Bumped the tub/linen-cupboard wall out about 12 inches, stealing square footage from a guest room. Planning ahead to enable first-floor living, the designers annexed space from an adjacent bedroom for a large walk-in shower in the bath and a hallway laundry closet. Now the space feels sophisticated, fresh, and-most importantly-much safer for Catherine’s parents when they need it. Catherine WilliamsonĪ second sink and a pair of medicine cabinets boost the bath’s storage, while brushed-bronze faucets and brass hardware add a warm counterpoint to the new marble vanity top and floor tile. Reflected in the arched medicine cabinets are new linen-cupboard doors with similar molding details, built by Bryan. Picture-frame molding applied to the warm-white walls echoes the lines of the vanity and adds an architectural touch. Stealing a foot of space from the guest bedroom and sacrificing some of the bath’s linen cupboard allowed the designers to achieve two goals: a larger, 4-by-5-foot shower with a bench seat in the bath, and a laundry closet that opens onto the hall. Key to making the bath more accessible: ditching the tub for a curbless walk-in shower. So they turned to Catherine and her designer-husband, Bryan, to improve the existing first-floor guest bath and find space for laundry nearby. While Catherine Williamson’s parents wanted the 1950s Cape they bought near her family in Columbus, OH, to be their forever home, they could see that the second-floor primary bath (and the basement laundry) might not be doable for them down the road. And just as designers are continuously looking back to the future, why shouldn’t you own a piece of fashion history? Click through to shop the look.BEFORE: While the basic layout was a keeper, the bath’s mottled-brown floor tile, laminate vanity, and acrylic sink top and tub walls were dated and dreary. And the Courrèges look inevitably finds its way onto inspiration boards at many of our contemporary designers’ studios: Consider ** Raf Simons’**s astronaut jumpsuits at Christian Dior’s fall couture 2014 show, or **Frida Giannini’**s coupling of mod shifts and patent-leather boots at Gucci’s fall 2014 show. A photograph by William Klein (a fellow proponent of the mod aesthetic) from _Vogue’_s Maissue celebrated the then-fledgling designer: Dressed exclusively in Courrèges, a pair of bespectacled models appear as fashionable intergalactic representatives from the planet earth.īut the look came down to earth, too: One might recall Audrey Hepburn whizzing around in her convertible in the opening sequence of How to Steal a Million, outfitted in milky white Courrèges, from her chin-strap helmet to her white kid gloves. Abbreviated hemlines, contrasting borders, and punchy stripes in silhouettes borrowed from children’s wear comprised the designer’s vocabulary. Nowhere was this truer than with André Courrèges, whose designs epitomized the era’s affection for everything outer space.ĭesigning for the year 2000, Courrèges’s eponymous label championed the youthful mod aesthetic for his sophisticated 1960s couture clientele. Chin-strap space bonnets, flat ankle boots, and sleek, plastic-like tech fabrics typified the space-age look as women readied themselves for a new sartorial stratosphere. The space race in the 1960s produced a crop of young designers aiming to equip the fashion masses for what they assumed to be the next frontier.
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