NEW CALIFORNIA REPUBLIC WALLPAPER WINDOWS

NEW CALIFORNIA REPUBLIC WALLPAPER WINDOWS

вЂњThere is way too much out there that feels corporately and central-office driven,вЂќ said Linda Fargo, the fashion director at Bergdorf Goodman, the Fifth Avenue retailer whose Christmas windows were unveiled on Wednesday and are inspired by DuquetteвЂ™s vision, as rendered in scenarios that are part Elsie de Wolfe and part Brothers Grimm. With the arrival next month of вЂњTony DuquetteвЂќ (Abrams, $75), a hefty lavish monograph on the late designer, the style world may be getting a kind of gilt-edged Post-it note, an overdue reminder to a market dominated by monotonous status goods that nothing is quite so luxurious as an individual eye. Duquette died in late 1999 at 85, and what followed in the design world was, if not uniformly pedestrian, somehow lacking the rococo whimsy for which he was renowned. вЂњA coral branch on a coffee table does not a Duquette make,вЂќ as the interior designer Jeffrey Bilhuber said. Spindler suggested a Duquette comeback might inspire, never quite materialized. Rampaging hordes of interior decorators denuded the worldвЂ™s coral reefs in their frenzy to copy at least one signature of the Duquette style - the single, artfully placed polyp branch.Д«ut an era of baroque theatrics in fashion and design, which Ms. Oscar de la Renta, then designing the couture collections at Balmain, commissioned the designer to produce some of his extravagant jewelry. DuquetteвЂ™s lavish, over-the-top house in Beverly Hills. Tom Ford shot lavish, over-the-top Gucci ads at Dawnridge, Mr. In those optimistic final years of the Clinton presidency, there was a momentary Duquette efflorescence in the worlds of fashion and design.

вЂњWhen a Banana Republic catalog starts to look like the trendy, vacuous pages of Wallpaper, and Club Monaco is indistinguishable from Prada,вЂќ she wrote, вЂњyou know itвЂ™s time for high style to move on.вЂќ WAY back in 1999, the last time Tony Duquette, the brilliant and eccentric California designer of interiors, stage sets and jewelry, was rediscovered, Amy Spindler, the style editor of The New York Times Magazine, made an observation in these pages that still rings true.

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