Eye on Design with Curate Interiors, San Fransisco, CA, curateinteriors.com
The Punch is the clear winner. It's so versatile in both modern and more traditional settings. I've specified it in multiples down a hallway, in a powder room, as a ceiling mount fixture in an exterior foyer. It harkens back to the headlights on my dad's 1940 antique car; I have very fond memories of summer family outings to Dairy Queen in it!
1. The custom exterior pendant we designed for a client inspired by a fixture they saw and fell for in Amsterdam, 2. Belle Meade, 3. Huntley, 4. Loopy, 5. Lundy & 6. Pop. I most recently used the Pop in a client's elevator and papered it with the same wallpaper we used in their kitchen’s elevator vestibule. It's a cicada (yes, cicadas) deco-inspired wallpaper from Grow House Grow in Brooklyn.
I aim to create warm and livable spaces that don't feel over-decorated -- and yet every detail is thought out. I'm a tactile person and that manifests in the symphony of textures I use. I seek out timeless pieces and the result is often eclectic yet refined. Mixing periods makes for the most interesting spaces that feel lived in.
In order to maintain a balance in my life I am selective about whom I choose to work with. It is important that there is creative harmony with a client before taking on what is a very personal endeavor for both of us. My clients tease me but my heart skips a beat when I immediately know I’ve discovered the perfect piece or wallpaper, fabric or rug. I'm a seeker at heart and intuitive about what clients love so it's thrilling to nail it. I've been known to refer to schemes as "insane" when they’ve come together well or to text my clients photos of something I've found for them and simply say "we've arrived." The dialogue and process is fun.
Whether it's the powder room or the library, the smallest room in the house is always my favorite because it allows me the opportunity to take the most creative risk.
1st Dibs, Los Angeles (JF Chen and Blackman and Cruz atop the list), Instagram, world travel.
I always tell my clients good design evolves and takes time. I refuse to present an entire scheme with every piece and detail determined at one time because it would be forced. The most wonderful outcomes for clients have happened when we commit to an ongoing dialogue, don’t rush to finish and there's a level of trust that I'll seek out and find great pieces, whether custom, new or vintage. I've also learned there are no official rules when it comes to design but it's important to obsess over the finer details. Finally, comfort is key. You can find the most beautiful upholstered pieces online or but clients need to sit in them to test the comfort level before making any commitments.
I have an extensive collection of white ceramic tableware by Astier de Villate that takes my dinner parties to another level. I also have several vintage wood flatware boxes.
Charleston Gray and Slipper Satin by Farrow & Ball
Acadia White, Plaster of Paris and Skipping Stone by Benjamin Moore
"Decorate" by Tom Scheerer
"Rooms" by Katie Ridder
“Sister Parish Design”
Any Axel Vervoordt book