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Darryl Carter for Thomasville
Carter’s debut collection for Thomasville conveys his “well known aesthetic of mixing the modern with the antique, thoughtfully translated into a whole-home collection,” according to Thomasville. “We’ve crafted pieces that achieve a fresh look with a feel of having been collected over time,” Carter says. “It’s all about the detailing,” he adds, pointing to subtle accents such as beading on the frame of a dining chair, or a crackled eggshell surface on the base of a lamp. “This is all about the hush tones and the suggestions and the whisper and the calmness,” he says.
Barry Dixon for Tomlinson/Erwin-Lambeth
Dixon speaks of “distilling” classic styles and combining them into one transitional piece that can fit comfortably in a home where many different periods are represented. He points to an ottoman with elaborate nailhead trim, for example, and explains that the design is influenced by William Morris, who got it from shapes dating to the Middle Ages. The tufting on top, meanwhile, cues midcentury modern. “Represented within the scope of our new collection are elements from the gamut of aesthetic history – familiar forms and lines abstracted thoughtfully,” Dixon says. “It’s a deft execution of these [diverse] sensibilities, but you just need to know it’s beautiful.”
Thomas Pheasant for Baker
It’s easy to see the influence of DC’s classical architecture in this native Washingtonian’s designs. Pheasant’s neoclassic overtones remain strong in his latest collection for Baker, but he’s also infused some of the glamour that’s come from having an apartment in Paris. A sunburst wall ornament replicates one that hangs in the French apartment, as does a tufted boucle headboard and bed frame. The handles on a flat-screen TV cabinet resemble jewels, and he named a new chaise longue Paris. “I wanted to bridge both worlds with these designs,” Pheasant says.
