At architect Daniel Romualdez’s 18th-century Connecticut country house—formerly owned by fashion designer Bill Blass—a Braquenié tree-of-life pattern covers the walls, bed, settee, sofa, and cushions. The result is an airy virtual garden accented with folk art, antique portraits, and horn accessories.
A guest suite at decorator Charlotte Moss’s New York townhouse is furnished with 19th-century English canopy beds that stand like pavilions amid a Scalamandré floral print.
First Lady Jacqueline Kennedy suggested using a French blue-and-white fabric for the Queens’ Sitting Room back in the early 1960s, when the White House was being redecorated by Stephane Boudin, president of Paris’s Jansen design firm. The neoclassical-style fabric, patterned with swags, fountains, and swans, remains in situ, as do most of the furnishings. The latter include 19th-century black-and-gold antiques, though Boudin had the Taft administration cheval glass (at left) painted to match.
Peter Dunham’s Kashmir fabric is used for the walls, curtains, and a Louis XVI–style bergère in the designer’s Indian-inflected guest bedroom in Los Angeles.
When decorating a bedroom for the 1984 Kips Bay Decorator Show House, Mario Buatta deployed one of the 20th century’s best-known patterns—an airy floral that is known in America as Verrieres (Brunschwig & Fils) or in Europe as Batik (Georges Le Manach). Decorator Henri Samuel put the fabric on the international style map in the 1950s,when he used it in the Salon Bleu of writer Louise de Vilmorin’s family seat, Château de Vilmorin, in Verrières-le-Buisson, France.
An elaborate Braquenié printed cotton known as La Valette decorates a bedroom at Château de Montgeoffroy, an 18th-century French manor house that is home to the Marquis and Marquise de Contades.
Style of Live!