Flower Magazine

JUL-AUG 2018

Browse "flower" to learn techniques from established and up-and-coming designers, be inspired by the floral decor of weddings, galas, and flower and garden shows, and infuse your lifestyle with chic floral fashion and home decor.

Issue link: http://digital.flowermag.com/i/993257

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Page 47 of 91

I N AN ERA when almost everything, including design, is widely accessible via the internet and social media and trends come and go in the blink of an eye, interior designer Richard Keith Langham is a refreshingly established presence with a rich and timeless style. There is an erudite gravitas to his work, balanced by an adamant refusal to take himself too seriously. His roots are in the Deep South— Brewton, Alabama, to be exact, which he credits in part for his interest in interiors. "I used to say that when you grow up in a small town, there isn't anywhere to go but your own house, so it better be pretty," he says. "But there were actually a number of beautifully appointed houses that piqued my early interest." Langham's resume includes Parsons design school; an early and invaluable apprenticeship with the legendary Mark Hampton; a significant stint with English-country- house aficionado Keith Irvine; and a year spent studying in England. It's no surprise then that his interiors speak with a decidedly British accent. When asked about his retreat on Long Island, he breezily responds, "Oh, the Witch's Hat House? It's nothing fancy, just a place for me to spend weekends and have casual suppers with friends. You know, the cobbler's children have no shoes. My house is a mish-mash of castoffs from jobs, some heirlooms that need slipcovering, and the very first pair of Christopher 46 | J U LY/A U G U S T 2 0 1 8 Designer Richard Keith Langham (above) refers to his Queen Anne–style home (top) as "The Witch's Hat." RIGHT: Peaches, a piece of coral, and ceramic oyster shells decorate the dining room table, which is used as a staging area in preparation for dinner on the porch. PHOTOS (TOP AND PREVIOUS SPREAD, LEFT) BY DAVID HILLEGAS

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