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Proust on Design: Timothy Corrigan

May 15, 2013

what is your idea of perfect design happiness?
A WELL-PROPORTIONED ROOM
WITH PLENTY OF NATURAL LIGHT
AND A CLIENT WITH A GOOD BUDGET
WHO SAYS: “AMAZE ME!”

what is your greatest fear in design?
PLASTIC-COVERED FURNITURE…
I SAW SOME IN A FRIEND’S HOME IN COLLEGE
AND HAVE NEVER GOTTEN OVER IT!

which historical design figure do you most identify with?
JEAN-CHARLES MOREUX DID IT ALL.
HE WAS AN ARCHITECT, HE DESIGNED INTERIORS,
HE CREATED FURNITURE AND HE DID LANDSCAPE DESIGN.
A TRUE RENAISSANCE MAN.

which living designer do you most admire?
NEW YORK DESIGN ICON VICENTE WOLF
HAS BEEN A GREAT INSPIRATION.

what profession other than design would you like to attempt?
I WOULD LOVE TO BE A LANDSCAPE ARCHITECT.
WHAT A JOY IT MUST BE TO INTEGRATE SPACE, SHAPE AND FORM
WITH THE MOST WONDERFUL OF ALL MATERIALS -
TREES, SHRUBS, AND FLOWERS.

what is your greatest design extravagance?
MY PORTRAIT COLLECTION.
I HAVE ALWAYS LOVED PORTRAIT PAINTINGS
BECAUSE THEY HAVE THEIR OWN KIND OF ICONOGRAPHY
THAT TELLS YOU ABOUT THE TIME AND PLACE
THAT THE PERSON IN THE PORTRAIT LIVED.

when and where were you happiest with your design?
MY PLACE IN THE FRENCH COUNTRYSIDE,
THE CHATEAU DU GRAND-LUCÉ.
I PURCHASED THE CHATEAU IN 2004
THEN UNDERTOOK ITS MASSIVE RESTORATION AND DECORATION,
BRINGING IT BACK TO ITS FULL GLORY.
IT DOESN’T MATTER WHAT I AM DOING THERE
- PULLING WEEDS, FEEDING THE SWANS, OR WALKING IN THE WOODS -
THIS IS THE PLACE WHERE I FIND THE TRUE MEANING OF JOY.

what do you consider your greatest achievement in design?
I HAVE SO LOVED THE DEVELOPMENT
OF MY NEW LINE OF FABRICS AND FURNITURE FOR SCHUMACHER
AS WELL AS CARPETS FOR PATTERSON, FLYNN & MARTIN
THAT ARE ALL COMING OUT NEXT SPRING.

if you died and came back as another designer or design object,
who or what do you think it would be?
EMILIO TERRY WAS AN INCREDIBLE TASTEMAKER
WHO NEVER REALLY RECEIVED GREAT FAME.
I WOULD LIKE TO COME BACK AS HIM TO INSURE
HE ACHIEVES THE LEVEL OF NOTORIETY HE DESERVES.

what specific design related talent are you lacking
that you would you most like to have?
GOOD HANDWRITING
AND THE ABILITY TO SKETCH WELL…
WHEN IT COMES TO A PEN OR PENCIL,
I AM SEVERELY CHALLENGED!

what is your most treasured design related possession?
A SMALL SILVER AND VERMEIL BOX
WITH ENAMEL AND PORCELAIN
THAT WAS GIVEN BY EMPRESS ELIZABETH (“SISI”) OF AUSTRIA
TO HER NIECE, MY GREAT, GREAT GRANDMOTHER.
IT’S FILLED WITH AN ODD COLLECTION
OF SMALL MEMENTOS FROM MY FAMILY AND CHILDHOOD,
LIKE THE FIRST STARFISH I EVER FOUND
AND SOME OLD KEYS TO THE STABLES
AT MY GRANDMOTHER’S HOUSE.
IT HAS BEEN WITH ME THROUGH TODAY
AND SERVES AS A KIND OF TOUCHSTONE.

what do you regard as the lowest depths of misery in design?
CLOSED MINDED PEOPLE WITH NO DESIRE TO GROW OR LEARN.
IT’S SO IMPORTANT TO ALWAYS BE OPEN TO NEW IDEAS
AND WAYS OF LOOKING AT THINGS…
THAT’S WHEN MAGIC HAPPENS IN DESIGN, AS IN LIFE!

what curse word do you most frequently use?
I AM EMBARRASSED TO SAY IT,
BUT IT WOULD HAVE TO BE
“WHAT THE FU-CK?…YOU’VE GOT TO BE KIDDING ME!”

what is your favorite design related word?
ELEGANT

what is your least favorite design related word?
DELICIOUS OR FABULOUS…
REALLY, WHAT SELF-RESPECTING PERSON
WOULD UTTER SUCH SILLINESS?

what turns you on in design?
HAVING NUMEROUS OPPORTUNITIES
TO TRY NEW AND DIFFERENT THINGS.
I ALSO LOVE THE CHALLENGE OF TAKING ARCHITECTURE
FROM AN EARLIER TIME,
IN WHICH PEOPLE LIVED VERY DIFFERENTLY
AND THEN FIGURING OUT HOW TO APPROPRIATELY UPDATE
THAT STRUCTURE FOR THE WAY WE LIVE AND WORK TODAY.

what turns you off in design?
OH, WHERE DOES ONE BEGIN HERE?
1. I AM SO OVER IKAT THAT I COULD SCREAM.
2. I HATE ROOMS THAT LOOK LIKE THEY JUST CAME
DELIVERED FROM A SHOW ROOM.
3. I DON’T UNDERSTAND MOST OF THE
PLASTIC FURNITURE FROM THE 70’S…
IT WAS CHEAP THEN AND HASN’T IMPROVED WITH AGE.

what is your motto in design?
COMFORTABLE ELEGANCE.
I TRY TO CREATE ENVIRONMENTS WHERE PEOPLE FEEL
AT HOME AND WELCOME. COMFORT IS THE KEY INGREDIENT.

IMAGE CREDITS | Images courtesy of Timothy Corrigan, Architectural Digest, Vulgare & OperaGloves.

ABOUT PROUST ON DESIGN | Answered by our design icons, these must-ask questions come from a 19th century parlor game made popular by Marcel Proust, the French novelist, essayist & critic. Proust believed the direct questions and honest responses that they elicited revealed the true nature of the individual. For this column, we have put a design related spin on the traditional questions. While this method has been used by many journalists throughout the years, we were primarily inspired by The Proust Questionnaire, which appears monthly on the back page of one of our all time favorite magazines, Vanity Fair (also Krista’s alma mater). Read all of the previous Proust on Design questionnaires here.

Categories: Art, Dining Room, Flowers, Interior Designer, Interview, Magazines, e-Zines, Magalogs, Proust on Design, Travel

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Provenance: Toran

April 25, 2013

prov-e-nance \ˈpräv-nən(t)s, ˈprä-və-ˌnän(t)s\
noun. the place of origin or earliest known history of something.

Guest edited by Jacqueline Wein, Tokyo Jinja
Provenance: Toran | Guest Edited by Jacqueline Wein | CLOTH & KIND
IMAGE | Antique Toran via The Textile Museum of Canada

A number of years ago I spied a charming doorway textile at the home of a dear friend. Clearly Indian in origin, it was a rectangular banner with small fabric flaps hanging down and tiny mirrors embedded in the pattern. She told me it was a toran, a hand embroidered and embellished door hanging, traditionally made in Gujarat, on the coast of Northwestern India. My fascination with them grew and over the years I have continued to keep an eye out for them.

The word toran (or torana) itself originally referred to sacred gateways in Indian architecture, with roots in Buddhism and Hinduism, like this pair of 12th century sandstone ones in Vadnagar, Gujarat. It is easy to see the connection between the embroidery of the fabric hangings and the detailed stone carvings, as well as in their function to welcome both the gods and people. Decorative toran also play a role in holidays like Diwali and Holi or at weddings and celebrations as they are believed to be auspicious and lucky. The doorway blesses every person that walks under it, showering them with an abundance of love, prosperity, health and happiness. While the heavily embroidered ones tend to be regional to Gujarat, toran in other forms are popular throughout India. In the south, green mango tree leaves are threaded together and hung across the door. In Northern India, marigold flowers are strung together and used the same way. The small flaps that hang from the fabric versions are meant to represent dangling leaves and flowers.

IMAGES | Torana Arch via Vadnagar, An Ancient City & Marigold Garland via Mitai and Marigolds

Often times toran are used in spaces other than actual doors to represent a passageway. This welcoming example from Sibella Court‘s Nomad book beckons one to enter and cozy up for a restful nap.

IMAGE | via Nomad: A Global Approach to Interior Style by Sibella Court

The Kutch region of Gujarat is particularly well known for its embroidery techniques, with specific tribes and communities having their own particular style. Shisha, which is the Indian word for little glass or mirror, is the most distinctive technique in which small mirrors decorate the textile, being held in place by a framework of overlaid embroidery stitches. No glue is used and the mirror is not threaded through or attached in any other way. It was believed that the mirrors had the power to ward off evil spirits by trapping or confusing the evil eye. While many of the other decorative stitches, such as the chain stitch, are universal, shisha work is unique to the Indian subcontinent. It comes as no surprise to me that women are solely responsible for these creations and that motif and patterns are not copied or written down, but instead passed along orally.

IMAGE | Antique Kutch Embroidery Toran from NovaHaat.com

Base fabrics and threadwork include cotton and silk and pieces over 50 years old may also have beadwork in addition to shisha work. Motifs are varied, from very naturalistic animals to very stylized patterns and geometrics. Mismatched patchwork is also part of their charm. Museum collections have toran from the late 19th century, but most of the older pieces available on today’s market are mid-20th century. Invariably, the vintage pieces have some damage – in my mind, patina – and there are also many newly made toran available as well, although the details and quality of the silks doesn’t match that of the older pieces. The decorative possibilities, in particular for children’s rooms, are obvious. They make charming valances or would be perfect fronting a bed canopy. Some toran are as long as 30 feet and I have seen them draping the edges of party tents as festive adornment.

IMAGE | Antique Kutch Rabari Banjara Toran via EthnicIndianArt

In modern-day interior decor, toran can be used in a quite literal context to embellish the threshold, as in this rituously joyful, over the top Indian themed space that was featured in Marie Claire Maison.

IMAGES | Bollywood Boudoir via Marie Claire Maison & Vintage Toran via IndianBeautifulArt.com

But they are also incredibly sweet when taken completely out of context and used in ways you might not expect like here, hanging over a kitchen nook in floral designer Nicolette Camille‘s Brooklyn apartment. This toran also defines and elevates what would normally be a rather simple kitchen.

IMAGE | Nicolette Camille‘s Brooklyn, NY home via Design*Sponge

Perhaps best of all is when toran are part of a truly global design aesthetic. In Maryam Montague‘s Marrakech master bedroom, featured in Elle Decor, this toran-like textile used as a window valence mixes happily with decorative items from many nations, including France, Mali, and Morocco.

IMAGE | Maryam Montague’s Marrakech master bedroom via Elle Decor

Have you used a festive toran as decoration in your home, or do you have something else to share with us on this topic? If so, we’d love to hear all about it. Please leave a comment below or email us at info(at)clothandkind(dot)com.

ABOUT PROVENANCE | Provenance offers a scholarly nod to the history of iconic styles in textile & design and is guest edited by Jacqueline Wein of the blog Tokyo Jinja. Previous Provenance topics include: Kasuri & Kuba Cloth.

Categories: Bedroom, Embroidery, Flowers, Guest Editors, Magazines, e-Zines, Magalogs, Multicolor Textiles, Provenance, Vintage & Antique Textiles

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Anatomy of Flora: Spring I

March 26, 2013

Guest edited by Tami Ramsay.

It’s Spring, well, technically. Marked by the Vernal Equinox on 20 March 2013, relative equal days and nights are upon those of us in the Northern hemisphere, whether your sidewalks are still covered in snow or your native azaleas are in full bloom. Invariably though, I liken Spring to a slow boil, the kind that takes forever when you are pot watching, and only bubbles when you finally walk away to visit the loo. Spring is a bit of a flirt too, teasing you with enough warm and sunny days to ensnare your loyalty, but then like a classic photo bomb, ruins a good thing of tank tops and flip flops with a cold snap that makes you regret that recent seasonal overhaul of your closet.

Alas, though, I am a willing mistress to Spring and hang on to all that it promises, even when I come up jilted and cold. Some of the first early Spring bloomers in my region, known as Zone VIII, are the tulip magnolia, the loropetalum chinense, and the common flowering dogwood. Each of these beauties appeals to me for different reasons but when combined and artfully arranged together, I am overwhelmed by their modern and graphic effect. Pair that with sun streaming through the window, casting its golden glow on buds in bloom, and it’s got to be Spring o’clock somewhere.

The tulip magnolia, also known as the Japanese magnolia, is actually a deciduous shrub, but presents rather as a small to mid-sized tree, that kicks off early Spring with a profusion of large pink to purple provocative flowers, all before shedding them and assuming its role as a common, less than showy and leafy specimen. But when that bloom erupts on that woody stem, its like Heaven and Hades meet, with a splash of love and heat.

Although the white variety of loropetalum has its place in the garden, the pink flowering variety featured above, often referred to as a Chinese fringe flower, is my favorite. When this deciduous shrub is left unattended, sans pruning to a tight hedge, a subsequent leggy-ness prevails which leaves the branches swaying at the mercy of the wind’s movement, and encourages the long eyelash-like petals to flit and float this way and that. The combination of those hot pink strappy petals, along with their lilt and lightness, totally slays me, every time.

Relatively synonymous with Spring and the Southern landscape is any variety of Cornus florida, or the flowering dogwood, and its characteristic petal bearing flowers–a total showstopper in all its glory. Nothing screams new beginnings and beckons warm days more than the budding of millions of tight little fists of dogwood flowers, just trembling with anticipation of busting out of their nubby incubators; but, it is folly to be fooled completely by these blooms. Commonly referred to in the Farmer’s Almanac as a Dogwood Winter, a colloquial term used in the American Southeast, farmers knew it wasn’t safe to plant their crops without fear of frost until after these blooms had come and gone. Even still, those tightly packed pink and green tinged flowers make for a very textural and graphic accompaniment to the tulip magnolia and loropetalum below, nestled in a silver compote and finished with black shredded pine mulch.

Whether you are sipping hot cocoa by the fire or drinking ice cold sweet tea in the garden, Spring has sprung. Let the show begin!

IMAGES | Floral styling, arrangements and photography by Tami Ramsay

Categories: Anatomy of Flora, Flowers, Guest Editors, Nature

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Lovely List: Traditional Home, March 2013

March 6, 2013

Following are a few of my favorite lovelies from this month’s Traditional Home. I especially enjoyed the American Red Cross Designers’ Showhouse (psst… you can shop the look at Dering Hall). Which are your favorite images or articles from this issue?

page 21 | 28 | 49 | 28 | 52 | 92 | 81 | 49 | 23

IMAGE CREDITS | All photographs are from Traditional Home‘s February March 2013 issue.

Categories: Bedroom, Dining Room, Flowers, Furniture, Hallway & Stairs, Lovely List, Magazines, e-Zines, Magalogs, Outdoor Space, Philanthropy, Wallpaper

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Anatomy of Flora: Winter III

March 5, 2013

Guest edited by Tami Ramsay

When I was in college, I loved to run along the side streets off Milledge Avenue in Athens, Georgia to take in the curb appeal of the all the little bungalows that dotted the way. I had no idea then that one of my favorite houses, a 1920s Tudor style stucco, would one day become a home for my family some 20 years later. One of my favorite visual vignettes about that particular house was its side porch which was beautifully flanked by a profusion of old fashioned pearl bush. It was a showstopper. By the time we bought the home, the owner, who I later learned had danced many a jig on that side porch, had suffered a long illness and ultimately died, and in the midst of that the home had fallen into a state of disrepair. The interior plaster walls and ceilings were badly cracked and crumbling, the exterior a long forgotten landscape having been overtaken by underbrush and bamboo, but the pearl bush remained a steadfast and bountiful bastion. That bush, along with the two mid-century brass and lucite light fixtures hanging from the barrel vaulted ceiling in the living room, had me at one foot in the front door. I bought the house on the spot.

Over the past few years, my design aesthetic with floral arrangements has gone the way of less is more with a keen appreciation for negative space. I find myself drawn to leggy stems, especially ones that lilt this way and that, and branches that that are gnarled and knotty, smacking of arthritic metatarsals. I am completely fascinated with the sense of movement created by those shapes and lines and the resultant dissecting and highlighting of the surrounding space. I recently discovered the beauty of charcoal and vermiculite, additives commonly used in terrariums as a soilless medium, but have been using them instead as elements in design. The charcoal, with its matte black and chipped face, is the perfect substrate and creates a fine gravel base from which these leggy stems emerge. A light sprinkling of coarse vermiculite, diamonds in the rough of the dark charcoal, add a nice touch of twinkle.

I especially love using vessels with a footed base to add height to an arrangement, and in this case, a milk glass chalice, to compliment the milky white pearl bush. Nestled in the corner of my mudroom, on the ledge of the original metal casement window, the pearl bush blooms march out along its branches, but unlike most plants, does so on old growth covered in dried pods from seasons past. For me, therein lies the beauty and wonder of the pearl bush. It reminds me that I need my past experiences, even the really hard ones, to inform the beauty of my new growth.