Celebrity Houses #2

US Vogue October 2012
The Quiet American

Photo Oberto Gili
Editor Miranda Brooks
By Hamish Bowles
Subject Daniel Romualdez


vogue archive
 
US Vogue September 2012
French Open

Photo Oberto Gili, Norman Jean Roy
Editor Hamish Bowles
By Plum Sykes
Subject Lauren Santo Domingo
Hair Claudio Belizardo
Makeup Christine Cobel


vogue archive
 
US Vogue January 2014
A Peaceable Kingdom

Photo Oberto Gili
Stylist Miranda Brooks
By Chloe Malle
Subject Emilia Fanjul Pfeifler


vogue archive
 
US Vogue May 1989
Madonna Holds Court

Photo Patrick Demarchelier (Portraits), Oberto Gili (Interiors)
Editor:Andre Leon Talley
Hair Serena Radaelli
Makeup Francesca Tolot






vogue archive
 
Karl’s 18th century nightmare…
Thank god living in that apartment managed to inspire him to design great collections and do great photos at the time…
 
Karl’s 18th century nightmare…
Thank god living in that apartment managed to inspire him to design great collections and do great photos at the time…

I've always found his homes hilarious to read about. I remember reading about his era where he only used candlelight, because it was "authentic to the era" or something and only let Anna Piaggi use an electric light in her room, so she could write.
 
I've always found his homes hilarious to read about. I remember reading about his era where he only used candlelight, because it was "authentic to the era" or something and only let Anna Piaggi use an electric light in her room, so she could write.
His approach to decoration and houses is very interesting.
I like his taste in decoration. I think his taste in decoration is different with his « obsessions » though. When you see the photos of his apartment at Monte-Carlo, his house that Amanda showed for Vogue, his Rue de l’Universite place during the 00´s, his place at Biarritz and even his apartment Rue des Saint-Peres, there’s a real sense of aesthetic. It’s mix and match and you get « Karl ».
I had the pleasure to go to his « Les Grands Appartements » at Le Crillon and you get his taste.

The 18th century very definitive thing is a bit like Memphis and his last futuristic place. It feels most like a statement than « his taste » even if it influence his taste. I don’t know how to properly explain it. I think because his life was his work, having those kinds of environnement allowed him to push his POV regarding his work.
He used very vibrant colors in the 80’s/90’s… Ther was a sheer of metal in his approach to color in his work in the 00’s and 2010´s or it was muted…
 
Architectural Digest November/December 1973
The Collectors Henry P. McIlhenny

Photo Norman McGrath
Interior George Doan
Subject Henry P. McIllhenny


Architectural Digest
 

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