London’s Cheyne Stroll presents a sedate streetscape that bears no witness, avoid wasting blue English Heritage plaques embedded in varied façades, to its daredevil historical past. To the redbrick Georgian and Queen Anne homes and condo buildings that line this Thames-side road in Chelsea, all method of artistic iconoclasts because the third quarter of the nineteenth century have gravitated. Querulous painter James Abbott McNeill Whistler bunked right here, as did dandified tastemaker Christopher Gibbs, actor Laurence Olivier, and some of the Rolling Stones, plus Marianne Faithfull.

“All of Chelsea is a fairy story for me,” says Patrick Mele, a younger decorator who is predicated in New York Metropolis however seems straight out of the Cheyne Stroll playbook, with a tousled mop of darkish hair foaming above an angular face that’s pure Egon Schiele. “My greatest buddy rising up was English, so I’ve at all times been drawn to that Anglo sensibility. And I used to return right here a decade in the past, once I labored for Ralph Lauren, to work on the shops.” So, when Sara Tayeb-Khalifa and her husband, Hussein Khalifa, high-fived Mele’s zesty ornament of a bed room of their Manhattan condo, they provided to ship him again throughout the pond to revamp the Cheyne Stroll flat that they had owned because the early Nineteen Nineties.

“I had performed it room by room by room, however nothing matched—plus, I not wished secure,” explains the elegant Tayeb-Khalifa, a former Phillips government who’s partnering with sustainable-fashion designer Jussara Lee on collections of T-shirts and cushions. “I wished to make it comfortable: comfortable colours, comfortable residence.” To that finish, her discussions with Mele have been peppered with references to Auntie Mame, Miss Havisham, and the ceilings of previous French bistros, stained “a shade that reminds you of cigarettes, wine, dangerous alcohol, and extra cigarettes,” Tayeb-Khalifa says with amusing. —Mitchell Owens

A breakfast nook is enveloped by the backyard. Paintings by Sydney Ball.

Picture: Anson Sensible; Styling: Joseph Gardner

In the primary residing space, a Maker&Son couch is joined by a customized wooden cocktail desk and a Glas Italia aspect desk on a classic Moroccan Taznakht carpet. Artworks by Simon Degroot (left) and Karen Black (above).

Picture: Anson Sensible; Styling: Joseph Gardner

When requested what somebody unfamiliar along with his biography may surmise just by strolling by way of his Melbourne residence, Troye Sivan stays sanguine: “I’d hope they’d assume that I’m an unpretentious man, perhaps a bit eccentric, somebody who loves artwork and design, somebody dedicated to his household—and undoubtedly the truth that I’m homosexual,” says the wildly in style 25-year-old Australian singer-songwriter and actor.

Certainly, if that hypothetical customer occurred to be a persnickety design snob, they’d absolutely not fail to register the array of treasures by the likes of Percival Lafer, Ettore Sottsass, Tobia Scarpa, and Marios Bellini and Botta; the cabinetry particulars impressed by Charlotte Perriand and Jean Prouvé; and the bespoke, Memphis-flavored appointments of the bathtub and powder rooms. On a deeper degree, nonetheless, it might even be crystal clear that that is the house of somebody with the cultivation and confidence to acknowledge that nice design is as a lot about suitability and nuance as it’s about essential objects and artworks.

“Troye is an extremely savvy collaborator. In our earliest conversations, he talked about materiality, how he wished to really feel in his home, concerning the scent and the sound and the sunshine. It was a lot greater than only a few fairly issues he discovered on Pinterest,” recollects designer David Flack of native agency Flack Studio, Sivan’s associate within the delicate, refined reimagining of the singer’s Victorian-era residence. 

The home in query is a real architectural gem. Erected in 1869 as a handball courtroom, the constructing was transformed right into a brick manufacturing facility in 1950 after which subsequently reworked right into a residence in 1970 by famend Australian architect John Mockridge, a fixture of the native art-and-design scene. The conversion is claimed to be the primary adaptive reuse challenge of its sort within the metropolis. “You’ll be able to image Mockridge and his associates sitting round consuming whiskey and speaking about artwork. I wished to protect that bohemian spirit and honor the unique structure whereas creating one thing that seems like me,” Sivan says. —Mayer Rus