Who Picked The Rug?

A Kips Bay Show House room by Robert K. Lewis
featured in an ad for F.J. Hakimian.
Architectural Digest, January 1990.

In the days prior to internet exposure, decorator showhouse rooms were often an ephemeral commodity.  Although a popular venue such as the Kips Bay Decorator Show House in Manhattan would have several thousand visitors a day during the 3 to 4 weeks duration, a photo record of the rooms was not guaranteed to be otherwise circulated.  Sometimes, a newspaper would photograph a room or two, but that usually would not extend to out-of-town editions.  In the 1990s, vendors who had supplied their products for these rooms might place a glossy advertisement in a national magazine, however, that featured the room and its designer.  The rug vendors were particularly helpful in promoting these showhouse rooms that might otherwise have not been seen across the country.  One of most appreciated series of these advertisements were those done by the firm F.J. Hakimian who headlined their ads with "Who chose the Hakimian?".


The Kips Bay Show House room by Juan Pablo Molyeux
also featured a ceiling commissioned from
Anne Harris Painting Studio loosely based on
Michelangelo's "Last Judgement"
that depicted the decorator's face on an angel.

Typically, the Kips Bay Decorator Show House is located in an Upper East Side townhouse that is on the market for sale.  (There have been instances, however, that such a property was not available).  Usually there are at least a few rooms that already have architectural interest, but the others depend entirely on the décor for success.  In any case, the foundation of any decorating scheme can always benefit from a terrific floor covering.  Both Robert K. Lewis and Juan Pablo Molyneux benefited from their rooms have good 'bones' as well.


A Kips Bay Show House room by Mario Buatta
featured in an ad for Stark Carpet.
Architectural Digest, June 1991.

Mario Buatta does his best work when he is his own client; his show house rooms are never a disappointment, and often the most memorable of the year.  This room, pictured, also benefited from good, existing architectural detailing, but the real spark came from the talent of the decorator, putting all the furnishings together to create an attractive room.  Here Stark Carpet was the patron who featured the room in an advertisement.  First with the addition of Old World Weavers fabrics, and now including Lelievre, Fonthill and Grey Watkins fabrics among others, the conglomerate known as Stark has become an even more prestigious To-The-Trade source, and promoter of show house designers.


A Kips Bay Show House room by Arthur E. Smith
featured in an ad for Stark Carpet.
Architectural Digest, November 1992.

The room decorated by Arthur E. Smith was in the same 1992 show house at 32 East 70th Street, New York City, as Molyneux's drawing room, but located on the fifth floor.  A former protégé and business partner of legendary decorator Billy Baldwin who took over the office at the elder's retirement, only the use of sisal and kraft paper lampshades give a nod to his mentor.  The late Mr. Smith, who also had an especially stylish antiques shop, was a well-respected talent in the NY area, but not particularly well known across the country (until his connection with gallery owner and accused killer Andrew Crispo was publicized).


A Kips Bay Show House room by Michael LaRocca
featured in an ad for F.J. Hakimian.
Architectural Digest, June 1993.

A gothic revival library was decorated by Michael LaRocca for the 1991 Kips Bay Show House at 121 East 73rd Street.  The 1908 Federal Revival townhouse is located across the street from a John Tackett Design project at 128 East 73rd Street which held his field office for almost two years, coincidently, so this writer was very familiar with the house.  (Additionally, assistance was provided to Mariette Himes Gomez who decorated the dining room for the same show house:  a photo from a previous post may be seen here.)


A Kips Bay Show House room by Justin Baxter
featured in an ad for Stark.
Architectural Digest, December, 1993.

Despite the prestigious neighborhood, the 1993 Kips Bay Show House at 813 Park Avenue was in an awful apartment building consisting of a maze of rooms.  The renovated spaces were all poorly proportioned and some had ceilings less than eight feet high.  Justin Baxter had one of these less-than-desirable rooms, but did an admirable job of pulling it together with the use of striped wallpaper and mirrors.


A room by Bennet & Judie Weinstock
featured in an ad for Stark.
Architectural Digest, April 1994.

Based in Philadelphia, the husband-wife team of Bennet & Judie Weinstock have been regular participants in the Kips Bay Decorator Show Houses over the years.  This writer does not happen to remember this particular room, however, although it is assumed to have been a show house presentation.


A Kips Bay Show House room by Dennis Rolland
featured in an ad for Stark.
Architectural Digest, September 1996.

This sitting room by Dennis Rolland was remembered, however, and thought to have been featured in the 1994 Kips Bay Show House which was a double Georgian Revival townhouse designed by architect Charles Platt for Sara Delano Roosevelt and built 1907-08.  In addition to the large red-pencil drawings that decorated the room, another notable feature was the soft gray ceiling which was reportedly colored with graphite.


A Kips Bay Show House room by Kenneth Alpert
featured in an ad for Stark.
Architectural Digest, March 1997.

The sitting room by Kenneth Alpert is another that, sadly, this writer cannot identify by year or address.  But it featured a whole range of Stark products, most notably the popular carpet pattern of leopard spots and roses designed by Mrs. Stark, herself.


A Kips Bay Show House room by Scott Salvator
featured in an ad for Stark.
Southern Accents, March/April 2001.

Scott Salvator is another Kips Bay regular and this writer is not sure of the date or address of this decorator show house.  Notably, Mr. Salvator has also designed showrooms and offices for the Stark Carpet group.

A note of appreciation goes to both Hakimian and Stark for showcasing these interesting rooms and their designers in their advertisements over the years.

The Office

The office of The Very Reverend James Parks Morton.

An office, especially an executive's, should say something about the individual.  All these examples come from that Golden Age when The New York Times Magazine was eagerly awaited, the first section to be viewed after picking up the Sunday edition at the newstand late Saturday evening.  In the late 1970s and early 1980s, this separate section of the newspaper, the only part with color photography, was at the forefront of styles and trends, truly a finger on the pulse of what America was thinking -- or about to think.  Editor Carrie Donovan, 1928-2001, had a knack for recognizing what would become popular.  Formerly fashion editor for Vogue and Harper's Bazaar, she was an early supporter of Donna Karan, Perry Ellis, and Paloma Picasso.  In her later years, she became a widely-recognized celebrity as a spokesperson for Old Navy, appearing in 42 television ads.

Carrie Donovan.
Photo from Google Images.

The Cathedral House on the grounds of the (Episcopal) Cathedral of St. John the Divine was orginally built as the bishop's residence in 1911.  Designed by architect Ralph Adams Cram, the funds for construction were donated by J.P. Morgan.  In the 1950s, architect Frederic Rhinelander King, cousin of author and taste-maker Edith Wharton and partner in the New York office of noted Palm Beach architect Marion Sims Wyeth, converted the first floor into offices with the bishop's apartment on the second floor.  The office of the dean (the head of the Episcopal churches in New York City), the Very Reverend James Parks Morton, is pictured here in the first image.  Originally the library of the house, this office is blessed with remarkable architectural features: leaded glass windows with stone surrounds of gothic tracery, oak beams with carved stone corbels, tall bookcases, and a medieval style fireplace (not shown).  The office served as center of many diverse projects, from the completion of the cathedral and the attendant training programs (in stone cutting/carving, woodcraft, iron-working, etc.) to solar design to visual and performing arts programs.  Dean Morton's personal touches included his collection of rocks found in East Hampton, Long Island, and Colorado, and peacock feathers, shed from the four birds that roamed the grounds of the cathedral.  Further decoration was provided by cathedral drawings, charts and personal photographs.  And the contribution of the semi-antique Heriz rug is not to be under-rated.  This image shows the turn-of-the-century English Arts & Crafts desk set for an informal lunch with food from a local delicatessen.

The office of Mary Wells Lawrence.

Advertising legend Mary Wells Lawrence, board chairman of Wells, Rich, Greene knew how to close a business deal.  In addition to creative talent, she gave the client personalized service, whether it was entertaining at her summer home La Fiorentina, featured in previous posts of The Devoted Classicist here, here, and here, or her own office.  Her interior designer, Arthur E. Smith, protege of Billy Baldwin and later his business partner until Baldwin's 1971 retirement, furnished the office as a fresh-but-sophisticated Living Room.  Comfortable upholstery slipcovered in bright fabric of white fern fronds on yellow, matching Roman shades, a yellow and white geometric rug, rattan armchairs (a favorite of Baldwin), a Smith-designed work table for the desk, and a William & Mary lacquered chest give the space the intimacy and down-played luxury of an Upper East Side apartment.  Mrs. Lawrence began her workday at home at 6:30 am, according to the article, was in the office by 9:00 am and stayed until 9:00 pm, seldom leaving for lunch;  instead, she preferred to invite clients in.  The 1974 design has held remarkably well.

The office of Diane Von Furstenberg.

In interesting contrast, fashion and cosmetics executive Diane Von Furstenberg told the Switzer Group, designers for her corporate offices, that she wanted the interiors to look like a cross between an ocean liner and the set of an Esther Williams film.  The most striking feature is the plush bright pink carpeting covering the floor and the curving steps to the terrace.  The Art Nouveau desk was a gift from her father, and the pair of gray velvet Art Deco chairs were a gift from her close friend and associate Olivier Gelbsmann, the interior designer.

The office of Halston.

Fashion designer Halston had a 100 by 26 space on the 22nd floor of Olympic Tower fronting Fifth Avenue to service as an office, workable studio, and showroom.  Designed in collaboration with architects Gruzen & Partners, the space had large mirrored doors that would divide it into as many as four separate rooms or open as one, creating an elegant setting for fashion shows as well as luncheons, dinner dances, and charity benefits.  Furnishings, stored in a warehouse when not used, included banquettes, tables, more than three hundred chairs and two dance floors.  Halston chose the red carpet to anchor the space.  "Living high up in New York, everything is gray," he said, "I needed something that would stabilize the space so the room wouldn't float."

The office of Beverly Sills.

Although it also had red carpet, the office of director of operations for the New York Opera Beverly Sills had no windows.  "I work best surrounded by things I need and love," said Miss Sills.  Memorablia and furnishings from her family homes decorated the space.

All the photos, except as noted, come from LIVING WELL, THE NEW YORK TIMES BOOK OF HOME DESIGN AND DECORATION, edited by Carrie Donovan, published by Times Books, 1981.  As the virtues of the book have often been lauded by design blogs such as The Peak of Chic, copies are seldom found for sale.  However, scarce vintage copies may be found here.