Issue link: http://papercitymagazine.uberflip.com/i/1521219
"This is a highly decorative house, but there's a casualness to it that's of the plaster range hood is based on a cupola from Printemps Haussmann, the famous 19th-century department store on Boulevard Haussmann; the hood was created by 94-year-old Dallas artisan company Casci Ornamental Plaster. The gallery — a sunny hallway that connects the entry with the main living spaces — sets the tone for the rest of the house with potted palm trees punctuated by vintage Louis XVI-style settees they picked up in Palm Beach at Casa Gusto. The gallery's furnishings take inspiration from a gallery at Le Bristol Paris, the famed hotel along rue du Faubourg Saint- Honoré. The long space turns out to be a rather chic spot to entertain, so Hayes has set it up with tables for dining, which came in handy for a luncheon Vose hosted last Christmas for 20 people. "One thing that's notable about this house is there is no dining room," Hayes says. "I'm doing that more and more in houses — even my own in Fort Worth — where I'm putting dining spaces in almost all of the rooms, including living rooms and hallways." The large living room with its atmospheric Gracie wallpaper, tall ceilings, and multiple seating areas is ideal for both formal and impromptu dining. It's the kind of glamorous room one might imagine finding in a hôtel particulier. An intimate seating corner, framed by massive windows looking out to greenery, is furnished with a 1950s Italian rosewood banquette in its original white bouclé, a treasure Hayes discovered at Paul Bert Serpette antiques market at Puces de Paris Saint-Ouen. A pair of vintage metal grotto chairs from Ceylon et Cie surround a rare mid-century brass table by Philip and Kelvin LaVerne, acquired at Collage in Dallas. "The table works for dining and it's also great for games — Merry likes to invite friends over to play Rummikub or mah-jongg," Hayes says. Nearby, a tiger velvet sofa is set off by luminous blue pillows and Venetian- glass lamps — a combination that tweaks the style of French designer Madeleine Castaing, whose eccentric antiques shop on rue Jacob once brimmed with leopard prints and turquoise-blue objets. On the opposite side of the living room, Hayes has created a formal dinning opportunity with a sculptural table topped in green marble from Balsamo in New York City. A quartet of slender blue leather chairs — quite possibly by Maison Jansen — was bought years ago in Dallas for Vose's previous house. The tufted velvet sofa was made by BDDW in New York. "There's just something about a sofa at a dining table that is really appealing," Hayes says. "It's warmer and cozier, and makes people want to gather around." The custom rug by Interior Resources was inspired by a rug in Yves Saint Laurent's house in Tangiers. "This is a highly decorative house, but it's not fancy," Hayes says. "There's a casualness to it that's comfortable." Vose clearly loves color and patterns — her boutiques positively overflow with them. "We employed a lot of color and pattern in Merry's interiors because she's so comfortable with it all," Hayes says. (Continued) comfortable." — Julie Hayes From left: Victoria Hagan chair from George Cameron Nash. Grotto chair from Ceylon et Cie in Dedar's Say Goodbye Flora fabric from Culp Associates. Custom sofa in Nobilis tiger velvet fabric. Venetian glass lamp from John Gregory Studios. Opposite page: In Merry Vose's office, custom drapery in Jim Thompson New Bermuda fabric. Antique eglomisé desk from Paris. Jan Showers' Venetian glass lamp. Antique Italian chairs from Nick Brock Antiques, upholstered in Vaughan fabric from George Cameron Nash.