NEW YORK — The magic carpet of Manhattan has completed its sweeping circuit of the borough, coming to rest at last before the tranquil, gray-blue currents of the East River. It is a fitting metaphor, for magic has long been the defining lexicon of Muriel Brandolini’s interiors.
Having observed the autodidactic designer’s work through nearly three decades of bold, rule-breaking incarnations, her latest project represents a triumphant pinnacle. Brandolini approaches decoration with absolute freedom, inverting established design conventions with a fearlessness that borders on alchemy. She pairs improbable palettes, bridges antithetical historical eras, and reinvents domestic narratives with each undertaking. Yet, in her hands, these disparate elements invariably coalesce into perfection.
Sutton Place is a neighborhood of distinct character; to some, its quiet cul-de-sacs and river-adjacent isolation can feel austere. But Brandolini seized the immense privilege of an enviable waterfront vantage, anchoring her vision within a classic 1920s Rosario Candela building designed in collaboration with Cross & Cross. The resulting duplex functions as an extraordinary pocket of stillness—an urban oasis suspended above the relentless churn of Manhattan.
Main Facts: A Riverside Transformation
The two-floor residence carries an illustrious pedigree, having previously served as the home of the late John Fairchild, the legendary publishing titan behind Women’s Wear Daily and W. Fairchild’s tenure was an unabashed homage to traditional English decor—a garden-like sanctuary heavy with floral chintzes, deep-seated sofas, and the distinct atmospheric cadence of a London townhouse.
The transformation from Fairchild’s Anglophile retreat to Brandolini’s exotic, jewel-toned barge is a masterclass in contrasting domestic visions. Working alongside architect Alice Tai, Brandolini prioritized the luminous quality of the river, utilizing an open enfilade of rooms to draw natural light deep into the floor plan.
The structural and aesthetic overhaul was executed through a long-standing creative collective. Longtime contractors Wojtek Lusinski and Mark Los of New Path Contracting handled the heavy lifting, while Lukas Koszegi Andres directed the painting. Crucially, the home’s signature wall upholsteries and elaborate window treatments were masterminded by Pilar and Olivier Lhermite of Couture For Homes.
"I’ve worked with this team for decades!" Brandolini notes. "Without them, I would not be able to be in AD."
Chronology of a Design Evolution
Phase I: The Library and Sandy Oak Paneling
Entering the apartment, visitors step first into the library, where the original pale sandy oak paneling was meticulously preserved to serve as a warm, tactile backdrop. Here, Brandolini’s global, eclectic sensibility immediately takes center stage.
A pair of original Madeleine Castaing tufted sofas, upholstered in a peridot silk damask by Claremont, are flanked by Louis Süe and André Mare pendants hung intentionally at eye-level to cast an intimate, theatrical glow. The space also features tables by Hella Jongerius alongside a bespoke floor lamp by Hervé van der Straeten, crafted from antique Coromandel panels, gilt bronze, and semiprecious stones—a subtle nod to Brandolini’s Vietnamese heritage.
A candy-pink 1960s Venetian mirror hangs near a T.H. Robsjohn-Gibbings desk for Saridis. Opposite, a curved flea-market sofa from Paris gathers around Mattia Bonetti’s iridescent "Smarties" table, accompanied by Brandolini-signature slipper chairs wrapped in a patchwork of antique embroideries and trims.
Phase II: The Living Room Enfilade
Further along the riverside enfilade lies the sprawling living room. The walls are enveloped in a sage-tinted, block-printed silk designed by Brandolini, its Art Nouveau-inspired pattern instilling a sense of boundless unity.
Dividing the vast space is a monumental pink marble table crowned by a crystal-beaded galleon chandelier crafted by Claire Cormier Fauvel. Identical sofas by Decour Décoration—realized after a Jean-Michel Frank design and covered in silvered velvet—face Chinese-style armchairs clad in embroidered amethyst silk. These rest upon black-lacquer semicircular coffee tables by Madeleine Castaing, creating twin seating anchors for an array of Rateau tables, neoclassical painted chairs, and rare orchids.
Phase III: The Private Quarters and Lower Level
A staircase—featuring an Opaline ceiling light by Richard Fauguet and custom shelving housing Nuno Brandolini’s extensive rare film archive on DVD—descends to the private chambers.
The guest bedroom embraces a mossy green velvet palette, anchored by a 17th-century Portuguese bed and an unexpected midcentury Mathieu Matégot rug sourced from Galerie Jacques Lacoste.
Nearby, the primary bedroom is an exercise in restrained, sophisticated femininity. Pale gray silk walls block-printed with delicate floral motifs frame a mauve Gio Ponti armchair, pink opaline lamps, Art Nouveau floral mirrors, and custom-embroidered bed linens by Vis-A-Vis Paris. The adjacent primary bath pairs Bianco Dolomiti and Bardiglio Gray marble mosaic tiling with a Kohler cast-iron soaking tub and a 1970s figural mirror by Pierre Cardin for Acerbis.
Supporting Data: Materiality, Art, and Craft
The coherence of Brandolini’s design relies heavily on bespoke textiles and an iconoclastic approach to art curation.
- The Palette: Born largely from fabrics Brandolini designed in India during the apartment’s renovation, the color story avoids stark primaries in favor of liquid, atmospheric tones: peridot greens, soft pinks, pale citrine, and opalescent silver.
- The Textiles: Unlined block-printed silk curtains run continuously from the library to the dining room, filtering the morning sun into dappled liquid light and shifting to deep chiaroscuro at dusk.
- The Art Collection: Built over decades alongside her husband Nuno, the collection bridges early acquisitions (George Condo, Donald Baechler, Philip Taaffe) with 16th-century Italian canvases and conceptual pieces introduced by art advisor Vincent Risterucci. Works by Sol LeWitt, Paul Klee, Maurice Denis, Brion Gysin, and Max Ernst hang together in unscripted, spontaneous conversation.
Official Responses and Collaborator Insights
The collaborative spirit behind the Sutton Place residence highlights the deep personal and professional bonds Brandolini maintains.
Art advisor Vincent Risterucci reflects on the evolution of the couple’s collection: "I admired how open-minded she was, brave and passionate—never questioning investment or resale value. It was really fascinating to work with her."
For Brandolini, the design process is inseparable from her passion for hospitality and human connection. The dining room—an intimate jewel box featuring cognac-and-green silk walls, an early-20th-century Swedish Grace console, and a floral-trailing beaded chandelier—serves as the epicenter for her social life.
"Entertaining is about taking care of friends and giving them the best of you—from the food to the ambience," Brandolini explains. "I love mixing my guests, as each brings interesting conversation to the table. And I love it when they leave very, very late, because they’re having so much fun."
Implications: A Master Designer’s Definitive Statement
The completion of the Sutton Place apartment marks a profound milestone in Muriel Brandolini’s career. While her signature elements—fearless color juxtaposition, custom textiles, and historical collisions—remain intact, this project demonstrates a newfound maturity and tranquility.
By allowing the natural architecture of the Rosario Candela building and the dynamic, liquid light of the East River to guide her hand, Brandolini has transcended mere interior decoration. She has engineered a floating world—a deeply personal, harmonious sanctuary that proves radical freedom and serene domesticity can not only coexist, but elevate one another to high art.
