Thursday, April 30, 2009

He Had the Mac & Cheese


"I love this place."

"Haven't you been here?"

"No."

"Didn't I tell you it was amazing?"

"Well, yeah, but.  Well, I thought it was girl food."

This was all before the food came.  I talk all the time and sometimes Mr. Blandings forgets to pay attention.  Once it arrived he said, "I love it here," a minimum of four more times.  I had the (best) chicken salad sandwich (of my life.)  And I knew how to pronounce everything.  Happy Gillis.  The sun broke through the clouds on our way out.  No coincidence.  

Wednesday, April 29, 2009

Orange Crush


I've enjoyed the Kips Bay Decorator Show House coverage.  While it's not in my back yard I couldn't help but weigh in on this particularly happy room.


Joe Nye balanced a great use of color with classic elements and a dash of humor.  You didn't miss the pop bottles, right?  (Or since they are in New York are they soda?)


Just a touch of black, something I think every room needs, and oh, that ceiling.

Only one of the reasons I am yearning for spring in New York.

All images courtesy of Marisa Marcantonio at Style Beat.

Tuesday, April 28, 2009

Yes Man

Every now and again I'll receive a request from a reader.  If at all possible I try to lend a hand, but sometimes I get distracted.  Last week I had a lovely request from someone wondering if I had the March 2008 issue of World of Interiors.  This woman was on the hunt, scouring the net for back issues with little luck.  Well, yes.  Yes, I did have it and yes, I understand being so hungry for a certain designer or a certain feature that I would search frantically until I found it.  

When I pulled the issue from my shelf I remembered it for a striking shell folly that had so captured my heart that I had foolishly overlooked this stunning apartment by Veere Grenney.  Surprising, too, as I find honey-toned interiors such as these irresistible.  The dining room, above, features a Jansen chandelier and gilded, satin-covered chairs.  The chairs are from a set of fifty originally made for a Viennese palace; Grenney designed the table and the fabric on the walls.


The drawing room maintains the same palette and is anchored again by a sisal and jute rug offering a nice juxtaposition to the Robsjohn-Gibbons chairs and the Regency table.


A confident mix that travertine mantle with its hodge-podge of personal effects and the rush basket.  The windows here treated in a way that would make me surely purse my lips if it were described to me.  Valance?  Usually not.  Fringe?  Certainly no.  But it is just what the room wants and that perfect kiss of floor and hem with that - what, quarter inch? half inch? - of satin.  A resounding "yes" to all.


The sofa is pink silk.  No nonsense is made of the radiators.  Again, hooray and hooray.


This is the desk that you see from the drawing room.  Like it?  Hmmm....Jansen for Billy Baldwin.  Good eye.

Can you hear the violins swelling?  The bed fabric is, again, Greeney's design.  Kime on the quintessentially English club chair, antique images of the Middle East adorn the walls, the flash of silver from the lamp in contrast to all that golden glow.  Yes.  Yes.  Yes.

Bathrooms and kitchen.  I know, Mr. Blandings will be squawking as he thinks these are the most important, too, but they are classic and right and that is all I care about.

Except, again, this flash of gold here against the grey.  Whew.  Many thanks, gentle reader, for bringing this to my attention.  Yes, you were right, it's a keeper.

All images World of Interiors, March 2008.  Photography, Fritz von der Schulenburg.  For additional images of Grenney's work check here.

Monday, April 27, 2009

So Entertaining


To all those concerned that the table in the last post was a tad tight, I offer this image.  Seems everyone is having a good time and no one's elbow is in his neighbor's soup.


But the concern reminded me of a charming book, The Party, by Sally Quinn whose name has been on the tips of many a stylish tongue of late.  My sister-in-law, Lucy, worked for Ms. Quinn for a while and gave me the book for Christmas one year.  The sub-title is "A Guide to Adventurous Entertaining."  It was back in the day, during a time when Mr. Blandings and I had an annual Christmas party.  It all started innocently enough.  

We were married in October and as a way to show our appreciation to the people who had entertained for us during our engagement we threw a cocktail party.  Between the two of us we did not own a Christmas ornament so I went to Wal-Mart and bought four boxes of gold balls in various sizes.  We had been fortunate enough to receive many wedding presents from Hall's and their wedding wrap included yards and yards of wide, cream grosgrain ribbon which served as garland for the tree.  We stocked the bar.  Mr. Blandings cooked.  It all seemed very grown up and quite fun.

The following year we decided it should be an annual event.  Without the natural parameters of the previous year the list grew a bit.  And the next year a bit more and, well, you can see where this is headed.  It was a great mix of people, a few duds of course as there always are, but mostly a lively crowd with a cheerful disposition.  Which was good because by the time I called it quits on the whole thing the guest list had reached about one hundred and seventy people.  The Dream House is medium sized at best and while people came and went it was a crush.  Keeping the bar stocked became an ongoing joke as we would buy based on consumption of the year before but never anticipated correctly.  "Oh, darling, don't park in the driveway.  I'm quite sure Mr. B will have to run to the liquor store."  

It was the kind of party where you were not surprised to pass two gentleman trading ties in the living room.  So when I came across Ms. Quinn's term "PRF" I knew just what she was talking about.  The Blandings' Christmas party was a PRF.  

Putting the Christmas party to rest was like putting down a beloved pet.  All my memories were fond, but the reality was that the joy was gone.  We held the party on the second Saturday of December.  When we started having it we had nothing but our pesky jobs to distract us.  I was giddy to pour over invitations.  I was thrilled to order parrot tulips by the truck-load to fill the Christmas stockings.  I wanted to spend an entire weekend trimming the tree as my ornament collection was now something of an obsession.  Once the boys started showing up things got a little trickier.  The second week in December is a popular time for school Christmas programs and parties and oh, by the way, I was no longer that fresh young bride, but now Santa Claus as well.

The first year that we didn't have it we would run into people, people who normally would have been invited and you could see that wary look.  "Hey, so, what have you guys been up to?"  "No, no, you haven't fallen off the list.  We're not having the party."  Mr. Blandings, for the first two years, referred to it as a "break."  It's been five years since the last one and every Fall he says, "What do you think about the Christmas party this year?"  I think the PRF should RIP.

Image, top, Christopher Spitzmiller.  Illustration, next, Susan Davis from "The Party."

Chris and Roy Set the Table


There is so much inspiration to be found from dining events and the tables that the designers put together.  I hope to have pictures from Dining by Design soon, but in the meantime wanted to share these images from Christopher Spitzmiller and his table at the Lenox Hill Neighborhood House party at Sotheby's.


Christopher threw the pots in the center and Roy Hamilton created the wood grain.


Roy also threw the chargers.


They used moss around the base of the centerpiece and the tablecloth and napkins are felt.  I love the restraint on the centerpiece.  The ferns are so lush and the empty vases become sculpture.

Chris said someone came by and felt the tablecloth during set up and said, "Oh, cashmere!"  A good reminder that people often see what they expect to see.  The mix of high and low, while adding some dimension, can also bring the "low" up.

The charming frog place card holders were floral district finds.  Be sure to click the images to see the pottery in detail.  I must say, some of my favorite pieces are the low votive holders; the candlelight makes the glaze glow.  Information on both Chris's and Roy's work can be found here.

All images courtesy of Christopher Spitzmiller.

Friday, April 24, 2009

DIFFA DBD KC

I did find a dress.  Now if someone would just drop this lovely by the dream house I'd be all set for Dining by Design.  Don't forget, Table Hop tonight 5 - 9.  You can stop in and see the tables tomorrow from 9 - 12.  All the info you need (even if there's not a Verdura cuff) right here.

Thursday, April 23, 2009

Gros Point


Everyday little surprises pop up in my in box.  Products and services that folks are trying very hard to sell and promote.  Sometimes they are quite good and I pass them along.  Yesterday I received a notice that the newest issue of St. Louis Seasons, a regional magazine, was available on line.  "Oh!  I like St. Louis!  I'll check it out."  
  
Aren't there times when things just come to you and all of a sudden you realize why?  One of the features of this month's issue was on a Ladue resident who makes me look like sloppy seconds when it comes to needlepoint.  She stitches rugs.  Really.  Big rugs and a lot of them.


"When we moved into the house 54 years ago, I couldn't afford an Aubusson rug, so I decided to make my own."  That first rug was actually designed and made by someone else, but then the owner began to design and stitch rugs herself.  Fourteen so far.  Some she has made for her own home, but she comes from a long line of women who have acquired things with generations in mind and she has stitched for her children as well.
 

The top three images are her dining room and the rug pattern was based on her wedding china.  In addition, each chair cushion is stitched with the initials of a family member.  The entry rug is based on a French garden design and the runner, above, features the blooms from her garden as they appear through the seasons.


The first rug took her seven years to make.  Her partner in craft is First and Last Stitch a nationally known (for people who know these things) needlepoint shop.


The rug above and below is her daughter's dining room and, again, the pattern is based on wedding china.


She says she is never bored and finds stitching soothing and I must say that is part of the appeal for me as well.


This is the daughter's living room and the pattern was based on Chinese Export pottery that has been in the family for several generations.



When asked how she's cares for her rugs the daughter replied, "You hope someone spills something and then you don't worry about it anymore."

"Everyone should enjoy their things."  That came from mother to daughter as well, I bet.  To read the text and enjoy the rest of the magazine, click here.

All images courtesy of St. Louis Seasons.  No, really, this time I asked.

Wednesday, April 22, 2009

Yesterday


Started well and

ended with a bang.  When the youngest Blandings was born my mother-in-law said, "Lucy (Mr. Blandings's sister) thinks it's so funny that your babies' heads are so big."  I didn't see the humor at the time, but as they keep clunking them into things, I have to wonder.  He's fine.  His teacher told me there was lots of blood but three cookies seemed to make it all better.  

Monday, April 20, 2009

Do As I Say

“Mom, can we walk up to Brookside?”

You have to stop. You have to stop and think right there before you answer.  Seemingly innocent you can say,  "Yes, fine, you can just have Czechoslovakia,” and the next thing you know all of Europe is Hell and gone and you know you have no one to blame but yourself.

Swiveling in my chair to face him, “Um. I don’t know. What do you have in mind?”

“You know, it’s a nice day. I just thought it would be fun to walk up there. You know, our whole family.”

I know what you’re thinking. “So dear.” You can’t even see him so you don’t know how charming the freckles, how endearing the stock of hair so like his father’s but still wearing childhood’s golden glaze and the magic sparkle of his blue eyes. All this, combined with the query posed so sweetly would make you want to say, “Say yes! Why wouldn’t you? He’s adorable and is just asking for a little unstructured time with his family!”

But what you also don’t know is that it’s not particularly a nice day. Cool and rainy on and off, it’s not the best day to commit to a fifteen-minute walk both ways if things take a turn for the worse. And he’s smart. And savvy. He knows that both the walking and the family part are sure to get me.

“Is there something, perhaps, that you want in Brookside? A particular reason you would like to walk up today?”

“Oh. Well, no, not really,” says he as he averts his eyes.

“Nothing?”

“Well, I do have some money…..”

So here I go, the mental dance, the pas de deux of good mother/bad mother bouncing around in my head. It is his money. But there is a trunk size box of Legos upstairs, oh, yes, more Legos is what he is after, that are not interesting as they are not part of a kit. And he just received new Legos from the Easter Bunny. The Easter Bunny whom he knows does not exist, but we are all, the four of us, complicit in the lie in order to let the youngest have some glimpse of the comforting myths of childhood.

“Darling, really, there must be two million Lego pieces upstairs. Wouldn’t it be better to make something of your own? Use your imagination! And, really, there cannot be something new all the time. What about the Legos you just received? We need to find joy in what we have.  We can't always be looking to the next new thing. We have everything we need.”

“Mmm-hmmm,” as he turns away, head bowed, and angle of his shoulders drop twenty degrees. And I turn back to my desk, eyes just sweeping the new lamps awaiting the new shades across from the new basalt bowl.

The American Galleries


I had the great pleasure last week of seeing the renovated American Galleries at the Nelson-Atkins Museum.  The museum is, indeed, on a trajectory as its director, Marc Wilson, said in his welcoming words.  That trajectory began with a great big jump start with the opening of the Bloch building in 2007, but a steady and impressive climb continues with the opening of the American galleries this week and the Native American galleries in November.


Wilson lauded the donors who invested in this vision as providing the fuel.  Midwesterners are uncomfortable talking about money and I thought this was such a lovely perspective.  You can certainly feel the energy in these new galleries.


The galleries are arranged by time period.  They begin with 1776, an inky blue room which dramatically offsets both the portraits that hang there and the Nathaniel Gould Chest-on-Chest.  Each gallery contains examples of painting, sculpture and decorative arts from the period, so the viewer has the opportunity to absorb a snap shot of the age.

The gallery space was existing, and people familiar with the museum will be aware that it encompasses the space that previously housed five period rooms.  While interesting, those rooms were not entirely accurate and were, frankly, dark and a little difficult to see.  As part of the 1776 gallery, the drawing room of the Robert Hooper House has been restored.  In the previous space this room was painted cream and panels had been removed to make it fit its new home.  The room has now been restored and the paint and glaze were painstakingly applied to closely resemble the original.  It is a rich shade of robin's egg, slightly paler, with a glossy glaze applied to reflect light.  The baseboards and window seats are bark brown and flat providing a distinct contrast.  The floors are not original to the room, but are composed of 19th century wood resembling the original.  You cannot see much of the furniture from the image, above, but the upholstery is a deep, rich red damask.  (I liked it, just in case you couldn't tell.)


The galleries unfold through 1826 marking the National Academy of Design in New York, 1850, 1886 recognizing the first Impressionist exhibit in America, 1913 coinciding with the Armory Show which sparked concepts of modernism and 1939 the year of the World's Fair in New York.


Sometimes you have the opportunity to see works by an artist together, as with three works by John Singer Sargent, but sometimes works grace different galleries reflecting growth and change.  Thomas Hart Benton's lovely but somewhat conventional portrait of his sister appears along side the Stickley table, the Tiffany lamp and other works in 1913. But, around the corner, in 1939, you will find his dramatic Persephone and Hollywood hanging out with Georgia O'Keefe and a later Frank Lloyd Wright chair which suits both as furniture and sculpture.



It is a terrific way to absorb the art.  Wilson noted that museums are democratic.  The Nelson, which charges no admission, provides the space for us to explore our heritage.  As the museum is free, you don't have to go and rush and push and see the whole thing in the matter of a couple of hours, overwhelming both your soul and your soles.  You can go, take it in, see a piece, a room, a period.  You should.  It's yours.  Go see your new rooms. 

The new galleries open Wednesday.  More information on events surrounding the opening here.  The images are by Allison Long for the Kansas City Star.  Other than the Hooper House room, they do not correspond with the text and I can't for the life of me remember the significance of 1850 other than it preceded the Civil War.  That's another good reason to go.  Also, the color of the walls throughout are completely stunning.  That's not what you're supposed to be looking at either.  I'm just saying.

Sunday, April 19, 2009

Grandeur


Even if you don't find the story captivating, and I'm not quite sure how that could be, the sets and costumes of HBO's Grey Gardens are remarkable.

1940's country house?  I know, not a big stretch for me.

The renovated gardens were photographed for the New York Times here.

Thursday, April 16, 2009

Off the Rack

Heavens.  At the very least you think I could do a frame.  

Interior design Brooke Huttig and Mimi McMakin, Southern Accents, May/June 2009.  Photography by Zach Desart.

Wednesday, April 15, 2009

Inspired


I know you've probably seen this.  A few of my friends had posted it on their face book pages and I did not click.  I know.  Blah blah blah.  Touching inspiration abounds.  Whatever.  I'm busy.  I spend enough time on this darn machine without watching You Tube.

But my very good friend Judy forwarded it via email with only the words "please watch this."  I was telling another friend this week that the hard thing about on-line friends who you don't know personally is that every one's tale sounds plausible, but you don't really know them.  So you don't really know. And she said, "So you don't know if you're dealing with Judy or (insert any crazy person you know.")  Exactly.

But Judy is reliable, so, when she sent me this I watched it.  I'm such an idiot.  Sobbed and sobbed.  I watched Susan Boyle stand in front of a lot of people and sing.  She said it was her dream since she was twelve.  And the thing that I think has been such a stunner for some people is that her voice does not match her appearance.  But the thing that had me crying at my keyboard was that she is 47, unemployed, has never been kissed and lives with her cat and she pursued a quite unlikely dream.  I'm sure that when she told people she was going to try out for Britain's Got Talent they said, "Oh!  You should!"  But I also bet that women from her village who called themselves her friends probably said, "Nonsense.  A waste of time and a waste of money.  What is she thinking?"

And she got a standing ovation.  Not just on national television, but on this crazy wacked out international medium that I adore and often think is an unbelievable waste of time.  She tried something new.  She did something a little bit brave.  And she changed her life.  Not necessarily because she will become a singing sensation, but because now she won't lie in her bed at night thinking, "I wonder what would have happened if..."

I'm sorry I did not embed the piece; I couldn't find one that would allow it.  Some folks have found the link not working.  Search Susan Boyle on you tube if that is the case.

Signature Event


Tax Day, Smax Day.  Who has time to be depressed when there is so much to look forward to? We are just ten days away from Kansas City's Dining by Design event and I happen to know that this year's table designers are not letting the ho hum economy inhibit their creativity.


While noshing with friend and DIFFA/KC board member, David Jimenez, a couple of weeks ago he mentioned that he was gathering popular signed design books to put in the silent auction.


Kelly Wearstler and Vicente Wolf had already agreed.  Hmmm.  "You know, I might be able to help."


So I sent out a few emails and the generosity of the design community did not surprise me.  Jonathan Adler and Margaret Russell said "Yes!" right away.


As an extra surprise, a thoughtful supporter was our advocate and this little treat arrived by post.

Oh, Michael.  I adored you when people were saying, "Michelle who?" All three volume were hard to hand over as I felt they would be quite happy in my own library.  C'mon, bid against me.

Don't forget, Table Hop Friday the 24th from 5 - 9, $25 and the public viewing the 25th from 9 - 12 - just $10.  To bid on these fabulous books you will need to attend the Gala, Saturday at 6:30, tickets $175.  Click here for more information and reservations.