Kit Kemp’s New York cafe offers a lesson in bold patterns and embroidered details

New York City's vibrant coffee scene extends beyond mere caffeine consumption, encompassing a thriving culture of independent and small-chain coffee shops that prioritize design. This article highlights several meticulously designed coffee establishments across Manhattan and Brooklyn, catering to individuals who appreciate both a quality brew and aesthetically pleasing surroundings. These venues range from those housed in historic buildings to contemporary spaces, each offering a unique design narrative. Flora Coffee, situated in the Met Breuer, reimagines the 1966 Marcel Breuer building with a sensitive renovation by Beyer Blinder Belle. It retains the original robust concrete elements while introducing natural woods, leather, and bronze metalwork, complemented by the building’s original disc-shaped lighting. Devoción, a Brooklyn-based establishment, operates from a former meatpacking plant. Its interior, designed by Studios Go, features a bright and airy atmosphere, highlighted by a vertical garden of coffee plants, reflecting the brand's commitment to freshness and direct sourcing of organic beans from Colombia. Reynard, though a restaurant, serves as an ideal coffee spot within the Wythe Hotel. It showcases a factory-chic aesthetic with original brickwork, timber beams, and soaring cast-iron columns, emblematic of Williamsburg's design sensibilities. Intelligentsia's New York outpost, nestled within the Roman and Williams-designed High Line Hotel, offers a bookish ambiance with raw brickwork, oriental carpets, and Chesterfield sofas, allowing patrons to enjoy their coffee indoors or al fresco in the hotel’s courtyard. Kava Cafe, located in Manhattan's Meatpacking District, boasts interiors by Roman and Williams, drawing inspiration from a Venetian coffee crawl. Its design features meteoric oak motifs with exposed screws on the walls and a spiraling, brightly colored terrazzo floor, all inspired by a Chris-Craft boat’s dashboard. Happy Bones, founded by Kiwis, is a minimalist conversion of an alleyway in Little Italy. Architects Hannah Chiaroni-Clarke and Danu Hassik, along with interior designer Ghislaine Viñas, transformed the compact space into a stylish venue with whitewashed brickwork, steel mesh displays, and a large skylight. Sweatshop in Williamsburg brings Melbourne’s renowned coffee culture to New York, established by Ryan De Remer and Luke Woodard. Its effortlessly cool monochrome interiors reflect the founders' passion for design, evident in their furniture and interiors studio of the same name. Chalait, co-founded by Michelle and Ramon Puyane, is Manhattan’s first matcha-focused tea and coffee shop, with its newest and largest location in Hudson Square. Designed by Kontoret, it combines modern Japanese architecture with Scandinavian design, utilizing sustainable materials like black stained pinewood and whitewashed oak to create a serene environment. Finally, Chillhouse in the Lower East Side offers a unique concept, combining a full-service café and bar with a nail salon and massage boutique. Designed by Jeffrey White of Ecology Architecture Urbanism, it serves as a relaxing haven for city dwellers, offering both invigorating caffeinated drinks and calming options. Each of these coffee bars demonstrates a thoughtful approach to interior design, enhancing the coffee-drinking experience through distinct architectural and decorative choices, making them destinations for design enthusiasts. #NYCCoffeeShops #InteriorDesign #CoffeeCulture #ArchitecturalDesign #CafeDesign #NewYorkCity #DesignDevotees #HospitalityDesign #UrbanSpaces

Design maverick Kit Kemp, co-founder of Firmdale Hotels and the Kit Kemp Design Studio, and her husband Tim Kemp, have significantly renovated their 1930s central London townhouse twice over two decades. The initial renovation was inspired by fellow designer Robert Kime's advice to make the kitchen the best room in the house. This led Kit to convert their large, barrel-shaped dining room, which overlooks the garden, into a kitchen that has since become the central living space. The bespoke cabinetry in the kitchen has undergone multiple color transformations over the years, and Kit has incorporated unique elements like beaded lampshades crafted from colorful Kurdi aprons. Following the kitchen transformation, a conservatory was added off the kitchen to serve as a dining area, featuring a Tord Boontje chandelier that creates intricate shadows at night. More recently, as their three daughters have grown and left home, the Kemps undertook a second major renovation. This involved knocking down a formerly unused front room to create an open-plan layout connecting it to the living room and subsequently to the kitchen. This new configuration provides the living space with abundant east-west light. In this bright living room, Kit combined an oversized One Way geometric linen with an exuberant botanical print, balancing these bold designs with a subtle paisley pattern. The vibrant patterns are complemented by antique pieces, including an 18th-century Spanish chest, above which hangs a portrait by Duncan Grant. Kit notes that the home's design is a collaboration with her husband, driven by their shared appreciation for Bloomsbury art. The walls display a collection of works by prominent Bloomsbury artists, chosen for their suitability to the London light. The redesign also involved moving the front door and enlarging the hallway. Kit began the redecoration of the entire house with this space, emphasizing the importance of giving character to 'in-between spaces' like hallways and landings to make a house feel more expansive. She adorned the hallway with her repeat 'Mythical Land' wallpaper design, creating an enchanting backdrop for an eclectic mix of objects, such as a Swedish wedding clock and an old beehive. A chair upholstered in an embroidered textile from Kazakhstan further enhances the unique aesthetic. On the first floor, one of the four bedrooms was converted into a walk-through music room, accommodating their grand piano. Kit humorously explains that placing the piano in this dedicated space was a practical choice, and lining the area with bookshelves may have inadvertently improved the acoustics. Upstairs, the main bedroom, nestled under the eaves, features a grand half-tester bed that accentuates the room's interesting architectural volumes. Kit has been meticulous in reusing and reupholstering existing pieces, demonstrating a commitment to sustainability by donating fabrics to charities and using offcuts for toys. Another bedroom showcases pieces from a showroom set she designed, including armchairs originally created for a Blithfield stand. A fantastical headboard, also designed by Kit for a showroom display, is complemented by a lamp base that serendipitously aligns with its aquatic theme. Creativity is central to Kit's design philosophy, a theme further explored in her latest book written during the pandemic, highlighting the increasing desire for personalized interiors and the move away from reliance on big designer names towards unique, custom-driven home decor. #InteriorDesign #KitKemp #LondonTownhouse #HomeRenovation #ColorAndPattern #BloomsburyArt #EclecticDecor #DesignPhilosophy #KitchenDesign

Kit Kemp, co-owner and creative director of Firmdale Hotels, shares her design philosophy and tips, coinciding with the opening of her pop-up at Bergdorf Goodman. Known for her distinctive and whimsical approach to interiors, Kemp emphasizes creating rooms that are engaging and fun, rather than timid. Her work at Firmdale Hotels has established her reputation for crafting unique and inviting spaces, leading to her recent collaboration with Bergdorf Goodman. The Bergdorf Goodman pop-up showcases a comprehensive collection of Kemp's designs, integrating various elements she has developed over the years, including furniture, fabrics, lighting, homeware, and fragrances. This initiative addresses frequent inquiries from her audience about where to purchase her distinctive pieces, marking a significant step in making her designs more accessible. The pop-up is divided into three distinct spaces, each characterized by its own color scheme and personality, yet maintaining a cohesive aesthetic that is uniquely Kemp's. Kemp offers practical advice for incorporating color into home interiors, suggesting that hesitant individuals can start with a statement chair. She explains that by adding a vibrant piece, such as a wing chair, and then coordinating it with cushions, one can gradually introduce color into a room without it becoming overwhelming. Her philosophy is that color should contribute to a sense of calm and harmony, rather than creating a chaotic environment. She also provides quick and easy design tips to enliven a space. A notable suggestion is to use decorative plates as artwork, hung with black felt behind them to enhance their visual impact. Kemp credits Picasso with this technique, indicating its timeless appeal. When it comes to lighting, she advises viewing light fixtures as sculptures, and using fabric on lampshades to dramatically alter a room's focal point, underscoring that only a few focal points are necessary for an effective design. Folk art serves as a primary source of inspiration for Kemp, influencing her overall design aesthetic. Her process for discovering emerging artists is rooted in natural curiosity and a desire for tactile engagement with art, preferring hands-on experience over digital browsing. Among her favorite pieces in the pop-up are bespoke candlesticks and bird baths, which she repurposes for indoor display, highlighting her unconventional and playful approach to design. The article is accompanied by several illustrations showcasing various nooks and displays from her Bergdorf Goodman pop-up, including hand-painted plates, a bespoke 'Pippa sofa,' and a display of signature-style gifts. #KitKemp #InteriorDesign #HomeDecor #BergdorfGoodman #FirmdaleHotels #DesignTips #ColorInDesign #FolkArt #WhimsicalInteriors

The article showcases 53, an Asian-fusion restaurant in Midtown Manhattan, designed by ICrave, led by founder and CEO Lionel Ohayon. Located at the base of Ateliers Jean Nouvel’s 53 West 53 residential tower, adjacent to the Museum of Modern Art (MoMA), the restaurant aims to provide an immersive dining experience that transcends mere culinary satisfaction. Ohayon emphasizes the concept of a “yummy” room, where a harmonious blend of lighting, acoustics, materiality, layout, visual impact, and a sense of discovery compels diners to return. The restaurant was recognized as a 2022 Best of Year Winner for Fine Dining. The 11,000-square-foot space is divided into a street-level bistro and a subterranean main dining room. Jean Nouvel’s architectural design, characterized by angular beams, allows for expansive column-free areas and intimate dining zones. Given its proximity to a world-renowned contemporary art museum, ICrave approached the project not as traditional interior design but as a sculptural or painterly endeavor. This artistic philosophy is evident in the restaurant's most prominent feature: three dozen giant curving fins that span the entire width of the space. These fins emerge from the street-level ceiling, cascade down in front of the bistro, sweep underneath, and wrap around the ceiling of the main dining room. Each fin is edged with a bright stripe, featuring nine neon-like colors derived from the Nine-Dragon Wall reliefs found in Chinese imperial palaces. These hues also subtly reference the diverse Asian cultures represented in the menu and the modern art displayed at MoMA. The restaurant plans to host a rotating selection of fine art in collaboration with the Friedrich Petzel Gallery. The fin installation, glossy black on one side and sepia-toned on the other, creates a lenticular effect as guests move through the restaurant or view it from the sidewalk. Ohayon describes the installation as both a loom and a veil, with its vibrant colors attracting attention from passersby and directing their gaze to the aerial arrangement of tables, banquettes, and chairs set on an ink-wash carpet, which features subtle smokey grays echoing Nouvel’s steel construction. Ohayon highlights the importance of creating a unique piece of the city's landscape, fostering memories for visitors and a sense of place for residents. The sculptural architectural gesture draws inspiration from the Chinese artistic principle of xieyi, emphasizing broad, expressive strokes and representing the chi or energy flow within 53. In contrast, the principle of gongbi, which focuses on realism and fine detail, guided the selection of decor elements. For example, the colors from the fin edges are subtly echoed in the precious stones used as chopstick rests. Lighting, a critical component of the "yummy" atmosphere, was developed in collaboration with Licht, ICrave's in-house studio. The main dining room features cove lighting, slender cylindrical pendant fixtures that adjust with ceiling height variations, and circular sconces softly illuminating the ecru suede-like walls. An ethereal cluster of small LEDs forms a twinkling cloud above the bar. All lighting elements emit 2,600 Kelvins, complemented by rechargeable Japanese table lights, creating a warm, cinematic glow. The material palette emphasizes honesty and natural finishes, including stone bar counters, white oak paneling, leather banquette upholstery, and wool rugs. The deliberate juxtaposition of warm and cool tones reinforces the duality of hard and soft, grand and humble, evident throughout the design. Lionel Ohayon personally led the design of this project, finding it a creatively cathartic and rewarding opportunity to shape New York City's landscape. He aimed for an expression that aligns with its location next to MoMA, showcasing exuberance with mature restraint, moving away from what he perceived as a "Brooklyn-ification" of Manhattan's design aesthetic. ICrave's extensive experience in hospitality design, spanning over 20 years, allowed them to create a restaurant interior that honors its cuisine without resorting to pastiche, understands its contextual importance, and is as delightful as the food it serves. #RestaurantDesign #InteriorDesign #MidtownManhattan #ICrave #FineDining #ArchitecturalSculpture #LightingDesign #AsianFusion #LuxuryHospitality

Postcard Bakery, a new establishment in New York City's West Village, presents a distinctive interior design that draws inspiration from retro Japanese aesthetics, specifically from Asian artwork. Designed by Sarah Carpenter of Sarah Carpenter Studio, the bakery's vibrant and nostalgic atmosphere stands in contrast to the minimalist style of the adjacent flagship restaurant by the Nami Nori team. Carpenter aimed to create a bold and unexpected typology for the New York commercial space, one that complements the brand while offering a fresh visual experience. The design process involved immersing Carpenter in visuals related to baked goods, vintage postcards from various travels, and a curated Spotify playlist. This sensory approach allowed her to capture the desired emotional resonance for the bakery's customers. The compact 300-square-foot storefront is a testament to Carpenter's skill in integrating a rich palette of colors and patterns without overwhelming the space. She strategically paired pastels with richer hues to achieve this balance. The seating area at the entrance features comfortable banquettes upholstered in a textured, buttery yellow fabric, offering a welcoming spot for patrons to enjoy their bubble tea or coffee on citrus-colored bistro tables. A custom wallcovering, developed in collaboration with LMNOP, the agency responsible for the bakery's graphics, is a central design element. Framed by oak millwork, the pattern evokes the artistic style of illustrator Yumeji Takehisa, utilizing a powdery matcha green tint instead of a conventional botanical green. This choice adds a subtle yet impactful nod to Japanese culture and aesthetics. The service area behind the display case is a particular highlight, featuring a luxe vermillion red covering the ceiling, walls, and counters. Carpenter deliberately incorporated arches, constructed from flexible PVC and finished in high-gloss paint, to create a striking visual statement. This "red portal" serves as a unifying element for the entire design, showcasing Carpenter's philosophy of making significant design moves within hospitality projects, where intricate details can sometimes be overlooked. The bakery's curved glass and stainless steel display case, while functional for showcasing pastries and sandwiches, also acts as a focal point. Carpenter paid close attention to this high-touch area, ensuring that the polished metal's reflectivity creates an engaging interplay with the surrounding matte surfaces. Even the flooring, often an afterthought, contributes significantly to the bakery's aesthetic. A pearlescent checkerboard pattern formed by honey onyx and glacier white stone tiles shimmers underfoot, adding another layer of sophisticated detail to the overall design. #CommercialDesign #InteriorDesign #RetroJapaneseDesign #ColorPalette #PatternDesign #BakeryDesign #SarahCarpenterStudio #NewYorkDesign #HospitalityDesign

Skims, the shapewear brand launched by Kim Kardashian in 2019 and valued at $4 billion in 2023, has expanded its physical retail presence with the opening of its flagship store on Fifth Avenue in New York City. This development marks a significant step for the brand, which initially sold merchandise through pop-ups and in department stores like Nordstrom and Bergdorf Goodman. The flagship store, formerly occupied by Versace, was designed by Rafael de Cárdenas to reflect Skims' signature monochromatic and modern aesthetic. The store officially opened on December 11, with a celebratory launch party attended by various personalities. Kim Kardashian expressed that the flagship is a dream realized, aiming to embody the brand and enhance the customer experience. Jens Grede, CEO of Skims, noted that the store is the culmination of insights gained from previous retail endeavors, offering an immersive brand experience. Both Kardashian and Grede have indicated plans for further expansion, with future stores projected for locations such as Los Angeles and Charlotte. Upon visiting the store a few days after its opening, the exterior immediately conveyed Skims' brand identity. Situated between Longchamp and Cartier, the cream-colored stone facade and subtle Skims logo aligned with the brand's neutral color palette. Arched windows provided a glimpse into the interior, revealing a large sculpture. Despite opening at 10 a.m., a line of approximately 40 people waited outside around 11 a.m. to enter the store, with security and staff managing customer flow. The waiting system appeared to prevent overcrowding, and visitors were admitted in groups, resulting in a manageable 10-minute wait. The interior of the store was segmented into distinct rooms, each dedicated to specific Skims product lines. The entryway featured a large, armless, headless, and footless 15-foot statue of a woman designed by Vanessa Beecroft, positioned amidst beige tile floors and curved walls. This artistic installation, framed by leafy plants on cream platforms, created an atmosphere reminiscent of a museum. Beyond the central statue, the initial display rooms showcased Skims' classic shapewear, bras, and underwear in various flesh tones. Mannequins, diverse in shape and representing the brand's inclusive sizing from XXS to 5X, were strategically placed on shelves above the racks and in hallways connecting the different sections. The curved architecture of the stairwells, consistent with Kardashian's home aesthetic, also featured groups of five mannequins. Employees, dressed in matching pale-purple sweatsuits, were present in each display room to assist shoppers and stock merchandise. Store maintenance, including floor mopping, was observed to be ongoing, with staff temporarily pausing their tasks for customers. The back room on the first floor contained a wider array of products and incorporated subtle holiday decorations, such as Christmas lights and wrapped gifts, without compromising the minimalist aesthetic. While Skims offers colorful items, these were subtly placed, with the front room exclusively featuring neutral tones. The second and third floors maintained a similar layout, focusing more on clothing displays than sculptures or plants. Each floor had a checkout counter to streamline the shopping process. The ability to physically interact with products allowed for a better assessment of fabrics and fit. Raised platforms for mannequins provided 360-degree views of the garments. The top floor featured more exclusive items, including the Skims x Dolce & Gabbana collaboration pieces and the brand's slip dresses, alongside a dedicated menswear section. The men's mannequins, while diverse in color, exhibited less variation in shape compared to the women's. The steady flow of customers taking their time to browse, converse with employees, and try on items in the dressing rooms indicated the store's popularity. The overall design, product selection, and customer experience of the Skims flagship store were consistent with the brand's image as modern, stylish, sophisticated, and accessible, suggesting its potential for lasting success. The artistic and practical elements of the store, from the architecture to the mannequin displays, reinforced Kim Kardashian's vision for the brand. The observed customer traffic further underscored the store's immediate impact and potential longevity. #Skims #KimKardashian #FlagshipStore #RetailDesign #FifthAvenue #MonochromaticDesign #FashionRetail #InteriorDesign #StoreExperience

Felix Roasting Company has opened a new outpost in Aspen's Hotel Jerome, designed by Ken Fulk, aiming to offer customers a "five-minute respite from reality." The 710-square-foot space in Aspen reflects the brand's commitment to creating an immersive experience, following its two New York locations. Founder Matt Moinian describes the cafes as an "oasis" that transports visitors to a "turn-of-the-century, eclectic coffeehouse," regardless of whether they are in a bustling city or a mountain resort. The design of the Aspen location is characterized by a blend of history and modern luxury. San Francisco–based designer Ken Fulk approached the project with a deep respect for the Hotel Jerome's pioneering spirit, which has been a landmark in Aspen since 1889. The existing tin ceiling of the space served as a primary source of inspiration for the interior finishes, and the original millwork was preserved throughout the renovation. Fulk's design incorporates sumptuous fabrics, lavish floral wall coverings, and glittering chandeliers, creating an atmosphere of lost-in-time sophistication reminiscent of vintage European coffeehouses. The chosen color palette of pale pink, deeply saturated verdigris, and copper draws inspiration from the Aesthetic Movement of the turn of the 20th century. Notably, the wood paneling is painted in Farrow & Ball’s Setting Plaster, one of Felix's signature colors. The custom floral wallcovering tells a "coffee story" through patterns inspired by the arabica flower, a concept developed during the creation of the first Felix cafe. The interior features rich velvet textures, gilded surfaces, custom floral wallpaper, and diamond-patterned white-oak floors. Fringed velvet seating and classic French bistro tables are arranged on these distinctive floors, which include a brass Felix medallion at their center. Flamboyant, antique Murano glass chandeliers cast a warm, rosy glow, contributing to the eclectic and luxurious ambiance. Fulk emphasizes the "visual tension" created by layering different eras and aesthetics, such as the delicate Murano glass against the rustic wood floors and tin ceiling, resulting in an intriguing combination. The artwork further enhances the lavish and eclectic atmosphere, with contemporary portraits by Jose Trujillo blended with customized historic portraits. This curated collection is intended to make the space feel timeless, as if the pieces have been collected over many generations. Moinian highlights the brand's commitment to originality and authenticity, stating that "_Felix_ means happy in Latin, and we pride ourselves on buying and roasting the beans ourselves with our team." The cafe also offers unique culinary experiences, exemplified by its signature Hickory Smoked S’mores Latte. This sophisticated beverage features a double espresso, cinnamon- and graham cracker–infused steamed milk, served in a martini glass with a dark chocolate and graham cracker-crusted rim. It is topped with a homemade, darkened caramel marshmallow and smoked with hickory chips in a bell jar, creating a theatrical presentation. Despite the luxurious setting, Moinian assures that the cafe is built for durability, with solid-grade hardwood floors designed to withstand ski boots and hiking shoes, welcoming all visitors. The overarching goal is to provide an experience where "beautiful atmospheres should go with beautiful coffees," allowing customers to either grab a quick cup or enjoy a moment of self-care in a visually stunning environment. #AspenCoffeeShop #HotelJerome #KenFulkDesign #LuxuryInterior #CoffeeCulture #VintageDesign #HospitalityDesign #CafeDecor #AestheticMovement

Nidhi Kapur, the founder of Maiden Home, established the brand in 2017 to address a perceived gap in the modern home decor market. Her experience furnishing her first home revealed a prevalence of generic designs and subpar craftsmanship among large retailers. Leveraging her technology background, Kapur aimed to offer sophisticated yet affordably priced furnishings directly to consumers. Maiden Home sources its products from artisans in North Carolina, focusing on quality and distinctive design. The direct-to-consumer (DTC) model enables the brand to maintain competitive pricing while delivering high-end aesthetics. In the summer of 2022, Maiden Home launched Tribeca House, a temporary pop-up experience in New York. This initiative aimed to provide clients with a tangible interaction with the brand's aesthetic and demonstrate how Maiden Home's curated approach could be integrated into their personal living spaces. The pop-up was situated in a two-story, 2,500-square-foot loft, offering ample space to showcase a selection of items from the brand's summer 2022 collection. The layout and presentation at Tribeca House were designed to inspire visitors and offer fresh perspectives on contemporary home styling. The featured pieces at Tribeca House included several key designs from the summer 2022 collection. Among these was the minimalist Mulberry ottoman, characterized by its clean lines and functional design, reflecting a blend of modern simplicity and practicality. Another highlight was the Kenmare chair, crafted from ash wood and upholstered in a white tweed fabric, emphasizing texture and natural materials. The Vestry nesting tables also garnered attention; this pair of tables featured asymmetrical forms and were constructed from domestically sourced red oak, showcasing the brand's commitment to quality materials and unique design elements. The pop-up aimed to illustrate the brand's 'collected home mindset,' encouraging customers to view furnishings as cohesive elements that contribute to a unified and sophisticated living environment. By presenting these items in a curated physical space, Maiden Home sought to bridge the gap between online browsing and the tactile experience of selecting home decor. The initiative reinforced the brand's dedication to providing accessible, high-quality modern furnishings that prioritize both design and craftsmanship. While Tribeca House was a temporary installation designed to engage customers and introduce new collections, Maiden Home's core philosophy emphasizes the enduring nature of its products. The brand's focus on timeless design, durable materials, and expert craftsmanship ensures that its furniture is intended for long-term use, contrasting with the fleeting trends often associated with mass-produced items. This commitment to longevity is a central tenet of Maiden Home's identity, promising pieces that will remain relevant and cherished in customers' homes for years to come. #MaidenHome #HomeDecor #NewYorkPopUp #ModernFurnishings #DirectToConsumer #InteriorDesign #FurnitureDesign #ArtisanCraftsmanship

This article explores a historic 1920s double-wide townhouse on the Upper East Side of New York City, which served as the 47th Annual Kips Bay Decorator Show House. The clients purchased the entire building after attending the show house, initiating a gut renovation led by Francis Nicdao, principal designer and chief creative officer of Pembrooke & Ives, and Stephanie Sarkies-Schabot, the firm's managing director of decorating. The renovation, which began during the COVID-19 pandemic, aimed to create a family home capable of displaying a vast, museum-quality art and antique collection without feeling overly formal. The design achieved a balance between contemporary cleanliness and traditional detailing, respecting the building's historical character. The entryway features checkerboard marble flooring and a spectacular spiral staircase connecting five of the six levels, designed to facilitate a smooth transition to vertical living. The living room, expansive due to the home's double-wide layout, is furnished with collectible design pieces and art, creating a grand and impactful atmosphere. Gold accents add a glamorous edge to a soft color palette. The combined breakfast and family room functions as the home's hub, with a custom back-to-back sofa dividing dining and lounge areas. This space, which opens into the kitchen, incorporates rich textures and blue hues, overlooked by Ralph Goings's artwork, _Tom’s Diner_. The kitchen, located on the entry floor, was designed for high functionality and ease of maintenance, with easily cleanable surfaces and ample counter space. Its blue island and barstools create a cohesive connection with the adjacent breakfast room. The wine cellar and wet bar, located in the basement and dining room respectively, demonstrate that even lower-level spaces can be glamorous, featuring specialty lighting for the wine display and a high-gloss blue paint with a mirrored backsplash in the wet bar. The primary suite, one of seven bedrooms, offers a dreamy ambiance with pink details and natural light enhancing its glow. The unique layout connects the bedroom to a walk-in closet and bathroom through a windowed corridor along the back facade. A guest bedroom provides a relaxing retreat with a neutral color palette, plush carpeting, embroidered drapery, a custom upholstered headboard, and a high-gloss wall finish. The primary bathroom integrates decorative lighting as a focal point, with a stunning chandelier and sconces, alongside symmetrical design and stone detailing for a luxurious and modern feel. Finally, the backyard patio, designed by landscape architect Luciano Guibbilei, serves as a “zen-like enclave” in the city, covering approximately 1,500 square feet and featuring a mural by artist Annie Morris, providing a serene outdoor escape. #NewYorkCity #TownhouseRenovation #InteriorDesign #LuxuryHomes #HistoricPreservation #ArtCollection #PembrookeAndIves #KipsBayShowHouse #HomeDecor

Kim Scodro Design's dining room at the 2024 Kips Bay Decorator Show House Dallas is a multi-purpose space designed for modern entertaining, drawing inspiration from a 1948 Vogue photograph by Cecil Beaton. The vision behind the room was to create a space where contemporary women could enjoy cocktails and dinner without leaving the house, reflecting a shift in how dining rooms are utilized today. The design journey began with a photograph of women in glamorous gowns, which informed the room's elegant and colorful aesthetic. The color palette for the dining room was directly inspired by the gowns in Beaton's photograph. Scodro collaborated with The Shade Store to produce horizontal stripe curtain panels using beautiful silk fabrics that serendipitously matched her vision. Gracie contributed an ethereal botanical wallcovering, complemented by a matching Benjamin Moore paint color on the ceiling, enhancing the room's sophisticated atmosphere. The dining table, from Hickory Chair, is adorned with candy-colored Ginori 1735 china, adding a touch of playful luxury. Antiques played a significant role in furnishing the space, with pieces sourced locally from Wolf-Hall and Legacy, including striking pastel glass chandeliers. These elements contribute to the room's timeless elegance and character. Custom design details, such as a box-pleat armless chair and bespoke silk pinstriped built-in banquettes, were incorporated to maximize comfort and visual appeal. Scodro expressed that the room embodies her personal style, characterized by a sense of beauty and comfort in every detail. The design successfully merges traditional dining functionality with a dedicated bar area, offering a seamless transition from pre-dinner cocktails to a full meal. This approach acknowledges the evolving role of the dining room as a versatile hub for social gatherings and relaxation. The overall design is a cohesive blend of historical inspiration and contemporary needs, creating a luxurious and inviting environment that is both visually stunning and highly functional for entertaining guests. #KimScodroDesign #KipsBayDecoratorShowHouse #DallasDesign #DiningRoomDesign #VogueInspired #InteriorDesign #LuxuryDecor #HomeDecor #EntertainingSpace

The VNYL is a new multi-level establishment in New York City's East Village, functioning as a bar, restaurant, and club. Owner James Morrissey, who also runs The Late Late in the Lower East Side, aims to modernize the traditional Irish bar concept with a contemporary flair. Interior designer Sarah Abdallah of Functional Creative Design was responsible for the interior aesthetic, which combines elements of 1970s luxury residential design with a rock 'n roll edge, incorporating lush textures, playful accents, and disco balls. The venue spans four storeys, beginning with a polished concrete entryway that serves a dual purpose as a record store and coffee shop. This entrance leads into the ground floor restaurant. The design of the restaurant features walls clad in walnut timber and geometric David Hicks wallpaper, setting a distinctive tone. Furnishings are a mix of custom-made pieces, vintage finds, and curved banquettes and bar stools upholstered in rich tiger leather, sourced from Orior New York in Ireland. Lighting is a blend of vintage sconces and modern Flos pendants by designer Michael Anastassiades. Textile choices include patterned accent fabrics by Schumacher and Pierre Frey, alongside plush velvets from Angela Brown LTD, all contributing to a retro atmosphere. The culinary offerings, curated by executive chef Jordan Andino, focus on modern American cuisine with Californian influences. Menu highlights include DIY lettuce wraps featuring avocado, lobster, tortilla strips, and cherry tomatoes, followed by a fillet mignon served with roasted vegetables and yoghurt chimichurri. For dessert, guests can enjoy a cookie dough spring roll. After dining, patrons can ascend to the Champagne Garden, a brightly lit and whimsical space adorned with Tommy Bahama palm leaf upholstery, ideal for post-meal cocktails. The evening can continue or begin in the second-floor Black Rose Room, an intimate setting characterized by dark green velvet sofas, brass and black marble tables, and gold damask-inspired wallpaper by Brooklyn-based Flavor Paper. This room provides a sultry backdrop for the beverage director Gareth Howells' cocktail creations. The VNYL's design and offerings aim to provide a comprehensive experience, blending diverse aesthetics, culinary styles, and atmospheric settings across its various levels, all while maintaining a cohesive and distinct identity within New York City's nightlife and dining scene. #NewYorkCity #RestaurantDesign #BarDesign #ClubInterior #InteriorDesign #VintageModern #HospitalityDesign #EastVillage

Sophie Lou Jacobsen, a designer known for transforming everyday objects with a unique, cool aesthetic, has applied her distinctive vision to La Cantine, a new café in Brooklyn’s Bushwick neighborhood. Jacobsen, co-founder of Studio Sayso and graphic design firm Our Studio, approaches interior design by treating the space itself as an object, focusing first on shapes and materials before considering the layout. This philosophy guided her in creating a joyful and unexpected environment for La Cantine. Jacobsen's design for La Cantine successfully blends traditional European café elements with her contemporary, 'Pop-y' personal style. The owner, Ioana Hercberg, desired a space reminiscent of the warm, traditional cafés from her family's French and Spanish roots. Jacobsen achieved this fusion by incorporating elements like granite floor tiles, traditional tables, and a marble checkout counter, which ground the space in a classic European aesthetic. Simultaneously, she infused her signature touch through scalloped countertop edges, wavy curtains, tubular upholstery, and whimsical brass sconces, which were adapted from a previous design with Sarita Posada for Studio Sayso. Even the plates selected for the café feature curvy and colorful designs, further cementing Jacobsen's playful influence. A key aspect of Jacobsen's design approach for La Cantine was her use of color. Initially considering a pale pink palette, she ultimately opted for a more enduring scheme of creamy yellows, complemented by blue, blush, and green furniture and floral accents. These vibrant pops of color were crucial in adding a sense of adventure and joy to the space, which Jacobsen believes is an important element in her designs. The floral arrangements were crafted by Fleurotica, and the bathroom design was handled by Anahit Pogosian, contributing to the café's overall aesthetic. Cohesiveness was paramount in the creation of La Cantine, ensuring that every element, from the countertops and menus to the silverware and wall decor, harmonized aesthetically. Jacobsen emphasized the importance of having influence over all aspects of the design experience, including branding. While Charlotte Delarue designed the café's logo, the rest of the branding was a collaborative effort between Jacobsen and her boyfriend, Adrian Harwood, through their graphic design studio, Our Studio. This integrated approach, focusing on cohesiveness from the project's inception, played a significant role in delivering the café's distinct and inviting atmosphere, making it a well-designed destination for visitors in Bushwick. #interiorDesign #cafeDesign #sophieLouJacobsen #brooklynCafe #designTips #colorPalette #materialSelection #cohesiveDesign

This article details the design and architectural challenges and solutions for the newest Le Café Coffee location at One Dag Hammarskjöld Plaza in Midtown Manhattan. This particular branch is notable for being the smallest among the chain's dozen locations across New York City, occupying a mere 300 square feet within a high-rise building, a space formerly used as a package delivery room. IMC Architecture, the New York-based firm responsible for the design, faced significant constraints due to the limited footprint. The primary challenge was to adapt Le Café Coffee's standard concept, typically requiring more space, into this much smaller area while ensuring full functionality. This necessitated the selection of smaller appliances and a more compact stone serving counter to efficiently utilize every available inch. Beyond size, the design team also had to integrate critical access points for mechanical systems located in the ceiling. The completed design successfully addresses these challenges, presenting a cohesive and functional coffee shop. Key interior elements include a countertop crafted by Caesarstone, and walls partially clad with engineered wood to mimic the aesthetic of European oak. White birch-colored tiles serve as a vibrant backsplash behind the counter, complementing the wainscoting and shelving used for merchandise display. The project prioritized sustainability and cost-effectiveness by preserving and repairing the existing terrazzo flooring. To create a seamless transition from the building's lobby, marble wall tiles identical to those in the adjacent lobby were extended into the cafe's entrance, providing visual continuity for patrons. Branding elements are subtly incorporated through vinyl wallpaper featuring vertical green and red stripes, designed with a film finish for easy maintenance. Lighting plays a crucial role in establishing the cafe's ambiance. The design incorporates sconces on the walls, track lighting in the back-of-house area, and recessed lighting in the ceiling. Notably, bookshelves suspended near the counter are equipped with indirect LED lighting tape, enhancing the overall atmosphere. The ceiling, painted white drywall, includes a slick, linear air diffuser, chosen specifically by the design team to maintain a harmonious look and minimize visual distractions. This Le Café Coffee outpost, opened in 2023, exemplifies how thoughtful design can transform a restrictive space into an efficient and aesthetically pleasing commercial establishment, while maintaining brand identity within tight urban confines. The project demonstrates a strategic approach to interior architecture, balancing practical operational needs with sophisticated design principles in a challenging environment. #DesignDetails #CoffeeShopDesign #IMCArchitecture #ManhattanRetail #SmallSpaceDesign #InteriorDesign #CafeArchitecture #LeCafeCoffee #NewYorkCity

Peter Dunham, an ELLE DECOR A-List interior designer renowned for his 'Englishman-meets-L.A. style,' is expanding his presence with a new 3,500-square-foot showroom in New York City. The showroom, located at the New York Design Center's 200 Lexington Avenue, is set to open on August 19. Dunham, who has been operating from Los Angeles since 2003, expressed his long-held desire to establish a New York presence, stating, 'For me, it’s always New York...and honestly, I wish I’d done it sooner.' The new space will showcase a diverse range of products from both Dunham’s Hollywood at Home and Peter Dunham Textiles brands. Visitors to the showroom will experience an environment designed to emulate Dunham's distinct interior projects, characterized by opulence, playfulness, vintage influences, and a strong affinity for bold colors and patterns. The showroom aims to offer a tangible experience, allowing clients to 'touch and feel and try and test the quality and comfort' of his offerings, emphasizing the designer's belief in the importance of physical interaction with products despite the shift in retail landscapes. The showroom's layout is meticulously curated to reflect Dunham's design philosophy, presenting a comprehensive display of his work. A central feature will be an array of his signature prints and woven fabrics, including the widely recognized 'Fig Leaf' print, which adorns the walls. This is complemented by outdoor furniture selections, such as a textured beige Hollywood at Home Rush Club armchair, upholstered in Nawab fabric. The space also includes a dark green cabinet filled with indoor-outdoor poufs, a varied collection of patterned cushions, and a wall dedicated to fabric swatches, inviting tactile exploration. His latest 'Shani' textile launch, drawing inspiration from Indian block prints, will also be featured. Beyond textiles and seating, the showroom will display lamps, a four-poster bed draped in a 100 percent alpaca bedcover crafted by Peruvian handweavers, and cowhide chairs. Notable pieces include the 'Carmania' woven fabric, previously used in Dunham’s Paris apartment. The showroom is designed to be a condensed yet comprehensive representation of Dunham’s extensive career and dedication to fabric artistry. Dunham describes the showroom as a layered environment, mirroring his approach to designing a room—a fusion of art, accessories, vintage items, his original designs, and collaborations with artisans. For those unable to visit in person, the article provides a glimpse into some of the featured items, offering a preview of the diverse collection available at the new New York location. #PeterDunham #NYCShowroom #InteriorDesign #HomeDecor #Textiles #HollywoodAtHome #NewYorkDesignCenter #DesignTrends #FabricDesign

Coffee shops have evolved into essential parts of daily life for many, serving as places for quick caffeine fixes or extended work sessions. The design and ambiance of these spaces significantly contribute to their appeal, transforming a simple beverage stop into a memorable experience. This article highlights 29 coffee shops from around the globe that are recognized for their exceptional interior design. In Ho Chi Minh City, Vietnam, Anh Coffee Roastery, designed by Red5studio, features a monochromatic, multi-level space inspired by basalt red land, offering communal seating. Also in Ho Chi Minh City, September, another Red5studio creation, evokes a wind-swept bird’s nest with its curved ceilings, walls, and unique circular wall hangings. Atlanta's Muchacho, situated along the BeltLine, boasts a recently renovated, colorful space designed by Jessica Davis, serving creative coffee drinks and breakfast tacos. In Aspen, Felix Roasting Co., designed by Ken Fulk, offers a maximalist experience with glowing ceilings, jewel-toned velvet seating, and Murano glass fixtures, complemented by bold menu items like s’mores lattes. Torquay, Australia, is home to Third Wave, a compact kiosk with an undulating facade made from repurposed sheet metal, recalling ocean waves. Pristina, Kosovo’s Don Café House, designed by Innarch, uses over 1,300 pieces of plywood to create organic, sculpted walls and coffee bean-shaped light fixtures, mimicking the interior of a coffee sack. Case Study Coffee in Portland, Oregon, features a midcentury vibe with a caffeine molecule chandelier, Heath Ceramics tile, and George Nelson Bubble lamps. R Art of Coffee in Nagakute, Japan, a warehouse transformed by Iks Design, showcases brass and copper accents and a roaster surrounded by bar seating. Washington, D.C.'s Tatte Bakery, founded by Tzurit Or, is known for its warm interiors, incorporating furniture and light fixtures sourced globally to create an authentic cultural atmosphere. New York City’s Voyager Espresso, designed by Only If, is a futuristic space in a subway concourse, with aluminum enamel paint and a circular barista station. Go Get Em Tiger in Los Angeles has multiple charismatic locations, including its Music Center outpost. Citizens of SoHo in New York City, founded by Australians, is a minimalist hub for digital nomads, adorned with local art. Atlanta's Bellwood Coffee, founded by brothers Joel and Charles Norman, sources and roasts beans globally, with one location in a 100-year-old former residence. Carpenter Coffee Bar in Austin, located in the historic Carpenter Hotel, combines Bauhaus influence with a minimalist aesthetic. New York City’s Jumpin Jacks, a creation of hotelier Jack J. Sitt within the ModernHaus SoHo, functions as both a coffee house and a late-night bar, displaying an impressive collection of modern art. Neo Coffee Bar in Toronto, designed by Dialogue 38, Inc., features curvilinear concrete walls, wood accents, and modern furniture in a minimalist setting. Little Cove Espresso in Hong Kong's Sai Kung offers a midcentury-inspired design in a relaxed harbor-side location. Takarkad in Chiang Mai, Thailand, provides warm interiors and dangling paper lanterns, inviting visitors to linger. Colada Shop in Washington, D.C., founded by a Dominican, specializes in Cuban delicacies within colorful spaces. Los Angeles-based Verve Coffee Roasters maintains its artisanal approach with vintage roasters across its locations, including the stylish Mateo Street outpost. Café Standard in Miami, nestled within The Standard Spa, Miami Beach, captures the city's funky coastal essence with an Arthur Umanoff-inspired bar and surrealist art. Nashville’s Poindexter Coffee, located in the Graduate Nashville, is a popular spot with a bar made of pencils, robin’s egg-blue ceilings, and jewel-toned seating, partnering with a local roastery for a unique house blend. Colo Coffee Andes in Bogotá, designed by Crearq, draws inspiration from Colombian coffee-growing regions, featuring warm wood, tropical plants, and bamboo ceilings. Dodo Bird Donuts in La Jolla, California, housed in a historic building, is a cheerful, striped space by Georgis & Mirgorodsky, with banana-leaf wallpaper and brass accents. Caffettiera in Montreal, by Menard Dworkind, channels the '90s with black-and-white tile floors, a vibrant palette, and nostalgic elements. Kali Mexican Coffee Roasters in San Pedro Garza García, Mexico, designed by Concentrico, incorporates clay tiles and custom wood furniture inspired by rural Chiapas homes. Godshot Coffee Odesa in Ukraine, designed by Petrossjan Architecture Studio, features Bauhaus-inspired interiors with a bold blue, white, and red brick palette, preserving original architectural elements. The Capsule Café in Ericeira, Portugal, transformed by Atelier Réalité, uses a blue-and-white palette to evoke the sea, with a diner-inspired layout. Finally, Bolt Coffee in Providence, Rhode Island, located in The Dean hotel, offers a colorfully nostalgic spot with interiors by ASH NYC, blending custom-designed pieces with antiques. #CoffeeShopDesign #InteriorDesign #Architecture #GlobalCoffeeCulture #ModernDesign #CafeInteriors #HospitalityDesign #CoffeeCulture #DesignInspiration

Ikat patterns have gained immense popularity in both fashion and interior design, yet many consumers are largely unaware of the textile’s rich cultural origins. This article delves into the history and contemporary resurgence of ikat, particularly focusing on its Central Asian roots and its introduction to Western fashion by designers like Oscar de la Renta. The term ikat, derived from a Malay-Indonesian word meaning “to tie,” describes both the intricate resist-dyeing technique and the resulting fabrics and patterns. This labor-intensive process involves carefully resist-dyeing bundles of warp threads to create the design before weaving, a method distinct from other fabric production techniques where patterns are woven in. In the 19th century, Central Asian ikat production involved a sophisticated network of artisans, often organized along ethnic lines, with Tajiks handling red and yellow dyes, Jews managing indigo dyeing, and Uzbeks conceptualizing the patterns and undertaking the weaving. While the ikat technique developed in various parts of the world, Uzbekistan’s silk ikats became particularly renowned for their stunning quality. The origins of ikat in Central Asia, specifically in cities like Bukhara and Samarkand, in the early 19th century remain somewhat mysterious, as its sudden appearance was marked by a high level of sophistication, suggesting unknown precedents. The Smithsonian’s Arthur M. Sackler Gallery’s exhibition, “To Dye For: Ikats From Central Asia,” highlights this cultural journey by displaying a collection of Oscar de la Renta’s ikat-inspired pieces alongside historical Central Asian ikats. De la Renta, after being captivated by these textiles following the collapse of the Soviet Union in 1991, visited Uzbekistan and commissioned local weavers. He subsequently incorporated ikat motifs into numerous collections for both Balmain and his eponymous label, a move credited with popularizing the trend in Western fashion and home decor, seen in brands from Anthropologie to Target. The exhibition, which includes pieces from 1997 to 2013 on loan from de la Renta’s estate and about 30 historical Central Asian ikats donated by Guido Goldman, aims to educate visitors about the textile’s origins and cultural context. Goldman, a Swiss-born academic, amassed one of the world's most significant collections of ikats, including flat tapestries and ceremonial coats and robes. These historical garments, worn by both men and women, symbolized wealth and status in Bukhara and Samarkand. The exhibition thoughtfully juxtaposes de la Renta’s designs with 19th-century ikat coats, making the Central Asian pieces more accessible and emphasizing the shared luxurious and valuable nature of both contemporary and historical examples. The vintage Uzbek coats, cut in wide, loose styles reminiscent of Ottoman kaftans, are striking for their elaborate patterns and vibrant colors, often lined with Russian cotton or Indian chintz. A late 19th-century woman’s robe, for instance, showcases bold red, yellow, and white diamond shapes, stylized flowers, and zigzags on a black background, with a vibrant lining. De la Renta’s pieces, such as a robe from his fall/winter 2000 collection featuring pomegranate shapes, often referenced traditional Uzbek motifs like fruits, flowers, and geometric patterns. He sometimes used actual ikat fabric and at other times replicated its distinctive blurry effect through other techniques like embroidery. Beyond clothing, the exhibition also features noteworthy wall hangings. Flat Uzbek ikats served both decorative and functional purposes, such as insulating house walls or covering bedding. These were typically made from several narrow, loom-width lengths of material sewn together, creating an additional design element. An ikat from mid-19th-century Samarkand illustrates this with its cascading floral forms created by staggered fabric swaths. While Oscar de la Renta's designs played a crucial role in bringing ikat to global prominence, the exhibition subtly underscores the importance of acknowledging the cultural and historical origins behind this now-ubiquitous style. It serves as a reminder that many familiar contemporary designs have roots in diverse cultural traditions, and understanding these origins enriches our appreciation of the art form. #IkatFabric #TextileArt #CentralAsianCulture #FashionHistory #InteriorDesign #OscarDeLaRenta #SmithsonianSacklerGallery #CulturalAppreciation