Do you look at the bones of a space in its architecture and build your design from there, or start with a vision and figure out what you need to do to make it happen?
As a military spouse, we've moved 13 times in our marriage. These assignments have been to all parts of the country and even overseas to England. It has been fun to see my style evolve with each transition. It has now changed to the point that I know what I like, regardless of if we are living in a military base house in Idaho or our forever home... wherever that may be. It is liberating to not feel restrained by one particular style or era for my personal aesthetic.
Having said this, when designing for others, I often take more cues from the existing architecture, so as to increase resale value.
The mouldings and millwork have been a consistent addition throughout the house. Similarly, you’ve opted to install medallions around many of the fixtures’ canopies. Can you talk about these classical touches?
Perhaps I blame our time "across the pond" but I have long been attracted to moulding and millwork. I feel like traditional bones make the perfect backdrop for modern furniture and or lighting. For me, it is the tension between "old" and "new" that adds the energy and drama.
How did you decide to put in a triptych panel landscape painting? It’s breathtaking. Was it hard to land on sconces for in between panels?
I found this wallpaper company (Robin Sprong for the Sarza Store) online and was immediately smitten. The colors, the scale, and landscape all spoke to me. It seemed that it would be both statement-making yet understated at the same time. Based on the size of my wall, I quickly realized that a triptych panel was going to be my best option. I knew exactly what I wanted for sconces (tall, slender, and modern) and was thrilled to find them at my "go-to" lighting source, HVLG. It was a happy coincidence that the cylindrical shape of the Tara bulbs pinged off of the shape of each of the Tyrell's tubes.
It’s been so great to see your enthusiasm (as well as your audience’s) for the triple-tier Tyrell chandelier. We love how you go bold and opt for statement-makers. In the end, it really blends in as one of the elements in your living room. What’s your philosophy on chandeliers? Can you try to describe the effects of the light through these unique glass pieces for our readers?
I have had a crush on the Tyrell since January, when I first discovered it on the HVLG webpage. Obviously the scale is outstanding, but the intricate design blows my mind. Each one of the tubes appears to be hand painted. Also, I love Hudson Valley Lighting's choice to offer it in silver vs a warmer gold because it brings down the formality a tad. So, while the Tyrell is obviously the statement-maker in the room, it has a perfectly imperfect element about it that makes it relatable and effortless. It would have a complete different feel if it were brass and crystal vs silver and glass.
For me, lighting is one of THE MOST IMPORTANT design elements in a space. It adds instant drama and functionality.
Tell us about your thing with high-low price points and design aesthetics.
What is nice about the HVLG is that they offer lighting at several different price points. I have no problem with mixing a high-end chandelier and budget-friendly sconces as long as they play well together, stylistically. I think this price-point-mixing helps my designs feel more relatable for my blog readers and Instagram followers, be they designers or budget-conscious enthusiasts. Plus, let's be honest... who doesn't have a budget, be it big or small. If you can save on something like sconces, you have a little extra to use somewhere else.