Corey Damen Jenkins

A two-bedroom Upper East Side apartment with approximately 1,000 square feet; ceilings are standard residential height, and while the classic details of a 1929 building lend some character, the rooms are human-scale and intimate rather than imposing.

Deep burgundy velvet curtains, navy upholstered sofa, richly patterned rugs, dark wallpapers, woven bamboo shades, and abundant textiles create a predominantly warm, enveloping tactile environment with only minor cool accents from marble and glass surfaces.

Every surface is activated — pattern-on-pattern wallpaper, layered art hung salon-style over windows, multiple throw pillows in coordinating but varied fabrics, botanical arrangements, and a coherent dark-jewel-toned palette that holds the extraordinary density together in disciplined dialogue.

The space references multiple periods — Chippendale secretary, XVI-style bergères, antique tapestry-like wallpaper — but freely mixes eras with contemporary upholstery and modern art, and the flat-screen era intrusions of a rooftop garden and styled vignettes keep it from full period commitment.

Jenkins is a designer creating a space that 'feels like it's been there forever' using vintage chairs, antique-inspired wallpapers, and salon-style art hanging, but the article notes the couple moved in within two years and the apartment was found recently — convincing but fabricated accumulation.

The article frames this as a personal home for the couple with the title 'The More the Merrier' suggesting social warmth, and the living room and breakfast nook are arranged for both intimate daily use and entertaining, but at 1,000 square feet there's limited capacity for grand hosting.

The space is considered and layered with quality furniture and careful arrangements that command respect, but the deep sofa with piled pillows, the personal study, and the intimate scale suggest comfort rather than intimidation — you'd sit down but you'd notice the room.

Jenkins is an AD100 designer decorating his own home with styled vignettes, symmetrical pillow arrangements, composed sight lines through art-hung windows, and every object placed with editorial precision — the Philip Jeffries wall covering and Theodore Alexander furniture are designer-directed selections, though his genuine personality still reads.

The space is clearly performing its designer-owner's brand — bold colors, named furnishings (Lee Jofa, Theodore Alexander, Philip Jeffries), and timed to coincide with his second book release — but the scale is modest, the brands are trade rather than consumer-facing, and the maximalism reads as genuine personal taste rather than wealth signaling.