Designing American

Defining the American design aesthetic was the theme of a panel discussion I was asked to participate in by Cottages & Gardens’ Editorial Director DJ Carey. Hosted by the Decoration and Design Building’s “Fall Design Week,” the “American Narrative” was in full throttle, with co-panelists Mary Foley of Foley & Cox and designer Eric Cohler joining in.

Ms. Foley, recognized for her initial launches of the Ralph Lauren all-American home brand, and Mr. Cohler, renowned for his very American juxtapositions of art and eclectic furnishings, joined me in delving into the characteristics that define the American design aesthetic. Since the panel discussion was located in the Edward Ferrell + Lewis Mittman showroom's upholstered furniture division, filled with plush and comfy chairs and sofas, it was quite simple for me to point out that comfort is a signature of American interiors. Furniture groupings of deeply inviting upholstery are arranged as if to converse with each other. The comfort of a well-located side table for a drink, the placement of an ample coffee table for serving up hors d’oeuvres, and the availability of good lighting via well-positioned lamps or dimmable, recessed ceiling cans all contribute to a sense of ease and well-being, so essential to the American design aesthetic.

Ms. Foley, showing interiors executed for Lauren’s western Colorado home, spoke of regionalism and the American adoption of rough-hewn wood, stone, Native American rugs, fur and a hardy naturalism as quintessential American vernacular. Mr. Cohler took a different route, explaining the American design aesthetic in terms of an attitude. He referred to an American penchant for cleaner lines, less clutter and a more edited appearance. Both he and I agreed that the American aesthetic demands and appreciates pristine finishes, unmarred antiques, new carpets and un-tattered textiles.

By exploring images of our own work, we discussed additional American predilections. Mr. Cohler pointed out the sense of humor in many American interiors, which often do not take themselves so seriously. He juxtaposed a Rat Pack poster above an inviting tufted retro leather sofa, with a silk-clad Louis XV chair. We all acknowledged an American obsession with the television monitor, elaborate sound systems and gadgetry of all makes and provisions. We also acknowledged the American designer’s challenge in either disguising, incorporating or cleverly displaying such technology and admitting that such endeavors contribute important elements to the American aesthetic.

Briefly sidetracking the discussion, Ms. Carey asked me to compare my international design experience with that of the American. I described the sporty American’s active lifestyle, so pervasive in establishing our aesthetic, affecting a more casual approach to interiors, delineating the essential from the strictly ornamental. I also pointed out the European admiration for our vast kitchens and sumptuous bathrooms.

A plethora of choice is another defining element that adds to the American design style. The United States is a melting pot of design options, regional variations and international influences. Where the Swedes mostly use white tile and chrome fixtures, here in the United States we often choose from a rainbow of ceramics and metals. Simply travel down the streets and avenues of our suburbs and a Mediterranean home will stand next to a French provincial chalet, next to a Breuer box, next to a shingled cape, or next to a stucco ranch. And in our American aesthetic, this diversity, though jarring for the European, hardly fazes us.

Next, Ms. Carey posed the question, “Is there an American designer who has influenced your work?” Besides my first employer, Gary Crain, and a host of others including Tom Britt, John Saladino, Mark Hampton and Bill Blass, Billy Baldwin has had the most significant influence on my work. His Villa Fiorentina at Cap Ferrat and his urban New York work all influenced me, but it was primarily his writings on comfort, practicality and suitability that have been guidelines for my career.

Ms. Foley answered with pictures of the home she grew up in and spoke about the architect who created it for her parents, who still reside there. She remembered it for “its cork ceilings and black lacquered steel kitchen,” and described it as the primary influence for her interest in design. After joking that I stole his answer of Billy Baldwin’s influence on him—who could blame us for both admiring such a talented designer?—Mr. Cohler acknowledged his paternal grandmother, a woman whom he described as having the best taste of anyone he’s ever known, as the person who has had the strongest influence on his work. Mr. Cohler noted that her home was “edited down to things that were either necessary or beautiful,” an idea that we all agreed felt very American.

Finally, Ms. Carey questioned if our projects typically include items made in this country. We all answered with a resounding yes. Mr. Cohler astutely observed that with the attraction of cheaply made home goods from such retail outlets as West Elm and Pottery Barn, where most offerings are manufactured in China, Indonesia, Vietnam or somewhere overseas, it is challenging to convince clients to purchase American-made goods. However, we all agreed that locally manufactured goods, overseen and vetted by designers, stand the test of time. With so many gifted local and regional craftsmen here in the U.S. who have a uniquely American perspective, and the availability of quality materials, the decision to purchase locally often proves to be pound-wise.

Ms. Foley mentioned that matching furniture to the scale of a room often calls for customized pieces. This allows you to have more control over the work, and the ability to see it in person, which is imperative. Mr. Cohler also highlighted the importance of the environment-friendly practices and materials that are used here in the U.S., especially with bench-made pieces. Aside from having the best bench-made upholstery in the world, I believe that America also has great lamps, beds, curtains, terrazzo and mirrors, as evidenced by our world-class kitchens and bathrooms.

At the conclusion of the afternoon, we all agreed that the American design aesthetic is embracing, rather than exclusionary, with a cleaner sensibility that tends to edit clutter, welcome comfort, lean toward harmony of color, enjoy balance—and appear intimately approachable, enveloping and welcoming.