BLUE. Not Grey! This is a PG blog; get your head out of the gutter.

After my introduction to Gio Ponti’s work a few years ago, I have found that ever since, I tend to gravitate towards his aesthetic. I have however recently, felt particularly inspired by his work. I like to think of Ponti not as simply an artist or designer, but rather, as a prolific and prophetic creator. His own existence depended solely on his ability to discover and create. In his vast career he was an architect, product designer, poet, teacher, costume designer, furniture designer, collaborator; he worked with pottery, rugs and founded two magazines. He knew what the world needed, and knew how it should look. To say that his body of work is impressive would be a grave understatement and a disservice to his legacy. Working upwards of 10 hours a day, his work ethic and deep focus are also of huge motivation to me.

But with a little background under our belts, let us move back to ‘blue.’ The pictures you see accompanying this text, are images of the Parco dei Principi hotel in Sorrento, Italy. From the tile floors, to the modular wardrobes, to the simple blue coverlets, Gio Ponti designed the entire hotel from top to bottom. Overlooking the Amalfi Coast, each room boasts a stunning kaleidoscope of cool blues, almost mirroring the sparkling ocean, just outside of the windows below. Even though the palette is monochromatic, it doesn’t feel cold. There are lighter shades and darker shades, accented by spare but warm, wooden furniture.

Choosing bedding for the apartment is one of the last few puzzle pieces necessary for pulling our place together. Regardless of how many Pinterest boards and sites for big box stores that I click through, I keep returning to Ponti’s Principi palette (from 1962, I might add!). Despite the 50-year gap between when the hotel was designed and now, is a testament to the sustainability and brilliance of his work.

As of yet, I have not found a single thing that captures the way these images make me feel. So I am wondering if perhaps I’ll have to make something myself. Would Ponti appreciate the homage on my duvet, or would he tell me to create something completely new? Would I follow the blue palette or embrace the geometry? Hmmm… better get sketching.

When I was a little girl, my Grandmother bought me a subscription to Harper’s Bazaar and continued to do so, every year through college. I distinctly remember being around fifteen or so, and anxiously flipping through an issue I’d just snapped up from the mailbox. As always, I dutifully read Editor-in-Chief and idol Glenda Bailey’s foreword, skipped to my horoscope and then began moving through the magazine’s content. I remember that I had gotten to the last third of the issue when my hand fell flat across the pages and for a moment, my heart stopped. Ironically, this reaction was not the result of discovering Kate Moss in a canary-yellow Gucci jacket (á la Tom Ford) nor stumbling upon a smoldering Julianne Moore, clad in Balenciaga with an almost invisible waist (though both did garner an audible gasp). The photographs and story had little to do with fashion at all: rather, they showcased the stunning exterior and interior of a sprawling single-story home in the Hollywood Hills. Built in the 50’s, it was a mid-century masterpiece: floor-to-ceiling windows providing breath-taking views of Los Angeles and a floor-plan masterfully laid out for the ultimate in entertaining of cocktail, dinner and pool parties. I was smitten.

It wasn’t until much later that I discovered the work of Pierre Koenig, his legendary  “Case Study House No. 22” (obsessed) and the intelligent post-war modernism that came to define an era. It continues to blow me away how these architects, designers and their passionate patrons so carefully created spaces and products that optimized the climate and natural beauty of their surroundings while at the same time, remaining efficient and cost-conscious. Mid-century modern design was innovative yet intuitive, and it is no accident that it has sustained to this day.

…Which brings me to an exhibit that I recently visited at the LACMA: California Design, 1930–1965: “Living in a Modern Way.” Closing in just a few days, the exhibit opened during the citywide art event Pacific Standard Time, earlier this year. Upon entering the museum, visitors follow a winding path that begins with a vintage Airstream camper and then walks them through an extensive collection of textiles, furniture, toys, blue-prints, print-work, even electronics. While showcases like this one can often be superficial, the LACMA did a fine job of getting below the surface and displaying an incredibly thoughtful array of objects, sounds and ideas from a bygone era. In fact, the exhibit even houses an actual replica of Charles and Ray Eames’s living room, complete with windows, doors, furniture, even throw pillows and plants! There are also video interviews that you can sit down and listen to by yourself with headphones; I chose Deborah Sussman.

I learned so much about the process behind which all of the aforementioned things were designed and how vast the reach of the modernist movement in California, was and has been. It makes so much sense to me why architects and builders now build modular, glass homes on hilltops and shorelines; how else are you able to completely immerse yourself in your natural surroundings? Likewise, it is no mystery why the Eames molded plastic chair for Herman Miller can be found in almost any interior design magazine that you flip through today. The Jetson-esque chair is a versatile, affordable and whimsical piece of furniture. It’s also incredibly comfortable for adults and durable for children.

I urge you to go see California Design for yourself: you won’t be disappointed. Spanning so many different avenues of media and approach, there is literally something for everyone.

Click below for more pictures!

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I just adore clean lines. I think it has something to do with knowing what you are getting into. You can’t hide things under or in between clean lines; what you see is what you get. It also has something to do with feeling fresh and vibrant, letting colors stand out on center stage. Giving them an opportunity to compliment each other, rather than compete.

You can imagine my surprise and delight, after strolling the grand halls of the Louvre, when I wandered into this bright and modern space. Such a playful juxtaposition with the beautiful, though heavily layered and decorative rooms of the Napoleon Apartments mere steps away.

I was so pleasantly surprised when entering this café. It wasn’t shocking to walk into the simple avocado and white-striped space even after observing such decadent and detailed interiors. This is because the Louvre so brilliantly achieved what so many cannot seem to do: they created a contemporary space that doesn’t feel cold. Rather, the room feels warm and inviting, like a perfectly manicured hand waving you in for a refreshing glass of hmm… Perrier?

xx LP

Click below to see pictures of the Napoleon Apartments!

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