Alexander Reid has the ability to read people. He then tells their story. When the designer met with this couple, two men who moved from a glam downtown apartment to a more formal pre-War building on Park Avenue, he spent time with them to learn “how they would live in these spaces.” As Reid adds, “What I want to do with every project is go for function first, beauty second, and to accomplish that I need to develop a client’s story.”
One of the plotlines Reid discerned quickly is that, while both men work in finance and dress well for their profession, one of them in particular is especially fashion savvy. “He’s a very snazzy dresser, who wears properly tailored suits, and, so, men’s suiting was one of the early inspirations for this apartment,” says Reid. He responded to that storyline by incorporating such details as precise piping to edge the sofas, a hand-painted pinstriped wallpaper in a powder room, a herringbone fabric for select chairs, and a haberdashery-like windowpane pattern in the primary suite. He also added decorative moldings and commissioned custom monograms for the bedding.
The foyer features a bronze urn from Maitland-Smith and a table by StudioTwentySeven.
In the living room, a coffee table from Knoll complements the custom sofas.
A collage by James LaMantia is a focal point in the living room.
The kitchen’s backsplash is from Nemo Tile + Stone, and the cabinetry is painted in a shade from Benjamin Moore called In The Garden.
A ceiling fixture from Edition Modern hangs above a custom mahogany table in the dining room.
A Holland & Sherry fabric covers a vintage chair in the dining room. The wallcovering is by Gracie.
In the den, a custom sofa is covered in a Dedar fabric, and a custom ottoman is covered in a Holland & Sherry fabric.
The powder room’s sconces are by Ralph Lauren, and the wallcovering is by MarGian Studio.
In the primary bedroom, the wallcovering is from Holland & Sherry.
“The interiors are all very tailored,” Reid emphasizes. “By going in this tailored direction, the apartment skews a bit more masculine, in keeping with who lives there.”
Although the building is of a 1940 vintage, Reid was intent on freshening the space, while preserving its traditional character. The prior owner, “a lovely older lady,” says Reid, hadn’t changed much over the many years she lived there. “We didn’t want, nor was there a need to, do a gut renovation. Rather, we ‘decorated’ the rooms to transform them.”
Reid kept the original kitchen cabinets but gave them new life with Benjamin Moore’s In the Garden, a deep mossy green he felt complemented the original terracotta floor tiles. He did, however, replace countertops and backsplashes, added new hardware and lighting. He chose one of his admittedly favorite materials, soapstone, for the counters—for the hue and for its leathered quality. “It feels nubby to the touch and the stone shows its age over time, just like our own faces.”
Among Reid’s many visible “tailoring” moments are on view in the living room. There, he added a faux fireplace, using an antique limestone surround; he created built-in shelving, as well as elegant moldings that trace the walls.
“I wanted to give the room an architectural presence it lacked.” As for the brown and blue tones, Reid says that they, too, foster a more masculine feel. But one of the plot twists of the room is that Reid uses what he refers to as “AMR White”, a custom color referencing his initials. His take on the color white is one that involves a “secret” mix that includes a touch of yellow. “It’s a warm white, and everyone looks good and attractive in it,” he emphasizes. “Harsh white drowns people out.” Meanwhile, he treated the ceiling with Benjamin Moore’s Decorator’s White to make the room feel as if it is vaulted by a clear blueish sky.
While the couple entertains guests both in the dining area, which is marked by a floral mural, and in the living room, they retreat to the den when wishing to watch TV together or work at the desk. “The intention for the den was for it to be really cozy,” explains Reid, “with a sofa upholstered in a very rich mohair.” In fact, the entire room is enveloped in wool, with a soft gray flannel covering the walls. As for the primary bedroom, Reid carefully explains, “The bedroom is not a room I’m going to make moody. I like bedrooms bright, light, and airy, and just relaxing. This is a room you want to be in forever.” With its tones of ivory, a washed-out windowpane wallpaper pattern, and custom Leontine bedding demarcated by champagne-colored borders, this is a room that wears its elements well.
Reid characterizes himself as “a very empathic designer,” in that he makes an effort to learn a client’s story and respond accordingly. “I need to put myself in a client’s shoes. Luckily, I wear the same size shoes as these clients.”