRÉDÉRIC FEKKAI
TATE TAYLOR
NAOMI WATTS +
LIEV SCHREIBER

PLUS: THE BEST OF NASHVILLE

CONTENTS

03.2016 FEATURES
74 SETTING THE SCENE
A cozy-chic Manhattan duplex is the
perfect cocoon for acclaimed actors
Naomi Watts and Liev Schreiber
and their two sons. By Michael Hainey
Interiors by Ashe + Leandro

86 THE GOOD LIFE

When he needs a break from
the world of beauty and hairstyling,
Frédéric Fekkai escapes with his
family to a historic home in the South
of France. By Fernanda Eberstadt
Architecture by Jean Paul Bernard et
Laure Selli Architectes
Interiors by Jean-Louis Raynaud

98 DOUBLE VISION
AD Visits: Khloé and Kourtney
Kardashian. The sisters are as close
as siblings can be, but their
neighboring Los Angeles–area houses
are all their own. By Mayer Rus
Interiors by
Martyn Lawrence Bullard Design

114 SOUTHERN COMFORT

The Help director Tate Taylor turns
an 1830s Mississippi mansion into
a live-work paradise. By Julia Reed
Architectural consultation by
Thomas E. Goodman Historical
Restoration and Architectural Design
Interiors by
Shawn Henderson Interior Design

(CONTINUED ON PAGE 12)

SHOES BY AQUAZZURA; KHLOÉ’S DRESS BY CHLOÉ AND SHOES BY GIUSEPPE ZANOTTI

VOLUME 73 NUMBER 3

SIMON WATSON; COVER: KOURTNEY’S DRESS BY VICTORIA BECKHAM AND

86
Frédéric Fekkai and his wife, Shirin von Wulffen, with their children, Newsstand cover: Kourtney (seated)
Philip and Cecilia, at their sun-splashed Provence getaway. and Khloé Kardashian in the latter’s
California living room. “Double Vision,”
page 98. Photography by Roger Davies;
produced by Carlos Mota.

10 A R C H D I G E S T. C O M
CONTENTS

Clockwise from top:

Guest bungalows ring a
pool at the Dominican
Republic estate of Marc
Anthony and Shannon
de Lima Muñiz. The
Manhattan living room of
Naomi Watts and Liev
Schreiber. Lacquer boxes
by Bernard Maisner.
The courtyard at Khloé
Kardashian’s home. 128
98

74
122 ELSIE GOES TO DEPARTMENTS
38 HOLLYWOOD
Superstar decorator and peerless 31 DISCOVERIES
The best in design, culture, and style
hostess Elsie de Wolfe took
1940s L.A. by storm with her singular 38 SHOPPING
CLOCKWISE FROM TOP: WILLIAM WALDRON; DOUGL AS

high style. By Charlie Scheips Produced by Parker Bowie Larson

128 RESORT COLLECTION 44 SHOWROOMS:

FORWARD THINKING
FRIEDMAN; JOHN MANNO; ROGER DAVIES

At the Dominican Republic’s storied

Casa de Campo retreat, Grammy-
winning salsa king, actor, and family
man Marc Anthony crafts a blissful
compound with his wife, model
Shannon de Lima Muñiz.
By Brad Goldfarb
Architecture and interiors by
DM Dominicana
Designer Richard Shapiro’s spectacular
new L.A. shop. By Mayer Rus
46 PARTIES:
TOASTING THE TALENT
The world’s top architects and
designers gather at the Whitney
Museum to celebrate the 2016
AD100. By Sam Cochran

(CONTINUED ON PAGE 16)

12 A R C H D I G E S T. C O M
CONTENTS
31
44
52 48 BEFORE + AFTER:
BREAKING NEWS
The office of ABC anchor George
Stephanopoulos goes from messy
to marvelous, thanks to designer
Michael S. Smith. By Ali Wentworth
52 TRAVELS: NASHVILLE
An insiders’ tour of Music City’s high
notes courtesy of locals like Reese
Witherspoon and Connie Britton.
By Kevin West
58 ESTATES: ON THE MARKET
Houses worth dreaming about.
By Geoffrey Montes
142 VIEWPOINT:
SHINING SUCCESS
Artist Leo Villareal gives Washington,
D.C.’s Renwick Gallery some serious
razzle-dazzle. By Sam Cochran
16 A R C H D I G E S T. C O M
Clockwise from far left:
A Robert Mapplethorpe
orchid photograph from the
new book Mapplethorpe
Flora (Phaidon). Newsman
George Stephanopoulos
and interior designer
Michael S. Smith. A
Julian La Trobe painting
of decorator Elsie
de Wolfe’s 1940s Beverly
Hills home. Taylor Swift
belts out a tune in
Nashville. Tastemaker
48 Richard Shapiro’s
new L.A. showroom.
122
CLOCKWISE FROM TOP LEFT: COURTESY OF ROBERT MAPPLETHORPE FOUNDATION; JOSHUA M C HUGH;
CHRISTIE’S IMAGES/BRIDGEMAN IMAGES; JOHN SHEARER /LP5/GETTY IMAGES; TREVOR TONDRO
IN EVERY ISSUE
18 ARCHDIGEST.COM EXCLUSIVES
26 EDITOR’S PAGE By Margaret Russell
28 FEEDBACK
140 SOURCES The designers, architects,
and products featured this month.
By Julie Daniels
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ONLINE

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Head to the Web for more great homes, discoveries, and resources

Actress Naomi
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New York City.

E XC LUS I V E V I D EO :
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Palladian jewel in actress at AD’s photo shoot of her family’s
Charleston, Manhattan home, featured on page 74.
South Carolina. archdigest.com/naomiwatts

SOUTHERN GRACE
If you love antebellum homes like Tate Taylor’s FOOD
NETWORK

FROM TOP: TONY SWEET/COURTESY OF THE DRAYTON HALL PRESERVATION TRUST; DOUGL AS FRIEDMAN (2);
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archdigest.com/southernhouses like Neil Patrick
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Berkus get cooking
in our slideshow
of fabulous celeb-

FIROOZ ZAHEDI (2), FROM MY ELIZABETH BY FIROOZ ZAHEDI (GLITTERATI)

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Above: An image of
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18 A R C H D I G E S T. C O M book My Elizabeth (right).
 THE INTERNATIONAL DESIGN AUTHORITY VOLUME 73 NUMBER 3

EDITOR IN CHIEF

Margaret Russell
executive editor art director managing editor
Stephen Wallis Ann Marie Mennillo Laurie Sprague
design design editor decorative arts digital director
projects editor Howard Christian & antiques editor Erica Duecy
Jacqueline Terrebonne Mitchell Owens

Features Art Digital

west coast editor associate art director deputy editor, digital
Mayer Rus Neal Phiefer Kristen Flanagan
articles features senior designer senior manager,
editor editor Danlly Domingo audience development
Julie Coe Sam Cochran Stephanie Downes
art assistant
associate editors Megan Spengler producer
Susan Sedman art production director Amy Liebster
Leslie Anne Wiggins Karrie Cornell senior design reporter
assistant editor digital production manager Hannah Martin
Geoffrey Montes Amelia Grohman social media manager
Lindsey DeSimone
Copy and Research Photo photo editor
deputy editor, copy photo director
Kate Hambrecht Melissa Maria
Michael Shome senior associate editor
copy editors associate editor
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Lyne Lucien associate editor
Kimberly Peterson
research chief Market Nick Mafi
Andrew Gillings style editor assistant editor
Parker Bowie Larson Stefanie Waldek
associate market editor editorial assistant
Hadley Keller Melissa Minton
editorial assistant
Julie Daniels

assistant to the editor in chief Madeline O’Malley

editorial coordinator Nick Traverse
editorial development manager Alison Levasseur
contributing interiors editor Anita Sarsidi
contributing international projects editor Carlos Mota
special projects editors
Brad Goldfarb, Lee F. Mindel, Carolyne Roehm,
Hal Rubenstein, Nathan Turner, Bronson van Wyck

contributing editors at large David Colman, Jeffrey Slonim, Carlos Souza

public-relations consultant Mary Wible Vertin
contributing style editors Carolina Irving, Michael Reynolds
contributing art & architecture editor Elizabeth Sverbeyeff Byron

contributing editors
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Paul Warchol, Simon Watson, Firooz Zahedi
editor emeritus Paige Rense Noland

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Anna Wintour

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E DI TOR’ S PAG E
Clockwise from above: Designer
Robert Stilin with me at the
magazine’s party to celebrate the
2016 AD100. Behind the scenes
of our photo shoot for the Kourtney
and Khloé Kardashian cover
feature. The AD creative crew at the
Mississippi home of filmmakers
Tate Taylor and John Norris (shown
at far right with their dog, Earl)
included, from left, Michael Piccirilli,
Howard Christian, Roger Davies,
and Albert Fu; interior designer
Shawn Henderson is third from right.
26 A R C H D I G E S T. C O M
I THOUGHT I KNEW ALL I NEEDED TO KNOW ABOUT THE
KARDASHIANS, BUT THEN ONE DAY MY PHONE RANG.
It was Martyn Lawrence Bullard, calling to report that he was decorating
neighboring houses for Kourtney and Khloé Kardashian and that he was
thrilled with how they were progressing. “My darling, not only are these two of
the most famous sisters in America,” he announced, “but they have great taste!”
Scouting snapshots to prove it, he said, were on the way—and as you can see
from this issue’s cover story on the young women’s homes in Calabasas,
California, he was absolutely right.
Even more surprising than the siblings’ sharing a designer and living only a
block apart, however, is the fact that the Kardashians’ interiors are as individual
as the sisters themselves. Khloé’s flair for the dramatic is reflected in smart black-
and-white rooms with exotic touches. Plus, her brilliantly organized closets and
kitchen are truly inspiring. Kourtney, on the other hand, is a modernist. She’s
passionate about decorating and gravitates toward sophisticated furnishings—
many of them midcentury French—that manage to stand up solidly to her ram-
bunctious young family. Mayer Rus, AD’s West Coast editor, says that Kourtney
helped define their distinctive tastes by telling him, “Khloé has tons of flowers
at all times, but I prefer a succulent in a beautiful little pot.”
We also pay a visit to the sunny Provençal retreat that stylist extraordinaire
Frédéric Fekkai enjoys with his wife and children; the soulfully restored
Mississippi plantation house where film director Tate Taylor puts up myriad
Hollywood friends; music superstar Marc Anthony’s secluded resortlike get-
away in the Dominican Republic; and, in Manhattan, the chic duplex where FROM TOP: ROGER DAVIES (2); ANGEL A PHAM/BFA.COM
award-winning actors Naomi Watts and Liev Schreiber live with their kids.
Big names may prevail in this month’s AD, but truth be told, the private lives
of public people are often not so different from our own. When we asked
Naomi what her favorite part of the apartment was, for instance, the avid host-
ess and mother of two confessed that the walk-in pantry had changed her life.
Even celebrities appreciate simple pleasures.
MARGARET RUSSELL, Editor in Chief
Email: editor@archdigest.com
Instagram: @margaretrussell
F E E D B AC K

Beachfront Bliss ailing is just amazing. Americans are

the most generous people on the planet,
Social-media reaction to the Montauk, and the organization’s team is a terrific
New York, master bedroom of designers reflection of this country.
Vicente Wolf and Matthew Yee [“Fresh g. edward saxe
Perspective,” January]: Anna Maria Island, Florida
The ceiling reflection is unreal . . . looks
like a watercolor. @pamharrington7 AD100 Assessments
Via Instagram I just read the 2016 AD100 list, and I
noticed that a majority are from New
Well done! Nothing can compete with
York and many of the featured projects
that view. kendra grant
are in the Northeast. Are there so few
Via Facebook
designers and architects in the rest of
the U.S. who meet AD’s standards?
Sweet Charity orrin miller
What a fantastic and refreshing story on Valley Center, California
God’s Love We Deliver in your November
The January 2016 cover. Good Works column [“Helping Hands”]! Always my favorite issue.
Serving over one million meals annually @myworldofinteriors
to more than 5,000 people who are Via Instagram
Mountain High
An unexpected snow day gave me
some time to curl up with the January
issue of Architectural Digest. The
cover quickly drew me to the feature on
Peter Marino’s retreat in the Rockies
[“Winter Wonder”]. Against my own
THINKING
backdrop of the snowy Organ Mountains, PINK
I transcended to his sporty ski chalet.
On social media, readers
With the terrific views, vivid works of
went wild for our story
art, and impeccable furnishings, I felt
on Lee and Stuart
like I was nestled right on his sofa as
Rolfe’s Seattle residence,
I indulged in the rest of the issue.
decorated by Jeffrey
ruth jaure
Bilhuber [“Starting
Las Cruces, New Mexico
Over,” January]. People
were especially taken Adore Setting Soothing ceiling
Wow, Peter Marino’s ski getaway is
with the living room Plaster! @kenfulk color—love it—
spectacular! So often mountain homes
and its ceiling, painted Via Instagram draws attention to
have some preconceived design idea
in Farrow & Ball’s pale- the light fixture.
that lacks sophistication; this is the
pink Setting Plaster. Bilhuber and @vivianrobinsdesign
opposite. The interior is modern and
Associates gave Via Instagram
beautiful, reflecting the fabulous
This Seattle new life to this
views from every room. Wonderful.
home by Jeffrey beautiful Seattle Always brilliant.
johanna packard
Bilhuber . . . is one home. A perfect Always beautiful.
FROM TOP: ROGER DAVIES; RICHARD POWERS

Berkeley, California
of my favorite mix of antique and There is no one
things this week. modern. like JB.
Oh how I would love to be enjoying my
brian edward millett @edelmanleather @triciahuntley
morning coffee with that view!
Via Facebook Via Twitter Via Instagram
@catherinestaples
Via Instagram

No words. Wish I was there. Stunning. We welcome your comments and suggestions. Contact us via email at letters@archdigest.com
or by mail at Letters, Architectural Digest, 1 World Trade Center, New York, NY 10007.
andrea thomas barnes Please include your name and city. Correspondence may be edited for length, clarity, and style
Via Facebook and may be published or otherwise reused in any medium.

28 A R C H D I G E S T. C O M
 T H E B E S T I N D E S I G N, C U LT U R E, A N D S T Y L E
COURTESY OF ROBERT MAPPLETHORPE FOUNDATION

A RT
EYE WITNESS
Poetic and provocative, exquisitely lit and meticulously composed, Robert Mapplethorpe’s works are among the most powerful in the history
of photography, tackling complex, often taboo themes of sexuality and identity. This spring his achievements return to the fore with force.
In Los Angeles the two-venue retrospective “Robert Mapplethorpe: The Perfect Medium” opens March 15 at the J. Paul Getty Museum’s Getty
Center (getty.edu) and March 20 at the Los Angeles County Museum of Art (lacma.org). Running through July 31, the joint exhibition
presents more than 300 Mapplethorpe images, including portraits, nudes, and still lifes. Meanwhile, the full range of his floral studies—shown
above is Orchid, 1982—can be found in the lush tome Mapplethorpe Flora: The Complete Flowers (Phaidon, $175). And in April, HBO debuts
the first feature-length documentary on the artist, Mapplethorpe: Look at the Pictures. Frankly, it’s hard to look away. —SAM COCHRAN

A R C H D I G E S T. C O M 31
D I S C OV E R I E S

Floral gowns by
Oscar de la
Renta, who is the
subject of a retro-
spective at San
Francisco’s de
Young museum.

EXHIBITIONS
BLOOMING GENIUS
One of the many enchanting things about the late fashion designer Oscar de la Renta was his
love of flowers—not only on dresses but also in the lavish gardens at his houses in Connecticut
and the Dominican Republic. “Oscar understood you could find happiness and peace in
nature,” says legendary style editor André Leon Talley, curator of the upcoming exhibition
“Oscar de la Renta: The Retrospective,” at San Francisco’s de Young museum. Showcasing
130 of the couturier’s most beautiful ensembles, the survey includes a section dedicated to
floral frocks—teeming with roses, peonies, and chrysanthemums—inspired by his verdant
estates. March 12–May 30; famsf.org —HANNAH MARTIN

SPRING LOOKS Fashion designers are also the focus of several other must-see museum
shows this season. The National Art Center, Tokyo is honoring Issey Miyake with “The Work of
Miyake Issey,” running March 16 through June 13; New York’s Jewish Museum is staging “Isaac
Ruth Asawa
Mizrahi: An Unruly History” March 18–August 7; and “All of Everything: Todd Oldham Fashion”
sculptures at L.A.’s
Hauser Wirth
will be at the RISD Museum in Providence, Rhode Island, from April 8 to September 11.

L AURENCE CUNEO/COURTESY OF THE ESTATE OF RUTH ASAWA AND HAUSER & WIRTH (2)
& Schimmel.

R E S TAU R A N T S
GALLERIES 45 Jermyn St. is
one of London’s
Choice Eats
CLOCKWISE FROM TOP RIGHT: PETER LINDBERGH; JAMES M C DONALD;
Western latest hot spots.
London reservations to book right now:
Union O45 Jermyn St. Fortnum & Mason’s

International gallery Hauser eatery has been redone by Martin

& Wirth is opening a much- Brudnizki Design Studio with rosewood
anticipated downtown Los tables and vermilion leather seating.
Angeles outpost in partnership 45jermynst.com OBellanger The latest
with curator Paul Schimmel.
Occupying a historic mill com- from restaurateurs Corbin & King, this
plex updated by architect Alsatian brasserie in Islington features
Annabelle Selldorf and L.A. firm Belle Epoque–style decor by local
Creative Space, Hauser Wirth & firm BradyWilliams. bellanger.co.uk
Schimmel debuts March 13 with OPark Chinois Jacques Garcia has
the tour de force “Revolution
in the Making: Abstract infused this Mayfair boîte—from star
Sculpture by Women, 1947– chef Alan Yau—with Far East opulence.
2016.” hauserwirth.com —S.C. parkchinois.com —GEOFFREY MONTES

32 A R C H D I G E S T. C O M
D I S C OV E R I E S

DESIGN
Material
Guys
London designers Patrik
Fredrikson and Ian Stallard
are fascinated by the power of
“destroyed” materials, often
employing crumpled metal or
even shards of glass to produce
their sculptural furnishings
and objects. “It’s about the
beauty that comes from break-
ing things apart, from forcing
them through a process,”
Stallard says. The duo, known
as Fredrikson Stallard, are
showing their latest creations
at David Gill Gallery in London
March 9 through April 7.
On view will be crushed-metal
consoles and candlesticks as
well as several acrylic pieces,
including a cocktail table that
suggests a chipped block of
ice. Also on display will be two
Species sofas, which were
hand-shaped from slabs of
polyurethane into craggy rock-
like forms and covered in red
Designers Patrik velvet. “The work is performa-
Fredrikson (standing) tive,” notes Fredrikson. “We
and Ian Stallard with want the process to come
recent pieces at
their London studio. alive.” davidgillgallery.com
—STEPHEN WALLIS

FROM TOP: PHILIP SINDEN; COURTESY OF MERCEDES-BENZ USA

The 2017 S550

MOTORING Cabriolet from

OPEN SEASON Mercedes-Benz.

Convertibles are a mainstay for Mercedes-Benz, but the German automaker hasn’t offered one in
its luxurious S-Class line for decades. That will change with the company’s S550 Cabriolet, which arrives
in late spring. The four-seater comes with smart amenities like a wind-deflector system and a
noise-minimizing three-layer roof, but the real news is the car’s silhouette, which looks equally sharp
with the top down or up. From $131,400; mercedes-benz.com —NORMAN VANAMEE

34 A R C H D I G E S T. C O M
D I S C OV E R I E S
BOOKS
HIDDEN ASSETS
Monographs on midcentury design often gloss over names
like Joaquim Tenreiro and Sergio Rodrigues. No longer, as
Brazil Modern: The Rediscovery of Twentieth-Century
Brazilian Furniture (The Monacelli Press, $60) makes clear.
The book, by Aric Chen, shines a light on these and other
resurgent designers from the South American nation, show-
casing their singular, striking work. Zesty Meyers, whose
New York gallery R & Co. has been a key champion of these
talents, provides the insightful introduction. —JULIE COE
Top: Bowl chairs by Lina Bo Bardi, one of the designers featured
in the new book Brazil Modern (inset).
A bath at San
HOTEL S
Antonio’s Hotel
Emma boasts hand-
made Spanish tile.
Tex Appeal
In San Antonio, design studio
Roman and Williams has
applied its signature rugged yet
refined aesthetic to a former
19th-century brewery reborn as
the inviting Hotel Emma. Thick
concrete beams, exposed
pipes, and leftover machinery
give the space an industrial
cool that’s softened by vintage
leather sofas, lively tilework
floors, and loads of antique car-
pets. The magic is in the mix,
according to the firm’s principals,
Robin Standefer and Stephen
Alesch: “This was a place where
luxury met the primitive and
untamable on the edge of the
prairie, and we think it still holds
that energy.” Rooms from $325/
night; thehotelemma.com —J.C.
36
AD
HEARS . . .
. . . that architect Steven Harris and
designer Lucien Rees Roberts have
brought their spot-on panache to
the interiors of Barneys New York’s
new downtown Manhattan flagship,
located at the same Chelsea site
where the company debuted in 1923
. . . that Rem Koolhaas has been
tapped to design the Factory, a
massive multipurpose arts complex
in Manchester, England, slated
for completion in 2019 . . . that for
the recent restoration of Peter
the Great Hall, a throne room in
St. Petersburg, Russia’s Winter
Palace, French textile house Prelle
re-created more than 800 yards
of red silk-velvet wall upholstery—
in the very same workshops where
the room’s original fabric was
produced in 1856 . . . that the
banned works of hundreds of artists
denounced by the Nazis as “degener-
ates” have at last returned to public
view at the Center for Persecuted
Art, a new gallery at Germany’s
Kunstmuseum Solingen, near
Düsseldorf . . . that the Louise-
Catherine, a 1915 coal barge exten-
sively remodeled in 1929 by Le
Corbusier, has been refreshed and
repurposed as Paris’s latest venue
for architecture exhibitions and is
anchored at the quai d’Austerlitz . . .
that photographer Richard Avedon
FROM TOP: MARCO COVI FOR ARPER /COURTESY OF THE MONACELLI
gets an intense close-up in Filling
in the Picture (Spiegel & Grau,
June 2017), a biography penned by
former Avedon Foundation executive
director Norma Stevens and long-
PRESS; DANLLY DOMINGO; NICOLE FRANZEN
time AD contributor Steven M.L.
Aronson . . . that this spring,
chef Alain Ducasse opens Ore, a
contemporary café at the Château
de Versailles, in a space devised
by architect Dominique Perrault,
famed for Paris’s controversial
Bibliothèque Nationale de France.
—MITCHELL OWENS
D I S C OV E R I E S

 

SHOPPING

MOST WANTED
From simple pleasures to
ultimate luxuries
TEXT BY HADLEY KELLER  Graceful blossoms sprout
from a minimalist frame on
Paul Ferrante’s Marina chandelier.
PRODUCED BY PARKER BOWIE LAR S ON
Shown in plaster-white, the 50" h. x
54" dia. iron fixture is also available
in old-iron and faux-pewter finishes
and additional sizes; to the trade.
paulferrante.com, 212-355-7285

  Handmade by Afghan arti-

sans in the style of the 15th-
and 16th-century Timurid dynasty,
these ceramic bowls by Far &
Wide Collective pair floral motifs
with rich turquoise glazing. The
vessels come in 6" ($55) and
8" ($90) versions. farandwidecol-
lective.com, 647-405-9522

 William Yeoward’s
Cumberland bench for
Jonathan Charles is an update on

CHANDELIER: COURTESY OF PAUL FERRANTE; BENCH: COURTESY OF JONATHAN CHARLES

an admired antique. Carved from
acacia wood and featuring a
grayed-oak finish, the elegant
47.25" l. x 15.75" d. x 24.25" h. piece
costs $1,497. jonathancharlesfur-
 niture.com, 252-446-3266

 Master calligrapher and illus-

trator Bernard Maisner
applies his craft to a series of ten
hand-painted lacquer boxes.
Pictured are the 7.5" l. x 5.5" w. x
1.75" h. snake ($295) and 8.5" l. x
6.5" w. x 3" h. elephant ($395)
designs, which are sold at
Bergdorf Goodman. bergdorfgood-
man.com, 212-872-2570

 Schumacher’s Carolina
cotton, from the firm’s
Couture collection, boasts exqui-
site embroidery inspired by
top fashion ateliers. The pattern
comes in ultramarine (shown),
ebony, and grisaille; to the trade.
fschumacher.com, 800-523-1200


38 P H O T O G R A P H Y BY J O H N M A N N O
D I S C OV E R I E S

 Tristan Auer’s Edie sofa for

Holly Hunt features a
sculptural silhouette and plush
cotton-velvet upholstery. Shown
in amber with leather detailing,
the piece measures 90" w. x 37.75"
 d. x 31.5" h. Custom fabrics and
sizing are available; to the trade.
hollyhunt.com, 800-320-3145

  The Argo sconce by Soane

Britain offsets its smooth
wall plate with a gutsy rope-
textured arm. Pictured in polished
brass, the 4.25" h. fixture can be
ordered in an array of finishes;
from $1,513 (shade not included).
soane.co.uk, 646-201-9553

 Lorenzo Castillo interprets

the decorative stone façades
of Florentine Renaissance
buildings in a range of carpets for

CARPET: COURTESY OF THE RUG COMPANY; TABLE: COURTESY OF THE FUTURE PERFECT
the Rug Company. The 6' x 9'
Tibetan-wool Isabella design
shown is $4,590; custom sizes and

SOFA: COURTESY OF HOLLY HUNT; SCONCE: COURTESY OF SOANE BRITAIN;

colors are available. therugcom-
pany.com, 212-274-0444

 Delicate undulations
lend Moser’s Optic crystal
glasses a prismatic effect.
Pictured are the vodka glass in
ocean-green ($45) and the
double old-fashioned in beryl ($70).
moserusa.com, 866-240-5115

 
 Multiple geometries
converge in the stunning
Marble Contrepoids dining
 table by Pool for the Future
Perfect. The piece comprises a
round Nero Marquina–marble top,
a Carrara-marble sphere, and a
pyramidal lacquered-metal base.
Measuring 29" h. x 59" dia., it
costs $17,250. thefutureperfect-
.com, 877-388-7373


40
D I S C OV E R I E S



 A classic herringbone weave
meets punchy color blocking
in the Eloise lambswool throw
by Twig. Shown in grape, the
57" x 71" blanket costs $185 from
Lekker Home. lekkerhome.com,
877-753-5537

 French illustrator Dominique

Corbasson’s Pinède au Jardin
du Luxembourg is a vibrant tribute
to the Paris park. Part of a collec-
 tion celebrating cities around the
world, the giclée print is available
unframed or framed through Tiger
 Flower Studio; prices start at $200
for the 12.5" x 17" size. tigerflow-
erstudio.com, 314-441-5531

  Ralph Lauren Home’s spring

tableware line bursts with
English-country charm, courtesy
of ironstone by Burleigh. Pictured
are pieces in the Regal Peacock,
Arden, and Calico patterns; $21 to
$75 each. ralphlaurenhome.com,
888-475-7674

 In honor of the 2016 Olympic

PRINT: COURTESY OF TIGER FLOWER STUDIO; WATCH: COURTESY OF OMEGA;

Games in Brazil, Omega has
created the limited-edition
Seamaster Bullhead Rio watch with
a blue leather strap stitched in
the colors of the Olympic rings.
The silver-steel timepiece features
a 30-minute stopwatch, a seconds
subdial, and a date window; its
reverse is stamped with the 2016
Rio games emblem; $9,600.
omegawatches.com, 212-207-3333
CABANA: COURTESY OF JANUS ET CIE

 Janus et Cie’s powder-coated

aluminum Duo Cabana with
adjustable shades brings resort-
style elegance to your pool or
garden. Shown with a graphite-
hue frame and misty-gray shades,
the 82.75"-wide cabana costs
$11,614. Numerous finish, shade,
and upholstery options are offered.
janusetcie.com, 800-245-2687

42
D I S C OV E R I E S

S H O W RO O M S

FORWARD THINKING
Antiques dealer and designer extraordinaire
Richard Shapiro returns to the spotlight with a treasure-
trove Los Angeles gallery and a lavish new book

s an inveterate collector, designer, and connoisseur, for such collisions of styles and periods. Stunning vignettes might

A Richard Shapiro has enjoyed a lifelong love affair with

objets de vertu. Beautiful things speak to him, and he
responds by lifting them out of obscurity for all to
admire. It’s a passion Shapiro indulged for years at his namesake
West Hollywood showroom, which he shuttered in 2013. But just
when he thought he was out, those antique and vintage treasures
pulled him back in. “I felt a strong calling to be more assertive in
expressing my sensibilities,” he explains of his volte-face.
This past January the dealer proclaimed his return to the game
with the unveiling of Richard Shapiro Studiolo, a Los Angeles
gallery that mixes furnishings and art of far-flung provenance
and pedigree with creations from his own Studiolo line. “The
last shop focused on Italian design and on art from antiquity to
the 18th century. Here, I’ve blended those works with wonder-
fully eccentric, unfamiliar 20th-century finds,” he says. “I’m
interested in pieces with compelling forms and ingenious con-
struction, regardless of authorship.”
The 3,800-square-foot showroom, the former Blackman Cruz
space on La Cienega Boulevard, provides a light, airy environment
include a black-resin boomerang desk from the 1970s paired
with a baronial 17th-century gilded chair, a ’50s Boris Lacroix
lamp sitting on an antique Italian console, or a Lee Mullican
canvas hanging above a Bolognese sacristy cabinet.
Shapiro’s dexterity in conjuring powerful, provocative
ensembles is also on abundant display in Past Perfect (Rizzoli),
a new monograph documenting his two magnificent California
homes. Edited by Mallery Roberts Morgan (with a foreword by
yours truly), the sumptuous volume distills Clockwise from
the designer’s deep knowledge in a series bottom left: Dealer
of master classes on the subjects of patina, Richard Shapiro at
his new Los Angeles
antiquity, and gardens, among other things. gallery, Richard
“My homes are the culmination of my life’s Shapiro Studiolo.
work,” Shapiro says. “I wanted to do this A 1950s lamp by
Boris Lacroix rests
book to communicate everything I’ve on a 17th-century
learned about enjoying the glories of art, Italian console.
furniture, and design.” Richard Shapiro The ceiling light,
seating, and
Studiolo is at 800 N. La Cienega Blvd., Los cocktail table are
Angeles, CA; studiolo.com —MAYER RUS all Shapiro designs.

44 A R C H D I G E S T. C O M P H O T O G R A P H Y BY T R E V O R T O N D R O
PA RT I E S
PART
TOASTING THE
TALENT
Held at Manhattan’s new Whitney Museum,
the party honoring the 2016 AD100 was a glittering tribute
to the world’s best architects and designers
Top: AD editor in chief
Margaret Russell addresses the
crowd. Clockwise from above:
The Whitney Museum at dusk.
Designer Reinaldo Leandro.
AD’s Jacqueline Terrebonne
with designer Brian Sawyer.
Actress Sami Gayle and TV
personality Robert Verdi.
Russell flanked by Mara Miller
and Jesse Carrier of Carrier
and Co. Interiors. Designer
Roger Thomas with fabric-
empire scion Leonardo Rubelli.
46 A R C H D I G E S T. C O M
ew York’s Whitney Museum of American Art is no stranger
N to the extraordinary, from its vast trove of modern and con-
temporary art to its lauded year-old building by Renzo Piano.
But on a crisp night this past December, a particular kind
of greatness animated the museum, as today’s reigning tastemakers
gathered in its entrance hall to celebrate Architectural Digest’s 2016
AD100 list of the finest architects and designers across the globe.
CLOCKWISE FROM BOTTOM: ANGEL A PHAM/BFA.COM; BENJAMIN LOZOVSKY/BFA.COM;
RICHARD BARNES/OTTO; BENJAMIN LOZOVSKY/BFA.COM; ANGEL A PHAM/BFA.COM (3)
“We couldn’t be more pleased to honor this renowned group in
a building that has all the world talking,” said the magazine’s editor
in chief, Margaret Russell, dressed in a red Giambattista Valli gown.
Her ensemble was just one of many pops of color enlivening the space,
decorated by event guru Bronson van Wyck. Aubergine silk pillows
complemented arrangements of peonies and amaryllises. Backdrops
printed with the AD100’s names, meanwhile, were selfie central,
with Lee F. Mindel, Joel Barkley, and Madeline Stuart among those who
shared photos of themselves in front of the signage on Instagram.
“There’s so much talent in this room,” observed Steven Johanknecht
of the design firm Commune, one of 19 additions to the list. Others
included international luminaries Lorenzo Castillo, Isabel López-
Quesada, and Paolo Moschino, as well as incoming Yale School of
Architecture dean Deborah Berke, who chatted with her predecessor,
Robert A.M. Stern. “Tonight,” she noted, “is a real New York moment.”
Setting the crowd abuzz was Russell’s announcement of a change
to the AD100: “Going forward we will be creating a new list of top
talents every single year,” she declared to vigorous applause. After all,
an annual AD100 calls for an annual celebration. —SAM COCHRAN
DIGITAL EXCLUSIVES To watch a video from the event as well as interviews
with the AD100 honorees, visit archdigest.com/ad100videos.
BE F O R E + A F T E R
BREAKING
NEWS
Good Morning America anchor
George Stephanopoulos used to prep
for his daily show in a drab,
disorganized office—then designer
Michael S. Smith came to the rescue
BY ALI WENTWORTH
48 A R C H D I G E S T. C O M
BEFORE
From left: Good Morning America cohost George
Stephanopoulos in his Times Square office, which
received a major makeover by designer Michael
S. Smith; the desk chair is by Humanscale, the
Ralph Lauren Home desk features an RH Modern
lamp, and the photographs on the wall are by
Henri Cartier-Bresson. A painting by the artist
Maroulis animates one corner, and the picture
light, floor lamp, and club chair and ottoman are
all by Ralph Lauren Home. For details see Sources.
hen my friend Michael S. Smith told me, “I’m going to
W renovate George’s office,” I burst into laughter, assuming
it was another cheeky joke being played (at my expense)
by the renowned American designer. For one thing,
the office that George—my husband, George Stephanopoulos—kept at
ABC’s Good Morning America studio in Times Square was a dank ten-by-
16-foot hovel. In truth, I couldn’t imagine even Michael giving that
sad excuse for a news anchor’s cubby much life. Or light, for that matter.
Why would he bother? In addition to decorating the White House’s
residential quarters and the Oval Office, Michael has overseen projects
for the 1 percent of the 1 percent, from London townhouses for Arab
princes to Manhattan mansions for titans of business. “Good Morning
America reached out to me about redoing George’s office, and how
could I say no?” Michael explained over the phone ( just as I was spray-
ing pet-stain remover on the velvet banquette he’d had custom made
for our home years earlier). Perhaps his willing spirit was the result of
P H O T O G R A P H Y BY J O S H U A M C H U G H
 BE F O R E + A F T E R
Right: The window is outfitted with
Hunter Douglas wood blinds, curtains of
a Ralph Lauren Home wool, and RH
hardware, while a Phillip Jeffries wall
covering evokes panels of parchment.
The valet and bar cabinet are by Ralph
Lauren Home, the latter topped by
two John Mayberry artworks from RH
Modern; the mini-topiary and desktop
flower arrangement are by Diane James
Designs, and the rug is by Stanton
Carpet. Below: A Ralph Lauren Home
ceiling light is reflected in a mirror by
Michael S. Smith for Mirror Image Home,
and the leather desk set is by RH.
“Ughhhh!” Michael moaned
after visiting George’s old office.
“Is that where they shot the prison
scenes in Midnight Express?”
jet lag—Michael commutes between
Los Angeles, New York, and Madrid,
where his partner, James Costos, is the
American ambassador to Spain.
A few weeks later (as I was spraying
pet-stain remover on an antique rug
Michael had handpicked for our living
room), he called me. “Ughhhh!” he
moaned. “I just saw George’s office. Is
that where they shot the prison scenes
in Midnight Express?”
The space was in a sickly state,
marked by piles of newspapers, some
50 A R C H D I G E S T. C O M
cheap gold trophies, and a timeworn
generic desk probably dating from the
days when David Hartman anchored
GMA. Really, the closest thing to a hint
of decor added by George—who also hosts
the Sunday political-affairs show This
Week—was a scented candle he’d been
given from one of GMA’s “Deals & Steals”
segments. Still, Michael was undeterred.
“I need photographs of you and the girls
for George’s office,” he bellowed into my
voice mail, adding sarcastically, “But for
you, maybe something
taken in the early ’90s?”
Let me be clear: I
thought Michael might
generously dress things up
with a chic floor lamp,
maybe bring in a cocktail
table for the cause, and that
would be that. But it was a complete gut.
The room was stripped totally bare, the
carpeting ripped up. “To keep the Ebola
contained,” quipped Michael.
In the end he transformed the once-
dreary office into a serene, nuanced harbor
worthy of Edward R. Murrow. The space
is now clad in a Phillip Jeffries wall cover-
ing resembling parchment, its subtle
texture adding warmth and the gridded
panels lending a sense of architecture.
Boldly striped carpeting by Stanton ele-
gantly grounds the room’s earthy palette,
while injecting a compelling splash of pat-
tern. Lamps in brass and nickel finishes
combine with the rich mahogany Ralph
Lauren Home desk and bar cabinet
(stocked more for coffee than cocktails)
to give the room urbanity and grace. A
linen-upholstered club chair and ottoman,
also by Ralph Lauren, are a cozy spot
where George often starts his mornings—
more like the middle of the night for most
of us—reading six or more newspapers.
“I wanted to create an organized and
comfortable place where George could
have a little calm and collect his
thoughts,” Michael says. “He liked it so
much that he actually arranged with ABC
to buy a number of the pieces himself.”
Michael’s finishing touches included
sepia-tone vintage Henri Cartier-
Bresson photographs hung by the desk
and silver-framed snapshots of his
stunning young wife (I’m writing this
article, so why not?) and our two
adorable daughters. “Revving up at
3:30 A.M. isn’t always easy, but Michael
made the space so warm and inviting,”
George says of his smart, handsome haven
in the middle of bustling Times Square.
“I feel like I’ve walked from my bedroom
to another room in our home.”
Only here there are no pet stains.
Now the question is, Will George ever
want to come home?
T R AV E L S

or many years, if a non-Tennessean

F
Neon signs
advertise record thought about Nashville at all,
shops and honky- it was probably in the context of
tonks in Nashville,
Tennessee, also country music, health-care orga-
known as Music City. nizations, or the Swan Ball. All that still
exists today—the Grand Ole Opry, the
medical industry, and the old money—but
none of it explains why, seemingly out of
nowhere, Nashville has become the glam-
our capital of the South.
The city today is on a tear. It’s one of
the nation’s fastest-growing urban areas,
with scores of new high-rises rapidly
changing the low-lying skyline. (Joke:
What’s the official bird of Nashville?
The construction crane.) It’s a place with
deep regional roots that has suddenly
burst into full bloom.
“There’s been such an exciting cul-
tural boom in Nashville in recent years,”
says actress Reese Witherspoon, a
Nashville native who chose her home-
town as the location of her new fashion-
and-lifestyle boutique, Draper James.
“But it still has the warmth and charm
I remember from my childhood.”
Nashvillians and newcomers alike are
revitalizing the civic core, and a clutch
of trendy neighborhoods have sprung up
near downtown, all of them humming
with the urbane spirit of new-South res-
taurants, third-wave coffee bars, and stylish
shops—not to mention star sightings.
(Nicole Kidman, Taylor Swift, musician
Jack White, and rock duo the Black Keys
have homes here.) Traffic and good res-
taurants were once equally unfamiliar,
according to novelist Ann Patchett, who
opened her beloved bookstore, Parnassus
Books, in the city four years ago. Today,
she says, “both categories are flourishing.”
“There’s a real juxtaposition of new
and old,” adds Kimberly Lewis, a former
fashion executive who, after relocating
here from Los Angeles, launched the cloth-
ing shop Emerson Grace. “Nashville
has all the aspects of a thriving metropolis,
but on a small scale.”

PERFECT PITCH
F11PHOTO/SHUTTERSTOCK.COM

In particular, residents talk about the

food revolution that has transformed
this city, once known mainly for its deli-
Charmingly laid-back Nashville ramps up with smart boutiques,
cious but humble hot fried chicken.
stylish bistros, and a cosmopolitan attitude
(Opinion on who makes the best is evenly
split between Hattie B’s Hot Chicken,
Witherspoon’s favorite spot, and Prince’s

52 A R C H D I G E S T. C O M
T R AV E L S
Hot Chicken Shack, which fashion
designer Billy Reid, who set up his
eponymous Nashville shop in 2008,
describes as “intense.”) New restaurants
are being built on seasonal ingredients,
with styles ranging from the chef-driven
tasting menus at the Catbird Seat to the
reworked American classics at Pinewood
Social to the new-wave Indian cooking
at Chauhan Ale & Masala House (be sure
to try the black-eyed-pea tikki).
“It seems like every day I hear about a
celebrity-chef opening in Nashville,” says
Sean Brock, who in 2013 debuted a local
outpost of his Charleston, South Carolina,
restaurant Husk. “More and more people
from larger cities are moving here, and
they all need new places to eat.”
54 A R C H D I G E S T. C O M
From top: Shoppers at
specialty denim outfitters
Imogene + Willie. The dish
that gives the restaurant
Hattie B’s Hot Chicken
its name. A leafy pathway
at the Cheekwood Botanical
Garden and Museum of Art.
But as novelist and songwriter Alice
Randall, coauthor of the cookbook
Soul Food Love, points out, Nashville has
always been a city of good food—it’s
just that in the past, the best kitchens
were at home. These days Randall sends
visitors to City House, where chef Tandy
Wilson’s menu drifts toward Italy but
remains anchored in Tennessee tradition,
with “belly ham” replacing prosciutto
and grits standing in for polenta. “Tandy’s
food is elementally right,” says Randall,
who opts for the pan-roasted trout.
And though the restaurant scene defi-
nitely has a locavore bent, it has pulled
back from the aesthetic of Mason jars
and reclaimed wood. Indeed, Nashville-
based decorator Ray Booth recommends
5th & Taylor as much for its “lovely
interior in a former warehouse” as for
its beef-cheek pot roast.
Of course, Nashville was, is, and
always will be Music City, and it has long
welcomed tourists eager to bask in the
nostalgia of the Opry, buy a pair of cow-
boy boots, and hoof it at a honky-tonk.
The difference is that now, in-the-know
locals buy their boots—handmade in
FROM TOP: SQUIRE FOX /AUGUST; JOE BUGLEWICZ; AMERICA /AL AMY
Italy—at Peter Nappi, says transplant
Connie Britton, a star of ABC’s lauded
series Nashville. “The store is so beauti-
ful,” she says. “Sometimes I just hang out
for a couple of hours.” As for music,
Britton insists that Ryman Auditorium,
the Opry’s former home, is still “one of
the greatest places in the world to listen
to music.” She’s also partial to the singer-
songwriter haunt the Bluebird Cafe.
The wide-ranging impact of Nashville’s
legacy is on display at the Country Music
Hall of Fame and Museum—a must-see,
according to Patchett. “Even if you
couldn’t care less about country music,
T R AV E L S
it’s truly astonishing,” she explains.
Another top cultural venue is the
Frist Center for the Visual Arts, whose
spring exhibitions include a major
Spanish collection of Old Master works.
There’s plenty to discover, however,
just rambling through different neighbor-
hoods. Anne Walker Harrison, a local-
food activist, finds Germantown especially
compelling. “There are restaurants and
shops that could stand up to those in any
other city,” she says. Among the popular
stops are Butchertown Hall for wood-
grilled meats and Rolf and Daughters for
its mash-up of Italian and Southern cui-
sines. The design store Wilder spotlights
Tennessee-made furniture and unique
finds, like pillows decorated with doodles
by photographer William Eggleston.
The Gulch, another emerging area, is
home to the five-room 404 Hotel—its
restaurant, the 404 Kitchen, was short-
listed for a James Beard Award—as well as
the gallery Sherrick & Paul, where David
Zwirner alum Susan Sherrick puts on
national-caliber shows. And the stretch of
12th Avenue known as 12 South has
become a serious shopping destination
thanks to Draper James, Emerson Grace,
and denim experts Imogene + Willie.
For all the changes happening, tradi-
tional elements of Nashville endure.
56 A R C H D I G E S T. C O M
From top: The flagship boutique of actress
Reese Witherspoon’s fashion-and-lifestyle
brand Draper James. Bowling at Pinewood
Social, which also features an inventive
restaurant and an Airstream trailer that serves
as a bar. The dining room at Butchertown Hall.
The Hermitage Hotel downtown
remains the grande dame for visitors in
search of classic luxury. The Cheekwood
Botanical Garden and Museum of Art,
a 1930s estate with acres of grounds to
explore with kids, is “simply gorgeous,”
Witherspoon attests, and its café serves a
mean fruit tea punch, a regional specialty.
And despite the city’s foodie turn, most
everyone concurs that the finest down-
home lunch spot is Arnold’s Country
Kitchen. “It’s one of my favorite places in
the world,” Brock says. The restaurant has
expanded its original Gulch address and
recently opened a second location, just
down the street from Patchett’s Parnassus
Books. “I moved [to Nashville] when I was
five, so at this point I’m from here,” says
the author. “I’ve been stubbornly ignoring
all the changes, but they’re starting to
catch up even with me.” —KEVIN WEST
NASHVILLE
DETAILS
MUSEUMS AND CULTURAL VENUES
The Bluebird Cafe 4104 Hillsboro Pike;
615-383-1461; bluebirdcafe.com.
Cheekwood Botanical Garden and
Museum of Art 1200 Forrest Park Dr.;
615-356-8000; cheekwood.org.
Country Music Hall of Fame and
Museum 222 5th Ave. S.; 615-416-2001;
countrymusichalloffame.org.
Frist Center for the Visual Arts 919
Broadway; 615-244-3340; fristcenter.org.
Grand Ole Opry 2804 Opryland Dr.;
615-871-6779; opry.com.
Ryman Auditorium 116 5th Ave. N.;
615-889-3060; ryman.com.
Sherrick & Paul 438 Houston St.;
615-864-7623; sherrickandpaul.com.
SHOPS
Billy Reid 4015 Hillsboro Pike, Ste. 104;
615-292-2111; billyreid.com.
Draper James 2608 12th Ave. S.;
615-997-3601; draperjames.com.
Emerson Grace 2304 12th Ave. S.; 615-
454-6407; emersongracenashville.com.
Imogene + Willie 2601 12th Ave. S.;
615-292-5005; imogeneandwillie.com.
Parnassus Books 3900 Hillsboro Pike;
615-953-2243; parnassusbooks.net.
Peter Nappi 1308 Adams St.;
615-248-3310; peternappi.com.
Wilder 1212 4th Ave. N.; 615-679-0008;
wilderlife.com.
RESTAURANTS
5th & Taylor 1411 5th Ave. N.;
615-242-4747; 5thandtaylor.com.
Arnold’s Country Kitchen
605 8th Ave. S.; 615-256-4455;
arnoldscountrykitchen.com.
Butchertown Hall 1416 4th Ave. N.;
FROM TOP: ERICK BL ACKWOOD; STEPHEN D E VRIES/AURORA PHOTOS/CORBIS; JOE BUGLEWICZ
615-454-3634; butchertownhall.com.
The Catbird Seat
1711 Division St.; 615-810-8200;
thecatbirdseatrestaurant.com.
Chauhan Ale & Masala House
123 12th Ave. N.; 615-242-8426;
chauhannashville.com.
City House 1222 4th Ave. N.; 615-736-
5838; cityhousenashville.com.
Hattie B’s Hot Chicken 112 19th Ave.
S.; 615-678-4794; hattieb.com.
Husk 37 Rutledge St.; 615-256-6565;
husknashville.com.
Pinewood Social 33 Peabody St.;
615-751-8111; pinewoodsocial.com.
Prince’s Hot Chicken Shack 123 Ewing
Dr. #3; 615-226-9442.
Rolf and Daughters 700 Taylor St.;
615-866-9897; rolfanddaughters.com.
HOTELS
The 404 Hotel 404 12th Ave. S.;
615-242-7404; rooms from $275/night;
the404nashville.com.
Hermitage Hotel 231 6th Ave. N.;
615-244-3121; rooms from $259/night;
thehermitagehotel.com.
E STAT E S

ON THE MARKET
AD editors select extraordinary homes for sale around the world

6 BEDROOMS
5.5 BATHS
3,500 SQ. FT. Antiparos, Greece
$2.1 MILLION Completed in 2008 by deca Architecture, an Athens studio
known for rugged yet refined creations, this award-winning
island residence thoughtfully embraces topography, its low-lying profile spanning
a small valley. A green roof connecting to hills on either side crowns the masonry
structure, which is punctuated by four internal courtyards. The striking infinity
pool beckons with views of the Aegean, while a private path leads from the three-
acre property to an equally inviting beach.
contact: christiesrealestate.com; +30-210-364-3112

São Francisco Xavier, Brazil

In 2005 a São Paulo family enlisted the firm Forte, Gimenes &
Marcondes Ferraz Arquitetos to design this eco-friendly
retreat, located some 80 miles northeast of the metropolis.
Dubbed the Grid House, the single-story dwelling was
conceived as a timber-framed network of square modules—
some of them glass rooms, some of them alfresco spaces.
The polished interiors feature distinctive touches such
as bespoke floor tiles by Brazilian artist Fabio Flaks. Among
the myriad outbuildings on the lush 41.5-acre estate is
a cantilevered pavilion containing a
8 BEDROOMS lounge and hot tub.
6 BATHS contact: christiesrealestate.com;
2 HALF BATHS +55-11-30743600

AXPE IMOVEIS ESPECIALIS/COURTESY OF CHRISTIE’S INTERNATIONAL REAL ESTATE

FROM TOP: PLOUMIS SOTIROPOULOS/COURTESY OF CHRISTIE’S INTERNATIONAL
9,700 SQ. FT.

REAL ESTATE; COURTESY OF MALLORCA SOTHEBY’S INTERNATIONAL REALTY;

$11.5 MILLION

5 BEDROOMS
5.5 BATHS
5,900 SQ. FT.
$5.7 MILLION Majorca, Spain
Surrounded by the breathtaking mountains of the
Serra de Tramuntana, a UNESCO World Heritage Site near Majorca’s
western coast, this rustic 16th-century villa presides over a historic
olive farm on the outskirts of the hamlet of Esporles. The current
owners have meticulously maintained the stone-clad residence and
its five-acre grounds, which boast a workshop, a vineyard, and a
wine cellar presently serving as a lounge. The latter is the perfect spot
for snacking on homegrown fruit (apples, figs, pears, grapefruit) and
sipping Pinot Noir made from grapes harvested on-site. One can also
relax on the pergola-covered terrace and serene poolside loggia.
contact: sothebysrealty.com; +34-971-721-000 —GEOFFREY MONTES

View more prime properties online at archdigest.com/go/estates.

58
 Full flower: Lush peonies add a burst of color to Kourtney Kardashian’s serene California living room.
ROGER DAVIES

MARCH
73
74
 SETTING THE
SCENE
Naomi Watts and
Liev Schreiber
collaborate with
design firm
Ashe + Leandro
to transform a
Manhattan
artist’s loft into
an inviting
family oasis
WATTS’S DRESS BY ALTUZARRA AND SHOES BY MANOLO BL AHNIK

Right: Black-and-white
floor tiles by Clé provide
a graphic welcome at
the Manhattan duplex
apartment that actors
Naomi Watts and Liev
Schreiber share with their
two sons; the interiors
were designed by the
firm Ashe + Leandro. The
entrance hall’s pendant
light is by Ralph Lauren
Home, the 19th-century
shell-back chairs are
from KRB, and the paint-
ing in the stairway is by
Harland Miller. Opposite:
Watts in the dining room.
For details see Sources.

TEXT BY MICHAEL HAINEY PHOTOGRAPHY BY DOUGLAS FRIEDMAN PRODUCED BY CARLOS MOTA

S tars, they’re just like us. Even
a two-time Oscar nominee, it turns out, can fall prey to
new-home anxiety. “I mean, look at this place,” Naomi
Watts says. “Is it too big? Are we taking on more than
we should? Maybe we should have stayed where we
were? I don’t know!” And then the actress throws her
arms up and lets out a lovely, nervous laugh.
Watts is standing in the entry hall of the Manhattan
apartment she shares with her partner, actor Liev
Schreiber, and their two sons, eight-year-old Alexander
and seven-year-old Samuel. Oh, and there’s Bob, too.
He’s the Yorkie. The journey to this moment has been
long, twisting, and fraught with the kind of drama that
Watts—who is in three movies coming out this year—
usually has to cope with only in make-believe.
But let’s start at the beginning.
Fifteen years ago, when the British-born,
Australian-raised Watts’s career was starting to blos-
som and she was looking for a toehold in New York
City, she bought an apartment in the Financial District
after seeing it once. “Not because I loved it but because
of the pressure!” she recounts. “I had no idea deals
here moved that fast. After I closed on it, I showed it
to my mother, who is a bit of a bohemian—and a super-
talented decorator. She walked in and said, ‘This is
horrible. No soul. No character. It’s a businessman’s
apartment.’ I was crushed. But she was right.”
Watts sold the place quickly. “You know, I should
have kept it,” she laments. “Now it’s worth twice what
I paid.” She settled in Los Angeles, where she built her
career in movies ranging from Mulholland Drive to 21
Grams to King Kong to last year’s Academy Award
winner for best picture, Birdman. “But then I met Mr.
New York,” she says, “and everything changed.”
Mr. New York, of course, is Liev Schreiber,
acclaimed for playing hardened, complex characters
in films such as Spotlight and on the Showtime series
Ray Donovan. “We fell in love, so I moved here and we
lived in his fantastic NoHo place for years,” Watts says.
“We started our family and were quite happy.”

76 A R C H D I G E S T. C O M
 In the living room, a 19th-
century Gabon mask from
Throckmorton Fine Art and
an artwork by Paul Morehouse
overlook matching velvet-
covered RH sofas, which are
separated by a Ralph Lauren
Home console. The cocktail
table is by Robert Pluhowski,
the floor lamp is by Ralph
Lauren Home, the low tables
in the foreground are
by Blaxsand, and the round
leather chair at far right
is by Garza Marfa; the jute
rugs are by Merida.

77

Like so many New Yorkers, however, they soon
found themselves desiring a certain precious com-
modity. “We knew we wanted space for the kids to
grow—and for all of us,” Watts says. So they began
The Hunt.
While Watts remarks that “with New York real
estate, you never get everything you want,” she and
Schreiber were able to create a duplex from two sepa-
rate units—one had been an artist’s loft—checking off
most of the boxes on their wish list. Then, shortly after
they closed the deal, Hurricane Sandy struck, and the
building, near the Hudson River, was flooded. For
months they couldn’t enter the property, proving
another rule of New York real estate: It will test you,
constantly asking, How badly do you want to live here?
When the couple finally got back in, the place
was a mess. After taking time to weigh options, they
hired an architect but changed course several
months later. Two years into owning the residence,
it was raw space. “One thing I’ve learned,” Watts
says, “is when it comes to big renovations, no one
gets an easy ride.” Ultimately they enlisted Ariel
Ashe and Reinaldo Leandro, the duo behind the firm
78 A R C H D I G E S T. C O M
Above: The kitchen
features pendant
Ashe + Leandro, to design the interiors. That’s when lights by the Lamp
Goods, a Wolf
things kicked into high gear. microwave, Lostine
“This project was design on steroids,” Leandro stools, and a check-
says, standing in the first-floor library/screening erboard concrete-
tile floor; Ashe +
room, which also serves as a place for Watts and Leandro designed
Schreiber to take meetings and study scripts. “I had the cabinetry and
drawings in four months, and then we did the entire hood. Opposite:
Schreiber and Watts
renovation in ten. It was insanely fast. But fun. Naomi are joined by sons
brought a great eye and taste to the project and was a Alexander (left) and
terrific creative partner.” Samuel around the
kitchen’s bleached-
Walking through the residence, it’s hard to imagine walnut banquette.
that Watts and Schreiber had to compromise on any-
thing. Instead it feels as if they got a rare trifecta: an
apartment that elegantly combines features of three
archetypal New York homes. The entranceway gives
you the intimate, welcoming feeling of a historic town-
WATTS’S DRESS BY ISABEL MARANT
house, while the sweeping sculptural staircase evokes
the drama of a stately uptown duplex, and the open yet
private layout of the second floor has the urbanity of a
classic loft. Throughout, robust design elements are
balanced with graceful, softer gestures, whether the
jewelry-like lights suspended above the brawny dining
table or the floral curtains whimsically offsetting the
80 A R C H D I G E S T. C O M
 Lights by Apparatus
Studio hang above the
dining room’s Ralph
Lauren Home table and
Sol y Luna chairs. The
mirror and cabinet are
antique, and the Tuareg
carpet is vintage.
82 A R C H D I G E S T. C O M
Images by Watts’s brother,
photographer Ben Watts,
are displayed above RH Baby
& Child beds in the boys’
room; the pillowcases are by
Ralph Lauren Home, the
sconces are by Atelier de
Troupe, the nightstand is
by Room & Board, and the
antique kilim is from Double
Knot. Opposite: A Living
Divani sectional sofa is paired
with a custom-made John
Robshaw rug in the playroom;
the ceiling lights are by Michael
Anastassiades for Flos, the
floor lamp is by Ralph Lauren
Home, and the Norman
Cherner chairs at the desk unit
are by Design Within Reach.
 Above: A Ralph
Lauren Home light
master bedroom’s masculine blues. Indeed, the home fixture illuminates the
seems to mirror the union of the broad-shouldered, master bath’s Victoria
+ Albert tub, which
intense Schreiber and the delicately luminous Watts. has Dornbracht fit-
The actress credits her mother with teaching her tings; the mirror and
about great design. “From the time I was a little girl, chair are antique,
and the penny tile is
she was taking me to rummage sales and antiques by Waterworks. Right:
stores,” she recalls. “It was a terrific education.” All In the master bed-
around the apartment you can see Watts’s input—in room, an RH bed is
grouped with Ralph
the rugs she bought in Morocco and in the bar’s high- Lauren Home side
gloss green paint (“I saw the color in a home on the tables and a vintage
Upper East Side, where we were filming Demolition, Italian bench from Billy
Cotton; the walls are
and fell in love with it,” she says). The cozy banquette clad in a Clarence
in the kitchen is another touch she insisted on. “The House fabric, the cur-
dining table is great,” she says, “and the barstools are tains are of a Duralee
floral, and an antique
fine for entertaining, but I wanted a place where we Moroccan rug is
could snuggle as a family. I didn’t want to make a laid atop carpeting
showhouse. I wanted to make a true home for us.” by Holland & Sherry.

When asked about her favorite thing in the house,

Watts blushes. “This will sound crazy,” she confesses,
“but I lie in bed at night and think, I can’t believe
after all these years in New York I finally have a
walk-in pantry!”
Stars, they’re just like us: finding the greatest joy
in a home’s most practical comforts.

EXCLUSIVE VIDEO Naomi Watts reveals her favorite design

84 A R C H D I G E S T. C O M details in her new home; go to archdigest.com/naomiwatts.
 The
French beauty guru Frédéric Fekkai
and his wife, Shirin von Wulffen,
restore a romantic villa near his
native Aix-en-Provence

Good
Life TEXT BY FERNANDA EBERSTADT
PHOTOGRAPHY BY SIMON WATSON
PRODUCED BY ANITA SARSIDI

Lavender carpets the

olive orchard at Domaine
Chantecler, Frédéric
Fekkai and Shirin von
Wulffen’s estate in the
South of France. Working
with architect Jean
Paul Bernard, decorator
Jean-Louis Raynaud,
and landscape designer
Marco Battaggia, the
couple renovated the
17th-century property
as their family retreat.
For details see Sources.

87
Fekkai and Von Wulffen with their children
Philip and Cecilia on the entrance-
court steps, which are flanked by box-
wood in monumental Anduze pots. The
house’s façade features a traditional
Provençal ocher finish and gray shutters.
To arrive at Domaine Chantecler,
the Aix-en-Provence estate of beauty
luminary Frédéric Fekkai and his wife,
Shirin von Wulffen, is to be transported
to a more peaceable, bountiful realm.
The drive, leading to an entry court with hand-cut
stone pillars, is bordered by cypresses, olive trees, and
lavender bushes. Off to one side is an olive orchard
underplanted with more lavender, whose blooms infuse
the property all summer with their sweet, smoky scent.
“As soon as you get here,” Fekkai says, “your shoulders
come down two centimeters. It is a paradise.”
On a lovely fall day, the olive harvest is under way,
and Dominique, the caretaker, and his team are climb-
ing the gnarled trees, shaking the green olives into nets
laid on the grass. The same ritual can be seen depicted
on classical Greek vases. For Fekkai, who was born
and raised in Aix, it is a thrill to continue this ancient
Mediterranean tradition and to serve his own olive oil.
Fekkai and Von Wulffen’s base is New York City,
where they live with their two children, Cecilia, six,
and Philip, four (Fekkai also has a 21-year-old son,
Alexander, from his first marriage), but they adore
Fekkai’s native Provence. When the couple bought
Domaine Chantecler six years ago, the site was “basi-
cally a hill covered in pine brush,” Fekkai recalls. Adds
Von Wulffen, “We fell madly in love with the lush
nature and amazing location—it’s rare to find an old
property within walking distance of the center of Aix.”
The 17th-century main house was charming but
dilapidated. The pair spent almost three years updat-
ing it as a getaway for holidays with their children
and for parties with friends from all over the world.
The estate is also an occasional work retreat for the
couple, as Fekkai is relaunching the Provençal beauty
and fragrance brand Côté Bastide later this year and
Von Wulffen, a communications consultant, is han-
dling PR for the business.
To oversee the domaine’s renovations, they hired
two well-known Aix talents: architect Jean Paul
Bernard and decorator Jean-Louis Raynaud. The chal-
lenge, Raynaud remarks, was “to harmonize Frédéric
and Shirin’s lifestyle—that of a fashionable contempo-
rary couple who travel the world—with the spirit of an
18th-century Aix summer house.” It was a job, he notes,
that required “audacious surgery.” For starters, Bernard
removed some unwelcome 19th-century additions and
opened up cramped rooms by taking down interior
walls as well as inserting windows and French doors.
On one side of the structure, he added a double-height
solarium, linking the house to a tiny chapel that is now
used as a guest room. Bernard also designed the ter-
races, and landscape architect Marco Battaggia, a friend
of the couple’s, helped devise the gardens, which are
quintessentially Provençal in their simple rustic beauty.
When it came to the decor, Raynaud aimed for a
look that’s equally in tune with place and the kind of
informal elegance—American ease meets French
chic—that Fekkai is famous for. Many of the furnish-
ings and decorative treasures were acquired in the
nearby town of L’Isle-sur-la-Sorgue, an antiques
mecca. “On weekends we love to take friends to the
flea markets there,” Fekkai says.
The front hall, featuring a floor of flagstones from a
Burgundian abbey, is spangled with gilded sunburst
mirrors bought in Provence. The double parlor/living
room is filled with more antiques-stall finds, including
19th-century seating and a winsome 1940s chinoiserie
cabinet. Von Wulffen, who was born in Iran, collects
carpets, and the stone floors throughout are softened
by Saharan rugs woven with rope and camel hide.
A R C H D I G E S T. C O M 89
 Left: The living room’s
chandeliers and
cocktail table are
from the 1950s,
while the velvet-clad
armchairs are 19th
century; the Saharan
rug is woven with
rope and camel hide.
Below: At the room’s
opposite end stand a
matching antique
settee and armchair
covered in a Rubelli
velvet; Jean-Louis
Raynaud designed
the mirror above the
’40s console, and his
son, artist Aurélien
Raynaud, created the
gorilla sculpture, which
is poised near two
19th-century artworks
depicting Rome.

“As soon as you get here,” Frédéric Fekkai

says, “your shoulders come down two
centimeters. It is a paradise.”
90 A R C H D I G E S T. C O M
 Lending a note of whimsy are artworks that reflect
Fekkai’s passion for the animal world. A piece by
American artist Troy Abbott in the library consists of a
canary cage with a video of a singing bird inside, and Aix
artist Aurélien Raynaud, son of the decorator, created
the chicken-wire gorilla that lurks in the living room.
Entertaining is at the heart of Von Wulffen and
Fekkai’s life here, and it’s fitting that the main rooms
all flow into the old-fashioned kitchen, where meals
are prepared on a La Cornue range with a stone
mantelpiece hood. An island topped with antique
zinc complements a 17th-century Provençal stone
sink, while the space’s glass-walled wine cellar dis-
plays expansive racks of Hermitage and Gigondas.
In cool weather the family and their guests dine in
the solarium. The rest of the time they eat on the
romantic terraces, found on opposite sides of the house.
The one facing west—paved in patterned river stone,
trellised in jasmine, and dotted with lemon trees in mas-
sive Anduze pots—offers ravishing views down to the
frilly ridge of hills overlooking Marseille.
Another favorite spot on warm days is the swimming
pool, which is accessed via an arcade teeming with roses.
Decorating the poolhouse are six large bas-reliefs of
nymphs, copied from a work by Renaissance sculptor
Jean Goujon. Fekkai had commissioned the pieces for
his Manhattan spa and later had them shipped here.
“In summer we’re outdoors all day long,” Fekkai
says. “It’s such a sensuous experience after the daily
battle of New York to have time to eat, to read, to walk,
to enjoy the air. And our children love it! For me this
really is a homecoming.”
 From top: In the new double-height solar-
ium, built by Jean Paul Bernard, a Marie
Christophe chandelier overlooks a 17th-
century convent table and an antique
Provençal armoire topped by varnished
terra-cotta olive jars from the 19th century.
Cecilia and Philip on the pebbled front
terrace. Opposite: Reclaimed stone
from Burgundy paves a dining terrace;
the cotton tablecloth is Provençal.

92 A R C H D I G E S T. C O M
94
 The entrance drive
is lined with olive
trees, lavender, and
Provençal cypress, a
symbol of welcome.
From left: Yves Saint Laurent–inspired curtains and walls
finished in a Provençal blue enliven a guest room; the
bed is by Jean-Louis Raynaud, the bronze animal lamp
is 19th century, and the carpet is from Morocco.
Raynaud designed the master bedroom’s iron canopy
bed, which has French-linen drapery and a vintage
Portuguese embroidered coverlet; the 1930s pendant
light was a flea-market find, and the rug is Saharan.
A R C H D I G E S T. C O M 97
DOUBLE VISION
Khloé and Kourtney Kardashian share a TV show,
a neighborhood, and even a decorator: the ingenious
Martyn Lawrence Bullard. But when it comes to living,
the celebrity siblings have their own distinctive styles
TEXT BY MAYER RUS PHOTOGRAPHY BY ROGER DAVIES
PRODUCED BY CARLOS MOTA

Designer Martyn
Lawrence Bullard
reimagined the neigh-
boring Calabasas,
California, homes of
Khloé Kardashian
(seated) and her sister
Kourtney, who are
pictured on Khloé’s
pergola-covered ter-
race with Kourtney’s
three children, (from
left) Reign, Mason,
and Penelope. Bullard
outfitted the space
with custom-made
hanging daybeds
cushioned in a Holly
Hunt canvas and
a Formations
cocktail table. For
details see Sources.

99
 TOP AND PANTS BY ALEXANDER WANG. PREVIOUS: KHLOÉ’S GOWN BY JUAN CARLOS OBANDO

Kourtney in her home office, which is furnished with a vintage

Jules Leleu desk and Pierre Jeanneret chairs; the arrange-
ment of art includes a vibrant work on paper by Bridget
Riley. Opposite: Her pool terrace has Christian Liaigre chaise
longues cushioned in a Perennials fabric; the landscape
design here and at Khloé’s house is by James Hyatt Studio.
THE CONCEPT OF HOUSE AS
SANCTUARY IS ONE OF THE GREAT
CLICHÉS OF SHELTER-MAGAZINE
WRITING—AND FOR GOOD REASON,
as anyone who finds comfort in their home can attest. But for
sisters Kourtney and Khloé Kardashian, the idea registers on a
whole different level. After all, when you’re members of what is
arguably America’s most famous family, with so much of your life
playing out on reality TV and in the tabloids, you need someplace
where the eyes of millions are not watching 24 hours a day.
The enterprising duo have found such an escape in homes
around the corner from each other in a private Calabasas,
California, enclave where the real-estate game is something
of a celebrity swap meet. A couple of years ago Kourtney, the
elder of the two, bought an 11,500-square-foot Tuscan-style
dwelling from former NFL star Keyshawn Johnson. A month
or so later Khloé snapped up a nearly 10,000-square-foot
Mediterranean Revival house from Justin Bieber. Their half-
sister Kylie Jenner also purchased a place here, and materfa-
milias Kris Jenner lives minutes away with their sister Kim
(she’s crashing at Mom’s house with husband Kanye West and
their children, Saint and North, while their new Axel
Vervoordt–designed residence is being built).
Even in such a close-knit family, it’s surprising that Kourtney
and Khloé—who have well-defined personalities and aesthetic
sensibilities—would engage the same decorator, but they
decided to entrust show-business favorite Martyn Lawrence
Bullard with the task of tailoring the two houses to their respec-
tive tastes. “I’m amazed how many styles he can interpret,”
raves Kourtney. “Khloé’s place is glamorous, which suits her
style. Mine is much more restrained and modern, which is per-
fect for where I am in my life.”
Bullard has known the family for years, having long orbited in
the same constellation of Hollywood glitterati. “Both of the girls
were ready for something fresh,” Bullard says. “Khloé’s house was
a giant play palace built for a boisterous young man. We decided
to give it some romance, bringing it back to its Mediterranean
roots.” For Kourtney, on the other hand, the focus was her three
children: sons Mason and Reign, ages six and one, and three-year-
old daughter Penelope. “We wanted to make it sophisticated but
family-friendly,” notes the decorator. “She’s all about her kids.”
So there it is—one’s a little bit cozy, one’s a little bit rock-and-
roll. Khloé, in characteristic fashion, puts a finer point on the
distinction: “Our tastes are very specific and completely differ-
ent,” she says, laughing. “When we go furniture shopping, I
stand there tapping my foot while Kourtney shows me modern
pieces. Then we head somewhere full of exotic, beautiful things
and all she can say is, ‘I like nothing here.’ ”
Bullard provided all the exotica Khloé coveted, dressing her
home in a kaleidoscopic array of Moroccan, Turkish, and Middle
Eastern flourishes. His coup de théâtre is the tented living room—
an ethereal white fantasy presided over by a massive Levantine
mirror with silent-film-era allure. That parlor opens onto a vine-
covered terrace, where hanging daybeds sway gently in the
Pacific breezes. As Bullard explains, “Khloé wasn’t interested in
a traditional take on Moroccan style, so we cleaned up the lines
and gave it a more vibrant, contemporary feel.”
Yet for all the drama of these spaces, the room that per-
haps best reflects Khloé’s vivacious spirit is her gargantuan
closet—a treasure chest of ensembles meticulously organized
by color and style—devised from two erstwhile bedrooms. “I
A R C H D I G E S T. C O M 101
102
 In Kourtney’s living room,
Christian Liaigre sofas dressed
in a Schumacher wool and a
Larsen leather are joined by a
Steinway piano, a vintage Oscar
Niemeyer chair and ottoman
from Wyeth, and several custom-
designed pieces, among them
the ceiling lights, sconce, and
consoles. The curtains are of a
Loro Piana wool-linen, and the
triptych is by Richard Serra.
 don’t have kids, so why not?” says Khloé, who recently
debuted her talk show, Kocktails with Khloé, on the FYI
channel and is working on a new makeover reality series for
E!, the same network that has made Keeping Up with the
Kardashians a sensation. “I was very hands-on in the design
process. I’m obsessed with details, so I can be a bit control-
ling, but it’s only because I’m genuinely curious.”
That love of discovery is shared by Kourtney, who
immersed herself in the history of 20th-century design to
build the foundation of a serious collection. From the
Pierre Jeanneret chairs that surround the dining table to
the living room’s Oscar Niemeyer chair and ottoman to the
Jules Leleu desk that anchors her art-filled office, the home
brims with modernist gems.
A felicitous collision of pieces even extends into the chil-
dren’s rooms. Penelope, for one, sleeps beneath a classic
three-arm Serge Mouille ceiling lamp, with a neon-light
104 A R C H D I G E S T. C O M
artwork installed above her pink headboard. “I’m very afraid
of color,” Kourtney confesses. “But when you have kids, you
can’t be so stringent. Martyn was able to introduce bright
pops in a way I can handle.”
Both sisters say that taking pride in their homes was
learned from their father, the lawyer and businessman
Robert Kardashian, who died in 2003, as well as from their
mother. “My mom has always had a vision for our houses—
she taught us the joy of interior design,” Kourtney says. “And
I have vivid memories of my dad’s closet, which was always
immaculate. My sisters and I are perfectionists because we
were brought up that way.”
For her part, Khloé finds particular bliss in the plush
neutral-hued textiles that enrich her quietly luxurious bed-
room. “I don’t get a lot of alone time, so when I have a chance
to relax in bed I really savor it,” she says. “It’s like being in a
Champagne heaven. Who doesn’t want that?”
In Kourtney’s dining room, Martyn
Lawrence Bullard placed a bespoke
table and a suite of vintage Pierre
Jeanneret chairs from JF Chen
under a José Esteves chandelier
from Intérieurs; the framed
artwork is by Roy Lichtenstein,
the James Prestini metal sculpture
at left is from Blackman Cruz,
and the carpet is by Mansour
Modern. Left: Caesarstone coun-
ters complement the Ann Sacks
limestone floor in Kourtney’s
kitchen, which is equipped with
a Sub-Zero refrigerator, a Wolf
range, and Dornbracht sink fit-
tings; the pendant lights are by
Arteluce, the Alison Berger
Glassworks stools are from Holly
Hunt, and the photograph of
Andy Warhol is by Greg Gorman.
106 A R C H D I G E S T. C O M
 James Turrell artworks are displayed above
Kourtney’s bed; the vintage Jean-Michel
Frank lounge chairs are upholstered in an
Edelman leather, the 1970s Belgian cocktail
table is from Lucca Antiques, and the carpet
is by the Rug Company. Opposite, clockwise
from top: A Waterworks tub with Kallista
fittings stands in Kourtney’s master bath; the
ceiling light is from Downtown, the sinks are by
Kohler with fittings by Kallista, and the vanities’
limestone counters are by Ann Sacks. In the
playroom, Italian lounge chairs from JF Chen rest
on an RH rug; the television is by Samsung, and
the chalkboard paint is by Benjamin Moore. A
neon light installation is mounted above Penelope’s
bed, which is topped with an Hermès throw.
 KHLOÉ SAYS, LAUGHING,
“OUR TASTES ARE VERY SPECIFIC
AND COMPLETELY DIFFERENT.”

In the courtyard at Khloé’s house, the fireplace sur-

round is clad in tile designed by Martyn Lawrence
Bullard for Ann Sacks; the mirror is by RH. Opposite:
Khloé in her vast master closet; the chandelier is by
RH, and the ceiling is lined in a Schumacher wallpaper.

108 A R C H D I G E S T. C O M
VINTAGE BL AZER BY SAINT L AURENT FROM ALBRIGHT FASHION LIBRARY AND JEANS BY FRAME
The family room at Khloé’s place showcases an array of
Martyn Lawrence Bullard creations, including the
ceiling’s Schumacher wallpaper, the hanging lanterns,
and the sectional sofa, which is upholstered in a
Perennials fabric; the framed photograph is by Patrick
Demarchelier, the antique mantel is from Exquisite
Surfaces, and the rug is by Anthony Monaco. Opposite,
110 A R C H D I G E S T. C O M
from top: Bullard tented Khloé’s living room with
a sheer fabric of his own design and grouped a vintage
sofa from John Salibello with a Levantine mirror
and a rug by Anthony Monaco. A custom-made hood
and a pendant light from Reborn Antiques serve as
sculptural focal points in the kitchen; the wall ovens
are by Wolf, and the counters are by Caesarstone.
Clockwise from above: Khloé’s master suite features
a bespoke bed upholstered in a Colefax and
Fowler fabric; the center pillow is by Hermès, the
throw is by Fendi, the curtains are of a Holland &
Sherry linen, and the alpaca carpet is by the Rug
Company. Ann Sacks striated marble enlivens the
master bath; the tub and fittings are by Waterworks.
Khloé’s Glam Room is the stuff of Old Hollywood,
its broad mirror illuminated by incandescent bulbs.
The niche in Khloé’s bedroom is marked
by a mix of exotic touches, among
them a star-shaped lantern, a photo-
graph by Chester Higgins Jr., and a
side table inlaid with mother-of-pearl.
A patterned satin blend by Dedar
covers the bench cushion and a pair
of pillows; the other pillows
are in Manuel Canovas velvets.

113
Southern
Comfort
Film director Tate Taylor lovingly
revives an antebellum plantation house just
outside Natchez, Mississippi
TEXT BY JULIA REED PHOTOGRAPHY BY ROGER DAVIES
PRODUCED BY HOWARD CHRISTIAN
 Designer Shawn Henderson
and restoration consultant
Thomas E. Goodman reno-
vated Wyolah, the 1830s
Mississippi plantation home
of The Help director Tate
Taylor and film producer John
Norris, shown opposite in
their 1974 Cadillac Eldorado.
For details see Sources.

115
A s a boy, Tate
Taylor dreamed of living in an antebellum house. “I was the
weirdo who asked to go to Colonial Williamsburg for spring
break when I was ten,” he recalls. The actor/writer/director
grew up in Mississippi but left home in 1996 to pursue his
career, first in New York and then in Hollywood. But when
he returned in 2010 to film The Help—the Oscar-winning
movie based on the novel by his childhood friend Kathryn
Stockett—the dream “came back with a vengeance.”
A columned house used in the movie was for sale but
Taylor took a pass because it had little land. “I wanted to be
in the middle of nowhere,” he says. After a months-long
search that led him through much of the Deep South, he
circled back and found the perfect place in Church Hill, a
tiny community just north of Natchez: Wyolah Plantation,
a 100-acre spread with a three-story Greek Revival dwell-
ing, constructed in 1836, and eight outbuildings. “It checked
every box,” he says, noting that the property’s original sum-
mer kitchen—a freestanding brick structure that kept heat
and potential fires at a distance—“sealed the deal.” Still, he
adds, “I never thought I’d come back home.”
It almost didn’t happen. Wyolah’s then-owner, a Brooklyn
doctor, bought the estate in 1976 with the idea of reviving it
and retiring there with his wife. Even though he never
embarked on the restoration, he couldn’t bear to let the place
go. The house was on the market for decades, with potential
buyers always turned away. Undaunted, Taylor “flew up and
told him my intentions,” the filmmaker explains. It worked—
the man, Taylor remembers, got “teary-eyed” when he saw
that his own plans could be carried out by someone else.
When the sale finally went through, “people in Natchez
and New Orleans who’d been trying to get Wyolah for
years were furious,” reports Taylor, who shares the planta-
tion with film producer John Norris, his partner. A pains-
taking three-year renovation added 11 new baths. Raw
attic space was converted to a full third floor with four
bedrooms en suite and a small kitchen and laundry room.
The second floor got kitchen and laundry facilities as well,
because, Taylor says, “we like guests to be as visible or
invisible as they want to be.”
116 A R C H D I G E S T. C O M
The summer kitchen is now a one-bedroom guesthouse,
as is the charming columned office that was built by
Wyolah’s first owner, a physician. The old commissary, con-
nected to the main house by a breezeway, became the pri-
mary kitchen. The home’s original faux-marble mantels and
faux-grained doors, which had all been painted over, were
restored. Dining room walls were brushed with a romantic
mural of local flora and fauna by Don Jacobs, a Mississippi
artist who created similar scenes for the governor’s man-
sion in Jackson, the state capital.
To help with Wyolah’s decor, Taylor called on his friend
Shawn Henderson, a Manhattan-based designer whose
ardently contemporary taste admittedly contrasts with
Taylor’s admiration for all things antique. Says the director,
“I didn’t want the house to turn too meemaw [Southern
for ‘granny’], and I knew we’d meet in the middle.” For
example, Henderson says he swallowed hard when Taylor
brought a 19th-century heirloom settee to his attention,
but soon the family treasure was upholstered in sleek
brick-red leather and placed beneath a guest room win-
dow, opposite a German botanical chart depicting huge
mushrooms. “It was truly collaborative,” Taylor notes. “I’d
say, ‘If I give you a midcentury piece, you have to give me
something in return!’ ” For his part, Henderson reports
that his greatest challenge was trying to reflect his client’s
personality. “He has a big one,” the designer says. “He’s
always welcoming people, offering them drinks, feeding
them.” Not surprisingly, he adds, the new kitchen got spe-
cial attention: “It’s really fun to cook in there.”
The center of Wyolah’s action is the elegantly proportioned
music room, where friends come to play the resident piano
and guitars (Taylor calls himself an enthusiastic “fake singer”)
before continuing their revelries around a bonfire. Mick
Jagger, a producer of Taylor’s James Brown biopic, Get On Up,
has stayed over, as has Academy Award–winning actress
Octavia Spencer, who starred in both The Help and Get On Up.
Though Taylor has a place in Los Angeles and keeps an
apartment in Manhattan’s East Village, he considers Wyolah
his primary residence—and he has turned it into something
of a filmmaking mecca. Recently he bought the plantation
From top: Taylor with his rescue terrier, Earl. A
restored hay feed on the property; Community
Design Project devised the estate’s landscaping.
Wyolah’s front porch features a custom-
made Bevolo Gas and Electric Lights gas lantern;
the deep-green paint used on the rockers
and shutters and the industrial-gray enamel
on the decking are both by Sherwin-Williams.
A 19th-century English chandelier
offsets the parlor’s vintage René
Gabriel chairs (upholstered in a Pollack
cotton blend) and Hamilton Furniture
cocktail table; Rose Cumming printed
linens were used for both the curtains
and the cushions on the antique French
campaign bed from Regan & Smith.
The mantel’s faux-marble finish was
restored by Richard Davis Decorative
Painting, the walls are painted in a
Pratt & Lambert blue-gray, and the
carpet is by ALT for Living.

118
 From top: The walls in
the master suite’s sit-
ting room are covered
in an embroidered
recycled tarp from JRJ
Tecidos; the convex
mirror is by Maureen
Fullam, and the vintage
armchairs from 145
Antiques are clad in an
ALT for Living fabric.
Lanterns by Remains
Lighting hang in the
kitchen, where RH hard-
ware accents cabinetry
designed by Shawn
Henderson and made by
Tony DeAngelis; the
hood and range are by
Wolf, the pot filler and
sink fittings are by Ann
Sacks, the Thomas
Hayes Studio stools are
upholstered in a Rose
Tarlow Melrose House
fabric, and a Dessin
Fournir stripe dresses
the vintage Carl
Malmsten armchair.
 Clockwise from top
left: A vintage bobbin
rack and antique
armoire, both from
Obsolete, join a
Davyd Whaley paint-
ing in the second-
floor hall. The office
of Wyolah’s original
owner, a doctor,
stands adjacent to the
main residence;
the small structure is
now a guesthouse.
A blackened-brass
ceiling light by
Orange hovers in the
master bedroom,
where Earl takes a
break; Hugo Lugo
watercolors
are displayed on
the walls, which are
sheathed in a
Kvadrat wool, and
the furnishings
include a 19th-
century canopy bed
and, at right, an
A. Rudin chair and
ottoman uphol-
stered in a Zimmer +
Rohde fabric.

house next door and made it into a postproduction facility,
while Wyolah hosts everything from visiting executives to
workshops for aspiring filmmakers. “When you are able to
bring in creative types and businesspeople to a place like this,
all the usual buffers are gone,” he says, adding that everyone
cooks and eats together. Before he began work on his latest
project—an adaptation of Paula Hawkins’s thriller The Girl
on the Train—Taylor had DreamWorks Studios executives
and the film’s director of photography as guests at the home
for several days, he says, and “we planned the whole movie.”
The ultimate goal, the director continues, “is to never have
to leave Mississippi to make a movie. It’s just a cool, creative
place to get work done without all the BS of Hollywood.” He
realized his home state’s attraction when, during the filming
of The Help, DreamWorks Studios’ then-CEO and cochair
Stacey Snider dropped into Greenwood, the town where a lot
of the movie was shot, quite a few times, as much for pleasure
as for business. “That never happens,” Taylor says, laughing.
“People come with all these preconceived notions about
Mississippi—and then they get here and don’t want to leave.”

DIGITAL EXCLUSIVE Tate Taylor takes you on a personal behind-the-

120 A R C H D I G E S T. C O M scenes video tour of his Mississippi home at archdigest.com/tatetaylor.
 In a guest room enlivened by a
Chambord Prints wallpaper, a Bone
Simple Design pendant light is
installed above the 19th-century
bed. The curtains are of a Rogers &
Goffigon linen, the lamps are a
vintage Barovier & Toso design, and
the carpet is by ALT for Living.
A painting by Julian La Trobe of After
All, the Beverly Hills, California, house
where decorator Elsie de Wolfe
and her husband, Sir Charles Mendl,
settled in the 1940s. The couple
became Hollywood’s preeminent hosts.
 Elsie Goes to
Hollywood
How Elsie de Wolfe, the world’s most famous
decorator, fled the Nazis, unrolled the chintz,
and became the toast of Tinseltown
O
ne month before Hitler’s tanks
rumbled into Paris, Elsie de
Wolfe—pioneering decorator,
best-dressed woman in the world,
fixture of the City of Light—fled.
Wearing a kicky day dress by
her beloved Mainbocher, the
petite blue-haired octogenarian
motored south in her chauffeured Rolls-Royce Phantom
II Sedanca de Ville, accompanied by her husband, Sir
Charles Mendl, and their two poodles. Vogue columnist
John McMullin, a friend so close that the Mendls con-
sidered him a son, followed in a Buick with Elsie’s sec-
retary; McMullin’s valet, joined by Elsie’s maid, piloted
the last of the vehicles, a Ford station wagon crammed
with Vuitton trunks.
Weeks later the caravan arrived in Lisbon, Portugal,
where the Mendls boarded Pan American’s Yankee Clipper,
the Concorde of its day, bound for the decorator’s native
New York City. Twenty-six hours after that, on July 3, 1940,
CHRISTIE’S IMAGES/BRIDGEMAN IMAGES
the woman once dubbed World War II’s swankest refugee
stepped onto the tarmac at La Guardia airport, with runs
in her stockings and survival on her mind—her own as well
as Europe’s. “Send planes,” Lady Mendl implored a
reporter. “They are the only things that will win the war.
Men don’t matter so much. Planes! Planes! Planes!”
Wartime Manhattan was a haven for Europe’s posh and
stateless, and for Elsie, its timely embrace was one that she
manipulated to her advantage. Though she and Charles—a
TEXT BY CHARLIE SCHEIPS
blimpish retired British spy she married in 1926, much to
everyone’s surprise since the only thing they had in com-
mon was a preference for women—had American invest-
ments to draw from, their foreign assets were frozen.
Pressed for cash, they bartered and bargained.
Elsie’s publicity value meant she could wrangle a steep
discount from the St. Regis hotel, redecorating her 18th-
floor suite in her hallmark palette of green and white and
arranging for its living room to be splashed across the
cover of House & Garden. And when she wasn’t serving
cocktails to American celebrities and European aristo-
crats, she was being seen: lunching at Henri Soulé’s new
Le Pavillon restaurant, taking in a striptease act at Fefe’s
Monte Carlo nightclub, or slumming at an Automat—
albeit using borrowed hotel crystal and flatware.
A year or so later, the Mendls decided to sit out the war
in Southern California, a place their tight budget could go
further and where the winter weather was more salubri-
ous. “And the girls one can have to lunch and dinner!”
Charles, a gourmand in all senses of the word, enthused
in a conversation with the artist Ludwig Bemelmans of
Madeline fame. “In all the world there are no more beauti-
ful women—blondes, reds, brunettes—and one can get
most anything to eat here. I find the restaurants exceed-
ingly good, and one eats well at private houses.”
Cutbacks were inevitable, of course. The black Rolls-
Royce that had served the Mendls in their flight from
Paris would be sold to the prop department at Warner
Bros. for $750 and replaced with a station wagon they
PRODUCED BY MITCHELL OWENS
123
 Clockwise from above: The entrance hall of After All, which was used as
a location for The Star, a 1952 Bette Davis drama. Lady Mendl’s guest
book, signed in 1944 by comedian Fanny Brice (on left page) and Salvador
Dalí and Frank Sinatra (right page). Pearls around her neck, Lady Mendl
attends a 1947 Bel Air dinner party. At After All, actress Arlene Dahl poses
in front of a secretary custom decorated by Tony Duquette. Gene Tierney
in The Razor’s Edge; Lady Mendl served as the 1946 film’s set consultant.
 shared with another refugee, to conserve gas in those days of
rationing. Charles’s mellifluous voice and stately presence led
to his picking up extra income portraying avuncular Englishmen
in radio dramas and movies, most prominently opposite Ingrid
Bergman in Alfred Hitchcock’s Notorious.
For Elsie’s part, her design expertise made her invaluable
as a set-decoration adviser for 20th Century-Fox’s adaptation
of W. Somerset Maugham’s novel The Razor’s Edge. (She also
had a screen test at Warner Bros., not in the hopes of landing
a film role, gossip columnist Louella Parsons noted, but “so she
could see herself as others see her.”) Another of Elsie’s mon-
eymaking ventures was a radio show called Breakfast at the
Beverly Hills. Broadcast from the Beverly Hills Hotel, it turned
out to be a flop, disappearing after a single episode. Still, as far
as the general public knew, the globe-trotting Mendls had sim-
ply crossed the country to be in the swim of things, always
Elsie’s favorite place to be. Hollywood, she declaimed, was
“the new focal point of civilization.”
Actually, the decorator, a onetime stage
actress, was no stranger to Tinseltown, as
many of its biggest names had attended grand
“Elsie was the queen of the
parties at Villa Trianon, the Mendls’ house in
Versailles. Mary Pickford and Douglas Fair- Hollywood hostesses,” says
banks were old friends of Elsie’s—he had
supervised the installation of professional film
projectors at Villa Trianon so she could show
movie star Arlene Dahl. “All of
the latest movies—and her erstwhile niece
Winifred Shaughnessy, a.k.a. Natacha
the rest were understudies.”
Rambova, was once Mrs. Rudolph Valentino.
The Los Angeles area was the site of some of Lady Mendl’s
smartest work, too. For racy American heiress Dorothy di
Frasso she delivered a Beverly Hills mansion where chinoise-
CLOCKWISE FROM BOTTOM LEFT: COURTESY OF HUTTON WILKINSON; SOCRATES MITSIOS; JACK BIRNS/
rie wallpaper met a fluffy rug made of monkey fur (Marlene
Dietrich rented the place for a time). In Brentwood Heights,
Elsie’s airy rooms for Gary Cooper and his elegant wife, Rocky,
boasted Serge Roche starburst mirrors, an extravagantly tas-
GETTY IMAGES; COURTESY OF HUTTON WILKINSON; COURTESY OF 20TH CENTURY FOX
seled sleigh bed, and soaring screens.
First bunking with Fred Astaire and his family and then
renting a place of their own, Elsie and Charles finally pur-
chased a 1920s Beverly Hills hacienda in 1942. They christened
it After All, the title of the decorator’s autobiography.
Following months of expert massaging, the 3,500-square-foot
dwelling came to embody the kind of youthful vitality that
Elsie strove to maintain in herself through plastic surgeries,
hormone treatments, headstands, and fad diets. White paint
refreshed the flowerpot-red house inside and out, and green-
and-white-striped canvas curtained the front door and arched
loggias, the latter wittily nicknamed the Rue de Rivoli.
Grapevines twirled through the Inquisition-style iron window
grilles. Begonias and daisies, all white, frothed in the garden,
where towering topiaries stood like sentinels and variegated
ivy flourished. The swimming pool was filled in to make room
for a mature olive tree, though the first specimen arrived far
too small for Lady Mendl’s liking. “Do you think I’m going to
live forever, to watch that thing grow?” she told the delivery-
man. “Take it away and bring back something bigger.”
The renovation of After All, Elsie said, cost less than any of
the 18th-century French antiques at Villa Trianon or her Paris
penthouse. Floors were lacquered black, while walls and ceil-
ings sported trelliswork wallpaper, faux fences, shiny green
paint, and acres of mirror; fabrics were striped or flowered or
spattered with fern fronds. Touches of coral-red recalled one
of the decorator’s prized possessions: a Fabergé enameled
clock that had been a gift from her first millionaire client, the
industrialist Henry Clay Frick. When the editors of House &
Garden came calling again, Elsie frankly described After All’s
contents as “junk,” discovered at bargain shops and dressed up
with satiny enamel and sprightly fabrics.
Director’s chairs were used for dining. Shapely sheets of mir-
ror were glued around windows like glittering picture frames.
Faced with a dull desk, Elsie and her secretary decoupaged it
with cut-up Piranesi prints. The outlay may have been negli-
gible, given the decorator’s famously stratospheric prewar
budgets, but the atmosphere chez Mendl was fantastically
effervescent. For proof, watch The Star, a 1952 Bette Davis
vehicle that used After All as the setting for a raucous cocktail
party. Packed with revelers, the scene echoes the Mendls’ real-
life shindigs—right down to their own butler wandering
through with a silver tray in hand, past a store-bought cabinet
that Tony Duquette, an up-and-coming set designer and Elsie
protégé, had encrusted with baroque seashells, fake emeralds,
and plaster blackamoors.
The house, located on Benedict Canyon (or Cañon, as Elsie
preferred) Drive, was as much a cultural crossroads as it was a
private residence. Frank Sinatra dropped in and left duly dazzled.
Greta Garbo and the stripper Gypsy Rose Lee met there for the
first time in an unlikely face-to-face engineered by Lady Mendl,
a mutual friend. Salvador Dalí sketched a horse in the guest book.
Actress Hedy Lamarr was a regular, so much so that the Mendls
served as matron of honor and best man at one of her weddings.
Afternoons might be spent playing gin rummy with the likes of
director George Cukor and radio magnate Atwater Kent or drop-
ping by movie sets. After dark, Lady Mendl would wrap herself
in a knee-length chinchilla coat (reputedly one of only two in
Hollywood) and swan out to chic boîtes such as Chasen’s and the
Mocambo. And when she wasn’t hitting the town with an energy
A R C H D I G E S T. C O M 125
that belied her years—in 1947, the 88-year-old signed 600 copies
of her cookbook in a single go—she was masterminding unfor-
gettable luncheons and dinners.
“Elsie was the queen of the Hollywood hostesses, and all of
the rest were understudies,” remembers actress Arlene Dahl,
who caught Charles’s eye and appreciated his bawdy humor;
she also came to call Elsie “Mother,” as did many of the popular
couple’s young friends. (The beauteous Dahl’s flame-color hair
neatly complemented Elsie’s decor, too.) Never a fan of formal
dining rooms, Elsie transformed After All’s into a nightclublike
bar with rattan furniture and a tented ceiling—a subtle reminder
of her nomadic life and refugee status—choosing instead to
stage meals throughout the rambling house and its garden, often
at folding tables that could be stowed until the next soirée.
Place cards could be fresh ivy leaves with guests’ names
written on them in white ink, and cream-of-tomato soup might
be presented in individual tureens shaped like heads of cauli-
flower. The Razor’s Edge star Clifton Webb, funny girl Fanny
Brice (she jokingly called herself
Elsie’s “Jewish friend”), and oth-
ers once arrived to find their meal
set up in Elsie’s room, the hostess
reclining on her twin bed and the
food tucked into picnic baskets.
Reporters lapped up every detail,
though one of Louella Parsons’s
readers wrote to complain that
Lady Mendl got as much publicity
as any Oscar winner.
For Elsie, though, Hollywood
was merely a port of call, as hinted
at in the words embroidered on one
of the taffeta motto cushions
arranged on After All’s sofas: IT
NEEDS A STOUT HEART TO LIVE
WITHOUT ROOTS . The phrase

FROM TOP: COURTESY OF SCAL AMANDRÉ; URBAN WEIS/CONDÉ NAST ARCHIVE; MARY EVANS
came from her friend Erich Maria
Remarque’s 1939 novel Flotsam,

PICTURE LIBRARY/IMAGNO; SIMON WATSON; PHOTOFEST. OPPOSITE: SIMON WATSON

whose subject, appropriately
enough, was World War II refu-
gees. “Elsie’s always talking about
going back to Versailles when all this is over,” Charles told a
friend. In 1947 she got her wish: Villa Trianon, damaged by the
SS officers who had occupied it, was hers again and was quickly
restored with Duquette’s help. Over the next three years, until
her death at 91, Lady Mendl would largely split her time
between that house and her California digs.
A few weeks before Elsie died, she and her husband held
their last big party at Villa Trianon. More than two dozen guests,
among them the Duke and Duchess of Windsor, attended a buf-
fet dinner followed by a screening of Billy Wilder’s forthcoming
film Sunset Boulevard. Dressed in Mainbocher and draped in
pearls, the aged hostess was nothing like Norma Desmond.
Despite the public’s fickle tastes, Elsie de Wolfe had never fallen
out of favor—and for one glorious decade, she showed
Hollywood what real star power was all about.

DIGITAL EXCLUSIVE For an in-depth slideshow on Elsie de Wolfe’s

Hollywood years, go to archdigest.com/dewolfe.
 “Hollywood is the new kingdom of youth and
ambition,” the refugee Lady Mendl declared.
“This is the new focal point of civilization.”

A Charles Baskerville mural enlivens the Beverly Hills

residence Lady Mendl decorated for socialite Dorothy di
Frasso. Opposite, from top: Scalamandré’s Elsie de Wolfe
linen. Lady Mendl’s St. Regis hotel suite, on House &
Garden’s May 1941 cover. Marlene Dietrich rented Di Frasso’s
house. Chinese accents in the Di Frasso living room. Lady
Mendl, at left, at Pickfair, the home of film star Mary Pickford.

127
 RESORT
COLLECTION In the Dominican Republic, pop superstar
Marc Anthony and his wife, model

A
Shannon de Lima Muñiz, craft a magical
compound for friends and family

TEXT BY BRAD GOLDFARB

PHOTOGRAPHY BY WILLIAM WALDRON
PRODUCED BY ANITA SARSIDI
ANTHONY’S SHIRT AND PANTS BY JOHN VARVATOS AND BELT BY PRADA; DE LIMA MUÑIZ’S DRESS BY INDAH AND SANDALS BY PRADA

s anyone who has ever undertaken a home-construction project knows,

setting a completion date you can count on is tricky. So when Miami-based recording artist
Marc Anthony and his wife, model Shannon de Lima Muñiz, began renovating their dream
getaway at the Casa de Campo resort in the Dominican Republic, they opted for a bold, if risky,
strategy: scheduling the start of their marriage festivities for the very day they were to move
in. “Our housewarming party was literally our wedding week,” Anthony says of the couple’s
2014 nuptials. “Everybody flew in from around the world. We were seeing the house and liv-
ing in it for the first time just as our guests were. We all explored it together!”
“Explored” in this case is no overstatement. The property, capable of sleeping 24, encom-
passes a 10,000-square-foot main residence, a variety of pavilions, guest bungalows, and
cabanas, two swimming pools, and a spectacular array of outdoor entertainment and loung-
ing areas, including a man-made beach—all linked by meandering, densely landscaped path-
ways. “We made it big with the idea we’d be sharing it,” Anthony says of the compound,
which is situated away from the coastline, ensuring maximum privacy for the couple, their
seven children, and frequent visitors.
Still, thanks to the many truckloads of sand brought in as ground cover, you’d think you were
mere feet from Casa de Campo’s pristine waterfront. That was hardly the case when Anthony
bought the commodious main house three years ago. The plot, which didn’t comprise much
more than the house and pool immediately behind it, was “surrounded by wild vegetation,” says
the musician, who immediately began to imagine more—much more. “The second we moved in
I started drawing my ideas on napkins and buying up the adjacent lots. I just had a vision for it.”
To help realize his concept, Anthony turned to local architect Dino Barré of DM
Opposite: Marc Anthony Dominicana, the man responsible for designing the original residence, which was fashioned
and his wife, Shannon de
Lima Muñiz, collaborated after the sugar mills that once proliferated here. Among other amenities, Anthony requested
with architecture firm an outdoor movie theater, a sports-bar pavilion, and a series of palapas and villas to serve as
DM Dominicana on the guest quarters, many incorporating indigenous materials such as eucalyptus wood and coral
design of their Dominican
Republic getaway. stone. “We put up four guest bungalows around the new sand-bottom pool, just like you’d see
For details see Sources. at resorts in the Maldives or Bora-Bora,” Barré says. Notes the singer, “I’m glad I didn’t think

129
Around the sand-bottom pool
are palapa-style guest villas
constructed of American pine
and topped with cane roofs
supported by concrete columns.
As throughout the property,
the outdoor furnishings are
cushioned in Sunbrella fabric.
 “I’ve been touring
for 20-something years,”
Marc Anthony says.
“When you’re locked in a
hotel room, you learn
how to enjoy spaces.”

1 31
 From top: In the main
house, the breezy living
room has teak seating
with cushions of a Sunbrella
fabric and a rain-tree-
wood cocktail table from
Designers Views. Chaise
longues by Vincent
Sheppard line the infinity
pool, near the main house.
Opposite: The bi-level
television-and-music pavil-
ion includes plenty of
diversions for the couple’s
children and friends.
about the scope of the undertaking for too long—I probably
wouldn’t have had the nerve to do it.”
The project, Anthony says, was driven as much by his love
for design as a desire to create the ultimate retreat. “I’ve been
touring for 20-something years,” he explains. “And when you’re
locked in a hotel room, you learn how to enjoy spaces.” It’s
knowledge he put to good use here, personally outfitting the
rooms with a mix of furnishings custom made by local craftsmen
as well as Indonesian and Balinese furniture and accessories
fashioned from teak, mahogany, and sapele. “Marc appreciates
detail and will spend as much time as it takes on something he’s
passionate about,” De Lima Muñiz says. “Sometimes we’d stay
up until 5 A.M. just looking at colors and textures.”
Anthony’s aesthetic interests extend to painting, too—a
pastime he pursues in the artist’s studio he set up in one of the
palapas. “There’s not so much imagination in performing a
song that’s already a hit, so I need outlets like painting,” says
the multiple Grammy winner, who will be touring in New
York City in February. “I also like to do nothing,” he confesses
of his ideal day at the compound. “I can sit in one spot for
hours and simply watch my wife and kids in the pool or listen
to the music playing on the sound system.” Adds De Lima
Muñiz, “Music fills the house, inside and out, at all times!”
Anthony and De Lima Muñiz take pleasure in watching
their guests embrace a toes-in-the-sand attitude as well.
“The first day people get here, they want to do everything,”
Anthony says. “But by the second day they’re like, ‘Maybe I’ll
just grab a margarita and sit on the beach.’ And by the third
you don’t see them until 6 P.M.”
In the evenings everyone usually gathers around the 20-foot-
long teak dining table next to the pool. “I love that we can all sit
down together at dinner, no matter how many we are,” says De
Lima Muñiz. Anthony agrees: “It’s great to sit back and see how
happy this place makes everyone. It’s priceless.”
A R C H D I G E S T. C O M 133
 Balinese-teak
tables from
Designers Views
anchor a terrace
off the main
house. The seat-
ing, also teak, was
crafted locally.
135
136
From top: Sheathed in
American pine, a guest
bath is equipped
with Hansgrohe shower
and sink fittings. A
guest room features an
American-pine armchair
and table devised by
DM Dominicana.
Opposite: Anthony’s
painting studio provides
a haven for artistic
expression; the pine
stool was designed by
DM Dominicana.
 An artwork by Fernando
Varela hangs on a coral-stone
wall in the master bedroom;
the bed is by Roche Bobois,
and DM Dominicana designed
the tables. Opposite: A tree
swing offers a perch for enjoy-
ing the beach area adjacent
to the sand-bottom pool.
139
S O U RC E S
Items pictured but not listed here are
not sourceable. Items similar to vintage
and antique pieces shown are often
available from the dealers listed.
(T) means the item is available only
to the trade.
BREAKING NEWS
PAGES 48–50: Interior design by Michael
S. Smith Inc.; michaelsmithinc.com.
PAGE 48: Freedom Task desk chair
by Humanscale; humanscale.com.
Plateau desk by Ralph Lauren Home;
ralphlaurenhome.com. Greyson picture
light, Anette floor lamp, and Modern
Metropolis club chair and Modern
Hollywood ottoman in Laundered Linen
fabric, all by Ralph Lauren Home.
PAGE 50: Parkland Classics wood blinds,
in mission oak, by Hunter Douglas;
hunterdouglas.com. Curtains of Weston
Herringbone wool blend, in barley, by
Ralph Lauren Home; ralphlaurenhome-
.com. Custom Estate antique nickel
curtain hardware by RH; rh.com. Grecian
Squares wall covering, in limestone,
by Phillip Jeffries (T); phillipjeffries.com.
Colton Men’s valet, Cote d’Azur bar
cabinet, and City Modern armchair, all by
Ralph Lauren Home. On bar cabinet,
Mini Tea Leaf topiary and on desk, Green
Hydrangea bouquet by Diane James
Designs; dianejameshome.com. Bryce
Task table lamp and Artist Leather
desk set by RH Modern; rhmodern.com.
Faceted geometric sculpture and John
Mayberry artwork from RH Modern.
Barrington rug by Stanton Carpet;
stantoncarpet.com. McCarren Single Tier
ceiling light by Ralph Lauren Home. Ponti
mirror by Michael S. Smith for Mirror
Image Home; mirrorimagehome.com.
SETTING THE SCENE
PAGES 74–85: Interiors by Ashe +
Leandro; asheleandro.com. PAGE 74:
Wardrobe styling by Jeanann Williams for
the Wall Group; thewallgroup.com. Hair
by Ryan Trygstad for Starworks Artists;
starworksartists.com. Makeup by Tyron
Machhausen for the Wall Group. Manicure
by Gina Viviano for Artists by Timothy
Priano; abtp.com. Dress by Altuzarra;
altuzarra.com. Shoes by Manolo Blahnik;
manoloblahnik.com. PAGE 75: Black-and-
white floor tiles by Clé; cletile.com.
McCarren Globe pendant light by Ralph
Lauren Home; ralphlaurenhome.com.
19th-century shell-back chairs from KRB;
krbnyc.com. PAGES 76–77: Maxwell sofas
by RH; rh.com. French Cook’s console and
Robertson floor lamp by Ralph Lauren
Home; ralphlaurenhome.com. Claro
cocktail table by Robert Pluhowski;
pluhowski.com. In foreground, Sono stool
and Alexa low table by Blaxsand (T);
blaxsand.com. At far right, Saddle leather
chair by Garza Marfa; garzamarfa.com.
Jute rugs by Merida; meridastudio-
.com. PAGE 78: Winterport Milk Glass
pendant lights by the Lamp Goods;
thelampgoods.com. Microwave by Wolf;
subzero-wolf.com. Gordon stools by
Lostine; lostine.com. Cabinetry and hood
designed by Ashe + Leandro; asheleandro-
.com; fabricated by King Construction and
Design; kingconstructiondesign.com.
PAGE 79: Watts’s dress by Isabel Marant;
isabelmarant.com. PAGES 80–81: Lariat
lights by Apparatus Studio; apparatusstu-
dio.com. Sonora Canyon table by Ralph
Lauren Home; ralphlaurenhome.com.
Chairs by Sol y Luna; solxluna.com.
PAGE 82: Sectional sofa by Living Divani;
livingdivani.it. Custom-made rug by John
Robshaw Textiles; johnrobshaw.com.
String ceiling lights by Michael
Anastassiades for Flos; flos.com.
Brompton swing-arm floor lamp by Ralph
Lauren Home; ralphlaurenhome.com.
Cherner chairs by Design Within Reach;
dwr.com. PAGE 83: Lea beds by RH Baby
& Child; rhbabyandchild.com. Palmer
pillowcases by Ralph Lauren Home;
ralphlaurenhome.com. Balise sconces by
Atelier de Troupe; atelierdetroupe.com.
Grove nightstand by Room & Board;
roomandboard.com. Antique kilim from
Double Knot; double-knot.com.
PAGES 84–85: In master bath, McCarren
Single Tier light fixture by Ralph Lauren
Home; ralphlaurenhome.com. Tub by
Victoria + Albert Baths; vandabaths.com.
Tara tub fittings by Dornbracht;
dornbracht.com. Towel warmer from
Grande Central Showroom of NY;
centralplumbingspec.com. Penny tile by
Waterworks; waterworks.com. In master
bedroom, Chesterfield bed by RH; rh.com.
Modern Hollywood side tables by Ralph
Lauren Home. On walls, Pollen fabric by
Clarence House (T); clarencehouse.com.
Carpet by Holland & Sherry (T);
hollandsherry.com.
THE GOOD LIFE
PAGES 86–97: Frédéric Fekkai of Frédéric
Fekkai; fekkai.com. Architecture by Jean
Paul Bernard et Laure Selli Architectes;
jp-bernard-architecte.fr. Interiors by
Jean-Louis Raynaud; +33-4-42-23-52-32.
Landscape design by Marco Battaggia
Landscape Architecture; +39-347-845-
8134. PAGES 90–91: On antique settee
and armchair, Kiki velvet by Rubelli (T);
donghia.com. Mirror by Jean-Louis
Raynaud; +33-4-42-23-52-32.
PAGE 92: Lustre Rose chandelier by
Marie Christophe; mariechristophe.com.
PAGES 96–97: Beds by Jean-Louis
Raynaud; +33-4-42-23-52-32.
DOUBLE VISION
PAGES 98–113: Interiors by Martyn
Lawrence Bullard Design; martynlaw-
rencebullard.com. Landscape design by
James Hyatt Studio; jameshyattstudio-
.com. PAGES 98–99: Wardrobe styling by
Leslie Fremar for the Wall Group;
thewallgroup.com. Makeup by Joyce
Bonelli for Raudeville; raudeville.com.
Khloé’s hair by Jen Atkin for the Wall
Group; and manicure by Kimmie Kyees for
Celestine Agency; celestineagency.com.
Kourtney’s hair by Davy Newkirk for the
Wall Group; and manicure by Kailey Phan;
818-455-2102. Khloé’s gown by Juan
Carlos Obando; jcobando.com. On
daybeds, cushions in Froth canvas by
Holly Hunt (T); hollyhunt.com. Cocktail
table by Formations; formationsusa.com.
PAGE 100: Top and pants by Alexander
Wang; alexanderwang.com. Jewelry
by Jennifer Fisher; jenniferfisherjewelry-
.com. Shoes by Giuseppe Zanotti;
giuseppezanotti.com. PAGE 101: Chaise
longues by Christian Liaigre (T); chris-
tian-liaigre.fr; with cushions in outdoor
fabric by Perennials (T); perennialsfab-
rics.com. PAGES 102–3: Sofas by Christian
Liaigre (T); christian-liaigre.fr; in wool
by Schumacher (T); fschumacher.com;
and Visa leather by Larsen (T); cowtan-
.com. Curtains of wool-linen by Loro
Piana Interiors (T); loropiana.com.
PAGES 104–5: In kitchen, counters by
Caesarstone; caesarstoneus.com.
Limestone floor tiles by Ann Sacks;
annsacks.com. Refrigerator by Sub-Zero;
subzero-wolf.com. Range by Wolf;
subzero-wolf.com. Sink fittings by
Dornbracht; dornbracht.com. Pendant
lights by Arteluce from Flos; flos.com.
Stools by Alison Berger Glassworks
from Holly Hunt (T); hollyhunt.com. In
dining room, vintage Pierre Jeanneret
chairs from JF Chen; jfchen.com. Carpet
by Mansour Modern; mansourrug.com.
PAGE 106: In master bath, tub by
Waterworks; waterworks.com. Tub
fittings by Kallista; kallista.com. Luna
Globe ceiling light from Downtown;
downtown20.net. Sinks by Kohler; kohler-
.com. Sink fittings by Kallista. Limestone
counters by Ann Sacks; annsacks.com. In
playroom, vintage Italian lounge chairs
from JF Chen; jfchen.com. Television by
Samsung; samsung.com. Rug by RH;
rh.com. On wall, chalkboard paint by
Benjamin Moore; benjaminmoore.com. In
Penelope’s room, throw by Hermès;
hermes.com. PAGE 107: Vintage Jean-
Michel Frank lounge chairs from Studio
Girasole; 1stdibs.com; in Dream Cow
leather by Edelman Leather (T);
edelmanleather.com. 1970s Belgian
cocktail table from Lucca Antiques;
luccaantiques.com. Carpet by The Rug
Company; therugcompany.com.
PAGE 108: Fireplace-surround tile by
Martyn Lawrence Bullard for Ann Sacks;
annsacks.com. Mirror by RH; rh.com.
PAGE 109: Vintage blazer by Saint
Laurent from Albright Fashion Library;
albrightfashionlibrary.com. Jeans by
Frame; frame-denim.com. Chandelier by
RH; rh.com. On ceiling, Fireworks
wallpaper by Schumacher (T);
fschumacher.com. PAGES 110–11: In
family room, on ceiling, wallpaper by
Martyn Lawrence Bullard for Schumacher
(T); fschumacher.com. Antique mantel
from Exquisite Surfaces; xsurfaces.com.
Rug by Anthony Monaco Carpet & Textile
(T); amctdesign.com. In living room,
vintage sofa from John Salibello;
johnsalibello.com. Rug by Anthony
Monaco Carpet & Textile (T). In kitchen,
pendant light from Reborn Antiques;
rebornantiques.net. Wall ovens and hood
by Wolf; subzero-wolf.com. Counters by
Caesarstone; caesarstoneus.com.
PAGE 112: In master suite, bespoke bed
upholstered in Jerome viscose by Colefax
and Fowler (T); cowtan.com. Curtains of
linen by Holland & Sherry (T); hollandsher-
ry.com. Throw pillow at center by Hermès;
hermes.com. Throw by Fendi; fendi.com.
Alpaca carpet by The Rug Company;
therugcompany.com. In master bath, floor
of marble by Ann Sacks; annsacks.com.
Tub and fittings by Waterworks;
waterworks.com. PAGE 113: Patterned
pillows and bench cushion in Ziggy fabric
by Dedar (T); dedar.com. Solid pillows in
Polidoro silk velvet by Manuel Canovas
(T); cowtan.com.
SOUTHERN COMFORT
PAGES 114–21: Interiors by Shawn
Henderson Interior Design; shawnhen-
derson.com. Architectural consultation by
Thomas E. Goodman Historical Restoration
and Architectural Design; 662-237-4167.
Landscape design by Community Design
Project; communitydesignproject.com.
Window-treatment fabrication through-
out by Carolyn Clark; 601-442-5735.
PAGE 115: Custom-made French Quarter
gas lanterns by Bevolo Gas and Electric
Lights; bevolo.com. On rockers and
shutters, 6447 Evergreens paint and on
floor, Medium Grey paint by Sherwin-
Williams; sherwin-williams.com. PAGE 118:
On chairs, Accolade cotton blend, in
squash, by Pollack (T); pollackassociates-
.com. Cocktail table by Hamilton Furniture;
hamiltonfurniture.com. Curtains of
Macclesfield linen, in blue, by Rose
Cumming (T); dessinfournir.com. On mantel,
faux-marble restoration by Richard Davis
Decorative Painting; richarddavisstudio-
.com. French campaign bed from Regan &
Smith; 1stdibs.com; with cushions and
pillows in Wyeth Stripe linen by Rose
Cumming (T). On walls, Nickel #25-25 paint
by Pratt & Lambert; prattandlambert.com.
Custom-made carpet by ALT for Living;
altforliving.com. PAGE 119: In master suite
sitting room, on walls, embroidered
recycled tarp from JRJ Tecidos; jrj.com.br.
Convex mirror by Maureen Fullam;
maureenfullam.com. Vintage armchairs
from 145 Antiques; 1stdibs.com; in Laura
linen-cotton by ALT for Living; altforliving-
.com. In kitchen, Marlowe lanterns by
Remains Lighting; remains.com. Cabinetry
designed by Shawn Henderson; shawnhen-
derson.com; fabricated by DeAngelis
Construction; 601-446-6106. On cabinetry,
Aubrey hardware by RH; rh.com. Pot filler
and sink fittings by Ann Sacks; annsacks-
.com. Basic Pivot Back stools by Thomas
Hayes Studio; thomashayesstudio.com; in
Fiji polyamide by Rose Tarlow Melrose
House (T); rosetarlow.com. On vintage
armchair, Gunny Stripe linen-jute by
Dessin Fournir (T); dessinfournir.com.
PAGE 120: In second-floor hall, vintage
bobbin rack and antique armoire from
Obsolete; obsoleteinc.com. In master
bedroom, blackened-brass dome ceiling
light by Orange; orange.1stdibs.com. On
walls, Divina wool by Kvadrat from Holland
& Sherry (T); hollandsherry.com. 681 chair
and ottoman by A. Rudin; arudin.com;
in Deluxe viscose blend by Zimmer +
Rohde (T); zimmer-rohde.com. PAGE 121:
Suburban Garden wallpaper by Chambord
Prints; chambordprints.com. Triple Fringe
pendant light by Bone Simple Design;
bonesimple.com. Curtains of Squiggle
linen by Rogers & Goffigon (T);
rogersandgoffigon.com. Custom-made
carpet by ALT for Living; altforliving.com.
RESORT COLLECTION
PAGES 128–39: Architecture and interiors
by DM Dominicana; 809-986-2222.
Cushions throughout in 5404 indoor-
outdoor fabric, in canvas natural, by
Sunbrella; sunbrella.com. PAGE 128:
Wardrobe styling by Camille Yvette Lee;
camilleyvette.com. Hair and makeup by
Jamie Harper; beautybyharper.com.
Anthony’s shirt and pants by John
Varvatos; johnvarvatos.com. Belt by Prada;
prada.com. De Lima Muñiz’s dress by
Indah; indahclothing.com. Bangle bracelet
by Andi Alyse; andialysejewelry.com. Ring
by Marcia Moran; shop-marciamoran.com.
Sandals by Prada. PAGE 132: In living
room, rain-tree-wood cocktail table from
Designers Views; designersviews.com. In
pool area, Deauville chaise longues by
Vincent Sheppard; vincentsheppard.com.
PAGES 134–35: Balinese-teak tables from
Designers Views; designersviews.com.
PAGE 136: Pine stool and lacquered sapele
screens designed by DM Dominicana;
809-986-2222. PAGE 137: In guest bath,
shower and sink fittings by Hansgrohe;
hansgrohe-usa.com. PAGE 138: Bed by
Roche Bobois; roche-bobois.com.

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140 A R C H D I G E S T. C O M
VIEWPOINT

SHINING SUCCESS
Since reopening last fall after a two-year, $30 million renovation, Washington, D.C.’s Renwick Gallery has sparkled in every sense. Updates
to the 1861 building—home to the Smithsonian American Art Museum’s contemporary craft and decorative arts collections—included
restoring moldings, adding gilded details, and exposing previously covered ceiling vaults. Newly installed above the grand staircase,
meanwhile, is a stunning light sculpture by Leo Villareal, one of nine works created by artists for the show “Wonder,” on view through July 10.
Composed of 320 steel rods and 23,000 LEDs, Volume (Renwick), pictured above, emits a dynamic display of light, its pattern and
intensity endlessly shifting thanks to an algorithm of Villareal’s design. (Watch a video of it in action on archdigest.com.) The piece has
been such a sensation that the Renwick acquired it for permanent display, ensuring the space won’t lose its dazzle. —SAM COCHR AN

142 A R C H D I G E S T. C O M P H O T O G R A P H Y BY T Y C O L E