We recently had the pleasure of providing a collection of lovely metallic block-printed Zuber wallpaper to interior designer David Desmond for renovations currently being undertaken in his Hollywood home.
For those unaware, Zuber are the oldest manufacturer of wallpaper in the world with a history dating back to the late 18th century. Their papers are still block-printed by hand in France.
The wallpaper we provided had its origins in a commission for renovations to a historic Italian palace that had been converted into a luxury events venue (see above photo). For a long period the left-over wallpaper was safely kept in their storerooms before we acquired it. In addition to David's subsequent acquisition of these wallcoverings, we also provided a portion of this inventory to upgrades being made to the historic Renaissance period Chateau De La Manay in France (see photo below).
Herewith below is our conversation with David, exploring both his transition into design as well as his current home renovation project, future work and series of wonderful design insights:
Was there a particular life event that inspired your transition from working in law to the world of interior design or was the shift gradual?
I have always been interested in art, architecture and gardens but never considered a career in interior design until I was involved in a serious car accident in 1995. While recovering from surgery I began to think about what I would really like to do. This led me to take an interior design class at UCLA Extension, followed by many more evening classes when working as a lawyer by day. I ultimately changed careers four years later.
For the past two years you have been meticulously upgrading your 1920’s home in Hollywood Hills. What challenges or inspirations did you encounter while introducing the furnishings from your previous residence? What advice would you offer to homeowners undergoing a similar process?
Starting with what you have (as opposed to starting from zero) forces you to be more creative and look at everything with a fresh eye. I knew I would be renovating the house soon, and this gave me a certain freedom because nothing was permanent. The biggest gesture was first painting the interiors with a range of colors from Fine Paints of Europe. After painting the walls, all the old furniture looked different. I moved the furniture around until each piece found its place. It felt like a puzzle. Fitting the pieces together was satisfying. My advice is to have fun and enjoy the process.
How did you prioritize the renovations being instituted in your new home? Were the decisions based on the timelines of execution, budget, personal preference or a mix thereof? How has the process differed (if at all) from the manner in which you work with your clients?
My goal was to transform the house once, then never do anything to it again. Before starting the renovation I had a year to design everything on paper while obtaining the permits. That year was invaluable because I was living in the house as it was and imagining what the house wanted to be (and what I wanted the house to be). I looked at sources of inspiration from Roman villas to Andalusian farmhouses, Tangier to Hammamet, Mongiardino to George Washington Smith, trying to synthesize the elements that appealed to me. Inspiration is the most important part because an idea can be executed in many different ways, depending on the timeline and budget. With my clients I work in a similar manner, lots of time at the beginning of the project refining the ideas that will make the house special.
What has been the most challenging upgrade and what steps did you take to overcome obstacles?
One of the difficult details to execute is the shadow molding I selected instead of baseboards. It looks like a line between the floor and wall, and gives the impression that the wall is floating. It requires a certain amount of coordination for the door jambs, drywall, plaster and floor to all fit together properly. It is a small detail that might not be noticeable immediately. When done well, the effect is beautiful. When things were challenging I would take a deep breath and try to figure out all of the steps required to get from start to finish, then work with my team to devise a plan that was simple to follow from beginning to middle to end. I believe in breaking up a big task into bite-size pieces.
The style of your home is eclectic, blending a mix of modern sentiments alongside the historic. What do you believe is the unifying element that harmonizes these otherwise highly individualized pieces?
In ancient Rome there was the idea of a genius loci, the spirit of a place. My goal is to find it and express it. I like to be surrounded by pieces that have meaning to me. This is the organizing principle.
What is more important to you, function or beauty, and why?
Such a tricky question! Supremely functional items are often the most beautiful, like tools made by hand. On the other hand, a thing of beauty need not have any function, save for giving pleasure to the viewer. I am really in the middle of that equation.
Do you have a favorite piece in your home, and if so, what is the story behind it?
I have a small reverse painting on glass from India (see above photo). The subject is a Mughal warrior in armor brandishing a sword. The colors and level of detail are exquisite. It is old but I am not sure exactly how old. It hangs over the fireplace in the living room and I think of that warrior as the protective spirit for the house.
Your projects have adopted a wide range of styles from your Modern project in Honolulu to the 18th century inspired French interior of a home in Silicon Valley (see photo below and cover photo by Erhard Pfeiffer). While these styles are quite differentiated, what driving principles of design did you deploy in their execution that made them both a success?
Any style can be amazing if it is true to the house and corresponds to the dreams and desires of the people who live there. I never want to repeat what I have done in the past. Starting a project with a distinct new point of view is a delight. I have worked with clients over the past 25 years who insist on something completely different each time we embark on a project. I love that sense of adventure and discovery. It demonstrates a willingness to go somewhere new. Not copying something old--perhaps being inspired by the past but always pushing the boundaries.
Do you have any new projects brewing on the horizon?
I am very excited about a new project in Hawaii inspired by Doris Duke’s Shangri La. The house is a modern white box (or series of boxes) lightly embellished with Islamic ornament. In addition to Shangri La, I have been looking for inspiration to two 1920’s houses in Hammamet, Tunisia. One is by George Sebastian, “Dar el Kbira”; the other belonged to Jean and Violet Henson, “Dar Henson” (and later to Leila Menchari, a former design director of Hermès). Both houses have magical gardens and an air of mystery.
If you could summarize your preferred style in a few words, what would it be…
Ancient and modern, exuberant and simple, an exploration of duality.
https://www.daviddesmond.com/
https://www.instagram.com/desmonddavid1/