Vérité, a joint venture between Jackson Family Wines’ Jess Jackson and Vigneron Pierre Seillan, began in 1998. While on a trip to Bordeaux, Jess became enamored with Pierre’s red wine, and brought him out to the California coast to head his own operation. Pierre would be able to draw out exquisite flavors from the region’s soil, which is so varied that it creates a mosaic of over 50 micro-crus, perfect for blends. Wine raters often give Vérité’s three signature wines, La Muse, La Joie, and Le Desír, perfect marks, which has helped the small Healdsburg vineyard a prominent name in the global marketplace. Now, Vérité expands to accommodate its growing cellars and to court fans from around the world.

High vaulted ceilings with Medieval-inspired chandeliers transport you to Verité’s French roots, but contemporary finishes, wood grains, and textiles remind you of being stateside.

Though I personally know little about wine, Vérité invited me to Healdsburg so I could explore the new chateau. This expansion was advised by Nicolas Seillan, Pierre’s son, and Matthew Heinrich, Director of Design at Jackson Family Wines. They envisioned a place where the personality of each wine would be expressed through the interior design. Guests pass through a feminine salon, representing La Muse, then take in the impressive storage facility, inspired by La Joie, and conclude their visits in the dark, sultry cellars, which personify Le Désir.

The salon is inspired by La Muse, a Merlot-based blend.

A visit to Vérité begins in the salon, where La Muse, a Merlot-based blend, inspires bright, neutral tones. High vaulted ceilings with Medieval-inspired chandeliers transport you to Vérités French roots, but contemporary finishes, wood grains, and textiles remind you of being stateside. The custom drapes are embellished with a minimalist, black embroidery that reminded me of vines. Subtle sequins caught the natural sunlight, bringing a twinkle of magic into the setting. Bold red throw pillows to the black woolen upholstery on the ottomans provide other splashes of contrast.

The dining room is inspired by La Joie, a Cabernet Sauvignon blend. This is where visitors can enjoy wine paired with a seasonal meal prepared by their in-house chef.

The next space I entered was the dining room, which is inspired by La Joie, a Cabernet Sauvignon blend. This is where visitors can enjoy wine paired with a seasonal meal prepared by their in-house chef. The space is decorated with paintings from Hélène Seillan’s personal collection (assistant Vigneron and Pierre’s daughter,) the personal collection of Barbara Banke, Chairman of Jackson Family Wines, and custom textiles. Contrasting lines in black, gray, and white create diamond patterns on the pillow and dining chair fabrics. Incidentally, these colors create subtle “V”’s, which keep the Vérité brand top of mind throughout the visit.

In the barrel chai, iron bands glide over the archways, matching the rings that hug each barrel. It feels like a revered space.

The most special part of this room is that it gives a wide, dramatic view into the barrel chai, where the wine is stored. The facility, with its giant archways, evokes a Gothic style pared down of ornamentation for modern times. Still, wide, iron bands glide over the archways, matching the rings that hug each barrel. It feels like a revered space. The windows are nestled into Cathedral-like niches, concentrating the sunshine into gay rays, illuminating the barrels like they are sacred vessels.

The cave and tasting rooms channels the energy of Le Désir, the Cabernet Franc-based blend.

Finally, I headed to the wine cave and tasting rooms. This area channels the energy of Le Désir, the Cabernet Franc-based blend. To match its dark, bold, flavor, large glass doors with black trim frame the archive of varieties and vintages. A long, glossy table was framed by red boucle chairs studded with rivets. A more private tasting room was carved to the side, where chairs with a plush, black damask pattern encircled a table. Behind it, I admired a mirror with a distressed gold frame, which had been sourced from a local store called Sonoma Country Antiques, which indicated that though Vérité is a brand of luxury, the Seillans are still invested in their community.

Modern brands include textiles by Jim Thompson and Perennials, and bathroom fixtures by Waterworks.

Towards the end of my visit, Hélène excitedly showed Nicolas and me her phone. She had just received word that a critic had just rated the 2019 Le Désir with three 100-point scores. Cheers to that.

To match Le Désir’s dark, bold, flavor, large glass doors with black trim frame the archive of varieties and vintages. Next door, chairs with a plush, black damask pattern encircle a table.

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The nearby water and artifacts from the National Museum of Ancient Art next door inspired the bright and airy space. While the 200-square-meter condo is situated in a historic apartment, previous tenants removed most of the heritage details in the unit. Marianne restored that character by introducing tiles, wood, and antique brass into every corner.

In the living room, the fireplace is reframed with Zelliges handmade tiles, each their own hue of a smoky gray, which adds texture and contrast to the bright white room. The tiles expand past the mantle and form a bespoke bench outfitted with plush linen—the perfect reading nook. Marianne balances the neutral palette with a generous selection of vintage bamboo furniture, which includes a Paul Frankl armchair, an ’80s coffee table, and Italian brass and bamboo table lamps. These pieces blend in with the new custom furniture created for the interior, like the oak cube side tables with chrome patchwork, its brown and silver finishes fitting together like a Tetris block.

Marianne brings an additional touch of warmth into the environment by using shades of orange, rust, and amber. Seating is flush with cushions hand-dyed in terra-cotta tones. Above the sofa a Hollywood regency brass floral wall lamp spreads its petals across the wall. Skinny, enamel vases by Swiss ceramicist Jane Paasch hold small bundles of dried flowers.

A fondness for antiques and earth tones is clear in the bedroom and its adjoining terrace. Next to the bedside is a ’70s-era resin table lamp with an orange fractal surface that shimmers. The terrace’s simple wood-slatted garden chairs are thrifted from France. Even the gray linen bed set is vintage.

With antique fixtures sourced from many eras, Do Condo is suspended in an ambiguous time. But no matter what decade resonates, the warm tones make one thing clear: the home beckons an eternal summer.

Marianne Tiegen infuses art and nature into each project.

Do Condo is located inside a historic building, but previous tenants removed most of the heritage details in the unit. Marianne restored that character by introducing tiles, wood, and antique brass into every corner.

mariannetiegen.com

A year later, Leon Roydon and his wife Annette were vacationing in St. Martin. A day trip to Anguilla sparked Leon’s entrepreneur mind, and the legend goes he promised to build Anette a villa there for her and her friends. Leon partnered with the Ricketts, and Malliouhana opened its doors in 1984. Its first villa guest (after Annette, of course) was their friend Giorgio Armani.

Malliouhana quickly established itself as a star-studded premier destination in the Caribbean, known for its elegance, luxury, and the unparalleled beauty of its location. Surrounding islands were known for spectacle while Malliouhana became the place to escape it all—in style. That designation remains, as the beaches surrounding the resort have recently hosted leisurely strolls from Madonna, Harry Styles, and Adele, all choosing the destination for its quiet charm.

As Malliouhana approaches its 40th anniversary, its founder’s vision and dedication can still be felt. Now operated by Storey Hotel Management Group, the resort has returned to its roots as an independent property, with a commitment to embrace its history while looking forward to the needs of the future.

The resort has 63 elegantly designed rooms and suites, offering guests a blend of contemporary comfort and traditional charm. The property’s amenities include the iconic two-tiered infinity pool, world-class dining experiences, a massive spa, an indoor and outdoor gym, basketball courts, tennis, and pickleball. Today’s design harkens back to Leon’s original vision of timeless ambience, as there are literally no clocks on the property. Even televisions are cleverly concealed behind mirrors, maintaining the room’s peaceful aesthetic while offering modern comforts on demand.

Exploring Anguilla

Anguilla is an enjoyable, and easy, island to navigate (as long as you remember they drive on the left.) The island has one main road that heads east-west, so getting lost is nearly impossible. Car rentals are available, but Malliouhana has a Moke rental onsite. The photogenic British cruiser is neither powerful nor technologically advanced, but it makes for a perfect partner for island exploring.

The famous West End Arch is only a few minutes down the road, and for the adventurous willing to do a bit off off-roading Blolly Ham Bay, the island’s westernmost tip, is just a few minutes farther. On the way back you can stop at Chef Lowell Hodge’s restaurant Sharky’s, perhaps the island’s best restaurant outside of a resort.

The beach at Mead’s Bay is consistently rated one of the best in the Caribbean. Photo courtesy Maliouhana / Leila Brewster

Beaches at Malliouhana

The hotel is perched above two white sand beaches—the more private Turtle Cove and the larger Mead’s Bay. Both offer crystal clear water and chair-side service. Mead’s Bay beach has Leon’s, one of three restaurants on property. It offers laid-back Caribbean dishes, a full bar, and a surprisingly large and well-designed children’s area for families. The beach at Mead’s Bay is consistently rated one of the best in the Caribbean. In addition to pristine sand and water and the island’s best views of sunset, there are plenty of options to walk to, including the locals’ (and celebrities) favorite beachside hangout, Blanchard’s Restaurant and Beach Shack.

An aerial view of Malliouhana. Photo by Samm Blake / courtesy Malliouhana

When to Visit and Getting to Malliouhana

American Airlines offers daily direct flights to Anguilla (AXA) from Miami International Airport (MIA). The resort offers a 20-minute shuttle to and from the airport. For those already in the Caribbean the island is a 7-minute flight from St. Maarten (SXM) or 25 minutes by boat. High season is November to April and is the best time to visit; the island never gets crowded, and even during peak times it’s common to be the only guests strolling on the beach.

For more info visit malliouhana.com

Charlotte skipped architecture school and pursued an alternative creative pathway. Her creative 3D image studio Maison de Sable was borne by exploration: especially in 2020, Charlotte was able to make connections with expert 3D visualizers who encouraged her and pushed her own work. “Anyone who’s very passionate about what they’re doing—it’s hard to stay away from that. It’s exciting,” Charlotte says.

Over the summer she released Design Dreams, a curated book of Maison de Sable’s work and collaborations. “The book is sort of a marker for my period of 3D design work. It’s all about the community that came out of Maison de Sable, sort of a celebration of that era of my more surreal work,” Charlotte says.

Although she knows 3D design will always be part of her practice and process, she observes it taking the back burner while her load of architectural projects grows. Where Maison de Sable focuses on the surreal and virtual, Studio Charlotte Taylor is all about tangible work: furniture, interiors, architecture. Charlotte has been fortunate to find more interesting and passionate people to work with and help her grow the studio—like her friend and collaborator architect Benni Allen of EBBA Architects.

“It’s been a very roundabout way of getting into architecture and interior design, but now I’m finally working there and it feels very surreal. It’s a big learning curve for me at the moment,” Charlotte says. The biggest challenge in taking on architectural work could be summed up as red tape—the paperwork, rules, and processes that Charlotte has never gone through before. “In 3D you do the design, the image is there, and it’s done,” she says, reminding me of the sentiments of virtual sofa designer Tom Hancocks. “But there’s a lot to architecture. The timeframe is so much longer than the projects that I’m used to.”

On the day we speak Charlotte has just returned from Vienna, where she and Benni are working on a Brutalist private home. She tells me she does her most productive work in transit, which is probably to her benefit—between juggling projects in Vienna, Andalusia, London, and Los Angeles, plus commuting into town to meet with Benni and other friends, Charlotte spends a lot of time on planes and trains.

Moving around throughout the day often brings Charlotte’s work to her coffee table, although she admits the posture isn’t the most comfortable. A hammer sitting on top of her books has a hidden secondary function: inside is also a screwdriver.

Though occupying her family home is only a temporary situation—and a massive barrier to seeing her friends in her previous neighborhood in East London—Charlotte finds all her travels make her quiet life in the suburbs more appealing. Here, she is in the ongoing process of building a haven of earthy materials and colors with metallic moments sprinkled throughout. The neutral palette defines Charlotte’s personal style. “Friends always mock me because it’s like even the cats fit the house,” she laughs.

As an adult Charlotte has taken over the primary bedroom, transforming her childhood room into an office—a space she really only enters to change the calendars on the wall and do occasional research. Mostly she spends her time in the kitchen, cooking and working.

On the fridge hang an array of silly magnets. An uncannily realistic wooden baguette from eBay is among Charlotte’s treasured items. She admits a tendency to collect all kinds of knickknacks and curiosities. “I spend way too much time on eBay and in secondhand stores collecting stuff. Moving back here I have so much space that I’m just filling it with objects; I’ll have to stop at some point,” she says.

But for now, fixing the house and filling it with odd objects is a fun project for Charlotte—one that she enjoys even as her pile of architecture work deepens. “Because it’s a family home I have the freedom to do anything, which is nice. It’s like everything is sort of half-done at the moment, but it’s a nice project.”

What early memory inspired you to pursue design as a career?

My father’s a lighting designer and I used to go to site visits with him probably on a weekly basis. I’d always be around construction sites and his office, which is just like mine is now—stacked with architectural drawings everywhere. There was always a sort of curiosity and admiration for his work, and he still draws everything by hand with these cool old school architectural instruments. So I was always curious about interiors and architecture from a young age.

What did you observe in his studio that you have brought into your own practice?

I do all my drawings by hand as well. Not to the same level of precision as him—my mom is more painterly and messy, so I think I probably formed between both of their creative and drawing styles.

What neighborhood do you live in? What attracted you to this spot?

At the moment I live in the middle of nowhere, in the suburbs. It’s actually where I grew up from ages 13 to 18, around about then. I was living in East London up until a year and a bit ago, but then I had to move out of my apartment and I came here, thinking I’d only be back in my hometown for about a month. But I have actually really enjoyed life here. It’s very slow. I don’t bump into anyone. The cats have the garden and my family is very nearby. I’m super close with my family so I’m pretty happy here. My friends think I’m insane for moving back to the suburbs.

Where do you do your best work?

Really I work all around the house, probably the least in my actual office, but I’m most efficient in transit, on planes and trains. I think it’s because there’s no distraction. I know that I just have that time. Especially flying without internet, if I have to do drawing or design work, I know that I have like four hours just to focus on work.

Do you have any collections?

I collect lighters, and not well-designed ones. Particularly the most terrible designs I can find. I don’t know why it started. It’s been a few years now. I mean I do smoke, I’m on and off, so I guess it’s partly from the practicality of needing a lighter, but from traveling I started collecting them. I have over 600 now, and even my business card is a lighter as well.

I also collect fridge magnets, like tacky sort of tourist things, or calendars of cats and cars—I’m a big car person. I don’t have a license, but I love cars. I’m quite a collector of things.

“I’m a bit of a hoarder when it comes to objects,” Charlotte says. Her magnet collection holds up a note of warning from a neighbor.

I cracked up when I read the note on your fridge from your neighbor about standing by the window. Were you surprised to receive that?

It was my first week moving back here and I was so excited when I saw it. I was leaving for the gym, and I was like, “Oh, so nice, there’s a letter from my neighbor,” and then I read it. She’s not even opposite me, she’s a few doors down, and I wasn’t just standing in the window naked, I was getting changed in my room. But yeah, it’s going to stay on my fridge forever. I’m very proud of that.

@charlottetylr

Quotes by Stéphanie Lizée and Raphaël Hugot.

Invalides Residential Project, Paris. Photo by Christophe Coenon

“Before the kitchen was like an office so we built everything to measure. Craftspeople are very important in our vision of the entire design. What is most interesting and personal is to be able to build the furniture, everything. We are lucky enough to have clients who ask us to do it.”

Invalides Residential Project, Paris. Photo by Christophe Coenon

“It’s a young family’s apartment in Musée Rodin’s neighborhood, so we made this very pure, modern, Rodin-inspired style. It’s like a sculptor’s atelier, with little touches to remind you of the museum. For instance, the floor is made of stones from Burgundy. You always need this kind of balance between sobriety and strong details. The contrast makes the space feel very soft but with character as well.”

Cité Industrielle Residential Project, Paris. Luminaire by artist Arthur Ristor. Photo by Christophe Coenon

“The volumes, very different from classic Parisian Haussmann apartments, offered a unique opportunity to express ourselves in this type of setting. We focused on the right use of architectural elements without pretense. This luminaire was designed by artist Arthur Ristor, who works with glass in the style of stained glass.”

Cité Industrielle Residential Project, Paris. Antique coffee table by Willy Rizzo, custom-built shelves and sofa, aged mirror made-to-measure. Photo by Christophe Coenon

“The apartment is in an industrial building with many windows and very high ceilings. A certain rigor in the volumes reminds you of architect Adolf Loos, his rigor and Viennese style. The unusual style led us to take a close interest in Adolf Loos and travel to Vienna to discover his world.”

Cité Industrielle Residential Project, Paris. Photo by Christophe Coenon

“We like to work subtly with contrasting colors and materials, creating worlds with character, but without being fashionable or boring. We began by looking for a warm, characterful marble, matching the rest with the checkerboard floor and paint colors. You don’t want to be overwhelmed by color but still have an interior with character.”

Hôtel des Académies et des Arts, Paris. Shelves and seat are custom designs. Photo by Benoit Linero

“The building was an old atelier in Montparnasse where a lot of famous artists—Modigliani, Pablo Picasso, Fujita—used to work and live. With this hotel we wanted to have an atelier’s feeling. The furniture, and every material, is either a work of art or very natural to keep this artistic point of view.”

Hôtel des Académies et des Arts, Paris. Photo by Benoit Linero

“We worked with artists and with galleries to have very beautiful art pieces, and those pieces were the center of the artistic direction. We chose this wood to create an old appearance. It’s a very good match of modernity and the old and beautiful architectural design of the building’s era.”

Hôtel des Académies et des Arts, Paris. Photo by Benoit Linero

“When you arrive you can see art everywhere—the ceiling included. The artist, Franck Lebraly, is from the south of France. In memory of Pablo Picasso and Cocteau as well, we wanted to have a southern France, Mediterranean touch. They are sketches, unfinished drawings, because our wish was to make you feel that the artist started the painting but didn’t finish it—it is a work in progress.”

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A version of this article originally appeared in Sixtysix Issue 11 with the title “Lizée-Hugot.” Subscribe today.

Dora, who has a background in architecture, built up experience at companies like Studio Ko and Agence Jacques Garcia before founding her own architecture and scenography agency in Paris. In her own work she dials into her client’s personality while also pulling the outside environment indoors. For this project it means honoring the characteristics of Haussmannian architecture, which has defined Paris’ charming personality since the 19th century.

“My client … is the embodiment of the modern and cosmopolitan woman,” Dora says. “Her boundless curiosity, driven by a passion for art, design, and cinema, constantly propels her to explore new horizons. Independent, free-spirited, and open-minded, she lives and breathes creativity in all its forms. Our collaboration with her has been a rich and stimulating experience, marked by a synergy of ideas and a passionate exploration of aesthetics and functionality.”

For the Giradoux residence in Paris’s16th arrondissement she brings in design elements from the Arc de Triomphe—a stone’s throw away in the 8th arrondissement. The Arc’s frieze is echoed throughout the restored ornamental plaster, the tiled ceiling in its archways in the guest bathroom’s terra-cotta tiles by Fired Earth London, and the gridded pattern of the stone facade matched in the kitchen via bespoke eucalyptus wood cabinets with mirrored baseboards by La Fabrique Verdrel.

The gilded touch of the baseboards is complemented by Mériguet-Carrère Workshops’ custom painted metallic effect, which is applied to some of the cabinetry. In this sun-filled apartment light bounces off the shimmering surface, warming up the marble counters. Metallic finishes also shine in a historic, curved staircase, which Dora restored with a palladium leaf covering. The reflective surface leads to a dramatic entrance every time you enter the common areas.

Dora’s expertise in scenography plays a major role in the guest bedroom, where the artist Yann Lacroix has covered the entire room with a custom mural of cockatiels perching on trellises and peach trees. The predominantly green and blue mural brings in a calming effect, and its vibrant palette pulls from French Rococo while the lines are rendered in a style that matches the Neoclassical Arc de Triomphe.

Lush color continues into the guest bathroom, with a burgundy color blocked over terra-cotta tile. Vintage gold fixtures keep the room luxurious and decadent. The guest room is more avant-garde and colorful than the primary bedroom; a maximalist would claim this space and put visitors in the more refined and understated primary. In that room Dora has staged an Alvar Aalto armchair (1898-1976) beside her own custom slatted headboard and low-hanging pendant reading light.

Dora also makes a splash in the living room, which comes together with careful curation like glazed stoneware vase by Annie Maume, a restored gilding on a Louis XVI painted trumeau mirror over the fireplace, and original furniture. She designed the scalloped rug, which resembles the gradation of cowhide, in collaboration with Galerie Diurne, as well as the bean-shaped neutral sofa, crafted by Phelippeau Tapissier.

Balancing a client’s taste with a personal style is often difficult for interior designers, but Dora was in luck with her adventurous patron. The Giraudoux apartment escapes airspace in favor of a distinctly French design.

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Jessica’s design career kicked off with the details at its heart. Her first business, Nest Studio, launched two collections of decorative hardware at HD Expo in 2011. “It was sort of crickets—hardware within hospitality is like a niche market within a niche market.” Yet over time and with the help of her blog and the early days of Pinterest, Nest Studio gained traction and gave Jessica a valuable way to shift her focus to her interior design practice, Atelier Davis.

Now with roots established between New Jersey and Atlanta, Atelier Davis spaces don’t always employ Nest Studio’s designs, but Jessica does consistently use artistic hardware as a thoughtful architectural detail to ground and inspire interiors—from contemporary showhouses to midcentury modern bungalows. Alongside gorgeous artworks and flea market finds, Jessica’s eye for the little things creates robust spaces full of life.

Quotes by Jessica Davis unless otherwise noted.

Kips Bay Dallas Show House. Wall drapery by Brook Perdigon Textiles, rug by Arsin, console and table lamp by OKA, mirror by Brent Warr. Photo by Stephen Karlisch

“All three light fixtures are by Brooklyn-based artist Rosie Li. I’m one of the founding members of the AAPI Design Alliance, and Rosie was on the first panel we hosted. I love that I was able to use an AAPI artist and that this organization brought us together.”

Kips Bay Dallas Show House. Mosaic tile by Artistic Tile, Tubular Hardware by Nest Studio, Bubble sconce by Rosie Li, sink and brass fittings from Kohler, mirror by Arteriors. Photo by Stephen Karlish

“Powder rooms are great places to push the limit because you’re not spending a ton of time there. It helps to have elements that speak to one another. We used this artistic tile mosaic on the walls, so I echo the faceted 45-degree angles with the mirror above the vanity and the glass bowl sink. It’s important to tie everything together if you’re doing something that bold.”

Atlanta Mid Mod (Jessica’s home). Fireclay Tile, countertop by Dekton, lighting sconces by Worley’s, Deco Hardware by Nest Studio, Velux skylights. Photo by Emily Followill

“When we opened up the kitchen we salvaged a lot of classic mid-century, golden Magnolia paneling. We used it to clad the wing wall, the shelves, and a wall on the other side with our pantry and our fridge. It’s a nice nod to the original architecture of the home.”

Atlanta Mid Mod (Jessica’s home). Rug from Etsy, bolster and pillows covered by Kufri fabrics, sconce by Mitzi, coffee table from Crate and Barrel, sofa in Yarn Collective fabric. Photo by Emily Followill

“It’s a classic mid-century post-and-beam designed by Jerry Cooper. In all the projects I do it’s important to start with the architecture and build from there. We wanted the addition [kitchenette and ‘snug’ below] to feel seamless so we reflected the tongue-and-groove ceilings and the beams to make it feel like it had always been there.”

Palo Alto Eichler in collaboration with architect Gustave Carlson of Gustave Carlson Design. Custom daybed and pillows designed by Atelier Davis and made by Hancock Surface Studio, all fabrics by Perennials, swing and pillows by Mexa, Tube Arch Collection lighting sconces from WAC Lighting, custom skylights designed by Gustave Carlson and manufactured by Royalite. Photo by David Duncan Livingston

“The atrium is an indoor space, but in classic Eichler style there are elements that make it feel outdoors. Obviously the space gets a lot of sun too, so we wanted to make sure that whatever we selected was durable for that and wasn’t going to fade. I really treated it as an outdoor space.”

Palo Alto Eichler in collaboration with architect Gustave Carlson of Gustave Carlson Design. Artwork Cave Home by artist Shara Hughes, ceramic side table by Bari Ziperstein, chair from 1stdibs, sofa from George Smith. Photo by David Duncan Livingston

“With the clients’ four daughters running around, the space had to be durable and not too precious, even alongside this amazing art collection. We worked with Gustave Carlson Architects, who helped establish the language from the get-go: paying respect to the original Eichler while bringing in some new materials, like California Douglas fir. I think Gustave was excited I brought all these colors and materials to the table that still let the architecture sing.”

Palo Alto Eichler in collaboration with architect Gustave Carlson of Gustave Carlson Design. Geo Colorful hardware by Nest Studio, mirror by Room & Board, countertop by Dekton, sconces by Tudo & Co. Photo by David Duncan Livingston

“Partially because I started in hardware, I think of it as an integral part of the design from the start. People think hardware is like the jewelry that you add on at the end, but I’m always thinking of it from the very beginning. If you took it away the room would be way more boring.”

Palo Alto Eichler in collaboration with architect Gustave Carlson of Gustave Carlson Design. Bed from Crate & Barrel, bedding from Schoolhouse / Ikea, bedside table by Made Goods, lamp by Blu Dot, sconce from Etsy, Schumacher Wallpaper, Statford Carpet, sconce by Schoolhouse. Photo by David Duncan Livingston

“We wanted to play with that indoor-outdoor feel in the kids’ room with the Schumacher butterflies. Bringing that traditional feeling wallpaper into a mid-century home and mixing it with these other pieces—which might feel more kind of like Memphis, ’80s, or whatnot—is where you can really have fun.”

Palo Alto Eichler in collaboration with architect Gustave Carlson of Gustave Carlson Design. Custom bed designed by Atelier Davis and made by Hancock Surface Studio, throw by Aloka, lumbar pillow fabric by Zak & Fox, bedside table by Dowel Furniture, sconces by Lostine, flooring by Stratford Carpet, grasscloth wall by Phillips Jeffries, Floral wallpaper by Marthe Armitage. Photo by David Duncan Livingston

“We created that ledge behind the bed knowing the client is a big-time art collector. She ended up putting up all these pieces by young, up-and-coming women artists. I was there yesterday, actually, and she had a bunch of new pieces. The pieces here are not hung, so now it’s like her rotating gallery.”

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A version of this article originally appeared in Sixtysix Issue 11 with the title “Atelier Davis.” Subscribe today.

She is sitting in the apartment she shares with her boyfriend, artist and musician Loke Rahbek, and their son, who at 2 years old has a notable presence in the apartment. The objects and character of the place, from the artworks to the cello hanging in the bedroom, are all fragments of life from Rose and Loke. “From when we were teenagers and smaller, we have collected drawings from friends or little clay objects that someone made for us as a birthday present,” Rose says. “All these small things have so much story.”

While students at The Royal Danish Academy—Caroline studied architecture while Rose studied furniture and spatial design—they frequently met to help each other and discuss techniques and ideas. “Every time we went out for a drink or something we had these talks that one day we should do something together,” Rose says. When Caroline was invited to participate in a design competition post-graduation she asked Rose to work with her. They won and received enough money to get an office and begin their practice—suddenly Atelier Axo was born in 2019.

“It was a very organic way of starting, maybe a bit naive because we were so young. We finished school and thought the world was open to us,” Rose says. “Maybe today I wouldn’t have the guts to do it in that way, but it felt so natural and had such a lovely energy to it.” Their combined studies allow them to consider the interaction of shapes and compositions at any scale—from a building to a chair to a piece of jewelry (which Caroline also designs for her brand Corali). Yet their shared experiences, from teenagerhood to recent travels, give them the same language and references. Rose says it’s almost like a psychic link, a shared toolbox.

In her home in the heart of Copenhagen’s bustling Nørrebro neighborhood, Rose houses Atelier Axo’s furniture designs like the gleaming Uno Lamp and the Jakob Chair, a 2021 collaboration with crochet designer Lulu Kaalund. “I really love to see what we make being used, for better and worse, as something to jump from or to make a fort to play in, so it doesn’t have this alienated feeling,” Rose says.

Much of the furniture and objects in her home are, in fact, often jumped on or transformed into play spaces. Rose’s son has surprisingly free reign in the apartment, even sharing a room with his parents. Rose wouldn’t have it any other way. “It’s nice to have a place where you spend time together. Everything is kind of mixed up, and he can touch everything here. It makes it into a place full of life and makes it more fun to live in a small apartment as a family,” Rose says.

Plus the family has a strong emotional connection to this apartment. Rose says Copenhagen can feel a bit “pretty,” but their neighborhood, with its late-night spots and multicultural, young atmosphere, also offers a taste of the street culture and grit she and Loke grew to love when they lived in Berlin. They were thrilled to buy their apartment, which was outdated and rundown when they found it; it had no bath or shower and was full of dirty towels and darkened by sunken ceilings. After extensive renovations on a tight budget, the space is entirely theirs—from the built-in cabinetry around the bedroom window to the raised ceilings.

One of Rose’s favorite objects in the apartment is a toy ship with soft, vibrant orange sails. The ship is somewhat of a compromise, a way to make her son know he belongs in the bedroom without giving the space over to the chaos of toys. Rose came up with the idea of a “dream ship,” an object to build stories around. “It’s something we all really appreciate, the dream ship that is hanging and looking out of the window, especially on these gray days. It makes you feel like going somewhere; your fantasy is being stimulated in a way.”

While the ship, purchased from a Japanese toy store, is a vessel for stories the family imagines, most of their objects tell the stories of their own personal experiences. A Hans Wegner chair passed down from Rose’s uncle, a framed palm leaf Rose picked from an old botanical garden on her first date with Loke, and a small ceramic woman lying in a seashell with pearls by artist Anna Stahn, which Loke gave to Rose as a motherhood present when her son was born, are all memories on display in the apartment. Her cello, which she has played since childhood, is another cherished object Rose calls her “forever roomie,” as it has been with her from Copenhagen to Berlin and back.

“I can’t find a scarier thought than walking into a home where there’s no personality, no stories, and you can’t feel that anyone lives there,” Rose says. “Going into a home, visiting people, traveling—everything is about storytelling to put value into what you surround yourself with. It allows things to patinate over time in a beautiful way, and you can see it’s used by people. That really stimulates me and makes me feel comfortable.”

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A version of this article originally appeared in Sixtysix Issue 11 with the title “Rose Hermansen.” Subscribe today.

Apart from pure expense Nicole recognizes that luxury interiors involve comfort, quality, and safety. “To me luxury is being able to afford strong, clean, safe materials and working with craftspeople we know are ethical and have a great approach to making,” Nicole says. Whether she’s designing a Napa guesthouse with fire-safe shou sugi ban walls or a Moroccan-inspired primary home with plaster details straight from the streets of Marrakesh, Nicole is always thinking about how the final home will be used and loved.

Quotes by Nicole Hollis unless otherwise noted.

Buena Vista West Residence. Custom cabinetry and hardware, countertops by CoorItalia, backsplash and flooring by My Moroccan Tile, Extended Cube Pendants by Adam Kurtzman, Stool in Walnut, 1960s, George Nakashima for 1stDibs

“The finishes, materials, and the architectural details are usually what we tackle first because they affect construction. We usually have two tracks of meetings—one to make construction decisions and keep the drawings up-to-date and another to talk about furniture. We work backward from when the construction schedule says the house will be ready for furniture to prioritize.”

Buena Vista West Residence. Historic entry door, millwork by Bay Area Millworks, stained glass preservation by Lenox Stained Glass, teak lattice panels imported by Berbere Imports, custom Rainbow Triedi Pendants by Venini

“The clients were very involved in the color schemes; they wanted a rainbow of bright colors. We really took it to the next level. I didn’t want it to go the wrong way; it could have gotten really tacky or cheesy, so we struck a balance. It’s important that the clients are involved. It is their home, so it needs to reflect their personality and their lifestyle.”

Buena Vista West Residence. Custom plaster crown, medallions, and surrounds from Berbere Imports; custom silk and wool rug by Beauvais; Puff Lounge Chair and Ottoman by Chris Schank, through Friedman Benda

“The clients’ design program was very Burning Man meets Grateful Dead, meets San Francisco Victorian, meets Morocco. They hadn’t been to Morocco before so we all went to see classical and contemporary examples of Moroccan architecture, design, and tile. The clients got to choose exactly what they wanted—like all of that plaster work here came from Marrakesh.”

Buena Vista West Residence. Elizabeth’s Cloth area rug by Elizabeth Eakins, custom ceramic pendant by Katie Stout for NICOLEHOLLIS, Jenks Table by Martin & Brocket, Standard Chairs by Jean Prouve through DWR

“Our clients get deep into the drawings and materials. They often want to meet the artists—they’re willing to fly to meet them or go to studios, galleries, and showrooms. The client here went to Katie Stout’s studio in Brooklyn, and that’s how the chandelier for the kids retreat came about. Kids deserve great design, too.”

Divisidero Residence (Nicole’s home). Owl on Branch by David Wiseman, Puffball Table Lamp by Faye Toogood, Woven sisal rug by Christian Liaigre, custom plaster walls by TBC Artisans

“That headboard by Ido Yoshimoto is custom-made. My husband and I selected the redwood and Ido brought it back to his studio, which was once JB Blunk’s studio. Ido’s father was JB Blunk’s assistant, and he met Noguchi when he was a child. There’s a lot of Noguchi maquettes in the studio, so as we designed this headboard, we’re looking at these sketches by Noguchi and JB Blunk. It was a special experience to have that headboard for my home fabricated there.”

Divisidero Residence (Nicole’s home). Bunk bed by Oeuf, felt panels by Kvadrat, Otto poufs by Paola Lenti, Shimmer side table by Patricia Urquiola through Glas Italia, True Blue Lamp by Cathrine Raben Davidsen / The Future Perfect, curtain fabric by Martin Kobus

“Getting some texture and material play was my priority in my son’s room. The curtains are hand-embroidered and have a little bit of sequined shimmer, but the Bouroullec brothers’ installation on the wall gives us a softness. Now he’s added his touch, and in that sense, it’s about keeping it simple and adaptable.”

Divisidero Residence (Nicole’s home). Groundpiece sofa by Flexform, Copper Coffee Table by Lorenzo Burchiellaro, Sidekicks Adjustable Table by Ilse Crawford, Fireplace is a Nero Marquina custom surround by Cooritalia

“Clients say no every day, and I never get offended. You spitball a little bit and you don’t take it personally. My team—not so much. They worked so hard to get that concept, rendering, or idea. But you just have to be able to throw your babies out. It’s OK. You’ve got more ideas; I’ve got thousands of ideas.” 

Divisidero Residence (Nicole’s home). Original sink, kitchen faucet from Waterworks, Ilve 24” Nostalgie gas range, tiles by Cle Tile, sconce by Serge Mouille

“Every project is different. We don’t have a formula, and we always start from scratch. It’s harder to be original and not duplicate. It challenges myself and my team to keep experimenting, exploring, and developing ideas. We’ve had failures in the past, but you learn from those, too. It’s important we keep evolving.”

Cloud Croft Residence

“There is a lot of anticipation of needs in hospitality design that translates to luxury interiors. We think through all the details clients don’t consider. Maybe in the kitchen we’ll make sure the things you see are beautiful, and the things you shouldn’t see are like the back of house. Creating that separation of function when designing a house involves that hospitality aspect.”

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A version of this article originally appeared in Sixtysix Issue 11 with the title “Nicole Hollis.” Subscribe today.