Mix Masters

To learn about this fresh new approach to decorating, we gathered D Home’s 2007 Best Designers, and asked them to teach us what works, what doesn’t, and why. And we did what every good client does: We went through magazines—D Home, naturally—and created a pile of tearsheets. The results, on the pages that follow, are some of the best rooms we have published, with comments from Dallas’ decorating pros.

(LEFT) Laura Lee Clark Falconer, Barbara Daseke (CENTER) Michelle Nussbaumer, Jacklyn Butler Caveny (RIGHT) Loyd Taylor, Marilyn Rolnick Tonkon photography by Jeremy Sharp

Juxtapose something old with something new. They balance and complement one another. —James McInroe The Mix: Mahogany Biedermeier Revival table, circa 1920; French ’30s terra-cotta sculpture; yellow Plexiglas table lamp from the ’70s; pair of Chinese celadon vases; black-and-white portrait from the ’40s. Room by James McInroe photography Stephen Karlisch

Tip: Use as many different woods in a room as you want, but tie them all together with one or two painted pieces. The Mix: (right) Many different textures are used here—bronze candle holders and lamps, mirrored table, leather and cane Regency-style chair, cowhide rug, painted bookcase, fruitwood side table, Chinese porcelain bowl. Mix metals with abandon—they all go. Room by Julio Quinones photography by Stephen Karlisch

“In interior design, depth comes with layers of elements—wall and floor coverings, furniture, art, accessories—that complement rather than match each other. Pieces should create a bit of visual tension: a sisal rug with taffeta curtains, French pieces against Chinese panels, a mix of old with new.”
—Cathy Kincaid

The Mix: Layered patterns of toile and plaid are shown against chinoiserie wallpaper, but tied together with the consistent use of beige and green. The all-over floral wall covering is a backdrop for the many framed paintings. The busy pattern on pattern is quieted with a plain sisal rug and reflective paper on the ceiling. Room by Cathy Kincaid photography by Stephen Karlisch

 “Balance accessories in a symmetrical pattern to give the room a tailored look, when mixing floral patterns.”—Partrick McElwee

The Mix: (left) Use a large scale traditional damask in blue and white on all walls and windows to create a textural backdrop for blue and white porcelains and black-framed botanicals. Room by Cathy Kincaid photography by Stephen Karlisch The Mix: (right) A combination of patterns and floral designs on chairs, sofa, and rug are united by a single color—red. Upholstery on chairs and daybed from Cowtan & Tout, red silk draperies from Brunschwig & Fils, heavily carved daybed made of steel, antique French Aubusson pillows, English needlepoint rug. Room by Joyce Fox photography by Scott Womack

“When mixing prints, you should always have compatible colors, but the print should be different in both scale and texture and not look as though you are ‘coordinating fabrics.’”—Jan Showers The Mix: Framed botanicals, toile covered settee, needlepoint pillows, antique Indian dhurrie, Venetian carved wood mirror. Room by Beverly Field photography by Scott Harben

“Animal prints are nature. The best thing in the world is to mix them. Just look at the jungle and try to eliminate one. I say if Elsie de Wolfe, Coco Chanel, and all the giants of yesterday trusted them, I will just join in.” —Myrl Talkington

Tip: Animal prints used in quantity act like a neutral. The Mix: A collection of blue opaline vases contrast the Billy Baldwin-like chocolate walls; vintage sofa restyled to appear more Art Deco; beaver blanket on sofa, zebra rug, tortoise shell boxes, custom tiger striped slipper chairs, Irish flame mahogany table, Picasso ceramic on wall, ’50s-era candle sconce, Murano glass chandelier. Room by Julie Miller photography by Timothy Kolk

The Mix: A 1920s-era sun room with original limestone walls and marble floors. Clarence House palm trees fabric on upholstery and windows, acrylic base table, ottoman in Kravet wildcat pattern, Erika Brunson twig chair upholstered in Edelman leather. Room by Larry Grussendorf  photography by Pieter Estersohn

The Mix: Pine paneling and fireplace; zebra patterned wool rug; unlined white Irish linen draperies; lime green, chocolate brown, and white upholstery. Room by Joseph Minton photography by Danny Piassick

“Use contrasting fabrics. Velvet with linen, polished cotton with raw silk. It helps if they are of the same level of elegance or informality. Sometimes, though, breaking the rules makes all the difference in the excitement of a room.”—Joseph Minton  

“Mixing it up works if you use the best of design from different periods, such as a Barcelona chair from the 1950s with a Louis XV chair from the 1600s.”—Stephen Dunn The Mix: An effortless combination of sleek 20th century furniture classics including a pair of 40-year-old Barcelona chairs, hand-carved metal toys from Thailand, period Louis XV furniture, and museum quality tribal and ethnic artifacts. Room by Jim “Rags” Ragsdale  photography by Danny Piassick

The Mix: A French club chair with gilded bronze Guéridon table, Chinese Ming stand with cushion used as coffee table, modern painting above fireplace. Room by Julio Quinones photography by Stephen Karlisch

“A soft monochromatic color scheme ties different styles of furnishings together and creates a serene look.”—Julio Quinones
 
“Create drama using high contrast. Rooms with force of style are like great theater, and nothing makes a party sizzle more than when guests feel like they’re in the middle of a lively stage.” —Paxton Gremillion 

The Mix: (left) This room works beautifully because a formal French gilded desk is used with small square ottomans instead of a single chair. Clean, contemporary cabinetry behind the desk is filled with books, photos, and personal mementos. The straight vertical lines of the furniture and shelving is echoed in the lines of the modern etching behind the desk. Room by Loyd-Paxton photography by Danny Piassick The Mix: (right) Empire Period daybed, pillows made from ecclesiastical textile silk found in Mexico; 1940s French exhibition posters; 1940s-era coffee table; sculptural metal side table. Room by James McInroe photography by Steve Wrubel

“Mixing different periods doesn’t matter — it’s the relationship between the materials that counts — color, texture, and overall detail. When mixing antiques with modern, use the best in quality and beauty.”—Nancy Leib Tip: Layer design styles and centuries for a modern effect. The Mix: Hand-painted leather Chinese bridal trunk, white and gilt French opaline lamp, pair of Old Paris porcelain vases, contemporary lithograph by Robert Longo. Room By David Feld photography by Scott Harben