Kelly Wearstler Walks Us Through Her Fall Gallery Release
Spanning one-of-a-kind objects, furniture, and lighting designed collaboratively with Wearstler for her online gallery, the assortment carries a wide-ranging appeal that illustrates the breadth of her vision.
When we last caught up withKelly Wearstler, the L.A. interior designer had recently launched a collection of Dalí-esque melted disco balls with Dutch creative collective Rotganzen. The Quelle Fête collection, an evolution of Rotganzen’s After Party Series forDisco Gufram, recalls the melancholic glory of dancing the night away at debaucherous haunts like Studio 54 and The Roxy in the 1970s and ‘80s. It also served as the first collaboration for Wearstler’s namesake lifestyle brand, which had traditionally stocked home furnishings and accessories of her own design.
Wearstler often scours Instagram for up-and-coming talents and champions their work in her interiors, whose maximalist sensibilities have rightfully earned her the moniker “Queen of the Power Clash.” Her refined curatorial eye and deep knowledge of the international design landscape often gives her most famous projects—the Avalon, Viceroy Santa Monica, and multiple hotels under the Proper umbrella, which is owned by her husband, Brad Korzen—a sui generis feeling rooted in bucking convention and, simply, trusting her instincts. (She can tell you a thing or two about it on MasterClass.)
Since her Rotganzen collaboration, Wearstler has turned her attention to thedigital realm by launching a virtual gallery that has become a veritable showcase for emerging talents in collectible design, such as Morgan Peck,Hagit Pincovici, and Felix Muhrhofer. Today, she revealed the gallery’s fall lineup, which spans one-off and limited-run physical objects, furniture, and lighting, most designed in collaboration with her. The assortment’s wide-ranging appeal—stump-like terracotta side tables by YehRim Lee, plush-framed latex mirrors by Amelia Briggs, and recycled plastic chairs by Dirk van der Kooij that resemble chainmail—illustrate the breadth of Wearstler’s vision.
Here, she tells us about a few of her favorite pieces.
“YehRim’s pieces are all unique and have amazing movement, which presents itself well in the tall drinks tables we developed together. I love the scale and can envision them perfectly juxtaposed with a chair to create a strong vignette.”
“Nothing is better than when form and function come together to illuminate a room. Kooij’s Satellite lamps are large and have dials on the sides that allow for the perfect warm or cool LED lighting. I have this lamp at home, and in a few hotel projects—I always get asked about them.”
“Felix and I both sourced the materials to create the terrazzo surfaces of this collection, and the Xenolith Coffee Table II is the perfect representation of that creative dialogue. I found beautiful stones alongside the beach in Malibu and Felix did the same throughout his travels in Europe. The result is quite personal.”
“Amelia’s practice explores humble reclaimed materials like latex, oil, and glass, manipulating them to become these beautiful pillow-like forms that truly trick the eye. For this collection, she explored new colors, and the gold mirror she created looks just like cast bronze.”
“The Baobab Vessel II is incredibly sculptural—exactly at the intersection of art and design. Ebitenyefa’s terracotta forms are organic and lifelike, which become all the more striking when married with the graphic hand-painted patterns.”
“Having long been an admirer of Lior’s, it was terrific to collaborate on these works. I love the Heydays piece, not only for the unexpected hue that depicts a classic corner of an L.A. pool, but also for how the color conveys the materiality of the cast resin belt frame.”
“StickyGlass with the muted earth tone pigment is unusual and quite sophisticated. The Caramel Opal color looks terrific paired with the gold leaf–tinged wine goblet and brings a certain beautiful subversion to any bar cabinet.”