The Peak of Chic®

After a year of hard work, late nights, early mornings, and weekends spent sitting in front of a computer, I can finally share with you a very special project on which I have been working: I wrote a book.

I’ve had book ideas swirling around in my head for years, but it took me some time to organize my thoughts and to cajole them onto paper. I wanted to write a book that was different and unique. The book needed to be smart and informative, but, more important, a fun read, too. And, it had to be in the spirit of those classic decorating guides that still inspire us today. (That upbeat enthusiasm of Dorothy Draper was very much on my mind as I wrote this book, especially during those times when I was fighting “the will to be dreary”!) Now that my book is written, I believe that I can say I achieved all of my goals. I hope that you will agree.

My book, titled In with the Old: Classic Decor from A to Z, will be released on October 22 both in the U.S. as well as Canada, the U.K., and Australia. (A big thank you to Clarkson Potter for publishing it and to Alexa Hampton who generously wrote the book’s foreword!) The book profiles one hundred classic decorative styles and details, all of which have illustrious histories and which still look very stylish today. Included are entries on trompe l’oeil, campaign furniture, verre églomisé, tented rooms, and the like. For each decorative element, I take you through its history and explain what makes it timeless and how you can decorate and live with it in ways that are modern and fresh. The great decorators and aesthetes whom I so admire, including Elsie de Wolfe, Albert Hadley, Van Day Truex, Angelo Donghia, Fowler and Lancaster, Mario Buatta, Diana Vreeland, and Bunny Mellon, are all very much present in this book, too, for I included all of the wonderful ways in which these style setters have used classic decoration to sublime effect.

And, because no design book is complete without art, each entry is accompanied by either an original photograph (shot at some very fetching Atlanta homes) or an original illustration. I’m proud to say that my sister painted all of the illustrations, while photographer Erica George Dines shot the photos. In fact, two of my sister’s illustrations made the cover.

I am currently planning my book tour, and I hope that my lectures and book signings around the country will give me the opportunity to meet many of you in person. I’ll keep you posted on events and will share some excerpts from the book over the next few months, but in the meantime, I invite you to visit the online book sites below so that you can learn more about my book. Many thanks for your readership and your support!

In with the Old: Classic Decor from A to Z on Amazon

In with the Old: Classic Decor from A to Z on Barnes & Noble

In with the Old: Classic Decor from A to Z on Indiebound

In his 2009 memoir, Redeeming Features, designer Nicky Haslam devoted an entire chapter to his time spent in Arizona, where he lived on Black Canyon Ranch with his former partner, Jimmy Davison. A gifted writer, Haslam wrote at length about the ranch, detailing the ranch's decor as well as its staff, which included a Hopi Indian cook by the name of Star. Haslam recounted that when Star arrived at the ranch, he knew little about fine food. But, after a little instruction by Haslam, Star went on to become "a genius in the kitchen within a fortnight", according to Haslam.

Funny enough, I found an August, 1971 article in House & Garden that had been photographed and produced by Haslam. Titled "An American Summer Cook Book", the article featured Star Duwyenie and his son, Tarquin, picking fresh watercress and foraging for fresh herbs and vegetables. According to the story, Star found his culinary inspiration from cook books, especially those by Elizabeth David and Lady Sysonby. I assume that Star was introduced to Lady Sysonby's 1948 cookery book by Haslam.

The article's summer menu suggestions, compiled by Haslam, were rather extensive and included such classic yet elegant dishes as Lobster in Melon, Cold Duck Salad, Quail with Oranges, Mrs. Beeton's Roast Chicken, Prune Souffle, and Iced Cheese. Also included is Jimmy's Pasta Dish, a macaroni and cheese recipe that had to have been named after Davison. I include the recipe below, just in case you want a taste of what Haslam's life was like on a stylish Arizona ranch.

Jimmy's Pasta Dish

2 tbsp butter
2 tbsp flour
Salt, freshly ground black pepper, cayenne
1 cup heavy cream
1 cup milk
8 oz. package cream cheese
1 1/2 cups grated Cheddar cheese
4 oz jar pimientos
Nutmeg
1 pound elbow macaroni, cooked
Paprika

Melt butter in top of double boiler and slowly add flour, stirring constantly. Season with salt, pepper, and a dash of cayenne. Add cream, milk, and the cream cheese and stir until smooth. Add 1 cup of the grated Cheddar and the pimientos. Check seasoning and stir in a sprinkling of nutmeg.

Combine sauce with macaroni, cover with remaining Cheddar, sprinkle with paprika, and bake in a 400 degree oven for about 30 minutes. Serves 6.

Star picking fresh herbs.

Shrimp and Eggs

Grilled Bass garnished with lemon and dill

Star's Heart of Cream, which is a Coeur à la Creme with Strawberry Sauce

Chocolate Mousse with a sign of the times dusted on top.

I really enjoy decorator and writer Annie Kelly's entire Rooms to Inspire series of books, but I have to say that my favorite is probably Rooms to Inspire in the City. And some of my favorite photos in this book (shot, of course, by Kelly's photographer husband, Tim Street-Porter) have to be those of decorator Russell Bush's home/ office on Park Avenue. (See above.)

What I would do to spend one day in that room, peeking around the book shelves and stacks, searching for titles that I might need to add to my own library. Of course, the room's other furnishings are quite attractive too, making them the icing on the cake. Actually, now that I look at these photos, I think that my day in Russell Bush's apartment would need to begin late afternoon on a winter's day just as dark sets in, then lingering well into the evening. I say this because it seems this room is an ideal nighttime room, all warm light and coziness. Well, a girl can dream, can't she?

Because I have studied these photos at length, I can share with you a few titles that I spied...just in case you want to add some new titles to your book wish list. I know that I did, and now my wish list is up to 555 titles. (Seriously.) How I'm ever going to whittle this list down, I haven't a clue, especially considering that anytime I see photos of rooms filled with books, I inevitably add quite a few new titles to the list.

The Great Houses of Paris by Claude Fregnac and Wayne Andrews. (Available via Amazon

and Barnes & Noble)

Italian Splendor: Great Castles, Palaces, and Villas by Roberto Schezen. (Amazon

, Barnes & Noble, and IndieBooks)

English Interiors 1790-1848: The Quest for Comfort by John Cornforth. (Amazon

)

Paul Poiret by Yvonne Deslandres. (Amazon

and Barnes & Noble)

The Early Work of Aubrey Beardsley by Aubrey Beardsley (Amazon

, Barnes & Noble, and IndieBound)

A History of Valentines by Ruth Webb Lee (Amazon

, Barnes & Noble, and IndieBound)

Photos of Russell Bush's apartment featured in Rooms to Inspire in the City by Annie Kelly, Tim Street-Porter photographer.

I hope you'll get a chance to read this month's issue of Atlanta Homes & Lifestyles. I had the opportunity to write the cover article, which features a Buckhead house decorated by Margaret Bosbyshell and Clary Bosbyshell Froeba of Margaux Interiors. Think the house looks familiar? That might be because it was featured once before in the magazine, when the house was occupied by the previous owners. The twist to the story is that both sets of homeowners hired Margaux Interiors to decorate the home.

To see additional photos and to read the story, click here to visit the Atlanta Homes & Lifestyles website, or, if you're in Atlanta, visit your local newsstand.

Article photos are copyright of Atlanta Homes & Lifestyles, Erica George Dines photographer.

Have you noticed that geraniums seem to bloom profusely inside many a charming English country house? They certainly did at Daylesford, the John Fowler-decorated house of Lord Rothermere, seen above.

And at Deene Park, Northamptonshire.

Nancy Lancaster had some scraggly ones at the Coach House.

More lush were those at Bentley in Sussex.

There were some tucked away near the bookshelves at Wellingham House.

Nicky Haslam has a basket full of them at his Hunting Lodge...

...while Lady Caroline Somerset chose a terracotta pot for her fiery crimson specimen.

David Hicks supercharged his Britwell House dining room with bold crimson walls and curtains and bright pink geraniums placed directly on the floor.

But what has to be one of the most charming displays of geraniums is seen in this bedroom, which was decorated by David Mlinaric. The chintz? Colefax & Fowler's " Climbing Geranium", sadly discontinued.

Something tells me that velvet-covered furniture is an acquired taste. Or, put another way, you either love it or hate it. Personally, I think that velvet upholstered tables and bookcases can be quite sumptuous, but I will admit that velvet furniture can go from tasteful to trashy in the blink of an eye.

First, the velvet that is used can't look too shiny or, even worse, too crushed. Also, its color needs to be sophisticated rather than garish, so certain shades of red, green, and blue seem to work best. And finally, embellishment, if used, should be kept to a minimum. I'm not crazy about most velvet covered tables from the late 19th century because they were usually finished in fringe. (I included an example below just for comparison's sake.)

Of course, the current king of velvet furniture is British designer Alidad, whose signature velvet console table, above, was a hit about six or seven years ago. Alidad has branched out into velvet enrobed bookcases and occasional tables, too. But the piece that got this whole blog post rolling is the green velvet bookcase below, which was designed by the great French decorator, Henri Samuel. Is that a masterpiece or what?!

Green silk velvet covered bookcase, designed by Henri Samuel and sold at Christie's New York, 2001.

A pair of velvet occasional tables, 20th century, sold at Christie's Amsterdam, 2011.

A pair of crimson silk-velvet end tables, sold at Christie's London, 2008.

Gaius bookcase by Alidad

A Napoleon III table, 19th century, part of the Yves Saint Laurent- Pierre Berge collection, sold at Christie's Paris, 2009

By any chance, do you remember the December 2004 House & Garden article that featured this lovely table, seen above? The table was set with pieces purchased from the online gift shops of various museums, whose locales included Sweden, France, and Massachusetts. It was such a memorable article, not to mention photo, because the table accessories were absolutely gorgeous. (The pink cloth and flowers didn't hurt, either.) If you didn't know better, you might think the china and crystal were purchased at auction or from an antiques shop.

I thought about trying to recreate the article's concept, but unfortunately, I don't have the time or budget to go on a freewheeling shopping expedition. But, an online perusal of museum gift shops did yield some really interesting finds for the home, from furniture to tea towels to candlesticks. Although a real-life trip to a museum is best, the next best thing might just be a virtual visit to their gift shops.

2014 Versailles Calendar Tea Towel

A copy of Napoleon's folding stool

Reproduction of an 18th century Delftware candlestick- Rijksmuseum

Outdoor folding chairs from Musée de la Toile du Jouy

Reproduction Sandwich glass cobalt dolphin candlestick- Sandwich Glass Museum

Lion decanter from the Hermitage Museum.

Sèvres Gold and Turquoise Tin Plate from The Wallace Collection

Tiles from Museu Nacional do Azulejo, Portugal

Zodiac plates, based on illuminations from a 15th c. Italian Book of Hours, available at The Morgan Library and Museum.

Pillows based on the elaborately decorated Red Bedroom of the Herrenchiemsee Palace, the Bavarian palace that was modeled after Versailles. Available from the Bavarian Palace Department shop.

I never cease to find inspiration from old interiors. It doesn't matter if a room was decorated thirty years ago or one hundred thirty years ago. As long as it was designed with style, taste, and authority, an old room can provide one with decorating ideas and even spark one's imagination.

It's rare, though, that I find an entire home that I would consider move-in ready, but such was the case when I stumbled upon these photos of Ferris Megarity's Manhattan apartment. This has to be my new favorite home. It's perfection, or at least, my idea of perfection. The color scheme might be predominately neutral, but it's not snoozeworthy. Those chocolate brown walls with crisp white trim help to wake up close-by beiges and caramels. And can we talk about those snappy chairs covered in one of my all-time favorite fabrics, Brunschwig & Fils Les Touches? Sublime. I also spy bamboo shades, a tortoise-finish drinks tray, blue and white porcelain, needlepoint, silver-leaf wallpaper, books, and mirrored walls and screens. Those too are like a hit parade of my favorites. I'm getting heart palpitations just writing about them!

The late Megarity was publicity director and one-time home furnishings division director for B. Altman, so presumably he had access to the best of the best. But access alone didn't guarantee such a beautiful apartment. It also took a trained eye to achieve such a tasteful balance. Megarity, who hailed from Waco, Texas, credited his University of Texas education in fine arts and art history with informing both his career and his style of decorating. Of his education, he said, "It's held me in marvelous stead. Every step of the way it has been a continual boon, especially when I traveled. I found my training let me function as an editor when I had to coordinate the efforts of a number of people. It gave me a sense of the past and also put the present into perspective." Yet another argument for the importance of an art and design history education.

Oh, and by the way, these photographs were taken in 1975. Thirty-eight years later, and I can't find a thing about this home that needs updating. Too bad we can't all age as gracefully.

Photos from Architectural Digest, March/April 1975, Richard Champion photographer.

October is not too far down the pike, and with it comes cooler temperatures, fall clothes, and House Beautiful's International Issue, which will be guest edited by Chesie Breen. It promises to be a most interesting, and most stylish, issue.

Coincidentally, I just obtained a copy of the January 1975 issue of House Beautiful, which, lo and behold, also happened to be devoted to international design. Reading this old issue made me giddy because page after page was filled with photos of the homes of style setters and aesthetes, all of whom we still admire today. So, this week's blog posts will be devoted to this one issue of House Beautiful.

Today's post features the Roman apartment of Giancarlo Giammetti, the perennially-chic, former business mastermind of Valentino. The apartment is pretty swinging, but this was to be expected in 1975. The upholstered furniture is very much of its time, while the home's objets help to soften both the contemporary furnishings and art. My favorite room of all, though, is the garden room, in which the ceiling, walls, and seating are upholstered in a Valentino-designed cotton fabric, while the floor's custom ceramic tiles echo the fabric's print.

One oddity about the article is that Giammetti's name was misspelled throughout the entire article. Someone must have been asleep on the job.

Photo at top: This colorful room was off of the entry hall, although I'm not sure of its purpose. The walls and furniture were upholstered in rose-colored silk. I love the choice of black trim and black furniture to puncutate those sumptuous pink walls.

Giammetti's prized Picasso hung above his antique writing table and horn chair. It is interesting to see the thin strips of mirror on the wall.

Giammetti's living room with its "undemanding beige walls", according to the article.

Giammetti's bedroom, which was also decorated in undemanding beiges. Note the lattice on the wall.

Another view of the bedroom. I have a feeling that had this been my bedroom, I would have tripped constantly over that tiger's head.

The garden room. Aubergine isn't the first color that comes to my mind for a garden room, but I think it looks positively smashing.

All photos from House Beautiful, January 1975, Emmett Bright photographer.

Up from Giancarlo Giammetti's Rome we dash to Ireland, specifically, Glebe House, the County Donegal house of the late Roderick "Rory" Cameron. Cameron, as you know, was the legendary aesthete and author whose prowess in decorating is still marveled at and written about today. After selling La Fiorentina, his South of France villa in which he lived with his mother, Enid, Countess of Kenmare, to the Harding Lawrences (who, as you also know, hired Billy Baldwin to decorate the villa), Cameron bought Glebe House, a former church rectory that was built in 1790.

What is notable about Cameron's Irish rectory house is that its interiors were decorated in a light, bright manner that was reminiscent of La Fiorentina. The walls of Cameron's dining room might have been papered in a William Morris print, for example, but the room's white trim, pale curtains, and painted furniture alleviated the heaviness that William Morris prints sometimes introduce to a space. The "mix" at which Cameron was so adept is very much in evidence here, too. As the House Beautiful writer noted, "Cameron again takes his decorating cues from any time, any place, all objects so exquisitely arranged that no one piece claims dominance." Cameron's rooms almost always exhibited balance, harmony, and subtlety, all three of which can be difficult to achieve when decorating.

As lovely as this house was (although according to The Blue Remembered Hills, Billy Baldwin deemed it a failure,) it seems that Ireland wasn't felicitous for Cameron, who eventually pulled up stakes and headed to Ménerbes, France, where he built his greatest domestic creation, Les Quatre Sources. Perhaps the seeds of Cameron's Irish discontent are captured in these photos, which convey a house more in keeping with the South of France than the misty Irish countryside. It's almost as if you get the sense that Cameron wasn't totally comfortable in this new, foreign environment. Nevertheless, the photos show the home of a man who was truly an arbiter of good taste and great decorating.

The entry hall of Glebe House was an introduction to Cameron's myriad collections. The 11th century Buddha, placed on one of the Queen Anne walnut tables, was a gift from Somerset Maugham.

The floor of Cameron's library was covered in green felt, a treatment that was used in other rooms of Glebe House. Over the fireplace was an Oudry painting, while the sunflower andirons were English Art Nouveau. The contemporary cocktail table was by Albrizzi.

The drawing room included Louis XVI chairs covered in "removable upholstery" and a Georges Jacob music stand. The pillows on the sofa (and possibly those on the Louis XVI chairs as well) were made of Indonesian batik cloth.

Amongst the William Morris "Arbutis" wallpaper was a dining table that once stood in La Fiorentina. The table was set with Cameron's favorite Moustiers china and Louis XV crystal.

Cameron slept in a c. 1830 four-poster bed that once belonged to his aunt, who was a Tiffany.

Once a bedroom, this space was converted into a master bathroom by Cameron. The leather Louis XV chair, the Kashmir rug, and the Chinese screen gave the room a sense of luxury and refinement.

This cheery guest bedroom was papered in a different William Morris print: "Honeysuckle".

All photos from House Beautiful, January 1975, Feliciano photographer.

So, the last blog post pertaining to the 1975 International House Tour issue of House Beautiful (well, at least for the time being) has to do with Albany. (Click here to read my previous posts on this famous London residential building.) Although I wouldn't characterize the interiors in this particular article as being extraordinary, the access that the magazine was granted to photograph both the famous "Rope Walk" (see above) as well as a few of Albany's occupants was indeed extraordinary, especially considering the establishment's reputation for privacy. HB must have been aware that such a privilege was rare because the Albany article ended with a special thank-you to ex-pat designer Billy McCarty, who facilitated the behind-closed-doors access.

The first set you see below belonged to a Public Relations executive, John Addey. A quick Google search informed me that Addey later fell from grace due to a legal scandal that involved Sir James Goldsmith, but when this particular issue was published, Addey was evidently flying high. (By the way, Addey's set was once infamously occupied by Lord Byron.) The main floor rooms, including the drawing room and library, seemed to skew traditional with just a splash of groovy, while downstairs, the vaulted dining and sitting room appeared too acerbic for its surroundings. I do, however, like the trellis that was installed outside of the dining room windows; it was designed by another Albany resident about whom I have written in the past, Peter Coats.

And you'll certainly recognize the occupant of the second featured set: Fleur Cowles in sunglasses. I admire Cowles's career, creativity, and flair, but I will say that this version of her spacious Albany set is, well, not exactly to my liking. Of course, what's important is that she liked it, and I have a feeling that she did.

And below the Cowles photos, you'll see a few more prominent occupants of Albany. All in all, a rare glimpse into life at this illustrious London dwelling.

Photos at top: An exterior shot of Albany; also, two separate images of Albany's famous "Rope Walk", which is a covered walkway that extends through the back part of Albany, allowing access to chambers on both sides.

John Addey's set included his ochre-colored drawing room, an acid green vaulted dining and sitting room, and library.

Fleur Cowles was photographed in her study, sitting amongst a plethora of leopard prints. The two additional color photos show a living room, which she "slipcovered" in an "architectural box of her design." (Structural changes are, or, at least, were, verboten at Albany.) The remaining two photos show the "sit-by-the-fire corner" of her bedroom and her drawing room.

Editor, author, and gardening expert Peter Coats was photographed in his set. You can read my blog post about Coats here.

Baron Philippe de Rothschild called Albany his London home. However, according to the article, it was his wife, Pauline de Rothschild, who was the official owner of the set.

Before I read this article, I was not familiar with this couple: John and the Lady Margaret Walker. John Walker was the one-time director emeritus of the National Gallery of Art in Washington. The couple also had homes in Georgetown and Fisher's Island.

The great art historian Kenneth Clark also maintained a home at Albany, although he spent a great deal of time at his country estate as well.

All photos from House Beautiful, January 1975, Feliciano photographer.

Have you ever noticed that some upholstered ottoman/coffee tables look like fabric-wrapped, steroid-enhanced hunks that have been plopped in the middle of a room? Perhaps that's one reason why I find this particular upholstered table, seen above, so attractive. Designed by Paolo Moschino, the table is a lightweight, slimmed down approach to the traditional upholstered ottoman table. The void in the bottom two-thirds of the table is so refreshing and airy. The shelf, on the other hand, helps to visually balance the top part of the table and provides a perch for books. And that fabric is so crisp and snappy, perfect for this former fisherman's cottage in Cornwall, England.

The table immediately made me think of those great upholstered ottomans, chairs, and beds in which the legs were upholstered in fabric, too. This kind of seamless upholstery seemed to reach its height of popularity in the late 1960s, 1970s, and early 1980s and counted all kinds of devotees like Angelo Donghia, Billy Baldwin, and Stephen Mallory. Sometimes the piece of furniture was covered in a solid fabric, while on other occasions, a zippy print was used. What's interesting to note is that there are times when a slipper chair or ottoman, for example, can look squatty with its upholstered legs. For this reason, it's probably best to consider this kind of upholstery on a case by case basis.

And hopefully you'll notice that I didn't include photos of fabric-covered bun feet. That is something entirely different and not altogether very attractive.

Angelo Donghia's raffia-like upholstered dining chairs are so timeless looking, especially considering that this room was decorated in 1975. Actually, the entire room still looks great today.

A white cotton upholstered daybed, feet and all, in this Kips Bay Show House room decorated by Stephen Mallory sometime in the 1970s.

I love this zebra print covered chair and ottoman in the apartment of decorating doyenne, Betty Sherrill. The photo was taken in 1968.

The bedroom of Jay Crawford and Anthony Tortora was swathed in a geometric-print chintz. See how the bed's short feet were fabric-covered just as the bed's box spring was?

I have always admired the East Hampton home of Harry Hinson. Ignore the crease down the middle of the photo and try to get a good look at the small upholstered slipper chair. The fabric, I believe, is Hinson & Co.'s "Merlin", a long-time favorite of mine.

The Library of a Park Avenue duplex, which was decorated in the 1970s by Arthur Smith. The green fabric that was used on the chairs and sofa add a splash of color to the otherwise brown-toned room. Smith even trimmed the legs and bottom edge of the chairs in nailhead trim.

These waterfall-style stools were completely upholstered in quilted fabric, as was the nearby sofa. (David Whitcomb, designer.)

Would you have guessed that this 1970s-era room was located in an 1882 townhouse in Savannah, Georgia? This space was a dining-sitting-garden room, which explains the choice of white fabric for the upholstery. (Home of designer Pratt Williams Swanke and her architect husband.)

So, the Crayola colors and flamestitch rug scream 1960s. Still, think about what these chairs would look like if covered in updated fabrics and placed in updated spaces. (Braswell/Cook Associates.)

Top photo of Paolo Moschino interior from House & Garden, British edition, August 2013, Paul Massey photographer; photos #2-4 from New York Interior Design, 1935-1985, Volumes 1 and 2 by Judith Gura; #5, 7, 8 from Architectural Digest New York Interiors; #6 from Architectural Digest Country Homes; #9 from Decorating American Style by Jose Wilson and Arthur Leaman; #10 from The New York Times Book of Interior Design and Decoration.

I spent the other afternoon perusing the Asprey website, and, as would be expected, I found all kinds of jewelry, trifles, and objects that I now can't live without. What especially caught my attention was their barware, most of which harks back to the Golden Age of Cocktails. Think swizzle sticks, smoky glass decanters, sublime champagne coolers, and sterling silver flasks. The most fanciful of their barware offerings, though, has to be the stylish cocktail shakers. Yes, these shakers might be investment pieces, but they are indeed shakers that you will have forever. You know, one of those items that your children will fight over someday.

Anyway, I found these shakers so inspiring that I went off in search of classic cocktails that are in the spirit (or might that be spirits?) of these classic shakers themselves.

A Port Cocktail Shaker calls for:

Port in a Storm
*a punch recipe

4 oz. port
1-2 dashes brandy
Juice of 1/2 lemon

Use an ordinary ruby port since it is a mixed drink. Stir will with ice and drink on the rocks or strained in a wine glass.

The Rocket Cocktail Shaker screams for :

The Rocket

1 oz. acquavit
1 oz. kummël

Pour from ice-cold bottles into cocktail glasses. Stir.

Quench your thirst with the Thirst Extinguisher Cocktail Shaker and :

Oriental Cooler

2 oz. gin or vodka
Juice of 1/2 lime
3 dashes Angostura bitters
Tonic water

Mix the gin or vodka, lime juice and Angostura in a tall glass. Top up with tonic water.

With The Cocktail Shaker, Black you can make:

Black Velvet

1/2 champagne
1/2 Guinness

Half fill a tall glass with cold Guinness. Fill the remainder with chilled champagne (carefully, so it will not fizz up and waste precious drops).

If the Tell Me How Cocktail Shaker can't help you, then just:

Leave It To Me

2 oz. gin
1 oz. maraschino
1 oz. lemon juice
1 dash grenadine
1 egg white

Shake all the ingredients hard for a frothy delight and serve in a large cocktail or wine glass.

The Cocktail Shaker, Red could have you seeing a:

Flying Red Horse

6 oz. orange juice
1 oz. vodka
2 dashes Grand Marnier
1 dash grenadine

Stir with ice and serve in a tumbler.

Cocktail recipes from the Vogue Book of Cocktails. Illustrations from The Twenties in Vogue, The Thirties in Vogue, and Society in Vogue.

Many of the great decorators have partially credited their success to their Parsons education. And some have specifically referred to their time spent abroad in Europe, where they were enrolled in the Parsons study abroad program, as an education from which they continued to benefit throughout their careers. It seems that their intensive studies, which included touring and learning about the great European houses and palaces, provided inspiration for years to come.

Such was the case with the late designer, Joseph Braswell, who studied at Parsons as a young man. According to the Jan/Feb 1975 issue of Architectural Digest, Braswell was engaged by his long-time St. Louis clients, the Yalems, to create a space for their inveterate entertaining. Braswell, with the assistance of architect William Bernoudy, conceived of the idea to create a separate pavilion that adjoined the clients' house, one which would be in keeping in the main house's architectural style. But when the designer began to flesh out his vision for this party pavilion, he thought thought back to his Parsons-era visit to Sanssouci, the Potsdam, Germany summer palace of Frederick the Great. Said Braswell, "I had seen it on a tour of Europe when I was a student at the Parsons School of Design. I never forgot it or any of its details. Certainly this was my inspiration for the Yalem pavilion."

Other than a reference to the Yalem pavilion's carved and gilded palm trees, the article does not mention other interior references to Sanssouci. However, I wonder if the Chinese House, a garden pavilion located in Sanssouci Park, provided the most direct source of inspiration. You can see that both structures are more or less similar in shape, and the Chinese House is surrounded by those glorious gilded palm tree columns, which also make appearances in the Yalem pavilion.

I think that Braswell did a marvelous job updating the notion of a pleasure pavilion. The pavilion's interior is certainly elegant and a little grand, much in keeping with the spirit of Sanssouci, and yet, it's got spunk, too, thanks to those lacquered red walls and that vivid yellow upholstery. In fact, one could imagine a modern-day Frederick the Great, perhaps a bachelor host and bon vivant, holding court, so to speak, in such style and splendor.

You can see Braswell's work on the Yalem pavilion, above. I can only imagine the fabulous parties that were hosted in those rooms.

Two images of the Chinese House at Sanssouci.

Braswell photos from Architectural Digest, Jan/Feb 1975, Norman McGrath photographer. Chinese House photos from wikimedia.

I didn't think it possible to get excited over a waste paper basket, but indeed it is. I am absolutely smitten with these charming bins that are decorated with dioramas, which appear to made of paper reproductions of famous paintings, engravings, and maps. Depictions include The Hermitage, Brighton Pavilion, and the Fountain of Latona. All are available through Hollyhock Inc.

Leave it to Suzanne Rheinstein to find waste bins that are objects of beauty!

A few weekends ago, two friends and I attended an estate sale at the now former home of design legend Dan Carithers. It was the second day of the sale, and, as would be expected, much of the sale's contents had been picked over. Fortunately, though, there were many books still for sale, and I ended up spending most of my time peering at and poring over the various titles. Lo and behold, a spine with "Decoration" printed on it in big, bold letters called my name. Turns out, the tome was the early 1970s Connaissance des Arts book, Decoration, Tradition et Renouveau, which I have only wanted forever. The only thing that had stopped me from buying it in the past was its hefty price tag. Lucky me, because this copy cost a mere $10. Score.

Later that day, I sat down to read through my new book and soon found these photos of Valentino's Rome apartment. Double score. I love everything about this apartment, including the brass fillet that outlined the walls, the rich colors, the antique Chinese porcelain mixed with shiny chrome and brass furnishings, and the fabulous tortoiseshell bathroom. In fact, if you look at the blue room below (perhaps a study of some sort?), you will see a pair of Qing-dynasty ancestral portraits. These portraits later appeared in Valentino's 1980s-era Rome apartment, which was decorated by Renzo Mongiardino in a grand, traditional style, and are now ensconced in his Chinoiserie winter garden at Chateau de Wideville. It seems that while Valentino decorated his homes to reflect the mood of a particular decade- like high-gloss swagger for the 1970s and romance and grandeur for the 1980s- one thing has remained constant: his love of all things Chinese.

If you are in Atlanta this weekend, be sure to stop by the estate sale at the Pink Palace/the Pink Castle. (The debate rages on as to its correct moniker.) The sale is being conducted by Parc Monceau Antiques. This is a rare opportunity to purchase effects from this old estate and to get a glimpse inside this landmark Atlanta home.

For more information, click here.

Have you noticed that many vintage entertaining and tablesetting books devote at least a few pages to executive dining? It's quaint, really, because I believe that few of us devote much effort to weekday lunches, especially those we consume while working at our offices. In fact, I am writing this very post while eating Orzo Salad at my desk. It may not be a civilized way of eating, but it certainly is efficient.

But, back in the days when life was just a little bit less frenetic and when emails and social media were a burden yet to be discovered (and, by the way, when men wore suits and women wore dresses and skirts to work,) many people did take the time to enjoy a proper lunch. Sometimes they met friends at restaurants while at other times, they broke bread with their colleagues in the break room. A few brave souls ventured as far as three martini lunches (!) There was even a tradition in some offices, especially those of decorating establishments, of taking tea or coffee in the late afternoon, sometimes from a tea trolley that was pushed throughout the office.

Of course, not everyone had access to executive dining rooms, tea trolleys, and power lunches at the Four Seasons. But looking at these old books with their attractive workday tablesettings does make me realize that sometimes I really should slow down and enjoy life's little pleasures...even if that means eating Orzo Salad on proper china and at a proper table!

Image at top: In the 1930s-style Maple dining room of Cartier, a panther motif table was set for executives to discuss business. Note the wine and cigarettes.

"A Client Lunch at Wells, Rich, Greene, Inc." as conceived by Mary Wells Lawrence. Tiffany & Co.'s "Bamboo" flatware and "Jardin de Jade" china adorns the table, which is surrounded by Bielecky Brothers rattan chairs.

"A Small In-Office Lunch" at the Manhattan office of John T. Sargent, former Chairman of the Board of Doubleday. The table is set with "Si Kiang" china, "King William" flatware, "St. Remy" glasses, and a silver Monteith bowl filled with pears, all from Tiffany & Co.

"Luncheon at Chanel Inc.", where this fantasy lunch included Caprese Salad, grilled sole, and cantaloupe sherbet and gaufrettes for dessert.

"Lunch in the Corporate Boardroom" at the New York Bank for Savings. Letitia Baldrige, who was a trustee of the bank, set this table with Tiffany & Co.'s "King William" flatware.

Primrose Bordier set her table for a "brainstorming session with her colleagues." Asian accents include Philippine trays used as chargers, small Japanese hot towel baskets that served as bread plates, and Japanese porcelain bowls.

"Luncheon at an Executive's Desk" at the Time & Life Building, c. 1960. The table was set with tableware from Tiffany & Co., including what appears to be their "Hampton" flatware. I myself have "Hampton" flatware, but I have never once used it for lunch on a workday!

"Luncheon in a Board Room" at the Time & Life Building, c. 1960. Again, the tableware is from Tiffany.

Not a working lunch, but rather a working dinner in the Sutton Place apartment of the late designer, Valerian Rybar. The menu included cold lobster, brochettes of baby lamp chops grilled aux herbes de Provence, and eggplant caviar. A ginger-scented Crème Bavaroise would have been served for dessert. The table was set with vermeil pieces from Tiffany.

Photos from: "Tiffany Tablesettings", "New Tiffany Tablesettings", "Tiffany Taste", and "The Elegant Table" by Barbara Wirth.

Flame stitch fabric. Do you love it? Hate it? Fall somewhere in between? Quite frankly, it has never been one of my favorites. I think that the problem is that there are flame stitch fabrics that look too old-fashioned or their colors are all wrong, and then there are those that look like they came out of a seedy 1970s interior.

I'm starting to change my tune, though. Recently, my cousin Karlyle mentioned to me that she still loves flame stitch. That comment made me start to reconsider this oldie. And then, I opened the August issue of British House & Garden, and there was Helen Cormack of Tissus d'Hélène, who had put together a fabric scheme for a fantasy drawing room that included the most beautiful flame stitch by Edmond Petit, "Point d'Hongrie". Cormack suggested using the fabric on the inside of a wing chair, with a dark green plain linen used for the outside. How clever!

Now, I know that we are supposed to make decisions for ourselves, but I admit that Cormack's endorsement of this fabric gave it added appeal. By all accounts, Cormack is the London doyenne of textiles, and her showroom is on my list of places to visit on my next (and hopefully soon) trip to London. So yes, maybe I was swayed. But still, I really think that I may further investigate "Point d'Hongrie". I'm thinking that it might be just the right fabric for my sofa's throw pillows. The fabric strikes just the right note for my apartment. It's proper and well-mannered looking, not to mention that it has depth and maturity. And yet, it isn't dull or, worse, seedy-looking. This might just be the perfect flame stitch fabric. Well, to me anyway.

"Point d'Hongrie" from Edmond Petit.

Other examples of flame stitch from the past (of which some are better than others):

A flame stitch vignette at Tiffany & Co., decorated by Inman Cook. c. 1960s.

A Bloomingdale's model room by Barbara d'Arcy.

Flame stitch wallhanging and upholstery in a 17th-century English room.

Flame stitch rugs in the bedroom of Michel Pignère, France, c. 1960s.

Image at top: House & Garden, August 2013; #2 House & Garden Guide to Interior Decoration; #3 House & Garden's Complete Guide to Interior Decoration; #4 Traditional Decorating by John Sutcliffe; #5 Nouvelles reussites de la decoration francaise, 1960-1966.

I know little- very little- about gardens and gardening, and perhaps one of these days I'll remedy this situation. However, I suppose that I know enough to be familiar with Russell Page, the esteemed British garden designer. And, of course, the whole world knows who Babe Paley was. So, whether you're a garden aficionado or a novice like me, you might be interested in these photos, which depict the Russell Page-designed garden of Babe and William S. Paley.

Located at their Long Island estate, Kiluna Farm, the garden was designed mostly by Page, with additional input provided by Paley's friends, Henry Francis du Pont and Thomas Church. When the Paleys purchased this property, the garden lacked "mystery", according to Babe, and felt "too constricted and enclosed," especially considering that dense woods hovered beyond its rose beds. Paley decided that a new garden was in order, one which would cut into the untamed woods and have a proper focal point. Mrs. Paley also wanted a "secret garden" feel to the space.

Page and Paley first cleared out a dell that would serve as the garden's focal point, and then planted it with a so-called "punch bowl", which was essentially an oval pond that was surrounded by grass. The "outer frame" of the punch bowl was planted with various groundcovers and flowering trees and shrubs. (You can see what all of this means in the photo at top.) Japanese azaleas were preserved from the old garden and replanted along the sides. In addition to the azaleas, you'll also see rhododendrons, dogwoods, oak trees, and tulip poplars.

If any of you garden-savvy readers wish to add any pertinent information or comments to this post, please do so. Even after reading the Architectural Digest article from which these photos came, I'm still a little muddled as to the intricacies of the garden's design. (And I'm still a little confused about the secret garden aspect. Is it that the garden doesn't fully reveal itself upon first glance???) I'm just hoping that the photos can and will do the talking!