Written by Wendy Bowman | Photography Courtesy of Luke Gibson Photography
A flashy newcomer is making its grand entrance in Hollywood Hills’ historic 1920’s Outpost Estates neighborhood in the form of an impeccably built modern masterpiece crafted by ARANO Design Group. Think a stunning contemporary home showcased by outstanding touches including tranquil hillside views, sumptuous finishes and the latest in smart-home technology.
“A passion project by ARANO, this home has been meticulously designed and constructed with the highest degree of craftsmanship,” says Tom Scrocco, who is co-listing the property with Randy Isaacs, Viviana Ventrone and Sean Christian, all of Coldwell Banker Beverly Hills South, for $4.7 million.
Located at 2401 Outpost Drive—near the Hollywood Bowl and Runyon Canyon Park—the five-bedroom residence was built in 1936 and completely redone from the inside out in 2017. Expect 4,700-plus square feet of luxurious open living space on two stories (plus a lower-level entertainment area), complete with a soaring grand entry foyer, rich wood flooring, Fleetwood pocket doors and windows, and vertically integrated living walls sporting artfully arranged succulents throughout.
Among the stand-out features: a professional gourmet kitchen with Miele and Sub-Zero appliances; an opulent master suite with a fireplace, private balcony, dual closets, and master bath with soaking tub, steam shower and heated floors; a screening lounge boasting a black-mirrored dry bar; a 650-bottle temperature-controlled wine cellar; and a Control4 smart-home automation system. The two-car garage, meanwhile, is outfitted with an electric car charging station.
“Beyond the extensive list of luxury amenities, the thing that strikes us most about the home are the unique designer finishes and exceptional build quality,” says Scrocco. “Though contemporary in appearance, the home possesses a grandeur that wonderfully complements this historic and stately neighborhood. The home was recently featured in the August 2017 edition of Rhapsody magazine in the cover article with actor John Cho.”
TOM SCROCCO AND RANDY ISAACS & ASSOCIATES
COLDWELL BANKER BEVERLY HILLS SOUTH
LIST PRICE $4.7 MILLION
Written by Wendy Bowman | Photography Courtesy of Gorjana
Gorjana Reidel is bringing her chic, coastal-inspired jewelry creations to L.A. denizens with a new boutique opening this August on Venice Beach’s Abbot Kinney Boulevard. Designed by Becki Owens, expect a simple, clean and elegant space, complete with light and airy environs focusing on white displays, light wood flooring, marble countertops and brass accents, as well as an inviting outdoor patio for relaxing and enjoying community events.
“Our hometown and flagship store is in Laguna Beach, which has a strong artist community and artistic vibe,” says Reidel, gorjana’s founder and owner. “Venice has a similar vibe, so we felt it was the perfect location. Abbot Kinney has an eclectic history, and I’m so excited to bring our designs there.”
At the 1,200-square-foot store, customers can find the designer’s entire collection of organic and easy-to-layer jewelry (along with Venice Beach exclusives and a bespoke holiday collection). Prices range from $32-$350, with popular pieces expected to include Power Gemstone Bracelets ($38-$58)—each with their own special meaning, like garnet for energy—along with the Laguna Adjustable Necklace that can be worn multiple ways ($75); and lightweight Tulum Tassel Earrings ($50). The shop also will be the go-to spot for unique customer experiences. Think fun and educational events held weekly, along with an Aura Photo Booth where customers will be able to determine the exact Power Gemstone to help them achieve a more meaningful life.
1639 ABBOT KINNEY BLVD., VENICE, CA 90291
424.268.4279 | GORJANA.COM
If this new modern home were a garment, it definitely would find itself not only gracing the runway during L.A.’s Fashion Week, but also creating some well-deserved buzz. With its six-foot Moooi chandelier, floating staircases and original Andy Warhol artwork adorning the entry, this showpiece with $1 million-plus in furnishings under its roof was created by L.A. fashion mogul Charles Park and is indeed the catwalk’s meow when it comes to chic abodes.
Known for the popular California clothing brands Pure Sugar, Sugarlips, Cream & Sugar, and Jonesy, Park collaborated with Samuel and Paul Oh of L.A.- based The Parks & Associates LLC on his foray into the world of custom home building. Situated at 1231 Lago Vista Drive, the seven-bedroom, 11-bath residence is a study in impeccable design featuring the finest in materials and furnishings.
Now on the market for $43.9 million, the 13,500-square-foot home combines a brilliant floor plan on a sensational lot that is perfectly designed to fit the Southern California lifestyle, according to Aaron Kirman of Aaroe Estates, who is co-listing the property with Drew Fenton of Hilton & Hyland.
Among the highlights: furnishings by B&B Italia, Minotti and Gandia Blasco; 33 floor-to-ceiling Rimadesio Italian glass magnetic doors; Delta Lighting from Belgium (400 at $1,000 per light); custom hand-knotted carpeting; and a Crestron automation and environment system that controls audio-visual, lighting, shading, IT, security and HVAC.
This residence is the epitome of haute couture. Yet other standout features include an oversized elevator fronted by custom L’Invisibile bank vault doors; a 600-bottle floating, backlit wine cellar that opens via thumbprint access; cutting-edge home theater featuring a Sony 4K projector and Dolby Atmos sound system (one of only 30 in the country); and gym outfitted with Precor fitness equipment. The glitz and glam continues outside with a 50-foot zero-edge volleyball pool; Baja shelf; five in-water chaises; and a multi-section barbecue patio.
“My goal wasn’t to impress a buyer walking through for an hour,” says Park.
“Each decision was made to delight the buyer who will live in this house for a lifetime.” Not only has Park created a home that’s totally in vogue, but one that also represents his classic and timeless appeal.
AARON KIRMAN of AAROE ESTATES, THE LUXURY PROPERTY DIVISION OF JOHN AAROE GROUP and DREW FENTON of HILTON & HYLAND
List Price $43,900,000
1231 Lago Vista Drive, Beverly Hills, CA 90210
Photography Courtesy of Matthew Momberger
Decorative-art titan Tony Duquette was an unabashed maximalist who applied his from-the-gut touch to everything from rapturous interiors for billionaire clients such as Doris Duke, J. Paul Getty and David O. Selznick, to bold jewelry, to museum exhibitions at the likes of the Louvre.
As CEO and creative director of Tony Duquette, Inc., its studio headquartered at Dawnridge,—the designer’s storied Shangri-La in Beverly Hills— Duquette’s decades-long collaborator, Hutton Wilkinson, helms the brand’s many endeavors. There’s a fine jewelry line; licensed products, including furniture for Baker, lighting for Remains Lighting, textiles for Jim Thompson, porcelain for Mottahedeh, and a carpet collection for Patterson, Flynn & Martin launching this fall. These, along with a bevy of interior projects; most recently, an architectural and interior overhaul of a mid-century home in Beverly Hills and a penthouse apartment on Fifth Avenue. Forthcoming are a beach abode in Newport Beach and 35 public areas in a large condominium project in Century City. There’s even a Miami hotel on the docket.
Here, Wilkinson on Tony Duquette then—and Tony Duquette Studios now.
How did you first meet Tony Duquette?
I wanted to work with Tony Duquette since I was in 7th grade. I’d read about him and his wife… how they lived in a silent film studio, how their drawing room was 150-feet long, 28-feet wide and 28-feet tall. I saw photographs of Tony sitting on the stage of his studio, on a throne from the Chapultepec Palace, wearing the robes of a Cardinal, and I said to my very square architect father, ‘This is what I’m interested in,’ to which he replied, ‘You are 100-percent crazy!’ I got my chance to work with Tony as a volunteer when I was 17. I apprenticed for two years, and then worked as an assistant designer. … We ultimately became successful business partners. About five years before he died, Bergdorf Goodman invited us to make a collection of one-of-a kind jewelry using precious and semi-precious stones set in 18K gold, so we did. At that point, I purchased his business as well as the international trademarks to his name. As I was a designer for Tony Duquette since 1972, the transition in the design aesthetic of the company since his death in 1999 has been seamless.
What informed his eye early on?
His mother was born in London, and was a concert cellist. His great uncle was Peter Paul Marshall, the business partner of the pre-Raphaelite artist and designer William Morris. The name of their Arts and Crafts movement firm was Morris, Marshall, Faulkner & Co. I think you can trace Tony’s interest in the arts to his worldly English mother, and you can see in my books his interest in the theater by looking at his creation, at 10 years old, of a hand-carved Art Deco-style puppet theatre in the manner of Bakst or the Ballets Russes.
To what do you attribute his lasting cultural imprint?
After a maximum of minimalism, the world of art and design is interested in more. More color and more intricate design are what people are hungry for today, and the legacy of Tony Duquette has become a touchstone for interior designers, architects and fashion and accessory designers since the publication by Abrams of Tony Duquette and its companion book, More Is More, as well as Tony Duquette Hutton Wilkinson Jewelry.
I firmly believe that we can look forward to maximalism being the next great epoch.
What drew him to the “more is more” aesthetic? Why did he want to create vibrant sensory worlds for us to live in?
Tony hated the dead white of the refrigerator door. He needed to feed his eyes as well as his soul. We aren’t just making interiors; we’re making environments for living. Through our work, whether interiors or jewelry or extravagant party décor, we celebrate the individual, with style created especially for a person or a family. We rarely use the same materials twice, and create custom designs in furniture, fabrics and rugs, right down to mixing the paint colors ourselves in order to obtain the quality for our clients that we’re seeking. For Tony, and now me, no amount of effort is too great to create beauty and achieve our goal of inspiring individuality and creativity in our clients. As Tony would say, the least common denominator is the enemy!
What was his opinion of modernism?
The interesting thing is that Tony’s work is not elaborate. If you look at it closely, it is extremely simple… the materials themselves are simple, everyday, but treated like rare jewels. In fact,
I like to say that Tony Duquette used non-traditional materials to gain traditional effects. That was the secret of his genius, his refinement; he made burlap look like velvet and gold paper look like 18K gold. Mix all that up with priceless French or Venetian furniture, and voila, you have what on the surface looks like an elaborate interior. But that is the magic. He never took the priceless antiques seriously… and if he wanted to cover them in leopard skin or paint the frames coral or spray emerald green flocking all over them, he did, because he knew it would work. This was his charm; he was a magician, and he knew the incantations to use to cast a spell. This type of rarified luxury design is the very essence of modernism.
As for modern-minimalist interiors, he didn’t pay any attention to them; he didn’t care what other people were doing. His work was honest… I once asked Tony, ‘Why do your clients hire you? And he said, ‘Because they can have anything in the world, all the Impressionist paintings and fine French furniture money can buy, but I can offer them something that nobody else can—completely original and personal interiors, made only for them.’ His clients, by the way, had plenty of Impressionist paintings and fine French furniture, but it was the way we put it all together for them that set their interiors apart.
Did L.A. influence his aesthetic?
Tony said that Los Angeles during WWII was the most glamorous place on earth.
He was in the right place at the right time. He was present for the postwar boom in housing, the growth of the aerospace industry, the invention of television, and the creation of the new LACMA and the Music Center, for which he decorated all three theaters. Tony could have been a much more famous designer if he had moved to New York, but he
loved Los Angeles and the freedom of movement here. He had sunshine all year long, and loved being outside in nature. Los Angeles was his favorite place.
How did Mr. Duquette inform American design during his lifetime?
Tony’s work was always about 10 years ahead of its time. His aesthetic influenced the world through his early work for MGM, creating costumes and sets for Fred Astaire musicals with director Vincente Minnelli, and producer Arthur Freed. In 1941, he was discovered by Elsie de Wolfe—she never stopped referring to his talent as ‘genius’—and her recognition brought Tony Duquette to the attention of the Louvre, and in 1951, the [museum] invited him to represent the Decorative Arts of the Middle of the 20th Century, which was a forward-thinking idea, since at the time he was doing his own version of Neo-Baroque decoration, using antlers, feathers and shells, which he called Natural Baroque, as opposed to the minimalist chrome and black leather of Mies or Charles Eames, for example.
How is Tony Duquette Studios doing the same today?
Tony Duquette was always true to his vision; he never compromised. If a client didn’t like what Tony wanted, then he would just walk away … he was always true to himself and that’s why his work is so good. This is the way we work today—no compromises, pure design, right from the gut; whether its jewelry, furniture, lighting, textiles or carpets, our vision is very clear, just the way Tony taught me after almost 30 years of design collaboration.
Like in Tony’s day, each job is individual. We like good design—it doesn’t matter if it’s pure Louis XVI or Mid-Century Modern or anything in between. We do it our way, with a lot of taste, style and imagination, keeping the clients’ own individuality in mind.
How significant is Dawnridge to you?
My most important tribute to Tony and his wife Elizabeth was to purchase their beloved house, and preserve it as a repository for their work—his sculptures and furniture, and their paintings. Dawnridge was considered a teardown in Beverly Hills sitting in the middle of an immense tropical garden. I have redecorated the house very sensitively, using only items made by the Duquettes. It’s a major tribute to their combined talents, hers complementing his in a big way! We use the house as our office, where we meet clients and discuss business.
What might surprise us to learn about Tony Duquette?
Tony was a child of the Depression. His mother taught him about quality.
He knew and understood value. He knew those ‘expensive’ things would last forever. He was actually frugal, but in an extravagant way. He hated waste and saved everything. Tony felt that ‘one-of-a-kind’ is the very definition of the word luxury. He always used to say, ‘Beauty, not luxury, is what I value,’ and that is one of the precepts we adhere to at Tony Duquette, Inc., today.
Witten By Constance Dunn
Cruise into Shanna Shryne’s design center on Pier Avenue and you’re guaranteed to bump into a positive message or two. They’re everywhere, from an oversized print declaring “Adventure May Hurt You But Monotony Will Kill You” to a cluster of canvas totes sitting in a striped ceramic bowl urging you to “Kiss Your Life.” Optimism is a persistent theme for this South Bay designer, whose aesthetic veers Modernist, practical and streaked with uplifting color.
Shryne’s tutelage began as a young artist who turned to business when it came time for college. “In my first economics class I discovered that business was not for me at all,” she recalls with a grin. “I decided to get my degree in interior design, plus a minor in construction management.”
She cut her chops at a national design firm for a decade before moving to the South Bay. “Bryce at Curious [a Hermosa Beach home decor shop] hired me, because I didn’t know what I wanted to do when I first moved here,” Shryne says as we chat away on the store’s sunny deck, adorned with a vivid blue lounging bed and pair of strappy, mustard-hued Acapulco chairs.
Soon, with the owner’s blessing, Shryne was running her own design business from Curious, and in late-2014, staked out her own space up the street. “Now I have a dedicated retail space and a design space,” Shryne says. “And I’m focusing on offering the beach towns a more unique design sensibility.”
“Beach style, with soft colors and all of that, is gorgeous,” she muses. “But I just have, intellectually, a more fun, playful and different take on it.” Therein lies this designer’s distinction. Shryne injects residential and commercial spaces with surprising bolts of color and a sculpted joie de vivre—specialties that take skillful design acumen to pull off, lest they come off looking clumsy or contrived.
Her retail-slash-showroom is riddled with ripe island shades of citrus, fuchsia and blue, often juxtaposed against pure white. Mid-Century Modern pieces dominate, from a hanging pod chair to a lacquered bar cabinet stocked with vintage candle holders. There are playful notes, too, like highball glasses with “Stay Fancy” scrawled on them, a glowing ship’s anchor and throw pillows etched with local ZIP codes.
Shryne acknowledges that running both a design firm and retail store is no easy feat (“They’re two different animals,” she says), but wants to inspire people with the gifts and home items she stocks, plus use the space to showcase her design work, which includes the fabrication of custom drapery, bedding and furniture.
“Items in the store are different than what you see all the time,” says Maggie Serkes, store manager. “I think that’s what people love about us the most. Coming into the store gives a person ideas on how to turn their place into a home just by adding a little color. Or a pillow, or a candle.”
“I’m always drawn to something that’s a little free spirited,” adds Shryne. “I want it pragmatic, and to make sense and be usable. But—what can we do that’s fun?
How can we take it up a notch so you enjoy it a little more? So you smile each time you see it.”
205 Pier Avenue, Suite 100
Hermosa Beach, CA 90254