Beving & Dall's Leah Darling Takes Us Inside Her Shop

Creative agency Spacemen integrated biophilic design concepts into the flagship store for luxury leather manufacturer Braun Büffel in Malaysia, featuring a tree-like, moss-covered installation as its central focus. The objective was to create an interior appealing to a younger demographic, envisioning the store as an 'abstract oasis' within Putrajaya's IOI Mall, blurring the lines between an art museum and a laboratory. This unique approach aimed to establish a strong connection between nature and high-end fashion. The centerpiece of the store's design is a large, organically shaped sculpture suspended from an illuminated disc in the shop's center. This sculpture is adorned with preserved flat moss, ball moss, and lichen, creating a natural and visually engaging focal point. Directly beneath this hanging installation, a spherical table, similarly covered in moss and other preserved plants, serves as a display platform for Braun Büffel's leather bags. These bags are strategically arranged throughout the store, evoking the presentation style of museum artifacts, further enhancing the artistic and curated atmosphere. The inspiration for this dominant sculpture comes from biophilic design, a methodology that seeks to strengthen the human-nature connection within built environments. Edward Tan, founder of Spacemen, explained that the sculpture's form was designed to appear as if it is growing from the ground toward the ceiling, symbolizing growth and reaching for the sun. The envisioned aesthetic was an otherworldly concept, drawing parallels to a scene from a Hollywood sci-fi film, adding an element of fantastical innovation to the retail space. In developing the store's interior, Spacemen adopted a 'maximal minimalism' philosophy. This approach aimed to counteract the often-uninspired shapes and colors typically found in luxury retail spaces. The interior features lime plaster walls and bright white terrazzo flooring, providing a clean and contemporary backdrop. These elements are complemented by numerous intricately designed display cabinets and shelves, which are further enhanced by floor-to-ceiling mirrors, contributing to a sense of spaciousness and understated opulence. Further details of the store's luxurious design include cabinetry crafted from opulent slabs of swirling orange onyx and jade marble. Some of these marble surfaces are topped with glass vitrines, designed to showcase smaller leather goods, adding another layer of sophistication and attention to detail. This combination of natural elements, innovative design, and high-quality materials creates a distinctive shopping experience. Edward Tan elaborated on the decision to incorporate biophilic design, noting a societal shift in appreciation for nature, particularly post-pandemic. He observed that individuals residing in urban apartments or working in office cubicles often lack sufficient exposure to natural environments. Consequently, the integration of lush flora and garden-like elements into interior spaces has emerged as a new form of luxury. This recognition of nature's value within commercial design contributes to the project's overall success and resonance with contemporary consumer preferences. #BiophilicDesign #LuxuryRetail #InteriorDesign #FashionStore #MossInstallation #SpacemenStudio #BraunBuffel #MaximalMinimalism #SustainableDesign

Dana Harel, a San Francisco-based Israeli designer, has launched her inaugural lighting collection under her studio, White Dirt. Harel's career trajectory showcases a diverse artistic exploration, starting with architecture and extending into ceramics and line art before her current venture into luminaires. The new collection, dubbed "Ora," comprises three tented table lamps—Ora I, II, and III—and a suspended, trapeze-like floor lamp, Ora IV. These pieces draw inspiration from Harel’s existing body of work, particularly her vases and vessels, which inform their hand-carved sculptural aesthetic. The lamps are crafted using a combination of gypsum cement, muslin, and brass, materials that contribute to their unique visual and tactile qualities. The design intentionally evokes the imagery of draped wedding gowns, suggesting moments of concealed intimacy and exploring the delicate balance between revealing and hiding forms. This interplay of materials and forms allows the collection to convey a sense of fluidity and softness, a departure from more rigid sculptural traditions. Harel describes the process of working with fabric—folding, pleating, and draping—as a refreshing experience, contrasting with her previous work that often involved tools like chisels and hammers. This shift towards softer, more pliable materials allowed her to experiment with light in a new way, focusing on how textiles interact with illumination to create ambiance and shape. The collection's design ethos embraces a certain spontaneity, reflecting Harel’s approach to her creative process. Each piece in the Ora collection stands as a testament to her evolving artistic language and her ability to translate diverse inspirations into functional art. A notable and unconventional source of inspiration for Harel was a scene from the HBO series *Succession*, where characters Tom Wambsgans and Cousin Greg consume a rare delicacy with napkins tented over their heads. This seemingly obscure reference underscores Harel's willingness to draw from unexpected cultural moments, transforming them into artistic concepts. The designer interprets this act of "masking shame" or "heightening pleasure" as a metaphor for the lamps' ability to create intimate, almost cloistered, environments through their draped forms. The sculptural swagger of the lamps is deeply rooted in these varied influences, bridging architectural precision with textile softness and cultural anecdotes. The collection as a whole is an exploration of form, light, and material, reflecting Harel's multidisciplinary background and her continuous quest for new creative expressions. #DanaHarel #LightingCollection #SculpturalLighting #InteriorDesign #WhiteDirtStudio #ProductDesign #TextileArt #ContemporaryDesign

Alli Webb, the founder of Drybar, shares her journey of building a successful blow-dry bar chain, emphasizing that the path of entrepreneurship is filled with both triumphs and challenges. She recounts a vivid early memory of a ceiling collapse in one of her first shops, highlighting the unpredictable nature of business. Despite such stressful moments, Webb also remembers the exhilaration of learning that *Vogue* recognized Drybar in 2010, marking a significant milestone for the brand, which now boasts over 100 locations across the U.S. and is expanding globally. Webb’s daily routine as CEO has evolved significantly since Drybar's inception. Initially, her days were a hands-on mix of blowouts, administrative tasks like payroll and scheduling, and managing the salon floor. The current COVID-19 pandemic has shifted her work to a virtual setting, allowing her to engage in hair styling tutorials and social media content creation, reigniting her passion for hands-on work. Before opening her first Brentwood, California, shop in 2010, Webb dedicated countless hours to understanding cosmetology licensing, setting up utilities, and even cleaning the facilities herself, underscoring the demanding and often unglamorous aspects of launching a business. Webb's career path wasn't straightforward. After a year of studying fashion marketing in college, she realized her true interest lay in hair. She later partnered with her brother, Michael Landau, to open Nicole Miller fashion boutiques in New York City before finally pursuing her passion for hairstyling, training under celebrity stylist John Sahag. The idea for Drybar emerged in 2008 when, as a stay-at-home mom, she started a mobile blow-dry business called Straight At Home. This venture revealed a gap in the market for affordable, quality blowouts, leading her to conceptualize Drybar. With the support of her husband and brother, she took the “big gamble” that would eventually earn her recognition in *Fortune*'s "40 Under 40" and *Fast Company*'s "100 Most Creative People in Business" in 2013. Webb attributes her resilience to her belief that "the world's not going to fall apart if this doesn't work out," which helped her overcome the fear of failure and navigate challenges like problematic contracts. She advises aspiring entrepreneurs to be patient, pay their dues, and develop "thick skin" for feedback, stressing the importance of continuous learning. Webb emphasizes that success isn't about inventing something entirely new but rather about identifying existing services or products and improving the customer experience. She encourages those considering a career change or starting a business, especially during times of reflection like the pandemic, to pursue their passions swiftly, as "life is so short." #AlliWebb #Drybar #Entrepreneurship #BeautyIndustry #BusinessJourney #FemaleFounder #HairStyling #StartupLife

This article, part of Business of Home’s "Shop Talk" series, features Ariene Bethea, owner of Dressing Rooms Interiors Studio in Charlotte, North Carolina. Bethea, who began her retail journey by reselling vintage furniture online before opening her brick-and-mortar store in 2013, discusses her unique approach to retail and interior design. Her shop is curated to feel like a home, encouraging customers to visualize how vintage and antique pieces, mixed with contemporary accessories, can be incorporated into their own spaces. Bethea sources her inventory primarily from estate sales, online auctions, antique markets, and flea markets, while also working with upholsterers and vendors for custom pillows, coffee table books, and candles, maintaining a balance between old and new items with a strong emphasis on vintage finds. The typical customer base for Dressing Rooms Interiors Studio is split evenly between industry professionals, such as interior designers, and regular consumers. The demand varies depending on the specific vintage piece, with designers often seeking items for clients and individual customers purchasing items they love for their own homes. Bethea highlights Faire as a favored vendor platform, which connects her with handmade and small-batch items from various makers across the country, allowing her to support woman-owned and minority-owned businesses. Coffee table books, particularly those featuring Black designers, are consistent bestsellers, indicating a strong market for niche and culturally specific items. Her current favorite item in the shop is a five-piece, cream-colored 1980s Henredon Folio modular sofa, which she considers her best find. Reflecting on her journey, Bethea advises her past self to always "buy what you love," a principle she adopted early on despite pressures to stock neutral colors in previous multi-merchant spaces. This commitment to her personal aesthetic has been crucial to her brand's identity. One of her biggest daily challenges is balancing the demands of sourcing unique products for the shop with her interior design services. She maintains distinct sourcing strategies for each, seeking one-of-a-kind vintage and handmade items for her store and different manufacturers for clients. The existential challenge for her business lies in the constant pressure to introduce new-vintage items or products weekly to keep the store fresh, a task that requires continuous searching and effort. Bethea wishes customers had a better understanding of the cost and effort involved in sourcing, hauling, cleaning, and sometimes recovering vintage items. She explains that the price reflects not only the materials but also the labor and expertise required to find and prepare these pieces, especially those in excellent condition. She also advocates for customers to embrace more color in their homes, moving beyond popular neutrals like gray and navy, and encourages them to appreciate the quality difference between mass-produced items and the carefully selected, well-made products in her shop. She explains that while a $20 pillow from a big-box store might seem appealing, its longevity and quality significantly differ from a $200 down-filled pillow from a specialty shop. Regarding the Charlotte market, Bethea notes that local customers tend to prefer neutrals, contrasting with buyers in other states who are more open to colorful and patterned vintage pieces. Despite this, she has successfully cultivated a customer base that appreciates her vibrant aesthetic. Bethea expresses optimism for the future of small businesses, particularly after the pandemic highlighted their importance to local communities. She believes that small businesses, which offer unique and local experiences often sought by travelers, will continue to thrive with increased support from cities and local communities. The article underscores the value of personalized curation, quality, and a unique vision in the competitive retail landscape. #ShopTalk #RetailBusiness #InteriorDesign #VintageFurniture #SmallBusiness #Entrepreneurship #CharlotteNorthCarolina #HomeFurnishings #CustomerExperience

Fashion designer Liz Lange, known for her pioneering work in maternity wear, has created a vibrant and personality-filled vacation home in Palm Beach, Florida, with the help of her longtime friend, designer Jonathan Adler. The article details the nearly four-decade friendship between Lange and Adler, which began in the mid-1980s at Brown University. Despite their individual successes in fashion and home furnishings, their bond remained strong, leading to their collaborative effort in designing Lange's Palm Beach retreat. Lange, who has since transitioned from her fashion ventures to investing and consulting for various brands, embarked on this home project in early 2019. Her goal was to establish a colorful and comfortable haven for her family and friends, especially her college-aged children, inspired by her cherished childhood memories of the Breakers hotel in Palm Beach. The chosen property is an early-1900s Spanish Colonial-style house situated on the Intracoastal Waterway. This historic home features stucco walls, a tile roof, and abundant pink bougainvillea, aligning with the tropical aesthetic Lange desired. For the interior design, Lange envisioned a stark contrast to her New York city residence, opting for a fantastical and joyful atmosphere. She sought a palette of pinks, greens, blues, and whites, incorporating trellis wallpapers, lacquer finishes, and natural materials like wicker, bamboo, and rattan. Palm trees, palm leaves, and animal motifs were also central to her vision. Jonathan Adler, a close friend who deeply understands Lange's style, was the natural choice to collaborate on this project. Adler describes the resulting design as a reflection of Lange's bold, glamorous, colorful, and confident personality, likening it to an "explosion of lemon sorbet of the soul" infused with the essence of Palm Beach. The design process involved Lange and Adler frequenting Palm Beach's vintage stores, where they sourced many of the wicker, bamboo, and rattan pieces. The house's soundtrack, featuring 1970s artists like Helen Reddy and Olivia Newton-John, added to the lighthearted atmosphere of their collaboration. A key aspect of Lange's vision was to make the house function like a luxury hotel while maintaining a homely feel, a concept she jokingly attributes to her retail background and focus on "customer service." Each of the five bedrooms is designed without personal effects, serving as a dedicated guest room. These rooms are thoughtfully equipped with "minibar" trays offering water, snacks, candy, and an unopened iPhone charger, along with laminated instructions for the TV and Wi-Fi. Every bathroom is meticulously stocked with ample white towels and a basket of amenities, including toiletries custom-branded with the home's address. Bathrobes and slippers are also provided, and the house offers daily laundry and nightly turndown service, further enhancing the hotel-like experience. Beyond the interiors, the outdoor spaces are equally well-appointed, recognizing the importance of outdoor living in Palm Beach. Lange has equipped the home with a fleet of six bikes, three paddleboards, and two Jet Skis. Baskets filled with beach towels, sunblock, bug repellent, and pool toys are always available. The overall impression, as Adler notes, is one of seamless conjuration, making every guest's wish seemingly fulfilled upon entering the black-and-white-floored foyer. Lange herself embodies the relaxed spirit of the home, often wearing caftans, which she believes perfectly represent the house's blend of fantasy and reality, lightheartedness, and the enjoyment of friends and family of all ages. #LizLange #JonathanAdler #PalmBeach #HomeDesign #InteriorDecor #SpanishColonial #TropicalDesign #GuestExperience

The concept of a boutique-style closet is gaining traction, transforming ordinary storage spaces into personalized dressing rooms. This trend is driven by a desire for both aesthetics and practicality, making the daily routine of choosing an outfit a more enjoyable experience. The article highlights that achieving this look is not exclusive to high-budget renovations but can also be realized in smaller spaces and on a tighter budget. The inspiration for this trend often comes from individuals who have ingeniously repurposed existing spaces. For example, one individual transformed a small bedroom closet into a stylish nook by incorporating a comfortable chair, a curated clothing rack, and a table with magazines, elevating the act of getting dressed. Similarly, personal experiences with limited closet space in new homes have led to creative solutions, such as utilizing built-in storage chests, vanities, and decorative elements like vintage posters, alongside functional items like spiral clothing racks, to create a personalized, boutique-like atmosphere for displaying seasonal attire. Experts in interior design emphasize that the boutique closet experience is achievable through a combination of thoughtful design and organization. Yunhyun Park, a Seattle-based interior designer, explains that creating a boutique feel involves blending aesthetics with practicality, focusing on details like cohesive, luxurious looks. She suggests using gold hardware, soft neutrals, and warm lighting to add glamour, along with quality hangers and matching finishes. For instance, she transformed a challenging triangle-shaped closet into a luxurious, boutique-style walk-in for a young client with an extensive wardrobe by expanding the room, relocating the entry, and enhancing lighting. Organization is a foundational step in creating a boutique closet, as advised by Carrie Powell, a professional organizer. She stresses the importance of decluttering to achieve a minimalist, boutique experience. According to Powell, people typically wear only about 20% of their wardrobe regularly, and excessive clutter hinders the ability to see and utilize what is available. Her recommendations include removing unworn items and storing off-season clothes elsewhere, making seasonal closet swaps a ritual to maintain order and freshness. This organized approach ensures that the space functions efficiently and looks appealing. Lighting is another critical element in transforming a closet. Jessica Dorling, a principal designer, notes that lighting can dramatically alter any space. Options range from under-cabinet lights for racks and motion-sensored lights in drawers to specialized light-up rods that improve visibility. Statement lighting can further elevate the space, though careful planning for power outlets is necessary. Beyond lighting, Dorling suggests diversifying materials by incorporating two-tone designs, wood accents, and different materials for walk-in closet islands to add color, texture, and personalization. Using glass doors instead of solid ones for clothing storage can also enhance visibility and aesthetic appeal. For those on a budget, quick fixes can still achieve a boutique feel. Upgrading hardware with options like satin, nickel, brushed gold, or black can instantly elevate the space. Treating the closet as a piece of furniture, adding wallpaper or contrasting paint, and using an area rug are simple yet effective methods. Powell also recommends uniform hangers for a polished look and keeping dresser tops clear, using drawer dividers and jewelry inserts to maintain organization and minimize clutter. Custom-built closet systems are highlighted as a significant investment that pays dividends in organization and functionality. Michael Danes, a design and sales manager for a custom closet company, emphasizes that a boutique experience is rooted in function, ensuring everything has a designated place. Custom systems can incorporate features like deeper wardrobe-depth units for better balance, boutique closet islands with integrated seating, and tunable lighting that changes color. Other luxurious additions include real wood, dovetailed drawer boxes with soft-close mechanisms, and leather-wrapped drawer inserts for items like wallets and keys, preventing clashing sounds. Specific accessories are recommended to enhance the boutique closet experience. A valet rod, which extends for hanging and steaming clothes, is practical for planning outfits. Jewelry storage cabinets and rotating corner shoe racks are useful for maximizing space and organizing accessories. Retractable pants racks offer seamless access, while a closet steamer can function as a personal dry-cleaning machine. Ultimately, the goal is to create a comfortable and functional space that allows individuals to effortlessly shop their own wardrobe daily, making the process enjoyable and efficient. #ClosetDesign #HomeOrganization #InteriorDesign #BoutiqueCloset #SpaceMaximization #HomeDecor #CustomClosets #StorageSolutions #LuxuryLiving

This article highlights recent notable design openings and exhibitions, showcasing a variety of styles and inspirations. One featured location is Leonessa, a new rooftop bar on the 16th floor of the Conrad New York Downtown. Designed by Islyn Studio, Leonessa draws heavily from the Italian Amalfi Coast, incorporating potted citrus trees, geometric patterns, and a color palette of sea-green, rose, and ocher. The design aims to evoke the feeling of a private seaside garden, with specific attention paid to selecting wind, rain, freeze, and thaw-proof furniture that maintains an alfresco coastal ambiance. The bar features retro prints, including works by Pietro Fornasetti and custom Dedar cushions. Another significant opening is Paloma Wool's first permanent store in Soho, located on Broome Street. After eight years of temporary pop-ups, the Spanish brand now has a dedicated space designed by artist Max Milà Serra in collaboration with designer-welder Mark Malecki. The store features sculptural clothing racks made from raw stainless steel and sanded acrylic sheets, which serve as both installations and functional fixtures. Welded steel and natural wood furnishings, including minimalist wood platforms with plexiglass boxes and suspended metal shelves, display accessories and clothing. The two large sculptural steel fixtures with translucent acrylic sheets, along with the curved, untreated timber shell of the changing rooms, create a distinctive and enveloping atmosphere. Tiny, modular, aerospace-inspired lights by Serra illuminate the 3,000-square-foot space without overpowering it. The article also covers the joint store of jewelry designer Caitlin Mociun and her husband, furniture and lighting designer Tammer Hijazi, founders of Bower Studios. Their new retail space on Driggs Avenue, which previously housed Mociun's solo store for eight years, now combines both brands. The redesign moved away from an all-white aesthetic, incorporating desaturated gem tones, varied textures, and a vintage Italian sensibility. Features include chocolate carpeting, green walls, ribbed-glass bricks, walnut wood furniture, and Maharam textile chairs. Custom details, such as an encased wood-and-metal bookshelf, replicate motifs from Bower Studios' new collection. A glass-brick wall extends through the space, creating distinct areas for client consultations and waiting. An olive-green wall houses a beveled-glass walnut case showcasing Mociun's jewelry. Furthermore, the "Gathered" exhibition in a Chinatown apartment is discussed. This show, a collaboration between the online platform Erria and Lyle Gallery, features objects from 32 artists and designers exploring the theme of 'home.' Notable pieces include Jihyun Kim's squishy ceramic inspired by a Korean grandmother's salt jar, Kritika Manchanda's holographic organza dinner napkin crafted from flattened bloomers, and Didi NG Wing Yin's wood vase with a pleated texture resembling an Issey Miyake top. Sophie Collé contributes a Memphis-inspired dollhouse-clock. Finally, the "Jewel Box" exhibition at Allen Street Gallery, the storefront space of Leroy Street Studio, is highlighted. This exhibition focuses on wall sconces as works of art, featuring a diverse range of materials and techniques from both established and emerging artists. Exhibitors include French stainless-steel pioneer Maria Pergay, material experimenters Chen Chen and Kai Williams, and emerging talent like Elana Shvalbe. Specific pieces mentioned are Katie Stout’s gold-glazed porcelain ceramic tusk, Lebanese architect Zein Daouk’s ceramic sconce inspired by a shiitake mushroom, and Max Ingrand’s oblong-shaped frosted glass lights from 1956, resembling jewels clasped in brass hardware. #DesignEdit #StoreDesign #InteriorDesign #AmalfiCoast #PalomaWool #BowerStudios #LyleGallery #AllenStreetGallery #Exhibition #LightingDesign

In 2017, Amy Hughes established Maplewood Mercantile at 145 Dunnell Road in Maplewood, envisioning it as a collaborative space for women business owners and a community hub. The location, a renovated 1920s auto garage, serves as a center for design and social gathering. The Montclair Girl interviewed Amy Hughes in 2022 to discuss the Mercantile's evolution and her entrepreneurial journey in Maplewood. Amy Hughes and her husband relocated from New York City to Maplewood. Previously a journalist and editor for *This Old House* magazine, Amy developed expertise in DIY, antiques, and vintage furniture while writing her book, *This Old House: Salvage Style Projects*. This led her to launch Salvage Style, a vintage furniture resale business, initially as a side venture in 2013, which later became her full-time occupation. Her business started in a 300-square-foot storefront on Baker Street, expanding to require multiple storage units across town to manage inventory. By 2017, the logistical challenges of managing scattered inventory prompted a search for a larger space. Amy identified a large warehouse in Maplewood, previously used by an interior designer primarily for storage with occasional sales. After a five-month process to finalize the lease and permits, Amy moved Salvage Style into the 3,000-square-foot former auto garage. The Mercantile's initial tenants included two other women-owned businesses, highlighting its foundational commitment to supporting female entrepreneurs. The transformation of the raw garage space into a retail environment required significant effort. The Mercantile's location is a key asset, situated near the Maplewood train station, Memorial Park, and local schools, which attracts both New York City commuters and local teenagers. A notable benefit is the dedicated parking, a rare commodity in downtown Maplewood. The 1920s auto garage featured concrete floors, 25-foot ceilings, exposed brick, and large windows. The landlord collaborated with Clawson Architects to replace the original windows with historically accurate and energy-efficient alternatives. The renovation involved pressure washing the interior and applying over 40 gallons of white paint, preserving the concrete floors with their original paint splatters and one exposed brick wall, creating a distinctive aesthetic. Upon entering the Merc through a 12-foot carriage door, visitors are greeted by a large acrylic 'Moonlamp,' an architectural salvage piece from Austin, Texas. The interior's airy and rugged design, coupled with its high ceilings and abundant windows, provides excellent natural ventilation, which proved beneficial during the COVID-19 pandemic. The space became a refuge for the community, encouraging browsing and cultural engagement. Amy Hughes oversees the merchandising, while partner businesses curate their sections to create a cohesive yet diverse aesthetic. The current retailers at the Merc include Anna Herbst Photography, which operates a studio benefiting from the natural light and high ceilings, specializing in product, lifestyle, fine art, and portrait photography for women-owned businesses, realtors, and interior designers. The Collector, founded by Emma O’Shea, offers new and vintage clothing, focusing on sustainable practices and ethical sourcing from small NYC-area designers. Piper’s Talisman, led by Piper Jon, creates unique jewelry by upcycling antique pieces like watch chains, vintage coins, and keys, and has gained recognition from figures such as actress Melissa Gilbert. Salvage Style, Amy Hughes's original business, offers styling consultations and sells vintage and reclaimed furniture, including Mid-Century Modern pieces and antique rugs. Community engagement is central to the Mercantile's operation, with regular pop-ups and cultural events featuring live music to support young local musicians. Amy Hughes expresses pride in the Merc's role as an incubator for small, women-owned businesses, noting that several businesses have successfully launched from the space. An example is deVINE Plantery, which started online during the pandemic, joined the Merc as a pop-up, became a permanent tenant, and eventually opened its own dedicated store in Montclair. Amy credits the success of these businesses to the entrepreneurs' hard work and innovative ideas, viewing her role as providing a supportive environment. #MaplewoodMercantile #CommunitySpace #WomenOwnedBusinesses #VintageFurniture #SalvageStyle #RetailIncubator #AdaptiveReuse #LocalGems #InteriorDesign