Our Cartier clock is featured in Vogue's index section.

Annually, the release of the magazine’s September issue is one of the fashion industry’s most anticipated events, as it marks the transition from summer to fall fashion. Filled with hundreds of pages of editorial content and advertisements, Vogue’s September issue defines fall style and sets the season’s trends.

This year’s September issue is especially notable because it coincides with Vogue’s 120th anniversary. At 916 pages and nearly five pounds, it is the biggest issue that the magazine has ever published.

Beaux Arts Galleria is excited to be included in one of Vogue’s most important issues to date. Our clock appears in the index section, where Vogue’s editors curate a collection of beautiful fashions, art, décor, and places that relate to a monthly theme.

In this issue, the “Ladies’ Choice” index spotlights the inspirations of twelve female fashion designers. The magazine asked the designers to select their “favorites (pieces from their fall collections, cultural can’t-misses, restaurant standbys)” and “fantasies (dream homes, wish-I-were-there destinations).”

Fashion designer Bouchra Jarrar chose this vintage Cartier desk clock to appear in Vogue magazine's September issue.

Up-and-coming young designer Bouchra Jarrar selected a Cartier desk clock from our clocks and watches collection as one of her picks. Designed in the art deco style, the black hardstone clock has a mother-of-pearl face flanked by a stepped gold frame and rock crystal inserts. With a Christian Louboutin stiletto and a Chanel fragrance among Jarrar’s other selections, we think that the Cartier piece fittingly reflects the designer’s decidedly French sensibilities and classic aesthetic.

We also noticed other elements of the Beaux Arts style sprinkled throughout Vogue’s index pages. Victoria Beckham selected an exquisite Venetian-glass chandelier reminiscent of our Murano 8-light chandelier. Tory Burch chose a Moorish pitcher similar to our antique Turkish copper ewer. Carolina Herrera featured a rococo gilt table that calls to mind our Italian Louis XVI-style console table.

These designer endorsements signal that a vintage and antique aesthetic may be quite popular this season for furnishing and décor. We look forward to seeing how this trend develops and we’ll be sure to keep you posted! Until then, be sure to pick up your copy of this month’s Vogue and check us out in the index section.

Our story first begins in 2007. Having just acquired the beautiful old Masonic building located in the Historic District of Downtown Blacksburg, we were anxious to move in. When we started unpacking items for inclusion in the new gallery space, however, we soon found ourselves swimming in corrugated cardboard, packing paper, bubble wrap and packing peanuts. After all, the inventory had been wrapped, packed, and shipped to the United States in fourteen 40-foot containers over a period of six months. As we continued to unpack, it wasn’t long before the back of Beaux Arts’ GMC Savannah 18-foot box truck was filled to the brim.

Unwrapping a chair from the packaging. Check out all the packaging materials in the background! We had so many boxes, we were able to fill our 18’ box truck over again… and again… and again.

Catching a glimpse of a small portion of our inventory. All of these boxes were unwrapped so we could display the items in our Galleria. Just imagine the volume of packaging!

One of the gallery managers, Alice, knew all too well the need for recycling, having worked in solid waste management and recycling programs for approximately seven years. She contacted the Montgomery Regional Solid Waste Authority and made arrangements to take the materials to the recycling collection station. As soon as the truck was filled, we would go and drop off the cardboard and packing paper.

It was the start of a beautiful relationship between us and recycling. Every time the truck crossed the solid waste scales, we knew we were doing our part in the Galleria’s recycling program. More importantly, we were doing our part in helping keep the earth green. We were such frequent visitors to the recycling center that they even knew our first names.

Because bubble wrap and packing peanuts were, and still are, not recyclable, arrangements were made with a local shipping company to take these items off our hands. Our shipper friends were certainly glad to accommodate our request, as they would save some “green” of their own by not having to purchase these supplies. It was a sight to behold as they came with their hand trucks to haul boxes and bags of packing peanuts and bubble wrap to their store. We did retain a few cardboard boxes and bubble wrap for our own use, though, for our Galleria “in-house” recycling program.

When Beaux Arts Galleria officially opened its doors to the public in September, 2009 and the thirty (that’s right—30) scale tickets were tallied, a total of 8,920 lbs (approximately 4.5 tons) of packaging materials had been recycled through the Montgomery Regional Solid Waste Authority! Of course, this does not mean this is the end of our relationship with packaging materials and recycling. There are still plenty of unboxed, unwrapped treasures in our warehouse. And as these treasures are unboxed and unwrapped for display in the Gallery, we’ll be back at the recycling center once more, ready to be greeted again by our first names!

There are always more treasures to be unwrapped and discovered.

And the fire is so delightful…” _♫

Frank Sinatra had it right when he crooned the magic words of that winter classic “Let it Snow.” As the weather gets colder, nothing is more delightful than a warm fire blazing in the fireplace.  Unfortunately, not all of us have fireplaces to cozy up to.  Fear not, though!  For those of you suffering from fireplace envy, we have the perfect alternative: the brazier.  Exquisitely beautiful, modular, and functional, the brazier combines warmth, light, and elegance to create the perfect space heater to cozy up to.  Trust us when we say: it won’t be long before your friends suffer from a new kind of envy—envy over your marvelous brazier!

The Facts

Braziers are functional pieces, usually made of copper, brass, or baked clay, that serve several purposes: burning incense, lighting a house, heating a room, and cooking food. Braziers are generally pierced, allowing heat to escape and oxygen to reach the coals. These beautiful examples of intricate metalwork show how artists fuse practicality and elegance to create functional and attractive items.

The Pieces

According to the Turkish Cultural Foundation’s official website, braziers are composed of multiple parts: the tray, the base, the body, the fire bowl, and the cover.

This Syrian brazier (on left) is silver-plated and decorated with a whimsical starburst and leaf design.  A modular piece, it consists of a base, a body, a fire bowl, and a cover.  It is available at Beaux Arts Galleria.

The tray is usually the bottom-most part of the vessel, and is used to catch sparks and debris from the fire. The tray is generally circular, and is made from the same metal used for the brazier, according to turkishculture.org. Sometimes the tray is easily separated from the brazier for easy cleaning.

The base is attached to the tray and acts as the support system for the body, or the “ash-bowl,” of the brazier.

The base of the brazier.

The brazier’s ash bowl.  A round pan, it nestles into the hollow of the base, allowing the decorative motifs to be shown off to their best advantage.

The fire bowl is “where the coals are placed,” and is referred to as “the belly of the brazier” in some countries (turkishculture.org). Like the tray, the fire bowl is often removable so that the coals can be easily thrown away and changed.

The fire bowl of the brazier.  Small and light, it fits comfortably within the circle of the ash bowl.

The final part of the brazier is the cover. This portion of the brazier is “generally colonical, decorated with pierced work” so that oxygen can easily reach the coals (turkishculture.org). A handle is commonly attached to the cover so that it can be easily opened and closed. Although not every brazier has all of these components, you are likely to find some or all of these, or similar parts, on most antique braziers.

The brazier cover with its ornate décor and finial handle.

The Creative Use of Braziers

Although the brazier is traditionally used as an incense burner or to provide heat, braziers can be used in a variety of other ways.  Their exquisite metalwork allows them to be transformed into stunning centerpieces or sculptural art.

The lace-like, pierced metalwork of the brazier provides a pretty backdrop for the fruit and champagne.  Its uniqueness makes this an unforgettable centerpiece.

In Our Gallery

This silver plated brazier housed in our gallery functions mainly as an incense burner. The piece was made in Morocco and is decoratively pierced for functional and aesthetic purposes. The embossed circular tray sits on four feet and incorporates hinges on the cover.

Whether used to heat food and drink while entertaining during the holidays, or just placed in the kitchen or living room as a conversation starter, braziers are valuable and interesting collectors items.

Candlesticks and flowers are always pretty on a table, but a bit “yesterday.” Why not try an arrangement that shows off your personality and at the same time some of your favorite objets d’art? A little imagination goes a long way, and your creation will be unique, assuredly more interesting than if you took the traditional route. And just wait ‘til you hear the compliments!

Start by reviewing the abundant choice of decorative pieces available at Beaux Arts Galleria and select several that catch your eye. They’ll inspire you, and it’s so much more modern to use, rather than merely display them among the books in your library or in a curio cabinet. They can also be great conversation-starters.

Dallas-based interior designer John Phifer Marrs was kind enough to share some ideas for creating dining-table centerpieces with a variety of handpicked Beaux Arts Galleria items. As he says in my book Designers Here and There, “I’m not the greatest cook, but I know how to make a good presentation.” As you’ll see here, he definitely does. Always the gracious host, he also suggests a lovely composition for the entry-hall table. “I can’t think of a better way to welcome guests,” he says.

Last, Marrs explains how to use a vase from the site that is gorgeous, but has thrown many people for a loop as to how to make the most of it.

Keep in Mind Before Beginning

1. Odd numbers are more interesting than even. So three objects on a sufficiently large table usually look better than two or four.
2. Make sure centerpieces don’t prevent people sitting on opposite sides of the table from seeing each other easily.
3. Choose pieces made of similar materials—all crystal or all silver, for example—but in a variety of shapes and heights for interest.
4. Be brave! If something appeals to you, play around with it. It’s fascinating what the mind can come up with. Marrs has combined everything from miniature log cabins and hurricane lamps to Parian ware, small sculptures and seashells.

Dining Table Centerpiece

1. Regency-style English Epergne – 22″ W x 22″ D x 18.75″ H
2. Lebanese Silverplated Center Basket by Patchi – 26.5″ W x 14.5″ D x 11″ H
3. Silverplated Champagne Cooler By Leonard – 8.75″ D x 10″ H

“I can easily see the above pictured pieces on a highly-polished, mahogany dining table,” says Marrs. “The epergne is terribly elegant so let’s play off that by filling it with farm-fresh peaches. I’d place the silverplated basket next to it, also heaped with the fruit. The third step would be to round out the group with something complementary in shape and between the two in size, like the silverplated champagne cooler. This I’d fill with “pave” roses—the flowers packed together in a dome shape, so close together not a stem or leaf shows.”

“The final touch would be scattering peachy-colored rose petals on the table around the three. Ooh la la. Gorgeous!”

Entry Hall Vignette

1. French Crystal Compote by Portieux Royal pattern – 10.38″ W x 10″ H
2. Pair of Murano Art Glass Figural Mallards – 15.25″ W x 3.75″ D x 8.5″ H

“Different one from another, but perfect companions for a console with a mirrored top or a completely mirrored table in an entrance hall or foyer. I’d fill the compote with juicy plums and place the mallards next to it, “swimming” as it were on the mirrored “sea,” says Marrs.

“It would be truly magnificent if you hung a large Venetian mirror over the console to reflect the entire scene,” he adds.

The Vase You Love but Don’t Know What to Do With

1. Italian Crystal Orphos Vase – 13.75” H x 8.25” D

“An absolutely gorgeous and quite unusual vase,” says Marrs, “but true, difficult to figure out how to use.” What would the designer do? “Because it’s so formal,” he says, “I’d fill it with long-stemmed, yellow parrot tulips, drooping willy-nilly over the edge, “drunk” as we laughingly call the style. That would tone it down and make the vase look more contemporary.” Styled like this it would also be appropriate for many places in the house—coffee or cocktail table, desk or bureau, Marrs adds.

The Pazyryk Rug was found in the Altai Mtns of Siberia in 1949.  Considered the oldest carpet in the world today, it was woven in 5^th century BC using a knotted technique. Image courtesy of: http://en.wikipedia.org/wiki/File:Pazyrykfull.jpg

The First Carpets

While carpets prove to be one of the most labor-intensive and elegant items in the antique market, they were not always created to decorate the floors and walls of palaces. Early nomads were known to use what we call “rugs” or “carpets” to cover the bottoms of their living quarters. One of the first references to the carpet occurs in the early work of Homer. According to P.J. Ford in his book Oriental Carpet Design, Homer “frequently mentions the practice of drawing up a stool and spreading a rug on it for someone to sit down.”

“Homer Reciting His Verses to the Greeks” by Jacques-Louis David.  Completed in 1794, it currently hangs in the Louvre in Paris.  Image courtesy of: http://www.wikipaintings.org/en/jacques-louis-david/homer-reciting-his-verses-to-the-greeks-1794

Ford notes that the word Homer uses to describe the rug is “kivas,” which translates as “animal fleece.” It is expected that, like many early nomads, Homer and his peers would have used the wool or fleece of animals to function as rugs. “Kivas” is not the only word that appears in Homer’s writing alluding to a carpet-like item, however. The word “tapes” appears in his Odyssey, which Ford translates as a type of pile rug. It is possible that “tapes” could also refer to a felt rug, but more likely refers to a type of pile rug “which is made by weaving a piece of flat cloth into which woolen loops are sewn,” according to Ford. It is interesting to notice that Homer never describes the design or detail found on these rugs, making it easy to assume that early rugs were less intricate than oriental carpets today and were used for functional purposes only.

The Transformation of the Carpet

Our earliest reference to an elaborate carpet is from Ovid’s description in the legend of Arachne. Arachne “was turned into a spider after weaving a fabric depicting the amours of the Gods,” paraphrases Ford.

“Arachne” or “Dialectes” by Paolo Veronese, hangs in the Palazzo Ducale in Venice.  A masterful weaver, Arachne was arrogant enough to depict the Gods’ affairs in her work.  Image courtesy of: http://commons.wikimedia.org/wiki/File:Veronese,_Paolo_-_Arachne_or_Dialectics_-_1520.jpg

Gustave Dore’s “Arachne.”  The goddess Athena turned Arachne into a spider because of her impertinence.  Image courtesy of: http://www.wikipaintings.org/en/gustave-dore/arachne

Hinting at the intricacies of woven tapestries, Ovid and his legend point to the burgeoning textile industry. As commercial trade routes were established between Europe and the Middle East, the design of carpets changed. Ford offers a few suggestions regarding how and why the simple carpet that Homer once referred to morphed into something that could be found in the homes of royalty across the globe.

Ford notes that it was either nomads or artists working in large textile factories who were responsible for incorporating colored dyes and geometric designs into early carpets. With the incorporation of dyes, shaggy materials, such as animal fleece, proved unsatisfactory. Also, the pile needed to be cut shorter, which requires a finer weave — and also allows for more elaborate designs. As the pile is cut shorter and shorter, Ford explains that the loops of the pile must be secured by knots to keep them from falling out. In this way, “the knotted carpet was born,” according to Ford. This was the start of the oriental carpet.

Oriental Carpets Today

Today, oriental carpets are sold all over the world and are produced throughout Asia and the Middle East. Carpets are classified by their country of origin: for example, there are Arab Rugs, Chinese Rugs, Persian Rugs, and many others. The design elements and color vary depending on where the carpet was made. Whether we are collecting oriental carpets or simply admiring their beauty, we can all appreciate the carpet’s rich history that dates back to ancient European and Middle Eastern civilizations.

Details from an Antique Kerman Persian Rug.  Over 200 years old, it now serves as striking wall décor.  Arabic lettering tells the name of the prince depicted in thread. Available at Beaux Arts Galleria.

Embossing and Repousee

Embossing and repousse are two very similar techniques. Embossing, according to Encyclopedia Britannica’s official website, is “the art of raising ornament in relief from the reverse side.” The artist first decides on a design and then draws it on the front surface of the metal. Next, the artist outlines the motifs with a tracer, which transfers the design to the back of the piece (eb.com). The artist then places the piece face down on a smooth, yielding surface, such as asphalt, where he hammers the raised areas into the surface.

This Yemeni silver plated vase has an embossed, engraved, and pierced surface. Available at Beaux Arts Galleria.

Repousse is fundamentally the same technique as embossing.  While embossing refers to the artistic process in its entirety, repousse refers only to the metalwork portion–using a hammer to raise a design in relief from the reverse side.

Chiseling

Chiseling is an artistic technique that uses a chisel to create designs on a piece of metal. The technique can also be used on softer mediums, such a wood, but is then more commonly called carving. When chiseling metal, an artist can produce both round and linear lines. The technique is also known as cutting metal (eb.com).

This Persian brass-and-copper ewer has chiseled deer and flowers on the wide, bulbous body, and another flower chiseled on the spout.  Available at Beaux Arts Galleria.

Engraving

Also known as line engraving, engraving is a metal technique that “reproduces linear marks” (eb.com). The designs or patterns are “generally cut into the metal surface with a sharp pointed tool of hardened metal (burin),” according to the Metropolitan Museum of Art’s website. Engraving is usually reserved for precious metals like gold, silver, and platinum, since it’s easier to cut a design into these softer metals.

Inlaying

Inlaying metal is a labor-intensive technique that allows metalworkers to achieve beautiful color contrasts as well as impeccable designs. Inlay is achieved by inserting a different type or colored metal into areas of another metal that are depressed (eb.com). First the artist engraves the desired pattern into the preliminary piece of metal. Once the design is achieved, it creates “channels” throughout the piece that are then filled with the inlay material (metmuseum.org). Metals are usually inlaid with other metals, one being more precious than the other, which creates a contrast in both value and color.

This antique circular brass tray can also function as a wall hanging. It is decorated in relief with inlaid copper and silver wires.  Available at Beaux Arts Galleria.

Etching

While similar to engraving, etching is a mechanical process that uses mild acid to cut designs into pieces of metal (metmuseum.org). Artists cover the surface of their artwork with “an acid-resistant coating of paint or wax” and scratch their designs into the coating. Then a small amount of acid is poured onto the surface of the piece and the design is etched wherever the acid-resistant coating has been removed. Like engraving, etching is normally done on precious metals. Color contrast is achieved easily with etching. The artist can either just etch the design onto the metal or plate the non-etched areas with silver or gold, creating a contrast (metmuseum.org).

This silver-plated Italian dresser box has floral etchings on the front.  Available at Beaux Arts Galleria.

These are just a few examples of common metalwork techniques that an artist can use to create elaborate designs on metal art pieces.

The elegant Francesca with her selection of top picks from 1stdibs, which can be viewed here.

Our clock of the hour!  (Pun most definitely intended.)

To find more favorites, please check out some of our featured items at Beaux Arts Galleria!

The wristwatch is one item for which Cartier is particularly known. The Santos, one of Cartier’s earliest designs, was the first men’s wristwatch manufactured. According to Mark Holston’s article “Brazil’s Father of Flight,” Louis Cartier designed his first wristwatch after talking with Brazilian aviator Albert Santos Dumont about how impractical it was to use a pocket watch while flying. The wristwatch quickly became popular with both aviators and everyday consumers.

Albert Santos Dumont, the inspiration for Cartier’s Santos wristwatch.  Image of Dumont from U.S. Centennial Flight Commission (http://www.centennialofflight.gov/essay/Dictionary/Santos-Dumont/DI41.htm)

In addition to his wristwatches, Louis Cartier designed Mystery Clocks, which were made with a transparent dial, and many other products with Art Deco designs and fine jewel-work, according to Nancy Russell’s recent article on Cartier in Entertainment Review.

The Cartier Desk Clock, art deco style.  The face is inlaid with opalescent mother-of-pearl.  Available at Beaux Arts Galleria.

In 1907, the company signed a contract with Edmond Jaeger who agreed to supply the movements for Cartier’s watches. With branches in London, St. Petersburg, and New York, Cartier was quickly establishing itself as one of the world’s foremost watch companies. In his book, Cartier, Hans Nadelhoffer discusses how Cartier and Edmond Jaeger of Jaeger-LeCoultre combined their companies in 1920. After forming this combined company, Edmond Jager produced watch movements only for Cartier, but Cartier continued to get movements from other companies such as Movado and Audemars-Piguet (Nadelhoffer). Splitting from Louis, who remained in Paris, Jacques took control of the company’s operation in London, and Pierre in New York City, according to the article “Fabulous Jewelry From the House of Cartier” in US Today Magazine.

Today there are more than 200 Cartier stores, operating in 135 countries around the world. The company has made custom pieces for royal families and established itself as the world’s leading producer of luxury watches. Some well-known collections of watches are the Tank collection, the Santos de Cartier collection, and La Dona de Cartier. These Cartier watches, blossoming and changing from Louis’ first wristwatch in 1904, remain lavish accessories that represent a history of quality and luxury.

In 1882, Leopold Franck founded Marcel Franck in Paris to mass-produce atomizers for perfume bottles. Atomizers are devices that convert a single stream of liquid into a fine spray. Although they are not as valuable as the bottles they complement, these devices were in demand.

The company’s first clients were local hairdressers and beauticians, according to perfumeprojects.com. As Marcel Franck built its reputation, large department stores in Paris, such as Le Galleries Lafayette and Le Printemps, joined its clientele.

After the Leopold Franck’s death in 1907, his son, Marcel, took over administration of the company (perfumeprojects.com). Marcel established relationships with leading glass bottle makers throughout Europe to expand the company’s reach. He began producing atomizers for famous perfume houses as well as glass companies like Lalique, Baccarat, Guerlain and d’Orsay. Even though Marcel Franck chose to contract with these companies, he wanted his company to be known as more than a subcontractor (perfumeprojects.com). This is why you will find the name “Marcel Franck” or simply “Franck” on many of the bottles, or sometimes on stickers on the bottles, that the company worked with.

This Marcel Franck Crystal-Cut Atomizer has both a tag (image on the left) as well as engraving on its brass top (image on right).  Available at Beaux Arts Galleria.

On this particular bottle, you see “Bendor pour Franck” written on the side. Bendor Glass Company produced the bottle and Franck produced the atomizer.

French Cameo Perfume Bottle with Atomizer sporting “Bendor pour Franck.”  Available at Beaux Arts Galleria.

Marcel Franck did not just produce atomizers for full-sized perfume bottles, however. The company also produced travel atomizers that were easily carried in women’s purses. Marcel Franck atomizers, guaranteed by the company not to leak, were wonderful compliments to the ornate perfume bottles of the time.

Knowing the rules can make a good design … breaking them can make it great. And “Today,” says Thomas Marshall, national sales manager of renowned fabric house Zimmer + Rohde, “when it comes to upholstery the important thing is you like it. If that means throwing out traditional ideas about proportion and patterns, so be it.”

This calming thought began my conversation with Marshall who had agreed to provide some pointers about fabric selection to Beaux Arts Galleria visitors. “We have an abundance of choices now,” he said, “not only because designers are so creative, but technology has made it easy to replicate the appearance and unique ‘hand’ of delicate constructions while making them stronger, less prone to fading and even machine washable.” These new fabrics also give us more flexibility when it comes to picking furniture styles, as seen by purchases of some of the most unique pieces gathered from around the world by Beaux Arts Galleria.

Marshall says there are three important details to consider before beginning your search:

• Environment: In addition to walls, carpet and draperies, think about the amount of sunlight that comes into the room. A northern versus a southern exposure can make a big difference in which fabric will work best.
• Needs: Will the furniture be in the family room or another high-traffic area? Then durability is key. If instead it will be a decorative element and infrequently used, the range of possibilities is greater.
• Expectations: Do you want the fabric to last a decade? Or is it alright if it must be replaced in two years due to its fragility? Whatever the situation, you can find the right one without giving up comfort or good looks.

To illustrate the wealth of options, Marshall chose a gamut of fabrics for three furniture suites currently at Beaux Arts Galleria. “Imagine the chairs and sofas stripped down to their drawers, so to speak, covered in white muslin, so you can focus on the lines and frames,” he suggested. “These aren’t shy pieces. I think they’d appeal to people with a sense of fun, or a very grand home. There’s no in-between.”

One could take the conventional route and upholster with period reproductions or similar motifs. But how predictable that would be! Instead, Marshall gathered an assortment that is decidedly 21st century, absolutely complementary and appropriate for many decorating styles. A few of the most striking are pictured here.

Italian Carved and Inlaid Dining Room Suite

#0212 Italian Carved and Inlaid Dining Room Suite

Marshall suggests lightening the feel of these chairs to make them more youthful—while still acknowledging their history—with abstracts, the unexpected (in addition to zebra, try an ikat or other ethnic theme), widely-spaced embroideries or unexpected colors.

1. Aria (Hodsoll McKenzie, embroidered linen)
2. Michelangelo (Ardecora Collection, silk and cotton)
3. Linen Cartouche (Hodsoll McKenzie Collection, wool-embroidered linen)
4. Grammont Linen (Travers Collection, printed linen)

Giltwood Seven-Piece Living Room Suite

#0473 Giltwood Seven-Piece Living Room Suite

It’s easy to take this group in “another direction,” with the fabric, says Marshall. “You’re not married to the furniture style.” Try a nominally Art Deco design, bold, dressy stripes, big, stylized flowers or something formal yet fun in a zingy color. “These are such imaginative choices,” says a Beaux Arts Galleria executive. “It’s so satisfying to see our furniture in different environments, made possible only with such out-of-the-box thinking.”

1. Lux (Zimmer + Rohde Collection, cotton and rayon)
2. Parlos (Zimmer + Rohde Collection, cotton/polyester/viscose/acrylic)
3. Vertige (Ardecora Collection, viscose and polyester)
4. New York (Zimmer + Rohde Collection, cotton and viscose)

Italian Rococo-Style Living Room Suite

#0187 Italian Rococo-Style Living Room Suite

Young couples who like this “very wow” aesthetic could tone it down a little with a textured solid, says Marshall. Any of the following would work and while all are lovely to the touch, they’re strong, durable and require no special care, ergo, are child-friendly.

1. Vito (Zimmer + Rohde Collection, soil-repellant velvet)
2. Spirit (Zimmer + Rohde Collection, mohair on a cotton ground)
3. Matrix (Zimmer + Rohde Collection, faux ostrich leather)

“These are just some ideas,” says Marshall. “Trust your instincts and be open to suggestions. You might be surprised… and very happy.”