Dating kathryn scott
“Maybe I’m just responding to this machine made, mass-produced era that I don’t like.
I want things to be touched by humans, to be imperfect.” But there’s perfection too; how else to classify the millwork in the kitchen and dining room?
Scott describes touring those Gilded Age summer cottages, ruler in hand; this is the takeaway.
It’s subversive, in what should be a formal dining room — the Astors and the Vanderbilts wouldn’t have gone into a room that looked like this, because the inspiration was really the butlers’ pantries of those homes.
Perhaps it’s due to her work as a fine artist, which was her calling before she ventured into designing interiors and objects; true artists understand that process is as important as product.
The floors that first caught Scott’s eye now house the family bedrooms and her studio’s office.
But there’s an attention to color, and as you move between rooms, what seem at first minor variations in color and light prove to be dynamic and surprising. “This particular mantel was probably originally in the room below us, because it’s so small.
It’s not Shaker-inspired, with an interest in humble piety; upstairs, Scott has hung almost exuberant decorative touches, like a collection of antique Chinese caps or a feathered headdress that belonged to her mother.
There’s something well worn and thoughtful about these rooms, with the overall effect being calming but not monastic.
In comparison to the other downstairs rooms, these spaces feel almost cluttered — they’re not, though, with all the china stored in orderly, pretty stacks.
The shelving was inspired by Scott’s visits to the great homes of Newport, and though the craftsmanship is evident, so too is the perfection.