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Sister Parish Design: On Decorating, by Susan Bartlett Crater, Libby Cameron
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Comfort is the essential element of a successful interior and the hallmark of the Parish-Hadley style. In Sister Parish Design, Libby Cameron, Sister's last protégé, and Susan B. Crater, Sister's granddaughter, explore this aspect and much more in a series of conversations with the leading decorators of today.
Sister Parish is the iconic American decorator of her generation. Her use of flowered chintzes and overstuffed armchairs combined with unexpected items, like patchwork quilts and painted furniture, is credited with popularizing what is known as American Country–style during the 1960s. Her passion for bold color and mixed patterns invoked charm, imagination, and a lived-in look to her rooms. Her philosophy was to be unafraid and to put things together because you liked them--not because they matched.
Filled with beautifully-rendered watercolor illustrations, Sister Parish Design is more than just a stunning book―it is an inspirational resource that all decorating aficionados will want to add to their bookshelf.
- Sales Rank: #1005529 in Books
- Published on: 2009-10-27
- Released on: 2009-10-27
- Original language: English
- Number of items: 1
- Dimensions: 9.41" h x .95" w x 8.33" l, 2.24 pounds
- Binding: Hardcover
- 272 pages
Review
"Imagine the pure bliss: eavesdropping on thirty of the best decorators sitting around a table, candidly sharing ideas and secrets and dreams, talking about what they love the most." William Ivey, Tony Award winning costume designer for The Producers"
About the Author
SUSAN CRATER is the granddaughter of Sister Parish and co-author of Sister: the Life of Legendary Decorator Mrs. Henry Parish II. LIBBY CAMERON worked for Sister Parish and now runs her own design firm. In 2001 they started SISTER PARISH DESIGN, a fabric and wallpaper company based on designs from the Parish-Hadley archives. Their products are frequently featured in magazines such as Architectural Digest, House & Garden and House Beautiful.
Excerpt. © Reprinted by permission. All rights reserved.
SISTER PARISH DESIGN
OUR ROOMSWhen I was in college in New York I had the luxury and good fortune of visiting many spectacular houses with my grandmother Sister Parish when she called on her friends on the weekend. Sunday lunch was a popular time to entertain with her generation, and it is a shame this tradition has gone out of style in our busy lives. Dedicating a block of time to a Sunday lunch means you are really dedicating the entire day to leisure, as a big component of the Sunday lunch is a cocktail before lunch and wine during the meal, rendering you hopeless for whatever afternoon activities you had previously scheduled.Many of the houses I visited with Sister were unforgettable. Brooke Astor's house in Briarcliff, New York, stands out as the scene of colorful verbal skirmishes between Mrs. Astor and Sister, both very competitive women. It was also the most representative of a way of life we don't see anymore. All of the big houses in the country had pea stone driveways so the sound of cars on gravel was the first impression, followed by the smell of lovely pots of flowers surrounding the front door or wood smoke from the fire within, depending on the season. The door at Mrs. Astor's beautiful Georgian house would be opened by the familiar major domo of the house, whom my grandmother knew well as she visited often. Sister would always call out "hoo hoo," and the response from far away would be "we are in here," meaning in the beautiful large living room or a smaller cozy library that was almost a sun room. Usually a fire would be crackling and drinks offered up--sherry or something light. I remember the feeling of being frozen in time as we sipped our drinks and looked out at the beautiful gardens, chatted about the news of the day, and then went into the dining room for a traditional meal with lots of spirited conversation. Finally, completely satiated, there would be coffee back in the library or living room. Obviously the house's settings were amazing as Sister and Mrs. Astor had collaborated on its beautiful rooms, but more important, in that grand Georgian house one was made to feel comfortable and welcome. If we sat in the large living room, there were master paintings scattered about, but you never felt intimidated or overwhelmed. Seating arrangements were cozy and the upholstered furniture wonderfully comfortable.We had similar lunches at the Whitneys' house on Long Island, a rambling Dutch Colonial revival, which embodied a grand, yet livable country house, or her childhood friends' houses in New Jersey, typically smaller clapboard farmhouses filled with odd family heirlooms and bursting with color and charm. No matter the era of the house, the recipe was the same: extremely comfortable living rooms or libraries with brightly colored chintz and a mix of assorted eclectic family paintings and objects, delicious three-course meals that began with piping hot soups and finished with old-fashioned cakes and custards, and throughout, attention to the moment--no rushing to finish and get going. I don't think I ever saw anyone from that generation rush. It must have been considered very bad manners.The rooms that we visited in these great houses were well worn and well lived in. You had the impression that countless parties, family meals, or just plain hours of reading the Sunday paper had taken place in these rooms. That is what good decorating is--the transformation of a house to be aesthetically beautiful as well as useful for the family that lives there. Comfort and lack of intimidation were the foundation these houses were built on. It was not unusual to see a typically tattered dog bed underneath an old master painting. The rooms were designed to be used and they were, to their fullest.Billy Baldwin was a great proponent of urging his clients to live in their living rooms and he paid homage to Sister's living room in his discussion, "How to live in a living room," from the book Billy Baldwin Decorates, which includes some effective pointers:When it comes to color think warm. Deep vibrant colors like brown, red, or burnt orange make a room intimate without reducing its size. I like to see furniture covered with chintz in a traditional room or with a wonderful contemporary pattern in a more modern room. I love to seeobjects around--not a clutter, but enough so everyone knows these rooms belong to someone--things happen here. One of the nicest living rooms in New York belonged to one of my colleagues, Mrs. Henry Parish II, who knows just how to live in a living room. The walls were dark brown. The curtains were the color of coral and there was wonderful English garden chintz on all of the big overstuffed chairs and sofas. She had arranged the furniture in three groups--one of them around the fire. Here was where she sat every day to have a cup of tea and read the mail. Here was where the family gathered drawn by the firelight on chilly afternoons. The room was equally beautiful when filled with people or when you were alone there. That is what I call a room that's lived in.
-- SUSAN BARTLETT CRATERLIVING ROOMSMadame used to say, "We are not decorating--we are making places to live."WILLIAM HODGINS
LIBBY CAMERON When we started with projects at Parish-Hadley, there was never a moment given to the possibility that any one of the rooms would not be used and loved and lived in. Each room was as important as the next although the purpose may have been different. And as I learned well, each room has to connect to the others, not in terms of the colors used, but in its aesthetic; each room needs to be its own while simultaneously being part of a whole. I remember Mrs. Parish talking about rooms and colors swearing at each other, and the importance of a thread that tied all of the rooms together. Comfort is an element that connects rooms and is what Parish-Hadley was known for. A room was never designed without thought given to how it would be used and what was important, how the light fell and how many people lived there, how the lamps or lighting in the room would draw you in and enable you to read.Living rooms were never planned with just one place to sit and often had three or more seating areas, and were cozy enough so that one or many people could be comfortable. Parish-Hadley was a wonderful school for so many. Ingrained in us all was the importance of imaginative warm rooms that had to be friendly, comfortable, and timeless.
MITCHELL OWENS What I think the "graduates" of Parish-Hadley have in common is a certain respect for history without being slavish, a breadth of vision that reveres quality over specific periods or styles, and an understanding of real comfort, no matter how formal the client's lifestyle. I don't think I've ever been in a room executed by a Parish-Hadley alum that isn't eminently livable. The rooms themselves may not be my cup of tea, per se, in terms oflooks, but the comfort level is pretty much steady across the board, don't you think? There's inherent practicality, too, an attention to the sorts of amenities that many designers of otherwise striking rooms often forget. (There is a world of difference between a room styled to be beautiful and a room that is actually decorated for living.) I once spent an evening at a star designer's apartment, and though the sitting room was spectacularly outfitted, I had to clutch my glass all evening--there was no place to set a drink down! That sort of foolishness would never occur in a room with a Parish-Hadley bloodline. At least, I hope not.
MARIO BUATTA The thing about English houses that is so great is that they are always played down with chintz and sisal carpeting. Sister did the same thing. She did not like a room that was only filled with "important furniture."
JANE CHURCHILL Obviously I come from a family of decorators, being Nancy Lancaster's niece; Nancy's sister, my grandmother Alice Winn, never worked as a decorator, but she had fantastically good taste and always did it much more on a shoestring. She could turn a hovel into something. I remember the house she had at Sandwich--a really nasty, suburban-looking brick house. By the time she added lattice balconies to it, painted it a different color, and planted a garden in front of it, it was drop-dead gorgeous. But she always did it in a much cheaper way than Aunt Nancy, not that money with Aunt Nancy was key. I will always remember she had something red in every room. They both had an eye for things that some people didn't seem to see. I think you are born with an eye or you're not. Nancy Lancaster and Alice Winn had incredibly wonderful, comfortable houses with bathrooms that always looked like other people's drawing rooms and my grandmother always had very, very good food. They were American. We were brought up with American backgrounds, not just a British background. In those days comfort was more unique. My cousin Lady Wissie Ancaster had wonderful taste, but that also came because she had the whole line of Aunt Nancy, Granny, and the whole lot in her. They didn't just make homes, they made wonderful homes. They were never pretentious.Nothing was ever pretentious. Dogs were everywhere, pee stains on the edge of the curtains. Not that it was ever dirty, but they were absolutely lacking in any form of pretention. They were such personalities themselves. The women had such energy.Nancy Lancaster was funny and amusing and she treated everyone the same, from a duke to the dustman, and they all adored her. She was really happy in her garden with all the gardeners. The staff she had was there for years and they all adored her because she was kind and funny. She always had an eclectic group of people around her. They were just very talented.
EMMA BURNS When I was working with Roger Banks-Pye, we were on the way to see a...
Most helpful customer reviews
28 of 30 people found the following review helpful.
Twisted Sister
By Classicdude
The title of the book refers to the name of a fabric and wallpaper company, not to the work of legendary designer Mrs Henry "Sister" Parish, II. The authors, one the grand-daughter of, and the other, the former assistant to, the late decorator, developed this book as a clever promotion for their business venture, Sister Parish Design. With contributions from 25 decorators, including Albert Hadley and Bunny Williams, and magazine editiors, such as Mitchell Owens and Carolyn Englefield, various comments are grouped together in chapters and sub-chapters as a chatty how-to book of sorts, for lack of a better description.
There is a Forward by Albert Hadley and an Introduction in three parts by each of the authors and the illustrator. The chapters are Our Rooms, Beginnings, Elements, Furniture, Color, Materials & Textures, Collections, Outdoor Rooms, and The Courage to Decorate. A section titled Recommended Reading lists two pages of books on interior design. The section, Contributors, gives a very brief and vague 3 or 4 line c.v. on the designers and editors. A one page Acknowledgement thanks those who helped with the book, ending with the woman they only refer to as Sister, who provided the inspiration, they say.
The watercolor illustrations are an odd sort by Mita Corsini Bland, wife of popular Manhattan art and antiques dealer Gerald Bland. Similar in style to those by the late interior designer Mark Hampton, they lack the benefit of his understanding of what best to show, however. Most are not illustrations of Mrs Parish's work, but rather a somewhat muddy assortment of the contributors' work. They apprear to be largely taken from snapshots because only details or corners of rooms are shown. The benefits of using drawings instead of photographs were not generally exploited here. The exception is the dustjacket, with the fabric on a prominent bergere in Mrs Parish's living room changed from her trademark chintz to a blue & white print from the authors' fabric line!
There are many typos and inaccuracies, too numerous and perhaps too tedious to list here. There has been some criticism that many of the contributors had never even met Sister Parish. But this reviewer does not agree; I never met the 16th century architect Andrea Palladio, but he has been a great inspiration to me!
This is not a bad book, and generally rather attractive. But many will be disappointed in most aspects of content. All except the most devoted fans of Sister Parish should just wait until the book is further discounted. The definitive book on Sister Parish remains to be written.
5 of 5 people found the following review helpful.
More than a disappointment
By Efroseni
This is a book that really does not add anything to a knowledge of Mrs. Parish's design "philosophy". I believe that she was a brilliant but totally intuitive
designer who had a very good eye. The visual presentation of this book is washed-out, pale, and faded -- like the amateurish watercolor illustrations by a Ms. Bland (!). Some of the watercolors are painted from well-known photographs (Mrs. Astor's library by Mr. Hadley, p.122). Wouldn't it have been better to show the vibrant red scheme in a photograph? And what of the terrible "bar set up on an antique desk"on p. 14? Why is this awful sketch in the book? Mrs. Parrish's memory certainly deserves something better
than this mish-mash!
5 of 6 people found the following review helpful.
Welcome Advice from Old Friends
By C. P. Braestrup
I don't read a lot of books on design, favoring those on architecture as a general rule, but having known Sister Parish from summers in Maine during my childhood, I recently purchased this book. I was immediately drawn in to the conversation the book so perfectly captures about what goes into creating a sense of place that transforms a room from an empty box filled with things into an expression of who its owner is (or would like to be!). The use of watercolors in place of photos makes for a series of focused guides for the eye, directing the reader's attention to specific elements and details of a room to enhance the content of the accompanying text. Reading this book is both an aesthetic and practical experience, for in addition to pretty pictures of beautiful rooms, there are to be found among the anecdotes and stories of working for design clients helpful tips on small touches that go a long way towards helping a room come alive. It would make a great Christmas present!
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