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OCTOBER | PAGE 43 | 2014 Clockwise from top left: In the master bedroom, the chandelier is by Angelo Lelli for Arredoluce, circa 1950, from 1stdibs. Paolo Buffa settee, circa 1940. Lee Baxter Davis' Genealogy, 2012. The music room doubles as a study for Lindsey. Flocked wallpaper with Persian tulip motif by Zoffany from Culp Associates. Custom sofa in Rogers & Goffigon velvet. Antique Moroccan rug. In the master bedroom, the Vaughn patterned mirror and Christian Liaigre table lamp are from George Cameron Nash. Bugatti-style Art Deco cabinet from Joannes Lucas in Culver City, CA. The Collinses' cat, Hiro-San, lounging. Jill Magid's Security Measures: Who Will Teach Me What to Seek and What to Shun. Zingamagazine, a publication/curatorial project started by NY artist, Devon Dikeou. UK publication, The Gentlewoman. In the master bath, McFarlain used Ann Sacks Calacatta marble tile, Waterworks un-lacquered brass plumbing fixtures and Hydro Systems tub, through Nob Hill. Laurie Simmons' Blue Bath, 1983. You would think that a house with an active three-year-old boy and twins on the way would be furnished with the equivalent of "mom jeans" — dowdy, serviceable pieces that get the job done. The Collinses' house is anything but. It shines with exquisite, collectible pieces "produced by the original manufacturer, if we have the option, so they have some history to them," says Lindsey, who purchased much of it at auction and from dealers in Europe. "We had to fill a whole house, so it was a challenge." Standouts include a 1936 daybed by Bruno Mathsson, a 1962 Danish lounge chair by Preben Fabricius and Jorgen Kastholm and eight Italian dining room chairs by Ico and Luisa Parisi. Milk spills and crayon marks be damned, the Collinses went for it, laying antique Turkish Oushak rugs on the floors and buying Minotti and De Sede sofas and a set of Ralph Pucci armchairs designed by Jens Risom for the living room. "This is a grown-up house with serious furniture, but it's still youthful and fresh," says McFarlain. The project turned out to be much more than a chic home for a growing family with an equally growing art collection — it was a benchmark in the designer's career, signaling a fresh creative philosophy. "This house influenced me a lot as a designer," McFarlain says. "In Dallas, we love everything new, but I approach houses in a different way now — with more history, more tradition and a little more soul." MOST ART COLLECTORS WANT MUSEUM WHITE WALLS, BUT LINDSEY DOESN'T LIKE TYPICAL. " " BRANT McFARLAIN