Timothy Corrigan for Fromental Wallpapers

Drapery Waves by Timothy Corrigan for Fromental

Fabulous Fromental... the new hand-painted wallpaper by Los Angeles designer Timothy Corrigan for Fromental reminds me of a fantastic opera stage set. Massive panels from his hand-painted Les Folies collection can be hung as works of art or to cover entire walls. For Corrigan, who is redoing an 18th-century chateau in France where he lives part time, murals painted centuries ago in Europe are a big influence on his own designs. “Murals were the art,” he told me on a visit to Dallas recently. “They don’t just recede into the background, they celebrate the walls. Frankly a lot of wallpapers today tend to be about receding and not being the star.”

Drapery Waves by Timothy Corrigan for Fromental

Corrigan’s papers grab center attention with large-scale, hand-painted designs and special printing techniques that often incorporate silver and gold leafing. But there’s substance behind the show. Corrigan researched all of his designs for historic background before putting his own spin on the collection’s four patterns. 

For Broadlands, a classical damask pattern was blown up and reproduced on silk and hand-brushed and gilded linen. The vibrant colors were taken from damask water color sketches used when planning the original jacquards, which Corrigan found in archives at the Victoria and Albert Museum. The inspiration for Drapery Wave came from 17th century Gobelins tapestries commissioned by Louis XIV, and is based on paintings by Peter Paul Rubens. 

Jardin Français is a reinterpretation of André Le Nôtre’s famous orangery parterre gardens at Versailles, and is rendered in silk and hand-brushed linen. Oceanic is traced to a 19th century Japanese wood block print, with stylized birds and organic swirling waves enlarged to a super-scale graphic, and hand-painted on textured silk.

Timothy Corrigan in front of his chateau in France

Indigo Sea wallpaper by Timothy Corrigan for Fromental

Teaming with London-based Fromental for the collection was natural. “I’ve used Fromental for years in grand Beverly Hills estates because they are almost like abstract paintings,” he says. “I’m using it in several parts of my chateau in the Loire Valley. There’s a playfulness about the papers, and I wanted the rooms to feel like a mix of the past and the present.”

Broadlands wallpaper by Timothy Corrigan for Fromental

Broadlands wallpaper by Timothy Corrigan for Fromental

Fromental was founded in London in 2005 by Tim Butcher and Lizzie Deshayes, who have fashion and interiors backgrounds. The design house is known for elaborate custom wallpapers, fabrics, and furnishings, made by artisans in England and in China. Unusual collage techniques incorporate luxurious fabrics such as silk and velvet, and hand-painting, embroidery, and screen-printing. In addition to glamorous homes around the world, their designs are found in historic properties including The Dorchester, London; George V, Paris; The Fairmont, San Francisco; and The Jefferson, Washington DC. Les Folies, The Timothy Corrigan Collection for Fromental, at George Cameron Nash, georgecameronnash.com, and fromental.co.uk. 

Timothy Corrigan at Grand-Lucé, his chateau in France

John Derian Wallpapers

Chimney Swallows wallpaper, John Derian for Designers Guild

The Untended Garden    Since 1989, John Derian has turned vintage and antique images of flora, fauna, and other natural and classical motifs into decoupaged glass objets, such as trays, lamps, paperweights, and plates. But his mysterious and beautiful world can’t be contained, and like an unruly garden, has spilled over with a fluttering of petals, wings, and fronds. Designers Guild has gathered them up for Derian’s first line of wallpapers, fabrics, and accessories. Masses of roses, variegated azaleas, amaryllis, chimney swallows, clouds, shells, and a collage of flora and fauna images populate his wallpapers and fabrics. John Derian by Designers Guild may have a vintage vibe, but there’s nothing musty about it. Images are overscale and come in a multitude of unusual and unexpected colorways and combinations. Also look for his decorative throw pillows and a smattering of decoupage accessories, naturally. To the trade at ID Collection.

John Derian for Designers Guild wallpapers

Varigated Azelea wallpaper, John Derian for Designers Guild

Captain Thomas Brown Shells wallpaper, John Derian for Designers Guild

Flora and Fauna wallpaper, John Derian for Designers Guild

The Rose fabric, John Derian for Designers Guild

Flora and Fauna fabric, John Derian for Designers Guild

Mixed Tones fabric, John Derian for Designers Guild

Captain Brown Shells fabric, John Derian for Designers Guild

The Rose fabric, John Derian for Designers Guild

Showroom Makeover!

Bronze faux bois chairs are by Bernhardt and covered in Kravet velvet. The rug is by Paul Smith from the Rug Company. The sofa is by Lee Collection, and covered in outdoor fabric.
Custom screens and table.

Through the looking glass . . . I live in the lofts above several Slocum Street showrooms—Peacock Alley, Ferguson and Fashion Glass & Mirror, among them—and I've been fascinated with Fashion Glass & Mirror's recent transformation from outdated to chic. Interior Designer Denise McGaha was behind the redo, and as I discovered, revamping the interiors of a glass showroom posed specific challenges.

"It was a dark space, and when you get a dark space with dark finishes and mirrors in there, the amount of glare is intense. It was a challenge—how do you show mirrors elegantly?—because it can get garish quickly," says McGaha. "My goal was not to make it obvious they were a mirror and glass showroom, but to show how mirror might be used in a custom way." The 35-year-old company, which has been in the Trinity Lofts ground floor for 5 years, had been displaying their glass and mirrors like any other showroom would display its wares, with everything in full view. But when it comes to showcasing highly reflective surfaces (such as mirror) McGhaha says it's better to understate the obvious. 

She designed a long bank of storage with drawers to hold mirror and glass samples that served multiple purposes. With the many samples organized and out of the way, "it really allows the designer to edit with a client," she adds. "A wall full of mirrors can be overwhelming." Custom lighting, created from the showroom's glass samples, are also a way of subtly showing the customer what's available, without creating visual noise.

The redesign also makes the showroom—known for decades mainly as a resource for builders— "a lot more welcoming to clients and designers, from the minute they come in," says McGaha. The black and white combo was carefully thought out, so that the showroom would not date. "What's more timeless than black and white?" she asks. "It was also the jumping off point for me. I'd kept a file of images of black and white rooms I always wanted to use in a showroom." One of her favorite elements is the high gloss black stripe painted down the center of the showroom, which draws you inside. It's repeated in the sofa stripe, but reversed—a white stripe on a black background.

Fashion Glass & Mirror will also showcase McGaha's first furniture and lighting line, due out sometime  next year, she says. And of course, it will incorporate a lot of glamorous glass and mirror, she says.

Custom made and cerused cabinetry by Justin Andrews.
The light pendants were designed to showcase the showroom's mirror designs. 

1. 

   A display wall made of ebonized wood (so the grain shows) holds cast glass for showers.
   The custom ottomans, in a black and white ikat fabric, act as extra seating.

Glamorous de Gournay!

Whistler Peacocks, starting at $495 per panel,
from de Gournay at Culp Associates

Gilded Age . . . wallpaper used to be considered granny and dated, but I love how the most classic and traditional of wallpaper companies are now doing some of the freshest looks anywhere. Case in point: London-based de Gournay, whose newest wallpapers were inspired by some of their previous designs, including the amazing Whislter Peacocks, shown above. Once rendered in metallic paint, Whistler Peacocks is now hand-gilded, and what a difference the real thing makes! 

Claud Gurney—a former banker who left the world of finance to found de Gournay in 1986—has brought his daughters Hannah and Rachel into the business, and they're injecting the family business with new energy, and designing papers with bolder patterns and colors that fit right in with modern interiors. One design you'll be seeing more of from the house of de Gournay is the Striee pattern from their Plains collection, a brand new look they've never done before.

In Texas, Kelly Hardage of Culp Associates has brought de Gournay into his Dallas and Houston showrooms, showcasing many of the papers on large panels for the first time; in the past, many of the papers were only viewable in sample books. (Full disclosure: Culp Associates is a sponsor of this blog.) The Plum Blossom design, below, is probably my favorite, since it feels at once historic and modern when depicted large scale, and used as an accent on a wall. 

One thing to keep in mind as you look through these photos, all the amazing furniture and accessories are also from de Gournay. You can get more details on their website, here.

In our upcoming issue of Modern Luxury Interiors Texas, we're exploring new wallpapers by de Gournay and another venerable house, Gracie. It'll be up this week, so flip through the digital Summer Issue and see what's new!

Plum Blossom, lavender on tarnished silver gilded paper; Photo by Marie-Caroline Lucat

Plum Blossom on Edo ice blue, hand-painted silk.

Wisteria design on Lead Grey dyed silk

Willow design on Sterling silver gilded paper.
This room is in the Giorgetti Penthouse at the Plaza Hotel, NYC

Custom design in Crystal Grey on scenic paper

Aruba design, with outsized palm leaves is an updated version of an older pattern

Chelsea design on Pea Green dyed silk

Gensler's Dramatic Redo of Reunion Tower

The interactive GeO-deck at Reunion Tower; Photo by Andrew Bordwin

Sky High Style . . . For so long, whenever anyone visiting Dallas wanted to know where to go, I skipped telling them about Reunion Tower, even though—thanks to the TV show Dallas—it had become a landmark. Despite the amazing views from the observation deck, the interior spaces had seen better days. Then, it further fell off my radar when the tower was shut down in 2007 for renovations.

Now, just in time for its 35th anniversary, Reunion Tower is back, and it's been worth the wait. The last two remaining floors, including the new GeO-deck and Cloud Nine cafe, recently re-opened, with a dazzling redesign carried out by Dallas-based Gensler. Using the rotating sphere as inspiration, designers and architects at Gensler transformed the observation deck and cafe, using LEDs and beautiful materials and furnishings. 

They also teamed up with San Francisco-based Stimulant, a firm that specializes in the latest, state-of-the-art interactive technology. The observation deck's 360 degree view is enhanced by 46 touch screens that allow you to pull up real-time information about what you're seeing, thanks to HD cameras mounted outside the tower. The Big Sky installation on the ceiling of Cloud Nine cafe streams real-time, 3D simulations of the city's weather patterns—can you imagine what it would all look like during one of Dallas' explosive thunderstorms? 

GeO-deck LED detail; Photo by Andrew Bordwin.

LED clouds in the ceiling at the Cloud Nine cafe feature digital weather scenes; Photo by Andrew Bordwin.

Bar at Cloud Nine cafe; Photo by Andrew Bordwin.

The new high-speed elevator at Reunion Tower takes
68 seconds to reach the top; Photo by Andrew Bordwin.

Stairwell and lighting fixture connecting the GeO-deck and Cloud Nine cafe; Photo by Andrew Bordwin.

High definition cameras mounted on the exterior of the tower
allow visitors to pick a view of the city
 to explore in real time; Photo by Andrew Bordwin.

Kitchens, Baths, Limited Edition Gio Ponti, a Dixie Chick's Amazing Abode and More!

Spring 2013 edition of Modern Luxury Interiors Texas
Cover Photo by Stephen Karlish

Splish Splash . . .  The spring issue of Modern Luxury Interiors Texas celebrates our one-year anniversary with a wonderful feature on kitchens and baths, written by Executive Editor Connie Dufner. The cover story, photographed by Stephen Karlisch and written by Carla Jordan, just happens to have a gorgeous kitchen, but you'll love the rest of the house, too. It's the work of Dallas architect Jason Smith of SmithArc and Dallas interior designer Ashley Tripplehorn-Hunt. 

To read the terrific story and see more of Stephen's stellar photography, go here and flip through the digital edition. The kitchens and bath story begins on page 102. Here's a peek inside:

Bathroom by Waterworks, turn to page 105

Crystal bath and kitchen containers by Saint Louis, at Hermes; turn to page 103

Don't you just love the idea of storing leftovers in the fridge in these glamorous new containers? The tops come in a graphite gray color, too. What a great housewarming gift! 




Living with Geometry. . . 

Romeo Sozzi's Aziza armchair at Promemoria, turn to page 66

Read about how Promemoria designer Romeo Sozzi took some of the company's best-selling furniture and re-imagined them in a whole new way with optical illusions and geometry and angles. Here's a few pieces from the new collection that are my favorites. Turn to page 66 in the magazine for the story.

Two-toned velvet Bilou-Bilou chair, turn to page 66

Leather Scarlett table on hidden casters, turn to page 66

Signed and limited . . . 

Limited edition Gio Ponti collaboration with Molteni & C, at Smink

Gio Ponti is one of the most celebrated designers of modern time, so I loved working on this story about Molteni & C's collaboration with the Ponti family to produce a collection of signed and limited edition pieces—including those once in Ponti's own home. Smink in Dallas is one of only a handful of showrooms in the world to carry it, and one of three in the U.S. where you can buy it. Click here and turn to page 40 to read the story.

Gio Ponti limited edition table

Gio Ponti limited edition rug

Pitch Perfect . . . 

Dixie Chicks' Martie Mcguire at home
Photo by Colleen Duffley

This story is hands-down my very favorite this month. Photographer Colleen Duffley and I have worked together off and on for 15 years and when she brought me the idea of photographing her longtime friend and Dixie Chicks member, Martie Mcguire, at her cool Austin abode, I was thrilled. The photos are jaw-droppingly beautiful, as are the rooms. Senior contributing editor Helen Thompson, who wrote about Martie's sister Emily Robison years ago for Metropolitan Home, wrote a fabulous story to go with the stunning images. Mcguire loves interior design and she not only talks about how her house came together, but where she loves to shop. You'll hang on every word, I promise. Click here and turn to page 50 to read the story.

The breakfast room inside Martie Mcguire's Austin home is a contrast of shadow and light, with great views.
Photo by Coleen Duffley.

A peek inside Martie Mcguire's recording studio at home, which she designed herself
Photo by Colleen Duffley

Fort Worth Artist Layla Luna

Dodo Dance Party, oil on wood, by Layla Luna

The wild, wild West... Fort Worth artist Layla Luna's work intrigues me because it's filled with images that evoke a true sense of place, but not like anything I've seen before. Luna spent her very early years living in Paluxy, TX, a stone's throw from Glen Rose, which is famous for its ancient dinosaur tracks and bones. She grew up in Fort Worth, and now splits her time between painting, working at the gift shops inside the Fort Worth Museum of Science and History and the Kimbell Art Museum. 

After receiving a BFA in painting from Arizona State University in 2008, she went on to earn a postgraduate diploma in Fine art from Massey University in Wellington, New Zeland in 2011. A conservationist at heart who makes drawings and paintings that explore our relationships with nature, Luna isn't yet represented by a gallery and she works somewhat anonymously, painting for hours at night after putting in a full day's work at the museums. Ironically, working in the museums' gift shops with all their toys has influenced what she paints. And, during her lunch hours she takes a notebook and pencil and sketches the collections—more than a few taxidermy animals and dinosaur bones have ended up in her work, as you'll see.

A highly skilled and talented artist, she's also really articulate about her work. She was kind enough to let me interview her:

American Youth on Land, oil on wood, 50"x34"

I love your American Youth series, which include depictions of iconic Western themes such as cowboys and Indians, along with dinosaurs and classic "Master Cylinder" style robots. You used plastic toys to paint from?

Luna: I had gotten terribly homesick while studying in New Zealand in 2011 and became consumed with exploring the concept of home.  After moving back to Texas, I lived in a nostalgic bubble for the better part of 2012.  Every flat surface of the studio was covered in Lincoln Logs, cap guns, wind-up robots, and dinosaur figurines. Working at the Fort Worth Museum of Science and History store absolutely fed the American Youth series.  For 40 hours a week I was immersed in the perfect reference materials.  I own more toys than an 8 year old.

American Youth Airborne, oil on wood, 50"x34"

American Youth at Sea, oil on wood, 50"x34"

Left: Jacks Landscape, oil on wood. Right: Cowboys and Indians, oil on vintage wallpaper

Luna: I re-read the diaries I had written as a kid, ogled over vintage toys, and researched the work of artists that used home as subject matter. Matthias Weischer, Dexter Dalwood and Gordon Matta-Clark were huge inspirations. I basically climbed back into my childhood until I got it out of my system. And thank god for that—it was mentally and emotionally exhausting.

The Science of Sparrows, oil on wood, by Layla Luna

 Tell us how living and studying in New Zeland affected your work:

Luna: New Zealand blew my mind. I chose Massey Uni because it is a highly conceptual, research-based school which is completely opposite from my traditional, representational painting background. I wanted to learn to work and think in a different way in order to make new work. By the last few months, I was making nothing but abstract work. I felt really lost, but I was producing work I would have never made (otherwise) and that was the purpose. 

Birds are a recurring theme in many of your paintings....

Luna: I wouldn't call myself a birder (I don't even own a pair of binoculars) and to be honest I haven't entirely figured out the allure that birds hold for me. The bird obsession started with a Painting II assignment when I was an undergrad. We had to explore the idea of 'ugliness' and 'beauty' by painting two portraits in reaction to Oscar Wilde's, The Picture of Dorian Gray.  For the ugly portrait I painted Dorian's character as a vulture and for the beautiful portrait I painted a tin, wind-up toy bird for his facade.  I pretty much painted nothing but birds for the next four years.

From left: Love Me, oil on board; Hover, oil on board; Dinner Guest, oil on board

Left: Birds, oil on vintage wallpaper; Right: Guns, oil on vintage wallpaper

Who are your influences?

Luna: My influences are constantly changing.  Right now I'm really into Albrecht Durer's animal and plant studies and Frans Snyders dead game still lifes.  I'm pretty much fascinated with anything involving animals from the Renaissance - the technical perfection of paintings from this time is ridiculous.  The compositions have a completely different viewer reaction in the 21st century.  I think people today would be pretty put off by one of Snyders' paintings of a dining room table piled high with dead animals. Depictions of wildlife had a radically different perception 500 years ago. Walton Ford is one of my favorite contemporary artists.  He is a wicked talented painter who does epic watercolors in the style of John James Audubon but they have humorous narratives that poke fun at over-the-top victorian colonists. I love the idea of spending so much time on a topic that is so randomly specific.   

     

Left: Cub, oil on wood; Right: Moose on a Cart, oil on wood

Your latest works reflect some of the research you've been doing into specimens. Tell us more.

Luna: I was lucky to be able to visit Tulane Univeristy's Biodiversity Research Institute in New Orleans, which has one of the world's largest fish specimen collections in the world and I'm currently working with the Fort Worth Museum of Science and History's collection. (Once again, my job has its perks.) The bulk of most of these collections is tucked away behind closed doors in places the public will most likely never visit. I want to make these environments available to a wider audience through my work.

I also want to visit as many animal specimen collections as I can. I'm searching and applying to artist residencies within environments concerned with wildlife conservation. It's all just a big experiment. . .

Robo Wagon, embroidery on cloth

Luna: One work leads to another; I don't know the destination...