Issue link: http://papercitymagazine.uberflip.com/i/1547305
demilune from Gerald Bland, while a small chinoiserie bookcase comes from the estate of Mario Buatta. The octagonal mahogany table seats eight, and the building's restaurant has served dinner there for the family. Kincaid has worked with Penn & Fletcher for decades, and for the dining room, the firm translated the wallpaper's stylized motifs into trapunto vines and butterflies that cover the sofa, chairs, and Roman shades. The technique fills select areas of a stitched design, raising them in sculpted relief. Penn & Fletcher works on a 1930s machine and is thought to be the last company in the country creating trapunto this way. After World War II, custom embroidery for interiors largely moved overseas, and much of the know-how went with it. In bedrooms especially, Kincaid likes to pair Penn & Fletcher embroidery with de Gournay wallpaper for a cocooned feel. In the primary bedroom, Penn & Fletcher scalloped the draperies and embroidered the leading edges with motifs drawn from the fabric, a fine Bennison linen. The firm also embroidered the headboard, valance, and double-sided canopy for an Indian bone bed from John Rosselli. Ribbon trims the valance, and embroidered sprigs of flowers are scattered across the canopy's underside. All of it plays against custom de Gournay wallpaper, hand-painted with flowering branches and birds in pale robin's-egg blue, beige, and white, flecked with silver leaf. Old friends in the trade supplied more of the dressmaker details. A fabric by Dallas textile designer Lisa Fine, custom-colored for the room, covers the chaise, and the bedding throughout comes from Leontine Linens, the New Orleans company founded by Jane Scott Hodges in the mid-1990s. A sitting room is enveloped in Soane Britain wallpaper and fabric. Turkish textile pillows on the sleeper sofa. The clients' floral art collection hangs on the wall. Right: Hand-painted cornice by Barry Martin.