“I am a child of the 80s, so I find irresistible a Bonfire of the Vanities or Dallas vibe,” says renowned New York fashion stylist Lauren Michael Goodman of her beautifully original San Francisco home. “I love classics, but I also love things that are more avant-garde: color, patterns, vintage . . . ultra-glamorous things.”
With a move to the Bay Area city in 2011—“for love!”—she found out a new take on style. “New Yorkers, especially fashion people, are very good at mixing super dressy and super casual, like a ripped tee under a Chanel jacket or layering neon Patagonia under gorgeous tailoring,” she says. And yet San Francisco seemed to her both more and less formal at the same time: “Sometimes interiors here can be extremely formal, which has its own charm—so chic and old world. But you’ll also see Patagonia straight-up because you are actually going on a hike.“ Goodman took the best from both coasts and created a home as layered, textured, and thoughtful as the stylist herself.
The move to California allowed Goodman a blank decor slate in a rather formal home, an 1894 Tudor built by English architect Ernest Coxhead, one of the pioneers of the Arts and Crafts movement. A Francophile since she was a small child, Goodman collaborated with New York–based French designer Lili Diallo on the decor. “She clues me in to all the divine, ultra-fusty French interior ideas,” Goodman says. “Lili encourages chintz, which we used a lot.” It is this tension between the formal and casual that gives the interior its youthful balance. A Parsons-style, African-print vintage sofa, for example, is seen as a key piece because it is“so wrong.” ”I can’t tell you how many people with the best taste told me to re-cover it—equal probably to those who loved and ‘got it,’” Goodman says.
View from the optic white entryway, through the jewel-like dining room, into the light-filled kitchen. The original architectural details of the house provided the perfect backdrop to Goodman’s original and eclectic interiors. The stained ebony floors were existing when the family moved in. “But I couldn’t have imagined better work,” Goodman says. “They are a dream come true.”
The emerald green dining room includes a custom lapis lacquer cabinet by Billy Cotton, photograph by Anne Collier, English chairs upholstered with African wax cloth, and a Brutalist table and ceramics by MARCH, Goodman’s favorite store in San Francisco.
The lovely entryway has the original lead pane and stained-glass windows, a signature of the home’s English architect, Ernest Coxhead. Goodman made it feel modern through the addition of graphic textiles and modern art: The bench is upholstered in Manuel Canovas fabric, the basket is Annemarie O’Sullivan from MARCH, and a painting is by Clare E. Rojas, a favorite artist and friend of Goodman.
1970s brass fire tools and a chrome cache-pot add dimension to the otherwise very traditional, Anglo-driven architecture of the bedroom. Lauren points out that there is a lot of green in her home, bringing the outside in. Deep gray paint is Farrow & Ball in Down Pipe; painting is by Howard Fussiner.
Goodman and Diallo designed a custom wraparound headboard, which they had fabricated by California Custom Furniture in Los Angeles and upholster in a classic Manual Canovas toile. The lamp is by Pierre Cardin and the artwork by Josh Smith.
A pair of Milo Baughman armchairs ground the graphic nook typical of Coxhead’s 1890s architectural work. The curvaceous cabinet and walls segue into an angular sitting area, flanked on either side by triangular windows (a favorite feature of Goodman’s).
The home’s living room is anchored by this graphic black fireplace. Lauren added the floor-to-ceiling bookshelves, the only change she made to the otherwise move-in-ready architecture of the home. The expertly styled shelves use color blocking and create an art-like effect.
Wearing a blouse from Apiece Apart, Goodman lounges in her back garden. “The deck is ipe, a Brazilian hardwood, designed to bleach out to the same color as the concrete (which it did),” she says. “We did elevate the deck to meet kitchen floor, so that stepping out was seamless.”
Clad in Cornforth White by Farrow & Ball, the living room features deftly mixed pattern and color through the furnishings. A vintage Parsons sofa is the focal point of the room, in perfect tension with the built-in banquette that’s covered in yet another Manuel Canovas fabric—this one linen. Black elements, like the Willy Rizzo coffee table and OCHRE lamp, tie the room together seamlessly.
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