Design in vogue present a vintage style apartment of George Nunno, an owner of the aptly named Manhattan design store Flair – a little bit dark and dramatic interior designed together with architect Betty Rexrode. Design in Vogue suggest some “smart tips” for commercial architects and interior designers.
George Nunno‘s vintage style appartment is located in the epicenter of New York’s Meatpacking District, a throbbing enclave of nightlife, luxury shopping, and hotels. But the home, which faces an interior courtyard, feels a world apart. It is a dark and sexy oasis where black is the predominant color, the noise of the city is muffled, and every detail—from the low-slung velvet sofas to the vintage furniture and art (including Warhol’s camouflage prints)—is part of a considered whole.
There are hints of exotica, too, like the living room’s vintage leather rhinoceros, and nature-inspired decorative pieces, such as the bedroom’s geode lamps. These elements coexist with such collectors’ prizes as a Harry Bertoia bronze bush sculpture, a Karl Springer bronze-and-glass cocktail table, and a Maison Jansen console table.
If the overall effect conjures the sultry glamour of the Rive Gauche circa 1975, this is no accident. Nunno, who is a co-owner of Flair Home Collection, a New York interior design store, is a devotee of the louche brand of luxury that characterized 1970s European interiors. “To me, the design of that period was excessive and dangerous and sexy,” Nunno says. “It was anti-minimal. And I think it’s coming back again, because people have been so good for so long that now they want to be hedonistic again.”
The custom sofa by Flair is upholstered in a Holly Hunt velvet, the 1950s armchairs are Italian, and the cocktail table is by Karl Springer; the Andy Warhol prints were found at Christie’s, the bronze lamp bases are by Alberto Giacometti, and the curtains are of a Dedar linen.
Photography By Richard Powers/ Produced By Anita Sarsidi
A vintage style appartment’s dining area – the intriguing mix of contemporary and vintage furniture, limited edition furniture. “It felt like a family’s house,” Nunno says, “that had been collected over the years—where not everything matches, but it works because it has been put together with love and an interesting eye.”
A vintage suspension lamp from Venini hangs above a 1970s marble dining table by Angelo Mangiarotti; the custom-made chairs are from Flair, the painting is by Cleve Gray, and the rug is a vintage Beni Ourain create unforgettable atmosphere.
In the kitchen, the custom cabinetry is ebonized oak topped with Nero Marquina marble, the Milo Baughman barstools were found on eBay, and the iron sculpture is a Paris flea market find; the range is by Jade, the refrigerator is by Sub-Zero, and the sink fittings are by Kohler.
George Nunno shop offers design services along with Murano chandeliers, contemporary and vintage furniture, and chic decorative accessories, so it’s no surpsise why his living area’s ebonized-wood wall panels, with inserts of a Dedar fabric, are custom made, as is the steel-and-bronze fireplace surround.
George Nuno has a strong sense of color, proportion, and order, and for him, everything from the curtains to the upholstery is essential to the overall design. Nunno admits that running a design store can be an occupational hazard, especially for a perfectionist who is constantly striving for design nirvana. When a beautiful limited edition furniture piece arrives in the shop, he sometimes can’t resist taking it home. “It would be easy for our home to become a revolving door of furniture, so I had to put a stop to that and lock down what this apartment would be,” he says. “For a while, anyway.”
In his master bedroom Line Vautrin mirrors hang above a 1950s desk by Roger Thibier in the master bedroom; the chair is by Claude Lalanne, and the rug is by Martin Patrick Evan, the bed, upholstered in a Kravet flannel, and the bench are custom made, the linens are by Sleep Studio, and the lamps are by Michael Laut; the artwork above the bed is by Martin Cary Horowitz, and the painting is by Ilya Bolotowsky.
Nunno worked out living room’s clever storage wall, with its fabric inlay panels with brass trim, and a custom steel-and-bronze fireplace by the metal artisan Gabrielle Shelton. “I had been looking at 1970s apartments in Paris, and they always had elements that were both built-in and decorative,” Nunno says. “That morphed into the idea of working with a craftsman to make something for the loft.” In the dressing area, a 1940s French chest holds a sculpture by Diego Giacometti and a lamp inspired by his work.
Smart tips for commercial architects and interior designers:
1. THE KEY IS PROPORTIONS
I started out working with really small spaces. Where, I quickly learned that the only way to make a small space successful is through proportions. Even when you start working on bigger spaces it’s still key.
2. YOUR BASE CAN’T BE BORING
Before starting to building the interior select some “key pieces” with an interesting surfaces to birng “life” to your interior design project. We suggerst you to search for some modern chic limited edition furniture and inspiring pieces from Brabbu or Koket.
3. LIGHTING + SCULPTURE + BOOKS
These are the “accessories” of any great interior design project. I obviously have a lamp obsession… and I am addicted to bronze… and books. Mix those three elements a lot—the lighting, the sculpture, and the books to create unique look of your interior design project.
4. MASTER THE MIX
Beyond factoring in various objects, you should consider shapes and materials—it’s important to balance something graphic with something sculptural and something hard with something soft. Limited edition furtiture from Boca do Lobo are the true solution for such design interior projects.
5. COMBINE VARIOUS TEXTURES
I like texture, especially in the bedroom, to warm things up. E.g. bedside pieces that are fully shagreen with the lamps that are lacquered.
Design in Vogue will continue to share with you fantastic ideas for your office design, interior design, corporate interior design.
Text based on Iingrid Abramovitch article, Elle Decor