For the sixth year, the Kips Bay Decorator Show House returns to Dallas, and for the second time, to the French Renaissance estate at 2999 Turtle Creek Boulevard designed by the late architect Cole Smith. Twenty-six designers, returning and new, were given the same architectural canvas as last year, with one challenge: reimagine it entirely. The result is a study in creative reinvention. Through November 23, the house opens as both design showcase and proof that the same space can tell infinite stories depending on who’s holding the pen.
See’s Design | “Made to Measure”
Photography by Stephen Karlisch
Corbin See is the consummate host who welcomes all who enter the grand foyer. Made to Measure by Sees Design takes inspiration from Bill Blass’s legendary Sutton Place apartment, reinterpreting the designer’s refined sensibility for a contemporary audience. The room channels Blass’ gift for balancing classical proportion and modern restraint—an urbane sophistication grounded not in trends, but in enduring taste.
This is a space defined by tailoring and touch, where each texture and finish has been chosen with intention. Authentic antiques mingle with pieces from the finest artisan manufacturers, makers who treat patina and finish as a language of their own.
Rose Tarlow and Dennis & Leen anchor the composition, each bringing the quiet authority of time-honored craftsmanship. Lighting by Vaughan provides a luminous focal point—its alabaster glow playing against a Benjamin Moore ceiling, an understated yet commanding gesture that establishes the tone for the house’s arrival experience. Softness arrives through layered elements: an antique rug from Arsin Rug Gallery grounds the space, adding richness and depth.
Corona Finishes contributes hand-painted surfaces that lend warmth and movement, while curated selections from Frog and Camel and Nick Brock Antiques introduce character and provenance. Above the console, a Navajo saddle blanket from Shiprock Santa Fe is reimagined as artwork—its handwoven purity and cultural resonance echoing Blass’s understated American elegance. Handcrafted candlesticks by Mexican artist Mike Diaz, from his acclaimed Patriaseries, add a folkloric note, infusing the room with quiet wit and humanity.
Each element underscores Sees Design’s layered, considered approach shaping the first impression of the Kips Bay Dallas show house, where classical detailing mingles with restraint, and eclecticism finds clarity.
Jean Liu Design | “Above the desert, the silence was as vast as the space”
Photography by Lisa Petrole Photography LLC
In the rotunda, Jean Liu brings an unexpected collaboration with German artist Florian Meisenburg to expand Renaissance grandeur into a simulated grid space. Blue perspective lines drawing a digital illusion across the classical envelope. The atmosphere hints at Kubrick’s 2001 and Superstudio’s infinite grids: austere, utopian, and playfully uncanny. Paintings appear to “float” as glitches or portals, puncturing the matrix with organic marks and narrative.
The hall becomes a threshold between past and future, solid and immaterial, architecture and simulation—a conceptual pivot for the entire house. This room’s edgy elegance extends seamlessly to the view from the second floor.
By taking the co-chair role alongside Chad Dorsey, and contributing a beautifully executed stand-out installation, Liu reinforces Kips Bay’s aim to position the Show House as both a philanthropic platform and cutting-edge design event in Dallas.
Doniphan Moore Interiors | “The River Room”
Photography by Douglas Friedman
The river in poker is the last card on the table. It’s the instant everything hangs in the balance. Doniphan Moore’s River Room channels that same sense of suspense and quiet drama. Known for his comely, meticulously composed interiors, Moore conceived the space for worldly Texas collectors. It rejects the cliché of the dimly lit “smoking den” for something lighter, luxe, and layered with subtle wit.
Lighting by John Cullen shapes the mood, its glow guiding the room’s rhythm, while hand-finished Casci Plaster walls sculpt light and shadow into architecture. Trim in Benjamin Moore paint grounds the palette with crisp precision.
At the center, a hearth carved by Il Granito anchors the space—a weight of refinement balancing ethereal elements. The convex mirror, hanging above, creates sculptural elegance and distortion. Above the card table, a painting by John Alexander, adds sinuous energy evoking an undercurrent of tension and movement. Known for his expressive explorations of nature and human folly, Alexander’s work becomes a kind of visual river itself—restless, reflective, and alive with hidden meaning. The piece infuses the room with both wit and wildness, a painterly pulse within the composed setting.
Drapery by The Shade Store catches and diffuses the light, echoing the fluidity of conversation and play. De Gournay’s hand-painted wallpaper, custom-made for Moore’s room, envelopes the space in atmosphere, brush and pigment evoking both nature and dream. The River Room is less a set for games than a meditation on performance and restraint—a stage for friendship, confidence, and the quiet art of suspense.
Yates Desygn | “The Parlour”
Photography by Lisa Petrole
Sunlight streams in from the terrace, filling The Parlour by Yates Desygn—a reimagining of the traditional parlor for contemporary life. Once a hallmark of yesteryear—a stage for conversation and aperitifs—the parlor here becomes more fluid and modern: a room designed for connection, comfort, and simple pleasures. Bryan and Mike Yates bridge eras with quiet confidence. Historic architecture sets the framework—paneled walls, parquet floors, finely detailed millwork—while the atmosphere feels unmistakably fresh. Striped Tillett fabric, tailored into custom drapery by The Shade Store, brings a graphic edge, and a sculptural brass‑mesh ceiling adds a hint of shimmer overhead. Beneath it, a Patterson Flynn rug cut on the diagonal reveals flashes of the parquet, a gesture that lets the past peek through. The furnishings continue the dialogue between time periods: midcentury icons from Sputnik Modern—including a Hans Wegner lounge chair reupholstered in Métaphores—sit easily beside contemporary pieces from Avenue Road. A custom Vitrail table with brass and stained‑glass inserts cradles a removable Carlyn Ray hand‑blown vase, while a leather‑shelled Vanguard sofa with wool cushions in deep green invites a long sit. Art curated by Jennifer Klos of Collector House adds wit and depth: Jessica Halonen’s The Blue Hour (after Manet) from David Shelton Gallery is mounted on a framed Schumacher wallpaper panel; works by Saraï Delfendhal and C. Meng bring humor and play. With its mix of texture, color, and heritage detail, the space reads as renewal: a modern gathering place that honors where we come from while looking toward what’s next.
Studio Thomas James | “Belvedere Room”
Photography by Nicholas Sargent
Studio Thomas James conceives the Belvedere Room as a modern salon—part performance, part refuge. The name, from the Italian belvedere (“beautiful view”), nods to both the sweep across Turtle Creek and a larger philosophy: beauty is meant to be inhabited, not displayed. Quiet inspiration comes from Milan’s Villa Necchi Campiglio (Portaluppi, 1930s), where modernist clarity met aristocratic grace. Here, a Donghia Renaldo chandelier in champagne and brushed gold casts an ombré glow across silk and silver finishes. Seating forms a carefully orchestrated conversation: a Halo Coupe sofa in greige mohair, Woodbridge Club Chairs in Memphis/Beale Street fabric, and a late‑20th‑century Donghia Versailles bench by John Hutton in Hear Me Roar/Sahara echo the upholstery of two nearby Klismos chairs. Custom chests in burled walnut and flamed maple with inlaid brass add an artisan note. Lighting and surfaces layer in harmony—alabaster “Trento Urn” lamps by Vaughan, Donghia Gigante floor lamps in Gold Dust, and an antique Persian Tabriz from Abrash. Tables by Thomas Pheasant for Baker balance utility with artistry, while the bronze Effie Étagère by Milling Road Originals stands poised at the room’s edge. Drapery from The Shade Store in Donghia’s Side by Side, edged with Samuel & Sons, drops from just beneath the crown; Fortuny and Métaphores pillows (Grandiflora Perle; Prisme Naturel) add tactile depth. Phillip Jeffries’ Avon Scenic Roselyn on Supernova White Stardust Silk washes the walls in a painterly horizon, trim and doors in Benjamin Moore Wind’s Breath provide calm contrast, and a ceiling in PJ Rembrandt, Paris Black Wash, scatters light in celestial shimmer. Sculpture by Corbin Bronze and David Crismon’s 1783 Still Life with Factory Code (Craighead Green Gallery) ground the narrative of history and reinvention; Donald Martiny’s Diana and Actaeon (Galleri Urbane) add rhythmic movement, and Will von Bolton’s Milan (TF Gallery) nods to the room’s namesake view. Two figural portraits by Donny Bodine lend quiet presence—proof that this is, above all, a room to live in.
Studio Eckström | “Mr. Trotter’s Drawing Room”
Photography by Patrick Biller
Studio Eckström reframes the Gilded Age salon for now with a richly layered interior where ambition, artistry, and heritage meet in luminous dialogue. Conceived for a fictional protagonist—Jack Trotter, a self‑made gentleman whose ascent from footman to gentry becomes a narrative of arrival—the room offers a distinctly American take on Old‑World grandeur. At its heart, a sculptural faience stove anchors the space in timeless warmth. Palladian motifs, a glittering chandelier, and velvet‑and‑silk upholstery nod to 19th‑century splendor, while a turntable spins beneath hand‑painted wallpaper and clean‑lined seating brings modern cadence. Mirrors catch lamplight; marble offsets velvet; antiques balance contemporary silhouettes and artworks. Step by Ed Hall—a tiered wood‑panel painting in shades of blanc from Craighead Green—adds a soft contemporary edge. The result is cultivated contrast: European refinement reinterpreted through American will. Omaha‑based Mark and Mikal Eckström are particularly at home here; their convivial energy makes time in the room feel instantly familiar—like the company of old friends.
Avery Cox Design | “Blue in Green”
Photography by Stephen Karlisch
Inspired by an iconic hue—and titled after the Miles Davis classic—Blue in Green reframes American chic through Avery Cox’s personal lens. Cloaked in Benjamin Moore’s “Robin’s Nest,” the listening lounge blends classic elegance with modern ease. Casci Plaster’s applied wall molding gives the lofty room architectural order, while layered window treatments from The Shade Store—olive silk drapery over a Muriel Brandolini silk roman—filter daylight into a moody, expressive glow. Seating is plush and patterned: a custom Bolt & Hide sofa in Templeton fabric with robin’s‑egg silk pillows from Rubelli, a Casa Branca linen‑velvet chaise by Process Home backed by an oversized silver‑leaf mirror from Legacy Antiques, and a Billy Baldwin Studio slipper chair in Sister by Studio Ashby fabric beside a Bunny Williams Home drinks table. A custom ottoman in mottled Kerry Joyce velvet (George Cameron Nash) with citron leather piping from Samuel & Sons and Houles rosettes anchors an Arsin Rug Gallery selection. Art from Conduit Gallery, Craighead Green Gallery, Blueprint Gallery, and CoCollect animates the walls. Lighting shimmers: Paul Schneider Ceramics lamps with silk blue Nushka shades from James Showroom, a Vaughan chandelier, and a nickel floor lamp and bar cart by Vaughan. A tiger‑maple cabinet by Mitered Millworks (with Balineum green mottled tile and P.E. Guerin hardware) and a J.M. Szymanski side table round out a lounge that invites conversation, quiet reflection, and music in style.
bureau interior architecture | design | “Petite Pièce de Lumière”
Photography by Elliott Fuerniss
A “little room of light” with outsized presence, bureau i.a.|d’s pied‑à‑terre‑like retreat peers through a lens of tradition and innovation. A custom ceiling fixture by Ben Tuna of Glass Visions Studio, layered with architectural lighting by John Cullen, bathes Dedar raw‑silk–upholstered walls and The Shade Store drapery/roman shades in warm glow, bouncing off high‑gloss Benjamin Moore ceiling and crown. Quattro Stagioni marble from Artistic Tile—expertly sculpted by Il Granito—adds subtle opulence, while BH Home upholstery in hues of carnelian, apricot, sea glass, and pearl creates pockets of leisure. Belgian antiques from Galerie Provenance mix with sharp‑edged pieces by J.M. Szymanski; artworks by Benjamin Abramowitz, James Kendall Higgins, and Jack Spencer layer effortlessly. A concealed Fisher & Paykel refrigeration drawer clad in Jerry Pair suede leather keeps refreshments at hand; self‑care touches (jade rollers, lavender towelettes, Knesko masks) underline the lair‑of‑luxury vibe. Quiet but forceful, the room functions as listening room, lounge, office, and sunroom—a serene, secure capsule where subtle gestures matter.
Christopher Architecture & Interiors | “La Cuisine Divine”
Photography by Kerry Kirk Photography
A vestibule appetizer sets the tone—Perennials wallcovering, high‑gloss Benjamin Moore, and Paolo Moschino pendants via James Showroom—before La Cuisine Divine serves the main course: a kitchen composed as symphony. Inspired by Apollo and Artemis, it balances radiance with intimacy, precision with softness. Francois & Co. stone, fabricated by Il Granito, and Kingdom Woodworks cabinetry (finished with Classic Brass/Brandino Brass hardware) meet JennAir innovation. An island glows beneath Paolo Moschino’s Elena light, while functional layers by John Cullen Lighting complete the scheme. Double‑layered window treatments (Pollack and Romo textiles fabricated by The Shade Store) flank a custom Burl & Oak bar cabinet with TileBar antiqued mirror tile. Sacco Carpets runners comfort the cook; Thibaut pillows with Samuel & Sons fringe cozy the Arteriors Windemere bench by a Christopher Collection mirror. Tiles of Ezra wrap the ceiling in quiet drama; Meoded plaster hood and Kohler fixtures refine daily rituals. Alair Homes’ craftsmanship ties it together; a Vaughan Medway light nods to sponsor gratitude. La Cuisine Divine becomes more than a room—it’s a living dialogue of light and shadow. Bon appétit.
Design by Tula | “The Emerald Room”
Photography by Aaron Dougherty
A lacquered jewel box for the lady of the house, The Emerald Room glows with glossy green walls above black crackled deco tiles from TileBar. Velvet upholstery and a gilded ceiling set the opulent tone; a hand‑blown glass chandelier warms the palette. The Shade Store’s pinch‑pleat drapery in embroidered Pierre Frey, finished with a beaded bullion fringe by Samuel & Sons, echoes the jewelry‑box detail. A luminous gold mirror from Luxury Living Dallas anchors the room. Sculptural Made Goods pieces—emerald drinks tables, a reinforced concrete bench, hammered‑metal Alfred chair, stacked Zuri coffee table—add focal points, while Arteriors’ Drover outdoor tables are reimagined indoors. Custom Art Deco paintings counterpoint plush seating, and a gleaming brass bar stands ready. A room for confidences, cards, and cocktails—classic glamour with nostalgic allure.
Ellerslie Interiors | “Moonlight Pavilion”
Photography by Annie Schlechter
A serene retreat honoring Asian artistry and the ritual of mahjong, Moonlight Pavilion layers 1930s Shanghai glamour with soft contemporary silhouettes. A custom mural by Colette Cosentino anchors the space; a copper dragon bench by Robert Kuo and a 1927 Art Deco chair from Pagoda Red open a dialogue between heritage and modern design. Schumacher moiré silk walls shimmer like water under moonlight, while a gilded geometric ceiling and Benjamin Moore trim bathe the room in warmth. Custom screens upholstered in Schumacher add privacy; dramatic drapery, a roman shade, and overscale tassels introduce movement. The mahjong zone centers on a Made Goods Brigitte fossilized‑stone table; a pleated Urban Electric pendant and a vintage Paolo Gucci skyscraper lamp sculpt the light. An Arteriors Manhattan bar cabinet styled with James Showroom lamps and Robert Kuo accents completes the scene, along with florals by Eden Meadows, a bespoke Les Fumées fragrance, and an Hermès Macao set. Elegance, storytelling, and timeless glamour—under a moonlit glow.
Joshua Bernard Design | “The Long View”
Photography by Patrick Biller
A masterclass in patience and presence: high‑gloss black paint and bittersweet chocolate Venetian plaster (Benjamin Moore) wrap a transitional hall and bath in warmth and restraint. An Arsin Rug Gallery antique transforms passage into pause; Arteriors stone‑and‑leather accessories set a reflective tone. Caramel wool drapery by The Shade Store tempers architecture with softness. In collaboration with Artistic Tile, a bespoke Zip mosaic floor meets Il Granito’s quartzite wainscot and handcrafted vanity; Kohler polished‑nickel fixtures complete the composition. Four sculptural Arteriors chandeliers dance across bold Holly Hunt wallcoverings, while oversized Hutu sconces glow in the bath. A decade of practice distilled into one elegant statement—threshold as testament.
Fleming Peters | “A Taste of William Morris — The Unfinished Works”
Photography by Heidi Lancaster
Fleming Peters builds a contemplative parlor around newly completed “unfinished” drawings of William Morris—recently surfaced at The Huntington and brought to market by Morris & Co. Walls bloom with Morris & Co.’s Daisy & Oak while Chamomile climbs the ceiling; an Elm Stripe roman shade by The Shade Store adds a crisp note. Vintage Scandinavian forms from LIEF Gallery keep the upholstery sculptural and spare; Rug & Kilim’s dhurrie grounds the palette. Hector Finch fixtures jewel the space, illuminating shadow boxes that trace the atelier process; Sir John Soane sconces flank a mirror inscribed with a Morris quote. Pieces from JAMES Showroom, Casa Branca, Justin Van Breda, and custom framing by J. Pocker round out a room that invites visitors to sit with the enduring idea of beauty at home.
J.D. Ireland Interior Architecture & Design | “The Rumor Room”
Photography by Elliott Fuerniss
Babe Paley glamour with a midnight edge: Joe Ireland’s Rumor Room layers Sandra Jordan Alpaca—draped by The Shade Store—over a Clarence House Kharif Crewel rug. Stewart‑made custom seating (alpaca chairs; a Lance Woven Leather ottoman) orbits a mirror framed in TileBar gold mirrored tile by Dallas designer D’Heirro, watched over by Nick Brock’s racing greyhounds and massive ceramic pots from Pittet Architecturals. A bespoke globe shade—hand‑painted by Porter Teleo, fabricated by Fenchel, lit by Visual Comfort—casts cinematic glow. In the nook, SR Home’s hand‑knotted rug, MOUS seating in Sandra Jordan plaid, and a Trey Jones table create a whispered‑confession corner. Vintage lamps from Nick Brock with pleated Fenchel shades match the walls; Clarence House drapery frames it all. A space made for secrets, spectacle, and long stories.
Katharine Pooley | “The Study”
Photography by Marco Ricca
Dark blues and warm ochres set a cultivated tone in Pooley’s cosmopolitan study. Venetian‑plastered paneling and Studio E hand‑painted papers wrap a collection that feels assembled over a lifetime—Piero Centofanti and Quintessa Art join landscapes by Deborah Tarr, hung from a Collier Webb chain system. Original joinery, repainted in Benjamin Moore Van Deusen Blue, becomes a cabinet of curiosities drawn from Pooley’s boutique and personal trove; a bronze bust of her father sits against Etamine Solaire. A Parkway England desk in American walnut and burr veneer pairs with a Soane Britain Quiver Klimos chair; Bray Design’s sofa in de Le Cuona Vienna Velvet is trimmed by Samuel & Sons. Vaughan lighting, Alexander Lamont pieces, and an Ice International rug anchor the scheme; Holland & Sherry drapery crafted by The Shade Store softens the envelope. A David Gill Gallery Fajir drinks cabinet, FBC London, de Gournay, and Phillip Jeffries’ Smooth Sterling ceiling paper complete an urbane refuge.
Lisa & Leroy | “The Shape of Things”
Photography by Neil Landino
On the terrace, geometry becomes the language of gathering. Curved and angled silhouettes, kinetic textiles, and sculptural planters choreograph conversation as light moves across the brass, stone, and fabric. Backed by house sponsors (Arteriors, Benjamin Moore, Casci Plaster, il granito, Morris & Co., Perennials & Sutherland, Pooky Lighting, The Shade Store, Vaughan) and an extended roster—from Century Furniture to Porter Teleo and Scapes Incorporated—the tableau invites lingering, proving that luxury lives in presence and shared experience.
Mohon Interiors | “The Evening Lounge”
Photography by Marco Ricca
A lived‑in romance of silver and gold tones, Mohon’s lounge blends Paris‑salon charm with Highland Park ease. A beaded‑metal curtain encircles a Berman Rosetti oak‑and‑steel table; seating centers on a teal John Saladino Summer Sofaand a custom chaise atop an oversized Arsin Rug Gallery Moroccan. A Weingarten Art Group gallery wall and a marble‑and‑bronze fireplace by Marmi Stone create gravitas. Luxury Living Group Dallas’s La Graca étagère, Arteriors pieces (Duvall Ottoman, Rucci Cocktail Cabinet), lush velvet drapery by The Shade Store, an Italian Rococo chandelier, Arteriors’ Klaus chandelier, and John Cullen’s recesseds layer glow on glow. A room for cocktails, sketches, mahjong, or curling up with family—romanticism as a way of living.
Mrs. Paranjape Design + Interiors | “jaded flamBOYance”
Photography by Marco Ricca
A promenade of saturated emeralds and cheeky decadence: TileBar’s dimensional wainscot meets Schumacher Xanaduand Philip Jeffries above; Benjamin Moore Celtic Green frames the details. Claire Crowe’s handmade lighting, Janna Watson paintings, Ruben Campos photography, and a Mojo original (J. Williams Fine Art) spark against antique rugs from Arsin Rug Gallery. The Shade Store drapery in silk Porter Teleo (custom Tangled print) sways through the hall; Versace lamps and leopard pops from Luxury Living Group dial up the swagger. In the men’s room, Visual Comfort canopy, Gucci Heron walls, The Shade Store’s pink Schumacher Madeleine drapery, Kohler Artifacts, and TileBar’s IYKYK moment flip masc/femme cues with a grin. Provocative, playful, and pure pleasure.
Nicole Gordon Studio | “Overlook Hideaway”
Photography by Elliot Furness
A masculine‑leaning sanctuary for conversation and cards, the Overlook Hideaway orbits a custom burl cocktail bar (Green Park Construction) with a Bordeaux marble counter from TileBar and a bronze‑framed Glasshouse mirror. JennAir undercounter refrigeration disappears into the millwork. The Shade Store curtains on oil‑rubbed bronze rods frame wool by Holland & Sherry; a lounge banquette in Mark Alexander velvet anchors the room opposite a Pittet Architecturals stone mantel and a lacquer game table with vintage JF Chen chairs. A coffee table by Elliott Hundley sits on a custom Arsin Gallery wool carpet; Madera Surfaces hardwood and rich red plaster by Green Park complete the envelope. The rare Max Ingrand “Dahlia” chandelier from Donzella crowns a space that feels effortless and exclusive.
Nicole Zarr | “Raising the Zarr”
Photography by Jeff Jones Photo
A small‑but‑mighty martini lounge with a wink. De Gournay’s Pietra Dura, custom‑colored in chocolate, meets Zarr’s signature canary yellow on cornice drapes and a tented Schumacher silk‑check ceiling. The Shade Store crafts the cornice and layered Tailored Pleat drapery trimmed in Samuel & Sons. A studded leather bar sits between built‑ins stocked with ABASK barware; a sculptural Jamb light pools warmth. A geometric Rubelli‑yellow banquette, Hudson Valley brass sconces, a branching brass‑and‑glass vintage table, and a fresh Retorra rug set the scene. Rose Cumming textiles, a Lee Jofa‑upholstered Savonarola, an 18th‑century burl secretary, Nick Mele photographs, and an antique game table compose a cheeky study in juxtaposition. As the corks pop: here’s to raising the Zarr.
Paloma Contreras Design | “The Morning Garden”
Photography by Aimee Mazzenga
A gracious, light‑filled morning room staged for breakfast, tea, and cocktails. The heart is de Gournay’s Hortus Medicus—from the new Bunny Mellon collection—custom‑colored for this project. A floral Schumacher tablecloth balances refinement with tension; Maison Drucker rattan chairs and a tufted Highland House sofa in ticking stripe keep the mood easy. Custom pelmets and drapery by The Shade Store feature Paloma’s “Royere Scroll” tape with Schumacher, framing dramatic windows. Partners—from Vaughan, Made Goods, Blue Pheasant, and Benjamin Moore to JAMES Showroom, Visual Comfort, L&M Custom Carpets, Bunny Williams Home, Moxie Interiors, and Paloma & Co.—create a livable blend of bespoke, vintage, and contemporary.
Samantha Fisher Studio | “Moonlight Passages”
Photography by Marco Ricca
A midnight arcade inspired by New Orleans after dark: Schumacher’s Brindille mural envelopes the passage while Made Goods’ Archer Buffet and seagrass Charlotte console add sculptural contrast. Art by Karen Hawkins (meditative Mandala) and Marla Ziegler’s glazed clay punctuate the organic palette. Fisher’s elongated custom bench in apricot Romo offers pause; a dash of preppy arrives via Romo/Mark Alexander Engawa Vellum. Barbara Barry Paper Moon shades and Ochre Moon Tables (David Sutherland) lend celestial touches; lighting from Culp, Gregorius Pineo, John Cullen, and Visual Comfort keeps the glow. Old elevator banks disappear behind The Shade Store Tailored Pleat drapery in an in‑stock Nate Berkus fabric—softening and sharpening the architecture at once.
Sarah Stacey Interior Design | “The Last Room”
Photography by Stephen Karlisch
A couture‑surreal study that runs from Medieval Bavaria to Schiaparelli. A Georgian bookcase (Hayslip Interiors) pairs with a Victorian desk (ByCloudia); a custom mohair Burton James sofa trimmed in Samuel & Sons gathers around a Bunny Williams chinoiserie table. Underfoot: a one‑of‑a‑kind Arsin Rug Gallery piece meets TileBar’s red‑and‑green octagon‑and‑dot marble. A Legacy Antiques Murano chandelier casts gold light on a salon wall of vintage art from Gillian Bryce, hung on a Robert Kime brass picture rail. Porter Teleo wallcovering, Benjamin Moore Old Navy trim, and Anne Meredith’s folk paintwork over Dark Walnut on the ceiling layer texture; Paige Martin’s faux finishes refine the mantle. A 3D‑printed “Hell’s Mouth” fire surround by Innova 3D anchors the hearth. Solias/Legrand lighting, Vaughn picture lights, Slipworks/ambrose upholstery moves, Schumacher moiré ruffles by The Shade Store, and Sarah’s carved oak‑leaf mirror pull it together—florals by Twelve Thirty Four in tow.
Shane & Pierce | “Retro Avenir”
Photography by Patrick Biller
Past‑meets‑future at the stair and landing: an expressive JD Staron runner under Pooky lighting leads to lacquered ceilings and metallic, hand‑troweled walls by AB Custom Painting. The Shade Store’s luminescent drapery mixes earthen tones with elemental sheen. Futuristic Studio Van Akker pendants and a whimsical J.M. Szymanski iron‑and‑glass chandelier hover over an Avenue Road sectional on an Armadillo rug. A stamped‑steel 1970s coffee table from Eneby Home nods to time‑honored minimalism. Ben Medansky’s brutalist ceramic wall hanging meets Lauren Williams’s dyed weavings; impressionist paintings, large‑scale photography, and shimmering metal objects from J. Williams Fine Art complete a layered time‑travel. Feel at home—in any era.
Shannon Bowers Designs | “Salle à Manger”
Photography by Sarah Linden Photography
A dining room imagined as the revived heart of a centuries‑old château, newly acquired by a young family mid‑restoration. Fresh plastered ceilings with medallions rise above walls draped in raw artist’s canvas—a poetic ground for a suspended, curated art installation. Oversized chandeliers hang intentionally low, exaggerating scale to theatrical, grounding effect. Dual dining tables invite both intimate and casual gatherings, surrounded by heirloom chairs refreshed in striped cotton. Old and new, formal and casual, refined and raw—Salle à Manger celebrates evolution, hospitality, and the beauty of shared meals becoming part of a larger story.
Tracery Interiors | “The Lion Queen”
Photography by Marco Ricca
Emerald walls, velvet textures, and glints of gold set a mood of regal ease. Animal prints add play and confidence; antique rugs from Arsin Rug Gallery ground the composition. Made Goods’ Aldrich console in antiqued gold leaf and the olive‑ash Taina cabinet bring sculptural poise; Arteriors’ Theo flush mount and Klein sofa complement the layered scheme alongside the Made Goods Lynette console. Glamour, comfort, and welcome—perfectly in balance.
The Kips Bay Decorator Show House Dallas remains open through November 23, with proceeds benefiting the Kips Bay Boys & Girls Club, Dwell with Dignity, and The Crystal Charity Ball. This year’s show is an exercise in seeing anew—how one architecture, interpreted through twenty-six creative lenses, becomes twenty-six distinct worlds. The estate at 2999 Turtle Creek proves itself a generous stage, rewarding both boldness and restraint. These designers have left their mark; now it’s your turn to walk through and decide which stories stay with you.