Episode Transcript
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2:00
I studied undergrad, I have a
2:03
studio art degree, and I was
2:05
really involved in painting, color
2:08
theory, printmaking, and sculpture. And I
2:10
decided at the
2:12
end of school that it was really sculpture
2:14
that I thought I was, you know, the
2:16
most interested in and had applied and was
2:18
accepted and did an MFA program at Penn.
2:21
And it was while I was at
2:23
Penn that I really realized and, you
2:25
know, singularly focused in one type of
2:28
art that I missed those other
2:30
elements. And I was trying to figure out
2:33
what to do about that and just
2:36
sort of my path. And interestingly enough,
2:38
it was my sculpture
2:40
professor there who said, oh
2:42
darling, maybe one day you'll just be a designer. Kind
2:45
of put that idea in my head. I
2:47
really didn't follow interior
2:49
design. I came from,
2:51
you know, my parents are sort
2:53
of very intellectual about their approach to
2:56
art. I was raised going, you
2:58
know, I was raised outside New York City
3:00
and went to museums and we were, you
3:02
know, very intensely educated
3:04
in just the fine arts. And that was
3:06
just something that I'd never entered into the
3:08
language. And so he kind of planted
3:10
that seed. And anyway, the long and
3:12
the short of it is I moved back to New
3:14
York, spent a couple months kind of doing
3:17
a whole lot of nothing, trying to figure
3:19
it out. And, you
3:22
know, back in the day when there were job listings,
3:24
they were listed in the paper. So
3:26
there was a listing in the New York Times
3:29
for basically an assistant
3:31
position at an architecture firm. And
3:34
I applied without having, you
3:36
know, any real obvious skill
3:38
set that was specific. And
3:41
lo and behold, it was Peter Marino's office and
3:43
I was hired. And I was told in my
3:45
interview or my second interview when I
3:47
was offered the position that the
3:49
reason I was hired was because Mr.
3:52
Marino knew that
3:55
I wouldn't have to be taught how to see,
3:58
which I think is. really an
4:00
interesting 20 plus years later, a
4:03
really interesting perspective on the
4:05
artistic point of view, whether
4:07
your medium is fine arts or you're
4:09
in the decorative arts or whatever it
4:11
might be. It's really about how you
4:13
see spaces and how you see things.
4:15
So that was a very long
4:17
winded answer to your question. That was a
4:19
great answer. I
4:22
think ultimately it's really, it's the
4:24
background. It's like the support system
4:26
to then what became a 12
4:29
year training that I went through working
4:32
for a couple of sort of
4:34
well-known design firms and working my way
4:37
up position wise and based on my
4:39
skillset as that increased and my understanding
4:41
of design and the decorative arts increased,
4:43
I kind of moved around. So
4:46
I would say it's the cornerstone though.
4:49
I don't think anyone, it certainly
4:52
wasn't a linear path. Let's put it that way.
4:55
So how do you think
4:57
that your approach to color with
5:02
an art background, I suppose, like
5:04
sets your work apart from maybe
5:06
other designers? Yeah,
5:11
I mean, I think ultimately my
5:13
point of view is
5:17
that color is emotional.
5:20
And so living with color really
5:25
for me as a designer and
5:27
what I'm bringing to our projects is
5:29
really sort of the starting
5:31
point with any project. We work with such
5:33
a large range of color. We
5:36
work with clients who like saturated
5:38
color. We work with clients who want everything
5:40
kind of what we call whisper colors, very,
5:42
very soft palettes. But
5:45
ultimately I think that the starting point
5:47
with every project is what
5:50
is the feeling we are trying to evoke in
5:53
the room, in the
5:55
house, as the experience of
5:57
living in the space. And from
5:59
there, where this story
6:02
evolves using color. One
6:04
of the things that I really loved about
6:07
your spaces is that, like,
6:11
I was trying to analyze, I suppose, how you are
6:13
using the color. And it
6:16
seemed like there might be a
6:18
blue, I'll give an example, there might be a blue room,
6:20
but you've got warmer blues,
6:22
you've got cooler blues, you've got some really
6:24
dark, you've got some light. There's
6:26
this whole range, and I think often
6:30
people kind of think of using
6:32
color in terms of
6:34
matching and being consistent when it
6:36
seems like you're just really kind
6:38
of, it's almost like you were
6:40
painting with the color, but
6:43
there were gradations, I suppose. So
6:45
I'm wondering if you could speak to
6:47
that about using a fuller spectrum and
6:50
why it works. In studying color
6:52
theory, there's this concept called the
6:55
color wheel, which basically
6:57
is a theory or an
7:00
idea that colors can be organized based
7:02
on their relationships to each other. And
7:04
based on how you sort of use the
7:07
color wheel and how the colors
7:09
are juxtapositioned or placed next
7:11
to each other really allows you
7:13
to kind of play with the
7:16
concept of mixing colors. Obviously
7:19
you can start with a monochromatic
7:21
palette, which is the idea of you
7:24
have a blue, you keep
7:26
all the blues the same, and you
7:28
sort of layer maybe with textures or pattern
7:30
or different ways. That's
7:33
very simple, you're kind of using one hue, hue again
7:35
being where the color falls, is
7:39
it a primary color, is it a secondary
7:42
color, is it tertiary color? So you can
7:44
start with a monochromatic palette or you can
7:46
do an analogous palette. So the idea of
7:48
an analogous palette is that you have two
7:50
or three colors that are next to each other in the
7:52
color wheel and you're sort of pulling from all of them.
7:55
And if you contrast them with white,
7:57
you create this really interesting balance. And
8:00
I would say the majority
8:02
of our projects are,
8:05
it's not like I sit down and have
8:08
this kind of conversation with the client, but
8:10
just in working together, that tends to be
8:13
where many people feel comfortable with
8:15
the idea of mixing colors. You
8:17
can also do something with much
8:19
more contrast and you would
8:21
be getting into more of a complimentary
8:23
palette, red and green, blue and orange,
8:25
but that's a much harder concept for
8:27
people to adopt or
8:30
understand. So typically we're working in
8:32
more of an analogous palette. I
8:36
love the visual of the color wheel because
8:38
I think we've probably all seen that at
8:40
some point and it's
8:42
such an easy map to
8:44
follow. It really is and it feels like
8:46
that's a lot to think about, but really
8:49
if you think about it, I mean, you
8:51
can simply look at nature.
8:53
There are so many examples
8:55
in nature. For instance, this morning I
8:57
was out in my garden and I
8:59
was looking at my hydrangea, which we're
9:02
fortunate in California where our summer kind of
9:04
lasts longer, but we are definitely entering into
9:06
fall. And so I have
9:09
these beautiful big blue blossoms
9:11
still on the hydrangea, but
9:13
they're all also turning different
9:15
shades as they are losing
9:17
their vibrancy. And so there's some purple and
9:19
there's a little bit of red and
9:22
then you have the green of the leaves, which
9:24
are also changing. And so it's really all out there
9:26
for you to consider
9:29
and see if you're looking. And
9:33
then can you speak a little bit
9:36
to varying values, like using some darker,
9:38
using some lighter? What is it that
9:40
that's gonna, I suppose, do for your
9:42
room? Why would that help your overall
9:44
space? Well,
9:47
it creates contrast and depth to your
9:49
room. So similar, as you were saying
9:51
before, that there's some sort of painterly
9:53
aspects to looking at color. When you're
9:55
doing design, you have areas where you
9:57
might want to have a more saturated.
10:00
colors. So maybe you have a
10:02
more saturated blue, but then you want
10:05
to balance it with a dark piece
10:07
of furniture in the background. And you might
10:09
have a lamp that has some white
10:11
and lighter colors on a painted dresser and
10:13
that pops your eye. The idea with the
10:15
way we use color is we're always trying
10:18
to, as we call it, move the color
10:20
around the space. So whether that's going from
10:22
room to room or even just
10:24
within one room, it's not like this
10:26
area is blue, that area is green. It's
10:28
all kind of mixed and matched. Typically, when
10:31
we're working on a house, we have a
10:33
color from room to room that kind
10:35
of carries the eye through. So in
10:37
your entry, we have some shades
10:40
of green and maybe lavender, and then we
10:42
move into the sterile hall. There might still
10:44
be a little lavender, but we might have
10:46
shifted tones. This way, again, there's a continuity
10:49
to how we're using color as you
10:51
move through the space. Now
10:54
what about, I know
10:57
we've spoken to like true colors, and
10:59
that's very obvious, but what about when
11:01
to use, you know, like a true
11:03
white versus a creamier base? So
11:10
typically, I make those
11:13
decisions as the fabric
11:15
palette has been confirmed. So
11:18
again, if we're finding that a lot of the
11:20
grounds, like if we're using a lot of patterns
11:22
and a lot of the grounds are a much
11:24
brighter white, one of my favorite
11:26
go to colors is OC 17 from Benjamin Moore.
11:29
It's called White Dove. It's a very pure
11:31
white. It's a very pretty white. It looks
11:34
great in New York. It
11:36
looks great in Los Angeles. So
11:38
it really works in a lot of different
11:40
colors of light, which is so important when
11:42
you are picking color. And
11:47
if that feels too bright, then we
11:50
might move into a softer tone, sometimes
11:52
a more yellow white or sometimes a
11:54
more topi white, again, depending on, you
11:57
know, is the project contemporary? Is the project more
11:59
traditional? What are the fabrics? What
12:01
are the carpets? If there's
12:03
a particular piece of art that we're working
12:05
around, all of those things are factored into
12:07
how we're making our choices. And
12:10
can you make white with this
12:12
kind of off-white cream work? How do you
12:14
make that live
12:16
together well? So I have a 1920s
12:18
Spanish house. All
12:21
the walls are plaster. And I
12:24
probably have four different shades of
12:26
white in moving
12:28
through the house, depending on actually
12:30
the natural light. Because some
12:33
spaces, you know, our stair hall has one
12:35
window and it's much darker than my living
12:37
room, which has French doors and like one
12:39
of those huge traditional Spanish
12:42
windows. So there's tons of light kind
12:44
of pouring in. And I balance the
12:46
whites. No one can tell. I'm
12:48
not even sure at this point, but it
12:51
was something that I did because I do
12:53
like to feel consistency when I'm
12:55
moving from room to room. And it was
12:57
necessary to do so because of the natural
12:59
light. You basically use four
13:02
different whites throughout your house, but because
13:04
of the way each
13:06
room's individual lighting is
13:08
based on the natural light, they
13:11
all look the same. It
13:14
does. That is such a clever idea. And
13:16
something that, well, probably
13:19
is only something really a designer could do, but I
13:21
suppose we could all sort of, a
13:24
great takeaway would just be that like, a
13:26
lot of people feel like, oh, okay, well, I'm just gonna paint this
13:29
one color for consistency and like really,
13:31
so they only have to pick one color,
13:33
but it's gonna look vastly
13:35
different from room to room. So I
13:37
always suggest even with our clients when
13:40
we're signing off on a
13:42
paint schedule for the project and
13:44
just the room selections, that
13:46
they look at everything at night because
13:49
it really does impact how things
13:51
look. There have been instances where
13:53
we've had to make adjustments because
13:55
things suddenly go very gray, particularly
13:58
in California where we have... so much natural
14:00
light and it's so intense. Once
14:03
you get into light where you're
14:05
using incandescent bulbs or
14:07
LED lights in the downlights, there's
14:10
a shift in how that impacts the colors.
14:13
It's good to make sure you're happy with the way
14:15
everything looks, all the different situations that you're going to
14:17
be living with it. So
14:21
say you are testing paint colors and you have
14:23
a white that you like, or
14:25
I suppose any color, a color that you like during the
14:27
day. In the
14:29
evening maybe it feels too gray like you mentioned. Where
14:33
do you go from there? Do you pick something warmer? Do
14:36
you go lighter? I guess
14:38
what is the next color to
14:40
try? So I
14:42
would increase saturation of the
14:44
color because saturation is
14:46
talking about the vibrancy of the color. So
14:49
if you have a blue that's very soft
14:51
and natural light reads gray, then you
14:54
would want to maybe go a shade
14:56
or two more saturated. So there was
14:58
more blue in it to
15:00
offset that grayness that you're seeing in
15:03
the evening. So, okay,
15:05
sorry, do you mean like saturated,
15:07
like less muddy or saturated, like
15:09
darker? Saturated as
15:11
in more intense. Okay, got it. So I
15:13
guess darker would be correct. Because I think that's
15:15
something where it's easy to get hung up. Like
15:17
you've tested your paint colors and maybe
15:20
you know that you don't necessarily like it, but you
15:22
don't know like
15:25
how to fix it, I suppose. You
15:27
know, like how to get what you're
15:29
trying to achieve. I
15:32
think it's always ultimately,
15:34
it's really about
15:37
color saturation and increasing
15:40
intensity and lessening intensity. I think
15:42
that's a very easy
15:45
consideration because on any paint deck, you know,
15:47
if you have a Benjamin Moore paint deck
15:49
and you've picked whatever a particular color might
15:52
be, they give you a range of
15:55
lighter and darker within that
15:57
particular color. And so you
15:59
could... impacting
20:01
how they read to each other, right?
20:03
And then there's the whole light as
20:05
it moves through the room, which is
20:07
also impacting color. Do
20:10
you find yourself tending to
20:12
use certain colors based on
20:15
the direction my rooms face at
20:17
all? Like North rooms? I
20:19
really don't. It's kind of about
20:22
the start of a project comes from a couple
20:25
of different points of
20:27
view. One is if the client has an art
20:29
collection that we are working with and
20:31
how they want that art to read. So
20:33
that is a different perspective than when we're
20:35
using really the textiles and
20:38
the wallpapers and all of the
20:40
materials to kind of create the
20:42
art. And then the art comes
20:44
secondarily into the project. So
20:47
really based on that is kind of how
20:49
we get started. If it's not an art
20:52
collection that we're working with, then what
20:54
we start to do is we pull different
20:58
papers or fabrics that we think
21:00
might be of interest to the
21:02
client. And sometimes they're like, oh,
21:04
I love everything here. And sometimes I might just love
21:06
one thing. And if they can tell
21:08
us what it is about that one thing that we
21:10
love, it's really like a starting point for the project.
21:13
So it's a very, the process is
21:15
very collaborative with
21:19
our clients. And I find
21:22
it's most fun when they're really excited about
21:24
whether it's one particular thing or lots of
21:27
different ideas that we bring to the table.
21:30
And from there, we really set
21:32
the colors of the space. So lighting,
21:35
of course, natural light has something to do with
21:37
what we're looking at. And we might shift
21:40
things based on the natural light, but it's
21:42
really more of an emotional reaction
21:44
to the colors that we're presenting. A
21:46
minute ago, you mentioned like
21:49
using color sort of to
21:51
embody emotions, I guess. And,
21:55
or like, it's like an emotional tool to
21:57
sort of create that feeling in the space.
21:59
And I'm curious. if there are certain
22:01
colors or combinations or I guess like
22:03
strategies around using color that you associate
22:05
with different emotions. And maybe like you
22:07
could give us some examples of how
22:10
you took a color and used
22:13
it to create convey this
22:15
feeling that you're trying to capture. Well,
22:19
as an example, we almost
22:21
always use very
22:23
soft colors in bedrooms. Most
22:26
people want their bedroom to
22:28
feel inviting, encompassing a
22:30
place where they can go
22:32
and relax and rest. And
22:35
typically that translates in a very
22:37
soft palette. So that might be
22:39
using blues, that might be using
22:41
lavenders. We use
22:43
all shades of green. I think
22:46
green really is a color that's like
22:48
a neutral because you have the green
22:51
of the exterior, right, as kind of
22:53
your background color. And so bringing green
22:55
into the interior is very
22:58
soft and soothing. I've had maybe one
23:00
or two occasions where a client has
23:02
asked for their bedroom to be really
23:04
bright and poppy, which is very interesting
23:06
to me because that, you know, to
23:09
me it seems like that would be
23:11
different than you might want to feel.
23:13
But she felt that it was really
23:15
important to, one in particular felt
23:17
that it was really important to wake up
23:19
in the morning and feel a vibrancy. And
23:22
she loved that idea. And so
23:25
we went with a very bright hue
23:28
of greens and aquas and
23:30
dalidon colors to create that
23:33
for her. I think you
23:35
mentioned sort of in the beginning in your
23:37
introduction, working with Peter Marino, which we just
23:39
had another guest who worked with
23:41
Peter Marino, literally, I think our last interview,
23:44
which is so funny. Oh, that
23:46
is funny. Anyway, but I was
23:48
curious, you know, sort of transitioning from color
23:50
about how, I guess,
23:54
like working with an architecture firm,
23:56
I guess sort of informed your
23:58
use of space. you know, layouts
24:00
or the way things relate to
24:02
each other in terms of the
24:04
space itself. So
24:08
working at Peter Marino's office was
24:11
the most eye-opening, incredible
24:13
experience. I mean, I could not
24:15
have asked for a
24:17
better starting education. So certainly
24:20
architecture played into
24:23
it, though the way that
24:26
office was set up, interiors
24:28
and architecture were very separate
24:30
departments. So by the
24:32
time we had the architectural
24:34
drawings, everything was kind of
24:36
organized and set. And then, you know, we
24:38
were working on a different phase
24:40
of the project. So that certainly
24:42
informed me, I think, more
24:45
though, what I was informed with
24:47
from working there and seeing projects, because
24:49
I was very junior when I was
24:51
there, was seeing
24:53
how the spaces
24:56
were organized from a three dimensional perspective.
24:58
So yes, certainly furniture plans and then
25:00
going and seeing the furniture plans in
25:02
the office and then getting to go
25:04
to the site of
25:07
the project and during installations and seeing
25:09
them actually in space was incredible
25:11
for me and very informative. But
25:14
I think more than anything, it
25:16
was the
25:19
use of his
25:21
three dimensional perception in
25:24
the space and the sculpturalness
25:27
of all of his spaces,
25:29
which are supported by the
25:31
incredible architecture that that office does,
25:33
the materials that are used in
25:35
the architecture, which are also, you
25:37
know, always of impeccable quality. I
25:40
think that was the most informative
25:42
part of having worked in an architect's
25:45
office. After
25:47
that position, I did
25:49
not work in
25:52
an office that had an architectural department,
25:54
as I continued on in my
25:57
career. Obviously, we're working with outside
25:59
architects. which was also
26:01
a very interesting experience to sort
26:03
of see how to then take
26:07
someone else's designs and
26:10
as the collaboration of the project was moving
26:12
forward, how the two parties, who was kind
26:14
of the starting point in the parties, that
26:17
was another experience that I had that was
26:19
different and it's very interesting. Depending
26:22
on the design firm I was working with,
26:24
sometimes the architect was really leading the story
26:27
and other times the designer was really
26:29
leading the story and I found over
26:31
time that was typically dependent on the
26:33
relationship of the client. But
26:36
that must vary just so much by
26:38
project, right? It really does. If the
26:40
designer has been working with
26:42
the client long term and brings
26:44
in an architect, often the client
26:47
is still looking to the designer
26:49
for all of the input and
26:51
the designer also has the knowledge of
26:53
how the client likes to live and
26:55
that also works in reverse where the
26:57
architect has really been working with the
26:59
client or the project was started with
27:01
the architect and then the design team
27:03
comes in when the drawings
27:06
are further along and it's just a
27:08
push pull. And
27:10
in the best way, I think the best
27:12
projects are when each
27:15
of the teams is very collaborative. Do
27:18
you find that the
27:21
architecture firms are asking,
27:23
where's the overlap of
27:26
what you're figuring out about the client? The
27:29
overlap of how you live, what
27:31
you love, what you gravitate towards,
27:33
I was just wondering how much
27:35
of that, I mean obviously
27:37
the direction can go different
27:39
ways based on how you approach it
27:41
versus an architect, of course I would
27:44
imagine. But I was just wondering what
27:46
the overlap on actual getting from clients,
27:48
like information is. Well,
27:50
I think to
27:52
some degree it depends on whether it's
27:54
a ground up build versus a renovation,
27:56
right? So a ground up build obviously
27:59
has the architecture. or
32:00
can it be a pillow? It
32:02
could be a pillow. I
32:04
mean, it could be a lamp. It could be
32:07
something that I have
32:09
one client, this is so funny, I have one
32:11
client who, her
32:14
wedding china is this amazing
32:16
royal Copenhagen pattern that
32:20
I don't unfortunately know the name of,
32:23
but it was, it's
32:25
colors of kind of steel
32:27
blue and peach
32:30
and gold and a little bit of pink
32:33
and cream. And
32:35
when we started her project, this
32:37
is an apartment in New York, she said, I
32:40
want this palette
32:43
throughout my house. And
32:45
that was how we started. Wow. Is
32:48
that unusual for a client to have such
32:50
like, I
32:54
suppose like strong
32:56
concept for the whole thing? I mean, what
32:59
a great place for you. Yeah, it was
33:01
really fun. Yeah, it was really,
33:03
it was, I don't
33:05
think at the time that it was a palette
33:07
I had really put together before. So it was
33:09
so gorgeous. I mean, the china is so gorgeous.
33:11
So it was like, why wouldn't we
33:13
use that? This is great. And
33:15
so then we just went out and shopped it and
33:17
kind of got started on it and it all evolved.
33:21
I find that generally
33:24
speaking, my
33:26
clients have a point
33:28
of view and it might be, I love aqua
33:30
and blue and
33:34
it might be as detailed
33:36
as I have this amazing anti-textile
33:38
and I just love it and
33:40
I want to use it and
33:42
let's start there. So it
33:45
just runs the gamut. It's been
33:47
pretty rare that I have someone
33:49
who I've worked with who says
33:51
I have no idea. Mm-hmm. So,
33:54
okay, in the example of the
33:56
client with the dinnerware. Yeah.
34:00
Okay, so you mentioned there were like shades
34:02
of blue, there was pink, like wait, how
34:04
does that turn into a whole house palette?
34:07
Like are you using every color in every
34:09
room? Are you using like one color, primarily
34:11
per room with like accents of another? Like
34:13
how does it kind of look and like
34:15
be feathered out into the different spaces? Yeah,
34:18
so her living room has
34:20
a really beautiful herringbone wall
34:23
covering that has a tiny
34:25
shimmer of like pearl in
34:27
it. So it's basically pearl
34:29
and cream, so it's very subtle. And
34:32
then we did very simple creamy sheer
34:34
curtains that have a little silver thread
34:36
that runs through them. And
34:39
the upholstery fabrics were shades
34:41
of kind of geach and
34:44
salmon and accented with
34:47
the pearl and the silver and a little
34:49
bit of gold tones. So
34:52
it's very light and shimmery, it's kind of like
34:54
the inside of a shell. And
34:56
it's a very bright room, it's very pretty. And
34:59
then from there, when we moved into the den, she
35:01
wanted something a little deeper because that was going to
35:03
be a room that they mostly use at night. So
35:06
we pulled a little deeper blue
35:08
shade from the China and we
35:10
did this amazing Harlequin wall covering
35:12
which are enormous white and blue
35:14
blooms and used a
35:17
really fun blue stripe on her sectional,
35:19
which is shades of like I think
35:21
the stripe repeats with five or seven
35:24
different shades of blue. And
35:26
we did a very simple rug
35:28
and we added in a few
35:31
accents of kind of the peachy
35:33
tone, but the peachy tone went
35:35
slightly browner in there. And
35:37
then as you move into the hallway and her
35:40
kitchen, it was again
35:42
kind of the taupey, silvery
35:44
gray creamy tones, so it would
35:46
feel very neutral in there. And
35:50
then when you move back into her bedroom,
35:52
it was much, she wanted a really dark
35:55
bedroom, so we went with a very dark
35:57
blue brass cloth. and
36:00
accented it with some brighter tones of the
36:03
peach. And
36:05
we added in some different purple-y
36:08
toned accents. It
36:11
is very cool and it's
36:13
very dark, which she loves. And
36:17
so we go from, you know, in the
36:19
space and then there's her daughter's bedroom and
36:21
a guest room, which had a
36:23
little bit more of, I would
36:25
say, input from the people who
36:27
use it. But
36:29
you go from a really light ethereal
36:32
feeling as you move through the
36:34
space to the back of the
36:36
primary bedroom, which is, you know, darker, kind of
36:38
in the back of the building. And
36:41
it becomes this very sort of nesting
36:43
cocoon. That
36:45
is such a, thank you for talking that out
36:47
because I feel like that was so helpful. Like
36:49
just, I mean, because basically what you're doing is
36:51
you're pulling from the color that
36:56
corresponds to the feeling, like you're cherry picking
36:58
from the overall palette, the colors that work
37:00
for the feeling you're creating in the room.
37:03
And that makes so much sense. It's so
37:05
logical, but I probably would have never been
37:09
able to articulate it or come
37:12
up with that sort of, you know, strategy.
37:16
I love that. That's so smart. Thank
37:18
you. Thank you. It was
37:20
described so beautifully too. All the work
37:22
you said. The pearlesque
37:25
wallpaper. Yeah. Yes.
37:27
Thank you. Well, it's fun because I
37:29
was visualizing it as I was talking
37:32
about it. So again, having that kind
37:34
of emotional experience evoking how
37:36
you feel when you're in the different spaces.
37:39
Are there any palettes right now in
37:41
general? Cause we're all talking about color
37:44
today, that you have been recently just
37:46
really excited about. Well,
37:49
we finished a project six months ago,
37:51
maybe nine months ago now here in
37:53
Santa Monica and a really fun client
37:55
who's better than I described, very vibrant,
37:58
the entire house is very vibrant. vibrant.
38:01
Quite fun to do for
38:03
her because I feel like
38:05
she pushed me into having
38:07
vibrancy in every room. And
38:09
the house runs from fuchsia
38:11
to, you know, sort of
38:14
this incredible corn flower blue,
38:16
brighter blues in her family room
38:19
upstairs, this really vibrant green bedroom.
38:22
And we offset everything by using
38:24
different wall coverings that were much
38:26
softer than the fabric choices, which
38:28
were so vibrant and a lot
38:30
of sheer curtains to let the
38:32
light really come in. And it
38:34
was so successful. And it was
38:36
so much fun to get pushed
38:38
because it required a client who
38:40
really believed and
38:43
knew what she liked. And as soon as she
38:45
would see things, she's like, Oh, that's so great.
38:47
Oh, that like, there was nothing that was too
38:49
bright that we could show her. And so
38:52
it was really fun to work with somebody
38:55
where we weren't, you know, pushing them to
38:57
do more or saying, you know, Oh, you
38:59
should really consider this. She just was like,
39:01
Yes, let's do it. Let's do it. I
39:03
think it's gonna work. And ultimately,
39:05
she was very happy. So yeah, that was
39:07
fun. I love that. I love
39:09
hearing just, you know, how to not make color
39:11
so kitschy. I think there's a lot of fear
39:13
in that, right? And so Oh, absolutely.
39:16
Thinking about what you said just if
39:18
you have some fabrics you love that
39:20
are bold, just taking the step back
39:23
on the walls, right? Like making it
39:25
so that the fabric sings, your walls
39:27
step back, but coordinate and make
39:30
it all tell the same story. That's
39:32
a great Yeah. Because
39:34
my biggest fear is picking a color that
39:36
is bold and impactful to me. And then
39:39
once you get at, like, again, fully saturating
39:41
a room, you're like, and this feels childish.
39:43
Like I didn't, what did I do wrong?
39:47
Right, right. Well, I think the
39:51
truth is, is decorating is
39:53
expensive. And so I think because
39:55
of that, everybody becomes
39:58
cautious.
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