Vaguely Vignette: creating moments that won’t last

As I prepare to have my sister’s home shot on Saturday, I have come to a number of realizations.  First, that which I have come to consider “normal” is anything but.  I have had to explain to my Father at least a half dozen times, why we were hanging paintings, photographs, signs, and the like off center, up high, down low or not at all, letting them lean casually on a piece of furniture as if I was deciding whether or not the wall above would become its permanent home.  The reason of course is…staging.  What gets framed out within the confines of the view finder looks entirely different – dare I say horribly wrong – in real life.

vig 1

Proud moment when everything came together.   I painted that console table!

In small spaces, where cameras, and tripods, jigs and jogs in the walls, eaves, and any number of less than perfectly wide-open, square spaces (like say a 1789 home that was renovated – maintaining “most” of its original integrity might have), faking the scene is critical to telling the story.

vig 2

Coasting into the shoot as if it was no big thing….

If this feels like an Is this Real or is it Memorex commercial – it sort of is.  For you younger readers, that’s a reference to a cassette tape commercial.  If you are still not with  me – look it up.  I’m thrilled that I have such young readers.  The point is, cameras cannot capture everything, despite what TMZ might lead us to believe.  There is a lot of pulling pieces into a frame, with great effort, making the dress appear as if it has been tossed on the settee, awaiting the cocktail party in just a few hours, the book lying open on the bed, having just been abandoned for a dip in the ocean.  These things are carefully manufactured.

vig 3

Flowers in a Jill Rosenwald Vase … cut scene.

I have been filling this home with furnishings and objects for coming on 6 months now.  It wasn’t until the last two weekends that I even attempted to start and set the scene.  ( I only work on this project on the weekends).  Scene setting is an exhausting endeavor.  It requires gathering hundreds of objects, some rare, some cheap but interesting, some vintage, some natural- think shells and drift wood, some art, and some others would never consider art, and pulling it all together.  Is there a secret to it?  A science?  I’m still not sure.  I try and test, remove, and replace, add and subtract, curse and commend, and eventually after a little more nudging, a tiny bit of consideration and consultation, arrive at the vignette.  Alas, the point of the story.  While I cannot show you all I have been up to, I am happy to share this one perfect moment.  Perfect, anyway, from my point of view.

 

Setting the Table

Red 2

Turkish Oushak . RH Home . Woodstock . VT.

I have looked at so many chairs they are all starting to look alike.  I fell in love with two tables – a very reasonably priced Ballard Design Trestle table, and a mid-range Dovetail Campbell table, which I was surprised wasn’t more expensive.  Why you ask?  The answer is simple – I was born with silver spoon taste.  It’s legs are turned, and have a beautiful curve, it’s finish rustic.  The combination is refined without being prissy, coastal without being kitsch.

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Ballard Design . Tatum Trestle Table . $1099.

That’s the trick.  Being suggestive without being overt.  That’s why I have spent so much time looking, looking again, second guessing, and finally making my selections.  Trust me when I tell you – mistakes will still be made.  It’s the nature of the process.  Some will be easy fixes, some will cost a disgusting amount of money to fix.  Ouch.  Those, however, are the ones I will never make again.

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Dovetail . Campbell Dining Table . $1362.50

After all that searching, I landed on chairs from the most unlikely of places.  Will I consider them a mistake.  Time will tell.  I chose a version of the Windsor Chair in a dirty blue.  High backed – arm chairs that will sit at the head of the table.  Side chairs are going to be a simple Parsons curved back chair from IKEA.  Yup.   In the end, frame plus slip cover is just $129. a piece.  The will be used most frequently.  Everyone likes to sit in the “kitchen” – since the dining room is open to that tiny, but incredibly sweet, u-shaped kitchen, I know that is where people will hang out.

Red Ticking

Tick Tock . Perfect accent to play off the gray.

I am going with a Cirque Pendant by Louis Poulsen.  The colors are muted – not the bright primaries you would normally think of for a seaside seeing, but the strips scream nautical and French.  What more could I want?

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Cirque . Louis Poulsen . $314.15

I imagine a red and white ticking stripe napkin, with a gray matte, metallic charger, and a rough hune string, tied loosely around the cloth.  Maybe a sprig of thyme or rosemary tucked into it for effect.  At the center of the table I would have one of Jill Rosenwald’s vases or platters.  Her pottery is perfect.  I might even go for one of her leafier patterns.  Dare to go wild.

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Jill Rosenwald Pottery . South End 

Piece by piece.  Bit by bit.  It is beginning to come together.

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Jill Rosenwald Pottery . South End .

Happy weekend.