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" Christine Pittel: Why Edie Sedgwick? Heahter Moore: Jed Johnson, the founder of our firm, was the longtime companion of Andy Warhol. Jed was very involved with the Factory in the early years, and he knew Edie. She was a glamorous socialite and heiress, a fashion icon with an effortless style, known for her striped tops and black tights. Everyone in town wanted to be around her. She sparkled. So who do you envision living here? This is Edie, grown up and married. I wanted the apartment to have a midcentury modern vibe--pieces by Hans Wegner, Raymond Loewy, Eero Aarnio--along with an eclectic contemporary art collection--Diane Arbus, Damien Hirst, Jeff Koons. It&amp;#039;s the home of a smart, modern couple who know a lot about history and culture. These are people who are sure of their taste, who are not afraid to take chances. Like painting the living room orange. I&amp;#039;m not afraid of color. I knew I wanted to use orangey autumnal tones, and I chose Ralph Lauren&amp;#039;s Cork for the walls. It&amp;#039;s a burnt umber, a saturated color that doesn&amp;#039;t read as flat. It has more reflectivity and depth than that. This is a very unusual palette. Where did it start? This time I started with the fabrics. It&amp;#039;s always either the fabrics or the carpets. The first thing I found was that bright pumpkin-y orange fabric by Brochier that&amp;#039;s on the slipper chairs. It has a nice shine--Edie liked shine. Then you have a bittersweet chocolate on the sofa. A red-orange throw. Orange and umber Murano glass vases. And Day-Glo orange flowers in the Warhol. When you mix all these oranges, they just complement each other. Not everyone realizes that a paint color can change throughout the day as the light changes. And it also changes from wall to wall, or even within one wall, depending on how the light hits it. I&amp;#039;m looking at these walls, and they go from pumpkin to terra-cotta to brown. At night, it&amp;#039;s very dramatic. The color becomes deeper, more saturated. In the morning it&amp;#039;s paler, softer, more of a rust. But it&amp;#039;s still dark, never light. That&amp;#039;s why I had the entry done in this light, more neutral, decorative paint. It has undertones of cream and white with a bit of the Cork to bring out the brown. We added mica for a little sparkle and waxed the wall to give it shine. You want to feel like you&amp;#039;re entering a special space. Somehow I feel that Edie, no matter how mature and married, would still be a night person. Definitely. She would have some kind of job where she could rise later than most. She wouldn&amp;#039;t be at the gym at 6 A.M. She&amp;#039;d be working at a gallery where she could come in at 11 o&amp;#039;clock. She and her husband host a lot of parties and events, because they&amp;#039;re a social couple. This is a great entertaining space. Tell me why. I made sure the scale of the furniture was appropriate. Scale&amp;#039;s very important. What do people usually do wrong? They make things too big, or they bring in too much furniture. I&amp;#039;m probably more minimal than most people, but I&amp;#039;m not a minimalist. I like things. So what&amp;#039;s the ideal? How many people should you be able to seat in a living room? This can seat eight comfortably, nine if someone perches on the cube, which is like a little side table. And I kept everything low, to focus your eye out the windows to Central Park. There&amp;#039;s something intriguing about every single light fixture. Well, lighting is very important to any space. It&amp;#039;s the biggest mistake most people make, because they think, &amp;#039;Oh, I&amp;#039;ll just do something temporary.&amp;#039; And then temporary becomes permanent. They don&amp;#039;t buy the right fixture for the space. I want those jeweled lamps in the master bedroom with the purple shades! Aren&amp;#039;t they gorgeous? They&amp;#039;re like earrings, right? The silk inside the shade is a deep amethyst, darker than the lavender silk outside, and then I did a box pleat, larger than usual because I wanted it to feel contemporary. Point to some other subtle details like that. On the living room curtains, the leading edge is not just a simple seam. It&amp;#039;s a more elegant fly front. In the master bedroom, I just did a tape edge. But you still have a length of silk in the back, so when you open the curtains you don&amp;#039;t see all that white lining. And we trim all of our throw pillows, with either cord or fabric. You want a teeny-tiny welt on the pillow to keep it crisp. Who&amp;#039;s the second bedroom for? Little Edie! She&amp;#039;s 12, maybe 13. There&amp;#039;s a Bubble chair, which is a fun &amp;#039;70s kind of thing. And the ceiling is metallic silver, so you&amp;#039;ve got that shine element again, but subtly. Too much sparkle means glitz, and I wanted everything to be understated. This is a very sophisticated glamor. See More: Browse photos of the Factory Girl space. "^^<http://www.w3.org/2001/XMLSchema#string>
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