A TASTE OF "ICE CREAM PARLOR" AS A DOMESTIC INTERIOR
A TASTE OF "ICE CREAM PARLOR" AS A DOMESTIC INTERIOR
And the critical new opening of FLUFFY MCCLOUD's, our ice cream parlor of choice (décor-wise and other-wise)
Today: → THE ICE CREAM PARLOR and newly-minted “GLAMOUR-BUTCH” AESTHETICs are introduced (discussed: successful nostalgia, trash can(s)); → The most important lamp in LOS ANGELES (it’s by NICK T. POE); → Our flavor selection for a three-flavor banana split (as shared with JAKE RODEHUTH-HARRISON and
who writes the delightful ‘stack LOVE AND OTHER RUGS.)
Dear Snoops,
Very occasionally, there’s a décor that simply smacks you in the face(s), commands your attention, and absorbs you in its total-package, seemingly-by-accident perfection. It is exceptionally rare, and so when it happens, it requires attention and analysis.
Such a place is up for discussion today, and IMPORTANTLY it is not a domestic space, it is AN ICE CREAM PARLOR. (Or rather it is the ice cream parlor, i.e. the only one that currently matters, not to pass judgment.)
It is FLUFFY MCCLOUD’S here in the Echo Park neighborhood of LOS ANGELES, with an address on the famed SUNSET BOULEVARD. (Its zip code is shared by FOR SCALE head office.)
Take a minute to absorb, though we’ll itemized critical details:
Here’s the thing(s):
To only take domestic interiors advice from other domestic interiors is like never watching a ‘foreign’ film. Sure, sometimes the translations aren’t perfect, but it transcends
Yes, it’s “AUTUMN” right now, but the ‘ice cream parlor as domestic aesthetic’ is not at all as frosty as its merchandise
And here’s what the ICE CREAM PARLOR does well, and what can be interpreted into the homescape:
Its accommodation of “NOVELTY”
Successful trash cans
“FLAVORISM” as a concept
Before we get to that, however, we’ll introduce you to FLUFFY’s (whose Instagr*m handle is excitingly “@fflluuuffffyyyyssss”) and its most arresting décor object:
FLUFFY MCCLOUD’S, ITS DETAILS, AND THE MOST IMPORTANT LAMP IN LOS ANGELES CURRENTLY
Opened this summer by the founder of the across-the-street, of-the-moment wine bar EL PRADO (with its own interesting and different, but ultimately less remarkable décor), FLUFFY’s very skilfully walks a line between ‘glamour’ and ‘butch’ (N.B. we’re writing about “GLAMOUR-BUTCH” in depth very soon). Its ice cream display, for example, incorporates both quite a delicate lace and bull horns. Glamour, and butch.
Incredible.
In the Fluffy’s worldview, this kind of décor composition is HIGHLY VERSATILE, equally applied to its jukebox (again with the bull horns, it is highly ornate – and nothing is more glamorous than the pose one takes to read itty bitty track listings, which is butt-out); and the ranchy chandelier as reflected in its full-walls of mirror (ranch is mainly butch; mirror and glamour share the feature of “narcissistic”).
But, the most crucial and dominating décor is truly none of these already-important, glamour-butch choices. It is instead the celestial MEGA LAMP, produced by NICK T. POE, that is modeled after sixth planet from the sun, SATURN – and one of only four planets accessorized with rings.
The result is a historically important lamp, because the MEGA LAMP is common (and often misused, as a distraction from Bland) however usually restricted to “ORB”. Rarely, and in fact, never to our knowledge has this ORB been extended outwardly into WIDTH DÉCOR.
Here:
It has the most astonishing and yet not overwhelming presence. And yet, you know what? The lamp is not even that f*cking bright.
With so much “going on” in here, i.e. bull horns, lace, mirrors, etc. (also a kinetic-like ping-pong-esque ball run of a sculpture), there’s actually something neutralizing about the enormity of SATURN LAMP. It makes the ceiling the one surface where only one thing is happening, while also being completely bonkers and in opposition to all Décor “Rules” (rules that try to command scale).
Not, let us give some shape to the ICE CREAM PARLOR AESTHETIC in general:
1 → THE ICE CREAM PARLOR and the accommodation of “NOVELTY”
The ice cream parlor, as you’ll surely agree, shares much in common with the Diner in terms of aesthetic – the Wipeability of Surface and the Durability of Material are key, offset by a sense of inviting softness. Both understand and express CAMP, a near-impossible term to define, so we won’t. Both, by today’s measure, also deeply nostalgic.
Yet, the ICE CREAM PARLOR adds to this an element of PLAY, a subject which we are very eager to understand as it relates to the adult domestic interior. (ASIDE: The epitome of PLAY, of course, is in the PEE-WEE PLAYHOUSE, which is discussed here.)
The parlor itself does this through its performance-based preparation, the presence and liberal use of “sprinkles” and/or Maraschino cherries, and its tiny little stainless steel cups. It allows adults to cosplay as children through a focus on “Treat”, which as one ages becomes associated with guilt.
In adding this element, the Parlor is ergo able to accommodate “NOVELTY”, so often very poorly done at home because it is often KITSCH, e.g.that side-eye cat wall clock must be banned. In the case of Fluffy’s, pretty much EVERYTHING IS NOVELTY, and yet it is free of kitsch. How?
This is where the impossible world of SWAGGER comes in. And, there is no shortcut to it. Though of course Fluffy’s was put together in its current context in a relative flash, it seems evident to us that it is the product of a long period of time absorbing glamour-butch, Parlor-ian references and fine-tuning the Fluffy’s aesthetic in the process, likely subconsciously.
The FOR SCALE hypothesis about the accommodation of NOVELTY, as drawn from the ICE CREAM PARLOR, is that it is “novelty with purpose”. For the Parlor as for Fluffy’s in particular, the novelty is used strategically to reflect – literally or not literally – the only fixed element of the parlor: a soft-hued rainbow of ice cream, and its inherent duality… the combination of cold and comforting. Glamour-butch is cold-comforting, too. Novelty that fits into that world is purposeful.
A DOMESTIC EXAMPLE:
Consider the Moss residence in Los Angeles (the “708 HOUSE”, built in the 1970s). The playful addition of a coop-style gangplank (see below) which can be lowered from the bedroom onto the roof makes novelty out of another inherent duality: that children are so coddled and accommodated, but that they are also ANIMALS.
The result is something that isn’t novelty-at-random (cat side-eye clock), it is novelty that highlights some often unnoticed reality.
2 → THE “EXCITING” TRASH CAN
(We’re somewhat still on “how to approach novelty”)
Trash is inevitable, everywhere, and the ice cream parlor is one of only few moments in humanity where Trashing is approached as a potentially enjoyable experience. They do this through the statement trash can:
And, good for the parlor. Another opportunity unmissed. And its mainstream-ish: even 1stD*bs is selling an ice cream cone trash can, as an example of how compelling they are as a form. (You can find that here.)
Trash in the domestic décor is instead forced to attempt elegance, not extravagance. It is the plainness, and cleanliness of the tall, round Brabantia. There is no reason for this. (Trash is another conversation we’ve been having with JAKE RODEHUTH-HARRISON.)
We have recently been introduced to the Perfect Nothing Catalog (which is here), who produced this absurdity, a sort of home-bejeweled standard steel number:
This isn’t really “NOVELTY” but it is play (of the parody and paradoxical sort), seemingly POKING FUN AT “ELEGANT TRASH”, but equally emobodying a camp extravagance. This is a very ICE CREAM PARLORIAN approach.
3 → FLAVORISM AS A CONCEPT; “CHERRY ON TOP” AS A DÉCOR APPROACH
This is an interesting one, and is a theory derived from the important notions of actual ice cream combinations.
INTERESTING FACT: The 10th most popular ice cream “FLAVOR” in America is ‘Neopolitan’, which is, famously, not one flavor but three. This speaks to the desire for ice cream to exist in compelling pairings.
(Recall two weeks ago we wrote about the disturbing POO-IFICATION of domestic colorscape. Everything brown. And, it is mind-numbing for its singularity.)
Concepts for pairing ice cream flavors directly translate to how we suggest you might approach décor. These apply to both (reminder: these are not “rules”!!!):
Contrasts in texture
Balanced intensity
Base + experiment
Cherry on Toppery
Here is an example of lattermost: CHERRY ON TOPPERY, which is an assemblage of things for sale by London’s exceptional THE PEANUT VENDOR (but it does the trick):
In this case, TOBIA SCARPA’s “VANESSA BED” is, almost literally, CHERRY to the kind of nutty energy of everything else here. Cherry on Top has replaced the now-derided “ACCENT WALL” as a strategy to bring energy to Neutrality.
Cherry here is red, but Cherry is not just red. “Cherry” is a vibe. “Cherry” knows it is both superfluous as an element (Venessa needn’t be bold), and also the thing that brings it all together into “a thing” (without Vanessa, there is no anchor).
Here is another example, from the very good book “WHITE BY DESIGN” by Bo Niles, 1984 (ISBN: 978-0941434546). The Tizio lamp, in it’s non-whiteness, exhibits the characteristics of “CHERRY ON TOP”:
it is clearly has ‘final element’ status
it is holds a visual gravity
other things are fun, but it’s the most fun
We have some critical ICE CREAM-RELATED NEWS before we sign off.
1 → An actual review of FLUFFY’S to be found here, care of
(it’s another very good Substack! That’s two Substack recommendations so far this issue!)
2 → FLUFFY’s has a delightful SIX-SCOOP banana split, which FOR SCALE first enjoyed with JAKE and LILY. The flavors selected (of which you can max at 3) were STRAWBERRY, MINT CHOCOLATE CHIP, and PISTACCHIO. It was near-perfect.
3 → Ice cream in LONDON also received a vital and viral review in
: here. (THERE IS A THIRD SUBSTACK REC!)Thursday we’re back with more Architectur*l Digest(ed). Then we’re back again next Monday. Then back again the Thursday after that. Ad infinitum.
Love and good luck,
