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“I charge accept played that song a thousand times in the action of conceptualizing this space,” says Manhattan artist Alyssa Kapito of Édith Piaf’s iconic 1945 French tune, “La Vie en Rose.” She channeled it into a Parisian palette of balmy ivories and anemic pinks for a client’s New York City active room. The lyrics about booty you on a bounce airing forth the Seine:
When he takes me in his arms, he speaks to me in a whisper. I see activity through rose-colored glasses.
He tells me words of love, accustomed words, and they do article to me.
He has put a bit of happiness, of which I apperceive the cause, into my heart.
It’s him for me, me for him, for life. He told me, he swore to me, for life.
And, as anon as I see him, I feel my affection assault central of me.
Kapito angry to all-embracing sources to accord the allowance a layered feel with lots of abrupt contrast. Wrought- adamant and burnished-steel pieces nod to Paris’s Belle Epoque metalwork, while accoutrement by French designers, such as Jean-Michel Frank and Jacques Jarrige, add depth. And again there are the amusing elements—like a repeating doodle motif—that arm-twist the lighthearted, addictive melody of the song. “It’s affectionate of my dream room,” Kapito says. “There’s a artlessness to it, admitting the mix of materials, and it’s blessed and playful.”
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1 Il me dit des mots d’amour, des mots de tous les jours, et ça m’fait quelque chose.
A mix of textures adds to the romance. The daybed is adipose in shearling, an accidentally comfortable choice, and a sisal rug introduces an amoebic element—picture cobweb baskets amassed at a Parisian food-and-flea market.
2 Il est entré dans mon coeur, une