THE WEARSTLER WAREHOUSE, and a whirlwind tour by WILLIE
A POOCH-EYE VIEW of some extraordinary seat-ery; FURNITURE ADOPTION.
Dear Snoops,
*LONDON alert*: copies of “FOR SCALE” print issue are now available at MAGCULTURE, the docents magazine-ery, at 270 ST JOHN ST. EXTREMELY LIMITED COPIES.
One can also purchase online HERE.
*GLOBAL alert*: we will be taking a SUMMER HIATUS for just two weeks (i.e. holiday). Back on 1 JULY. (Hello to all new SNOOPS, of which there are many.)
The very best way to usher us back from existential holiday rapture will be to COMMENT and <3 here, Or:
And, we share with you now a very special story, photographed exclusively for “FOR SCALE” print issue by DANIEL DORSA, a man totally familiar with capturing bright halo of true, warranted celebrity (JOHN WATERS; QUESTLOVE; PATTI LUPONE!, etc.) – and here, he turns this gaze to WILLIE WEARSTLER.
DÉCOR LESSON, IN SHORT:
The DÉCOR LESSON here is one of RADICAL PATIENCE of décor ADOPTION.
Yes, it is rare that one should have a CENTRALLY-LOCATED WAREHOUSE in which to store much-loved décor that HASN’T FOUND ITS “PLACE” in an arrangement. But, there is something nonetheless universal about the sentiment:
Where the VAST MAJORITY must “store” excess (or “inappropriate”) décor bits within the homesphere itself, KELLY W. seems to remind us to commit to a future where these dreamy-things DO have a place. Know what we mean?
From a “FOR SCALE” P.O.V., we shall be using this as an excuse to acquire sh*t that really probably means something to us, even if it doesn’t aesthetically or even physically “FIT”. (This approach we’ll call the DEMI-KELLY: part in her footsteps but also the other part just “OPTIMISTIC HOARD-ERY”.)
WILLIE WEARSTLER’S WHISTLE-STOP WAREHOUSE TOUR
Sure, you know KELLY WEARSTLER. (You do, right?) She is, in a word, FAMOUS. As far as décor goes, at least (and, it goes pretty far?). But, we ask, do you know WILLIE WEARSTLER? ‘Cause we do.
Frazzle-haired, perky trot, big-old-expressive-eyeballs, al- most intimidatingly self-aware. He’s a cool-handed charm- er. And, as you’d expect of any dog of KELLY W., he is “A FURNITURE FIEND”. No better guide then to take us on a snooping tour of the Warehouse Wearstler (and no offense to Kelly W. herself), in the midst of industrial Los Angeles, because, well, he tells it like it is. THOSE EYES *SPEAK!*
LET US FIRST MEET WILLIE W. VIA KELLY W. MEETING WILLIE W.:
“I remember so vividly when I first met Willie. I was having a fundraiser for Best Friends at my gallery, and at the last minute they wanted to bring some dogs that could be adopted. They pulled up in a black truck and I spotted this dog in a pink sweater who just caught my heart as soon as they brought him out —that was Willie.
We had just gotten a new dog, but couldn’t resist. He is so loving and loyally follows me around the house. He’s a furniture fiend, always testing out our latest finds.”
RARE 1970’s SWIVEL SIDE RARE 1970’s SWIVEL SIDE CHAIRS by PAUL EVANS
KELLY W.: “I found these in London on a sourcing trip about 10 years ago and immediately fell in love - so unique yet so simplistic. Paul Evans did not make many chairs and I will never let these go.”
WILLIE W.: Seemed to find ease in being their bridge. So, we imagine, these swivels are highly amenable to intimate conversation. (And, does this one chair not appear to contain within its “PATINA” the image of a Bichon Frisé?)
[LONDON: POINT 1]
BLACK LEATHER SOFA, UNKNOWN
KELLY W.: “The shape of this sofa is so good, sculp- tural and modern. I don’t know the provenance, which is often more interesting than knowing, but for sure it is from the 1970s. The quality is in- credible and it looks shell-like to me. I found it in Brussels about 12 years ago.”
WILLIE W.: With immediate affinity, Willie lept into center position.
1980s CHAISE, UNKNOWN
KELLY W.: “The bamboo bolsters got me... I love this chaise. It was purchased in Miami through an auction, and the craftsmanship is noteworthy, truly solid. I’m told it was produced in the 1980s but the designer and manufacturer is unknown”.
WILLIE W.: With an upright posture, like that of an Executive surveying a factory floor, Willie exposes the beautiful, sadistically Freudian energy of this chaise—sleek leather; power-play bolsters that refuse to comfort.
RON ARAD ROVER CHAIRS BY ‘ONE OFF LIMITED’ CIRCA 1981
KELLY W.: “These are the sickest chairs ever. I love them...I have not used them yet but they are going to have a moment soon. I acquired these at auction about 7 years ago. This chair really launched Ron Arad’s career. All of the components were sourced at scrap yards throughout London.”
WILLIE W.: Amongst these seating selections, perhaps no greater narrative parallel–what had been tossed aside now commands a room. Willie was, as expected, quite a home with Ron’s Rover Chair.
[LONDON: POINT 2]
WROUGHT IRON MODERNIST CHAIRS
KELLY W.: “What a silhouette. The profile is so unique and refi ned. I discovered these in London a few years ago and I adore how expressive they are.”
WILLIE W.: To accentuate the spectacular shapes of its legs, Willie is sure to stand upright, showing off his own.
[LONDON: POINT 3]
HAND-HAMMERED BRASS CHAIR HAND-HAMMERED BRASS CHAIR BY PHILIPPE HIQUILY
KELLY W.: “I found this chair at a gallery in Paris about 15 years ago and it is a life long keeper. It is sexy, glamorous, and incredibly rare. The piece was designed in ‘75 and then a limited edi- tion of 40 pieces was produced about 20 years ago.”
WILLIE W.: LINE, RHYTHM, MOVEMENT — this is the world of the hand-hammerer, and also clearly of Willie, who is as tough and radiant as the brass itself.
ORE FABBRI BENCH AGENORE FABBRI BENCH FOR FOR TECHNO, 1985
KELLY W.: “Fabbri was primarily a sculptor and a painter—which totally comes through with this piece. Many of these are in black or red, so it’s very special to have this one in a more nat- ural shade, it highlights the material more so and really evolves how we are used to manifesting plywood furniture.”
WILLIE W.: Folding curves are not for the benefit of the ass, but the eye—you are to explore them. But, Willie — being much lower to the ground—might also have the thrill of exploring Fabbri with the snout.
A FEW WORDS WITH KELLY WEARSTLER HERSELF:
ON DÉCOR CRITIQUE:
What do you think are the laziest questions you’re asked about décor?
KW: “What the latest trends are.”
ON FURNITURE:
What are some guiding philosophies?
KW: “Follow your instinct. It’s important to educate your eye and see lots of things to help decipher what is worth the investment and what isn’t, but ultimately the pieces that make your heart stop are the ones you are meant to have. Don’t follow trends, don’t buy all your furniture from the same place, and take risks.”
ON AESTHETIC CATEGORIES
Are they useful, or useless?
KW: “I love history and learning about how different cultural movements impacted the creative zeitgeist, and how architecture and design played a role, but when it comes to designing a space I don’t get too hung up on that. Categories have limitations and I don’t think that’s useful in my practice.”
ON THE STATE OF DÉCOR
Are we, generally speaking, in a good place?
KW: “I think the design industry is about to go through a big change. A.I. is going to turbocharge so many brilliant ideas and help us advance in ways we can’t even comprehend right now. And some of that is about understanding our history — A.I. is such a potent tool for research.”
Until JULY FIRST. Love and good luck,
I once got offended with Kelly Weastler(she doesn't know about it) when she said in her book something abut orchids and flowers in general..something along the lines that those who dont know how to decorate use flowers, or something. I got upset for flowers-they're living beings, after all. it's a question who uses whom, even, as is with houses too-houses are living creatures, and they also use us, which they should, that what makes this co-habitation interesting, after all.
In short. Now when I read this interview-I'm like "okay, Kelly, I got over it now". Not that she cares)) but I do
Thank you-another great post
That chaise omg