Mariette Himes Gomez

Both the New York apartment and London flat are compact, intimate spaces with standard residential ceiling heights; the article explicitly notes the bedroom is 'not much larger' and the kitchen is 'too tiny for any serious cooking.'

Predominantly warm palette of taupe, cream, and caramel tones throughout, with upholstered furniture, linen slipcovers, heavy draperies, wood tables, Tibetan carpets, and soft lamplight creating an enveloping tactile warmth.

Moderate layering of objects — books, silver trays, roses, framed art, architectural sketches — but with breathing room and careful editing; the London flat especially balances 'sobriety and richness' without overcrowding.

References to English library chairs, French tub chairs, a turn-of-the-century children's hoop, Gothic bookcases, and Italian console tables mix periods eclectically rather than committing to one era, with some modern art punctuating the traditional furnishings.

Gomez describes shopping at London and Paris markets and provincial antiques fairs for unique pieces, the London flat has hung lace at windows and assembled old silver, and the article emphasizes she grew up surrounded by extended family — the spaces feel genuinely accumulated rather than staged.

The article explicitly describes these as personal retreats — 'for five hours, no one needs me,' the London flat is where she stays during shopping trips alone, the kitchen is too tiny for serious cooking, and the spaces are designed for solitary comfort and private reading.

The rooms are carefully arranged and respect quality — slipcovered sofas, proper side tables, framed collections — but the curl-up proportions, soft fabrics, and personal objects like window boxes and books keep them from feeling disciplinary.

As a top interior designer curating her own homes, every vignette is composed — the symmetrical lamp-and-chair arrangements, the precisely hung architectural sketches in the dining area, the styled coffee table with silver bucket and roses — these are professional compositions.

The wealth is evident but deeply understated — no brand broadcasting, no statement art by famous names, no gilding; Gomez quotes about removing 'creature comforts' and banishing books suggest self-discipline rather than display, and the quiet palette signals 'if you know, you know' sophistication.