In the antiques and collectibles trade, the most common answer to the question of any objects monetary value is What a willing buyer and a willing seller agree on. Condition, age, quality and rarity all come into play in that answer, but the market is the final decider.

This month, a pair of Moorish Revival lamps and an antique coin bank will likely find eager buyers. The Japanese cloisonn vase is also collectible, though its damaged condition makes it less appealing. The stoneware pitcher and lithograph, while attractive, are perhaps more valuable as family keepsakes.

The snakes, birds and perhaps dragons in the design of your lamp are unusual and very appealing to collectors of objects in this style.Courtesy of the collector

Q. I inherited these two floor lamps from my father, who lived in New York City. They are 6 feet, 3 inches tall with 11-inch square bases. Some of their wiring has been re-done, and Ive attached a photo of the original plugs and bulb containers that were removed.

S.M., Seattle

A. Your pair of floor lamps appear to be American, in the Moorish, or Oriental Revival, style, and probably date to around 1920. The style was popular in the early mid-19th century and then again in the early 20th century, and reflected a Western fascination with Middle Eastern and Far Eastern design elements. The snakes, birds and perhaps dragons in the design of your lamp are unusual and very appealing to collectors of objects in this style. At auction, you might see this pair sell for $600-$900, but they might well bring significantly more if avid collectors are bidding. A retail dealer specializing in such items, or perhaps an interior designer, might ask $3,000-$5,000 for such a pair of unusual lamps.

This cast-iron bank was made by the A. C. Williams Company of Cleveland, Ohio.Courtesy of the collector

Q. This is a cast-iron metal bank that my father had since he was a child probably at least 80 years. One of the families his father worked for in Stamford, Texas, gave this to him. I dont see any identifying marks on it and it weighs about 14 ounces. Its about 5 1/2 inches long and 3 1/5 inches tall. The only other one Ive ever seen is in a museum display in Dodge City, Kansas, at the Boot Hill museum. I hope you can give me a bit of insight into this treasured piece.

E.M., Lake Oswego

A. Your cast-iron bank was made by the A. C. Williams Company of Cleveland, Ohio. This company made cast-iron toys and banks as part of their wares from 1905 until about 1938. In the 1920s it was the largest cast-iron toy company in the world. Your toy probably dates to 1910-1920. At a toy auction, it might fetch a sale price of $30-$50, though examples have brought significantly more. A dealer specializing in antique toys might ask as much as $100-$150 if it is in the original painted finish.

This pitcher is almost certainly American, and dates to the late 19th or early 20th century.Courtesy of the collector

Q. I have had this stoneware pitcher for over 50 years. There are no markings on it, but someone told me it might be a late 19th century item. It is 9 1/2 inches high and 5 1/2 inches across the top opening. Thank you so much for helping out

S.B., Dansville, New York

A. Your pitcher is mold cast stoneware, with an applied handle, in a Bristol glaze, with relief cobalt profile bust decoration of a gentleman and a lady. Bristol glaze was first created in the 19th century in England and produces a smooth white glaze on stoneware. This pitcher is almost certainly American, and dates to the late 19th or early 20th century. At auction, you might expect a sale of $50-$70. A dealer specializing in American ceramics might ask $100-$150.

Your vase is a Japanese cloisonn vase, from the Mieji era, and probably dates to the first quarter of the 20th century.Courtesy of the collector

Q. This large vase came to me from a family member and I would like to know if it has any value today. It measures 24 inches tall.

L.C., West Linn

A. Your vase is a Japanese cloisonn vase, from the Mieji era, and probably dates to the first quarter of the 20th century. It appears some of the cloisonn is gold stone or tea gold cloisonn, which is made by mixing copper crystals or aventurine glass with the enamel before it is applied. If it were undamaged, it might sell at auction for $300-$500 and carry a retail price tag of $900-$1,200. However, condition is important to collectors; and the damage to the rim and particularly the enamel of this vase could reduce those numbers by half, if not more.

This is not an original painting but a color lithograph of the original painting titled Garden Bouquet, by Mae Bennett-Brown (1887-1973).Courtesy of the collector

Q. We have had this painting for many years and would like to know something about the artist and if it is at all valuable. It measures 20 inches wide and 23 inches deep with the frame and 15 inches wide by 19 inches deep inside the frame. The artist signature is M. Bennett Brown.

C.J., La Pine

A. This is not an original painting but a color lithograph of the original painting titled Garden Bouquet, by Mae Bennett-Brown (1887-1973). This litho was probably published by Henry B. Sandler Co. Inc., of New York City, around 19401942. Born in England, Brown exhibited her work in Derby, Leicester, London and Nottingham, England. She moved to Boston in 1921 and became a member of the North Shore and Rockport Art Associations in Massachusetts. She painted many shore scenes and landscapes, but specialized in bright floral still lifes. At auction, this might sell for $20-$40. A print dealer in a retail shop might ask $100-$150.

About Todays Collectibles

The values discussed for items featured in this column were researched by Portland appraiser Jerry l. Dobesh, ASA, an Accredited Senior Appraiser with the American Society of Appraisers, with a specialty designation in Antiques & Decorative Arts. His services include providing appraisals for estate tax, charitable contribution, insurance scheduling and loss, and equitable distribution needs.

To find an appraiser, contact the American Society of Appraisers, the International Society of Appraisers, or the Appraisers Association of America. Estimates suggested in this Collectibles column are for general information purposes only and cannot be used as a basis for sale, insurance, or IRS purposes.

To have items considered for inclusion in future columns, please send us your high-quality images, preferably at least 300 dpi, 1Mb in size and in jpeg format. Photos must show each object in its entirety and must be clearly focused and well lighted to show detail. If there are any maker's marks, please include an image of those. Include measurements and information about the condition of the piece.

Send to: carolynpatten@gmail.com

or to: Todays Collectibles/Homes & Gardens The Oregonian 1500 SW First Ave., Suite 400

Portland, OR 97201

Please include your name and town, along with contact information; phone number or email address. Contact information will not be published. The Oregonian will retain usage rights of the photographs for its print, marketing and online media.

Carolyn Patten, carolynpatten@gmail.com

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Moorish Revival lamps, cast iron bank, lithograph: What are they worth? - oregonlive.com

John Bingham/John Bingham

204 Donlea Dr., Toronto

Asking Price: $2.499-million

Taxes: $9,501.27 (2019)

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Lot Size: 29 feet by 135 feet

Listing Agent: Susan Krever, Chestnut Park Real Estate Limited

The kitchen/dining space has mahogany-stained wood cabinets, a central island dividing the space and a wall of windows with a walkout to the rear yard.

John Bingham/John Bingham

If youre wondering what inspired the design of 204 Donlea Dr., detour around to the back of the house, through the lush garden and explore the potting shed with the bell-shaped roof. This was one of the first new things Dana Mallany and her husband built when they bought the house 28 years ago, long before they undertook an extensive renovation of the former bungalow in 2007.

We loved the potting shed, we wanted the house to relate to that in some way, said Ms. Mallany, and so the cedar shingle cladding that wraps around the houses new second-floor borrows from it. The four-walls coverage of the cedar was intentional for another reason.

I have a lot of trouble with builders houses when its just a faade, and the back and sides are completely forgotten, she said, a quick look up and down Donlea finds newer-build homes that have such inch-deep stone faades and stucco for the rest. It says something about our society that houses even have faades. Of course we want a beautiful front, but we live in the back yard and the back should be as attractive as the front.

The house was designed by architect Mark Franklin, president of Baldwin & Franklin Architects Inc., with extensive input from the couple (Ms. Mallany works as an interior designer). I had a wish list I started with an image file Id collected for 30 plus years. It was about a year-long process, working out the floor plans and the look of the house and sourcing product and so on, before finally getting down to building. Ms. Mallany had been working in commercial interiors such as health care offices and had been developing an aesthetic that would be conducive to healing, she said. Thats how people describe the house when they come in, they say its so calm, it brings in its own healing energy.

Listing agent Susan Krever agrees: I think its the most tasteful and interesting house Ive ever listed.

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There are three bedrooms upstairs, a master suite at the rear of the house and two spare rooms.

John Bingham/John Bingham

For an area that has seen its share of boundary-busting renovations that squeeze every inch of square footage out of a lot, 204 Donlea is surprisingly modest: the two floors above grade are a little less than 2,000 square feet with another 1,000 square feet in the basement (currently a mix of workshop/office and storage and laundry).

We tried to not over-create the space, I believe you can design well without supersizing, Ms.. Mallany said. This house isnt larger than it needs to be, so the quality can be higher.

Down the side of the house is the front door with its rectangular panes of frosted glass that illuminates like a Japanese lantern, said Mrs. Mallany, just inside is another set of windows on the wall opposite that look into the rear garden.

The entryway/foyer is larger than youd expect and sits in the middle of the main floor next to the central staircase with doorways to the living spaces on either side. I wanted the entrance to feel like a room itself, it doesnt feel grand but it has its own function and its not just to pass through. I wanted the stairs to feel wider as well, to be more comfortable in their scale sometimes we eat breakfast in the hall, we sit on the stairs, she said. Whats missing intentionally is a powder room and a closet.

There is no closet because Dana Mallany wants 'to see the cloth of the jackets.'

John Bingham/John Bingham

I didnt see [a powder room] as being so essential, theres not a lot of privacy in powder rooms, and I also didnt want a closet because I wanted to see the cloth of the jackets; I really love textiles, she said. A row of sturdy pegs helps with that display (there is a closet and mudroom just below the staircase in the basement).

To the left the main living room, a 17-foot-by-17-foot room with oak floors and a large wood-burning fireplace and tall windows opening to the front yard.

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To the right is the kitchen/dining space with mahogany stained wooden cabinets, a central island dividing the space, and a wall of windows with a walkout to the rear yard.

The steel-framed industrial windows here are repeated throughout the house in different formats, their rectangular panes of glass also reflects the French-style doors of the potting shed, and they enable some of the most impressive detailing.

I had numerous pictures of that industrial steel window in different settings, and [Mark Franklin] has those very windows in his office, Ms. Mallany said, The sills are deep, that was a decision we made as we went along: I like thick walls, but its still a contemporary space, so I wanted the drywall return to wrap the window with a plain-wall finish. A closer look finds the craftsmanship that allows such deep sills without window-framing trim to cover up any flaws. The simplicity was really important: the frames are black and the black recedes so all you see is the garden.

Breakfast is sometimes eaten in the hall, on the stairs.

John Bingham/John Bingham

In another rebuke to builder basics there are no white ceilings in the house, and the kitchen especially is not white. There are 12 colours throughout the house, it was a horror for the painter who must have thought shell put in two or three. Ms. Mallany said. This kitchen is a kind of kind of a brown eggplant they may appear kind of peach, on the ceiling elephants breath.

Theres an overuse of white, beige and grey, that neutral palate, she said. Its easy, but its a kind of chromophobia. The house is a combo of masculine and feminine and I wanted to bring back colour.

There are three bedrooms upstairs, a master suite on the rear of the house, and two spare rooms (one a very tiny space). None of the rooms are exactly the same, particularly the dormers. The house has a flat roof, so while dormers were not strictly speaking necessary, Ms. Mallany wanted uniqueness.

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Square boxes can be dull, but you dont want to over embellish them. Thats a funny story: when we were constructing it, the site guy was starting to straighten the walls and take out the dormers. I had to call the architect and say wait, wait, put those back.

The industrial frames continue, but now the windows on the front and rear walls have an arch in the transom that adds curvature, which is accented by those extra-deep sills and the inward curving dormer. That arch was really [Franklins], which I thought was brilliant, Ms. Mallany said. Thats why its important to hire an architect, they have the training to scale the eye to properly proportion and scale a house. The deep-set oval windows, which provide visual interest from the street, assist in keeping those rooms from becoming cut-out boxes.

The living room is a 17-foot-by-17-foot room with oak floors and a large wood-burning fireplace.

John Bingham/John Bingham

So much of this house is about avoiding bog-standard approaches: unlike most new-builds that have central air condition and HVAC, this house has flat-pack AC units in the second floor and radiators for heat throughout (a product imported from Britain). The doorknobs, too, have a specific intention.

Its a living finish, it ages as you use it: we have mostly bronzed finished downstairs and a lighter silvery finish white bronzed upstairs, Ms. Mallany said. These touches, she says can be explained in part by works such as Alain de Bottons, Architecture of Happiness, which suggests even something as simple as a doorknob makes a statement about buildings feeling. The product is Rocky Mountain Hardware and it has such a weight, like fine cloth when you know the difference.

Ms. Mallany says they 'live in the back yard, and the back should be as attractive as the front.'

John Bingham/John Bingham

Ms. Krever said the house has been challenging to market because it fits in-between what some buyers expect out of Torontos Leaside neighbourhood. The renovation is more than a decade old, but remains timeless, and while maybe not the house for a family with four children, it might fit another kind of bill.

People who are working through this pandemic are seeing this is a good time that if the right house comes along they are ready to go for it, Ms. Krever said. The clients who were going to downsize [to condos], they are the ones rethinking: Sharing elevators, using shared gyms? People realize more space is going to be necessary.

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Thats what Ms. Mallany wants too, but more space to garden.

Its been tough decision to sell, its been years in the making. My husband retired at the end of May so we dont need to be in the city as much, she said. Wed like to move to a quieter place, we want more land and a new project too.

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Home of the Week: An interior designers home, inside and out - The Globe and Mail

The living room of an apartment designed around the owner's stylish wardrobe

Mr Shopper Studio designed a sartorially driven apartment that takes cues from the owners stylish threads; the walk-in wardrobe serves as a home office, too

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Most interior designers will tell you that compact city apartments present more of a challenge than sprawling urban projects, even if there are far fewer rooms to makeover. This is because creating a rich aesthetic in a petite space, and finding a balance between form and function, takes real skill. When Mr Shopper Studio was tasked with redoing this two-bedroom apartment in the newly constructed Boutique at Bartley, the firm put one of its most talented designers on the job.

(Related: Home Tour: This Stylish Apartment Combines Pastels With Playful Accents)

Our primary aim was to create a luxurious home for the client, says Sean Hafiz, lead designer on the project. We wanted it to encompass not only her design brief, but also her personality and lifestyle and to make a statement in different areas of the home; we wanted to create a sense of excitement as you enter each part of the house.

The owners main request was to create various ways to display her collection of clothes, bags and accessories throughout her home, while creating an Instagram-worthy effect in various areas of the apartment.

(Related: Tatler How-To: Design A Walk-in Wardrobe That's Decor Goals)

There is a real flair and panache to this dwelling, and a charisma that hits you from the moment you step inside. This is partly due to how the designers have incorporated wallpaper and prints in nearly every room, bringing a playfulness to the otherwise sleek and minimalist interior.

Designers tend to think that darker tones make a space feel smaller, says Sean. But I think that a mix of wallpapers in various dark tones and textures makes it feel a lot cosier. Wallpapers are taboo to most Singaporeans and designers as they are afraid the climate means they wont last long. But with the right treatment and the right kind of material, wallpaper can last years.

(Related: 11 Feature Wall Ideas That Will Instantly Transform The Look Of Your Rooms)

Apartment owners usually have one key gripe: a lack of storage space. But it takes a particularly skilled interior designer to find a way to incorporate cupboards and shelves that do not make a room feel more cramped.

The most difficult room to design was definitely the living area, says Sean. We fashioned the TV console in such a way that the storage areas and the main TV wall are divided by a display shelf. It also helps to separate it from the storage areas. Built-in LED lighting helps to create visual continuity throughout the space and brighten the home.

(Related: How To Improve Your Wellbeing With Good Lighting Design In Your Home)

In an apartment such as this, with unimpeded views across Singapore, the window areas tend to take centre stage to capitalise on the stunning vista. But the team at Mr Shopper Studio wanted to ensure that what was inside the apartment was as memorable as the glittering skyscrapers outside.

In the bedroom, the eye is drawn indoors with contrasting patterns on the bedlinen and accent cushions, a rug imported from the US, and a customised, tropical-themed headboard that takes pride of place in the room. It features wallpaper from Cole & Son and mirrored panels on both sides to create a sense of expansiveness within the room.

(Related: 6 Inspiring Ways To Design Your Bathroom)

The walk-in wardrobe, in particular, is a standout fixture. Sporting a pair of polished, gold-framed glass doors, it was designed to resemble a fashion boutique; a long rug placed in the centre recreates the look of a catwalk. This self-enclosed area also houses a desk so it can function as a home office.

Altogether, the apartment is a beautiful amalgamation of textures and patterns, resulting in a stylish space both the design firm and the owner are proud of.

(Related: 4 Easy Ways To Organise Your Wardrobe At Home)

Led by Ken Lee and Kate Deng, the studio aims to create stunning homes tailored to each owner. It has a team of over a dozen like-minded designers who are driven by their shared passion for interior design; the practice has unveiled amazing makeovers for more than a hundred homes to date.

Mr Shopper Studio33 Ubi Ave 3#05-72 Vertex Tower Amrshopperstudio.com

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Home Tour: A Green Apartment With A Fashionista's Dream Walk-In Wardrobe - Tatler Singapore

Dubai-based Lebanese interior designer and artist Pierre Abboud.

Nabidad Khan, Features Writer

Dubai-based Lebanese interior designer and artist Pierre Abboud came up with a unique Blizzard Lanterns idea, based on some of the popular characters from the Blizzard franchise. One of the best artists in the Middle East, his work has received a warm welcome and has inspired his fans in the United Arab Emirates.

Pierre Abboud introduced his artistic project Blizzard Lanterns during the Holy month of Ramadan. The art installations featured six exclusive lanterns that represent Blizzard Entertainments blockbuster franchises. Pierres fulfillment always stems from his passion for art and the diversity of medium he uses. These range from sculptures and paintings to installations and interior design.

In an interview with Gulf Today, he talks about his passion and drive to create art.

Here is what he said:

Would you like to share the idea behind the Blizzard Lanterns project?

This project is truly unique. The work of art features six exclusive lanterns that represent six of Blizzard Entertainments key franchises including World of Warcraft, Hearthstone, Overwatch, StarCraft, Diablo, and the multi-franchise Heroes of the Storm. Throughout my career as an artist, I took inspiration from many places. I never imagined that gaming would inspire me to create such a cultural crossover. When you look at Blizzard games, you will see that every title has its own identity and magic. Every character has a strong message to deliver. The stories that these titles bring forth really connected with me stories of struggles, finding a place to belong to and doing what is right. Add to that the stunning designs, the deeply built universe, and the lore.... All this inspired me to build a physical bridge to the Middle Eastern culture in the form of lanterns.

Is Blizzard Lanterns your first gaming-inspired project?

Yes, it is my first gaming project, but probably not my last. I enjoyed discovering the wider world of Blizzard characters, learning more about the philosophy of each game, and diving deeper into this imaginary world, yet very real, in its own way.

'Heroes of the storm.'

Tell us something about your passion for art?

I see art in everything I do, in our everyday lives, in creation, in destruction, in happiness and sadness. There is not a moment that I do not think of a new artwork or a project. Art is something that is born in your mind and imagination at first, it then reaches its maturity as you play with it in the planning process. I believe that every creation has its beauty and its purpose, concept. The most important part for me is to see a deeper meaning in what I do. I am very passionate about sustainability, and you can see that by looking at my earlier projects. I worked closely with Masdar City earlier this year on creating the worlds largest mosaic made from recycled materials that made its way into the Guinness World Records. I enjoyed working on this project and it was one of the most rewarding experiences as it supported the sustainability cause, something I find close to my heart. I also enjoy discovering new forms of art and finding my inspiration within new fields, such as gaming.

Have you had formal training in the field? What inspires you?

Different things inspire me. When it comes to different projects and different types of work, I get inspiration that comes with what I do.

In Murals, space becomes my hero, and the painting can radically alter the sensation of spatial proportions creating a three-dimensional and illusionistic feeling.

In Exhibitions & Events, my focus turns around designing innovative, attractive, and functional spaces and installations that appeal to the right target audience and leave the desired impact. In Interior Design, my work revolves around understanding and capturing the psychology, mood, and emotional needs of the client, conceiving an interior that evokes positive feelings and subtle emotional signals. Painting and Sculpting are my ode to love and feelings and a privileged time where I dive into myself and yield to the free expression of what cannot be said in words. In every piece of art, there is a flirt between light and shadow that became a cornerstone and signature of my work.

What kind of material do you use when you make sculptures?

I do not have limitations and I use a mix of different materials when it comes to creating sculptures. For my Blizzard lanterns, I used a mix of metal, wood, glass and plywood.

Would you like to share something about your future projects?

I am always working on something. I am inspired by using recycled material or trash art. I believe there should be no waste out there and everything can be put to better use because there is beauty in everything that surrounds us.

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Gaming franchise lights the way to artistic expression - Gulf Today

A Bolton-based interior designer has partnered up with one of the North West's biggest garden centres.

Allyson Houghton founded her brand Allumi two and a half years ago, selling candles, wax melts, diffusers and wellbeing products.

Her range is now on sale at Bents Garden Centre at Leigh End, Glazebury, which attracts more than a million visitors each year.

The brand forms a part of her company Ideas Interior.

She was approached by Bents after one of the store's buyers smelt one of Allyson's fragrances in a friend's home.

Allyson said: "She loved it, asked where it was from and then contacted me about having the range on sale in the store.

"It was an absolute dream come true.

"Although lockdown has been a difficult time for everyone, my business is mainly online and so I've been kept busy."

All of her handmade products are produced using natural ingredients. During lockdown she even handed out hand-creams to front-line workers.

Allyson said: "When I started out with Allumi, I wanted to create a natural range that could be used safely at home by anyone with allergies and around children and pets.

"I've extended the range over time and am still adding new products.

"I'm proud to say that everything in Allumi is British-made."

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Bolton-based interior designer partners up with Bents Garden Centre - The Bolton News

Unsolved Mysteries

July 1stWho else but the producers of Stranger Things would dare drag the 1980s cult-classic series Unsolved Mysteries into the 21st century? With most hit podcasts and documentary shows concentrating on cold case true crime stories, its only right that the genre originator, Unsolved Mysteries makes a comeback. The show featured gruesome crime cases, paranormal happenings and unexplained phenomena. From introducing its viewers to the chupacabras and the skunk ape to more serious matters like disappearances and violent crime, its appeal was that of a sensationalist tabloid.

Crimewatch may have kindly advised its viewers not to have nightmares whereas Unsolved Mysteries positively encouraged them. Sleep-deprived children everywhere were regularly haunted by the image of Robert Stack staring down the lens, unblinking and unwilling to offer a solution or resolution to any of these terrifying ordeals. Its no surprise that this latest iteration will be without a host as it takes on a more modern documentary-style format but the intention of the series remains the same, appealing to armchair sleuths to help solve these outstanding sometimes outlandish cases.

July 1st

From the creators of Queer Eye comes this emotionally driven series that sees couples who have yet to walk down the aisle achieve the weddings of their dreams. Eight couples from different backgrounds and sexual orientation are aided by a trio of wedding experts who help with the planning of the proposal to the actual ceremony itself. In the tradition of Queer Eye, the show is as much about this team of professionals as it is the participants. Interior designer Jeremiah Brent, fashion designer Thai Nguyen and chef Gabriele Bertaccini all showcase their particular talents and involve themselves in the couples stories, becoming invested in their passions and regularly tearing up as they pull off these idiosyncratic celebrations in record time.

It may feature surprise weddings that take place within a week but Say I Do is the antithesis of the frankly demented, heteronormative car-crash that is Dont Tell the Bride. There are no football themed nuptial monstrosities, exorbitant stag parties or tasteless trips on vomit-inducing roller coasters for these couples. Say I Do is a lush, romantic affair shot in a warm, gauzy haze that encourages its viewers to get swept up in the fantasy rather than consider the less than perfect reality.

July 2nd

The thoughts of a ninja-esque crew of avenging nuns roaming around may fill any ex-Catholic school-goer with a certain type of dread but the cartoonish Warrior Nun concerns itself with more metaphysical issues than some errant typos in the missalettes. Adapted from a comic book of the same name, the story revolves around Ava (Alba Baptista) a feisty 19-year-old who is haunted by dreams of her own death. When she wakes up in a morgue with an artifact embedded in her back it looks as though these night terrors have become a reality. This religious McGuffin is a calling card for the Order of the Cruciform Sword, a team of young nuns who fight demons on Earth to prevent it from being submerged into hell.

Ava must learn to juggle her new found responsibilities as part of this group of powerful women with her ordinary life of boyfriends and parties. For all its dramatic bluster, Warrior Nun is Buffy in a new cute habit. These young gun-slinging, razor-toting nuns may prove to be a guise too far for Irish audiences but their highly stylised battles and weaponised antics should appeal to film fans and Manga devotees alike.

July 8th

This illuminating documentary charts the life and career of flamboyant Puerto Rican astrologer and sometime actorWalter Mercado. Mercado was no twee wooly jumper Russell Grant type; the Liberace of fortune-telling wore a giant bouffant hairdo to match his elaborate garments and extravagant jewels. A true phenomenon, he wowed his audience, reaching over 120 million Latinx viewers who regularly tuned into his readings. With guest appearances from Lin-Manuel Miranda and Eugenio Derbez, the documentary seeks to understand Mercados unique appeal, how a gender non-conforming, spiritualist became a permanent fixture on daytime television. With his daily affirmations and inspirational messages he evolved into something more important than just an astrologer, with his concentration on love and positivity, he became a symbol of inclusivity and acceptance within Latin America.

July 10th

The Old Guard is the latest Netflix action movie attempting to capture the streaming success of surprise hit Extraction. Starring Charlize Theron, its a superhero yarn that centres on a warrior Andy (Theron) who is the head of a secret mob of immortal mercenaries who have been covertly protecting the mortal world for centuries. When their abilities are accidentally exposed during an emergency mission, Andy must eradicate those who wish to control, replicate or capitalise on their powers.

July 17th

With The Witcher on hiatus and Game of Thrones becoming a distant memory, Cursed is the newest epic desperate to acquire a slice of the lucrative fantasy fandom. A twist on the Arthurian legend adapted from Frank Millers novel, it tells the story of Nimue played by Katherine Langford (13 Reasons Why) a young sorceress who is sent on a quest by her dying mother to deliver an ancient sword to its rightful owner. She teams up with a teenage mercenary named Arthur (Devon Terrell) and together they attempt to locate Merlin and reunite him with Excalibur. In this re-imagining of the myth, it is Nimue who learns to wield this magical sword in the face of invading forces who have destroyed her village and to protect her from the ominous intentions of King Uther Pendragon, Arthurs father.

July 21stBack for a new culinary adventure, this season Street Food is heading to Latin America where it will explore the cuisine of six countries including Mexico, Brazil and Argentina. The vibrancy and traditions of the food culture within places like Oaxaca, Salvador and Buenos Aires are delved into as local market stall holders and small restaurateurs explain the history and heritage behind their best known dishes. Created by the team behind the wildly successful Chefs Table series, Street Food is a passionate, authentic look at how food is the common language that binds communities, the moveable feast that is passed down through generations.

July 22ndNamed after the crudely Xeroxed pamphlets that warned about the dangers of New York which were pushed into tourists hands in the late 1970s and early 1980s, Fear City is a docu-series about the hold that organised crime had over Manhattan at this time. Its a look at how craven and corrupt the city had become during the 1970s that led to abject poverty for most of its citizens and the arduous task the FBI had of dismantling the five mafia empires who were at the height of their powers during the 1980s.

July 24thThis sequel to the hit teen rom-com sees Noah (Jacob Elordi) and Elle (Joey King) trying out a long distance relationship as Noah heads off to Harvard. Its decision time for the couple as Elle grows close to a new classmate and is distracted by her dreams of going to college with her best friend, Lee as Noah quickly adapts to the freedoms of college life including his budding friendship with the seemingly perfect Chloe. With the original film becoming a sleeper success, due to its almost genteel storytelling, the off-screen romance of its leads and its cross generational appeal (John Hughes muse Molly Ringwald appears as Noahs mother) Netflix will be hoping that its audience is ready to pucker up once more.

July 31st

Season one of this comic-book caper was a runaway success with 45 million viewers streaming the story making it second to Stranger Things as Netflix most watched original series. Created by Gerard Way of My Chemical Romance and Gabriel B, The Umbrella Academy is an ambitious dark dramedy that revolves around a dysfunctional family of adopted super-hero misfits who reunite to solve the mystery of their fathers death. Its all star cast, which includes Love/Hates Robert Sheehan and Junos Ellen Page, will return as the Hargreeves siblings endeavour to reunite with each other and figure out the cause of the disruption that gave season one its shocking cliffhanger finale.

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Netflix: 10 of the best new shows and films to watch in July - The Irish Times

If there is one lesson that most legendary entrepreneurs share, it is to "Pursue your dreams, relentlessly." Your success depends on what you do every day, consistently, and not what you do sometimes. Luxury interior decorator, Desiree Busnelli's journey is a close resonation to this lesson.

From being a nurse to a luxury lifestyle, and decor consultant, Desiree's eye for fine luxury and design never left sight. Here's a sneak peek into her journey from traveling around the world for collaborations with renowned designers, and to launching her own company.

Doing what she loves

It certainly was a pursuit of happiness for Desiree Busnelli, as she overcame one challenge after another, but never gave up. Busnelli battled a life-changing stomach surgery in 2007, which left her in a body cast for over four months. Determined to be resilient, she made this a turning point in her life and chose to pursue her dreams of becoming a luxury consultant finally.

As she dived into designing, Desiree already had experience in real estate and knew that this would help her progress. "As children, we were five girls, and I was the oldest daughter. As I grew, I was fascinated with exquisite things. My grandma, Kathleen Leavitt, who also was an interior designer, would take me along to her showroom in Bellevue, Washington. At just ten years old, I was awestruck with the luxury street of dreams, and simple things like elegant, modern bathroom setups. This interest to explore opulence stayed and grew as I traveled more and developed a worldly sense of culture."

Never, say never

If being an entrepreneur is tough, being a woman entrepreneur is double the challenge. Being a 'stay at home mom,' and juggling responsibilities, Desiree made sure to embrace all the roles before her. Working alongside the elite CEO, Emanuele Busnelli, and his team of B&B Italia over the last decade, Desiree was able to nourish her passion for fine aesthetics and charming decor. "After years of persistence, I developed the expertise required for chic and contemporary designing. I strongly believe that nothing happens overnight, and it takes eight to ten years of hard work if you are aiming at becoming the best."

B&B Italia went over to design sophisticated hotels around the world. And soon, Busnelli independently founded the JECHIJO Bespoke Design Company in the suburbs of Milan, Italy.

"If you want to fly, give up everything that weighs you down and march towards your dreams. It is very important that you enjoy and love what you do every day. I'm a realist, and I constantly ask myself if what I'm doing makes me feel good and if I can do it every day. What keeps me going is to try and make people happy by creating a positive space - either by knocking down dormant walls or by building vibrant new walls.

The world could possibly never get enough of inspiring women like Desiree Busnelli, who have followed their dreams. Despite being a high-end lifestyle consultant, Desiree is rooted and does her best for the community. Through her charitable collaborations with organizations like Miracle Babies, Voss World, and similar, she is a constant source of hope and positivity.

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How Interior Decorator Desiree Busnelli's association with B&B Italia prepared her to launch JECHIJO Bespoke Design - International Business Times,...

Youd think, from their matching polka-dot blouses and geometric necklaces, that designer Ghislaine Vias and Interior Design Editor in Chief Cindy Allen had coordinated their outfits for their appearance on Guests and Gusto, the web series hosted by the Savannah College of Art and Design over Zoom. But nothe design-world experts (and longtime friends) are just that in-sync. Together in conversation with Khoi Vo, vice president of SCAD Hong Kong, Allen andViasspent an hour earlier today reflecting on their careers and speculating on the future of design, especially at such a crucial moment in time.

I think I found success early on because I was fairly fearless, saidVias, who established her New York-based firm in 1999. When I look at something Ive never done before, I say, Oh my god, thats awesomeIve never done that before! And I think that I genuinely did have a design voice that was different from what was going on in New York City [when I was starting out], she continued. I think there was something about being able to really work from what moved me in my heart that allowed me to put something out there that was different.

Mission accomplished: Ghislaine has an amazing sense of color, said Allen. (Vias'projectsand productsare a testament to that). When the duo first met,Viaswas still a budding designer who had just finished an art-filled townhouse in New York, and Allen had just started at Interior Design. It was the projects photographer who introduced them.I saw something in [Vias], Allen recalled of that first meeting. She really kept growing and growing, and is just an amazing talent. So I think I was right on that score.

Allen also reflected on a pivotal moment in her career, as she related her early experiences at Interior Design to todays events. When something like [COVID-19] happens, it allows you to give yourself a different kind of perspective on life she said. My first issue as Editor in Chief was the September issue, which is always our New York issue. We sent the issue to press, and then 9/11 happened. It changed everything for me, and for the world. I grew up. I found myself really wanting to represent and care for a community.For designers living and working through the COVID-19 pandemic, Allen said, Youre getting experience as a designer just by going through this. Because what a designer does at the end of the day is solve problems.

Later, the topic turned to the future of design, with the spotlight landing largely on the promising next generation of designers. I think that activism is something, especially with young students, thats going to change everything, saidVias. Theres an empowerment of young people I really think [people today] are being more sensitive. Theyre working from a place in their hearts, trying to do the thing that feels good and feels right. I have a designer in my office whos vegan. She and I are going to take a vegan design course together and learn how to show more sensitivity to animals.

Other trends thatViasand Allen predicted included a stronger emphasis on health and wellness and a return to handcrafted decor, objects, and installations. Its like the world stopped and people were like, Oh, right, theres hobbies!Viassaid, noting that less time spent at work or running errands has allowed many people to explore new crafts and talents.Now is such an unusual time, and so unique, she added.You have to put your thinking cap on and do something that really takes this situation, turns it upside-down, so that something positive comes out of this. What are the opportunities right now? What do people need? What are some things weve never designed before?

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Cindy Allen and Ghislaine Vias Discuss the Future of Design on SCAD Web Series - Interior Design

Its obvious, but nonetheless worth saying: The interior design industry has been built on the talents of gay people. The inventor of the modern professionElsie de Wolfewas a gay woman. Countless iconic decorators have been gay men. Design has long been both a safe haven and a showcase for LGBTQ creativity and enterprise. Anyone will tell you that this was, is, and will continue to be a good industry to be gay in.

That fact obscures a lot of nuance. Forty years ago, you might have seen a lot of gay mens apartments in Architectural Digest, but you wouldnt have read about their boyfriends or partners. And while the design world itself is a welcoming environment, gay designers who step outside the bubble of showrooms in cosmopolitan cities will recognize that intolerance is very much alive.

To celebrate Pride Month, Business of Home spoke with 10 gay men and women from all corners of the design industry to discuss their history, their experiences and their hopes for the future.

OPEN SECRETSWhile the design world has always been a place of acceptance for gay people, it hasnt always celebrated their sexuality alongside their talent. For much of the 20th century, even well into the 1990s, it was tacitly understood that many male decorators were gay, but that fact wasnt always acknowledged in the mediaor even, in some cases, by the clients who hired them.

Jamie Drake, designer: I didnt have a coming-out-of-the-closet moment, particularly; I was in touch with the fact that I was gay since I was very very young. I knew some interior designers and assumed they were gaythere was only one I knew to be straight.

Robert Couturier, designer: Being raised in France, our attitude toward homosexuality is not the puritanical view that America has. It was just the way it wasthere was no question about it. So coming to America was really strange. The refusal of acceptance was something I found really shocking.

Michael Boodro, former editor in chief of Elle Decor and current host of the Chairish podcast: It was the era of confirmed bachelors. It was very much an acknowledged but unspoken thing.

Jamie DrakeBrittany Ambridge

Raymond Schneider, publicist: I was hired right out of Nancy Corzines showroom to work for [designer] Harry Parkin Saunders, and he taught me everything I knew about business. Behind the scenes, everyone knew he liked men, but the way he carried himself would in no way, shape or form allude to his private life.

Couturier: [Several prominent gay designers] got married. And Im not saying because they got married [to women] they didnt have a couples lifeIm not passing any judgment on anyone. It just wasnt acceptable to be gay, especially in society.

Drake: I think [gay designers who married women] probably felt they could socialize in circles with hetero couples easier being a couple with a traditional notion of a wife.

Couturier: I remember the president of Sothebys, Robert Woolley, he was absolutely wonderful. He was outand I mean, he was completely out. He would go to dinner parties and people would ask him, Whos your wife? He would point to his boyfriend and say, This is my boyfriend and my husband and my wife. Hes everything. It was something that very few people did. [Ed. note: Woolleys partner died of AIDS in 1986, Woolley himself died of AIDS in 1996.]

HOW AIDS CHANGED EVERYTHINGThe AIDS crisis devastated gay communities all over the world. The design industry was hit particularly hard, as the epidemic ravaged a generation of talent. One consequence of the pandemic was an upending of the established order: What before had been kept behind closed doors was now pushed out into the open.

Boodro: It was really the AIDS crisis that changed everything. Gay people no longer wanted to be secret. They confronted people: Were here, were queer, get used to it. Because it was really a matter of life and death.

Couturier: You had people in the streets, which was different.

Robert CouturierCourtesy of Robert Couturier

Boodro: People that ostensibly had not come out, or had not come out publiclythose people started dying. I remember Perry Ellis, and Rock Hudson obviously, but it had been happening a lot before that. When people started dying, it really ripped the pretense to shreds.

Drake: When I went to Parsons, I spent my first semester in a dorm. I was assigned two roommates and we became best friends. One was dead at 29 and the other one died six years later. I was the endgame caregiver to both of them, even though both of them had partners. Maybe it was easier if its not your life partnerto try and get through it. I know that was the case for one of them. It was just so wrenching for himit was easier to turn over the intimate care and the making of promises that then were broken that I did it. The promise was: Dont make me die in the hospital. I ended up making the decision he had to go to the hospital. I broke my word, but it was the right decision to make.

I think the blessings and success Ive had are for them as well. They might say, Look at what you did, and look at your apartment, and look at this and look at that. These are things that maybe they would have achieved, but they didnt get the chance.

Boodro: After AIDS, people were no longer willing to hide or pretend. There was this whole controversy around outing peopleit was a huge cultural shift. Suddenly, the pressure was to be out. I know it had a big effect on the design world.

Drake: It created a militancy.

Couturier: I was very close with [AIDS activist] Larry Kramer. I loved Larry Kramer. He was a wonderful person. Everybody always used to say, But hes in your face! And I would reply, Hes saying things to people that they need to hear. And he is right. He was all for outing people. And I said, Well, out peopleits completely OK by me!

There is a point where you dont have to be genteel and polite. Because the more genteel and polite you are, the more people take advantage of you.

PUBLISHING OPENS UPThe world of interior design media reflected the design industry at large: Gay men and women were generally free to be themselves within the industry, and the rooms they published were frequently designed (and lived in) by gay people as well. But it wasnt until the 1990s that what had once been subtext became text.

Boodro: Say a shelter magazine featured a designers home, and it was a gay designer, which many of them were. They would never really show the boyfriend or the partner.

Michael BoodroCourtesy of Hearst Design Group

Sabine Rothman, former editorial market director at Hearst Design Group: I went in very transparently. Im pretty transparent in general, and that was not going to be something I was going to hide. It was an incredibly inclusive environment [at Cond Nast, where Rothmans career began]. I had a lot of mentors and colleagues who openly accepted [my wife] Amy. We were out at parties and events all the time; it just felt very natural and supported.

Boodro: I always felt like [founder and former editor in chief of House Beautiful] Marian McEvoy and [former editor in chief of Elle Decor and Architectural Digest] Margaret Russell didnt get enough attention for the way they were willing to present gay couples. When I worked with Margaret at Elle Decor in the early 90s, she would get a few hateful letters every time she published a house of an acknowledged gay couple. And that wasnt that long ago.

Rothman: In terms of how people name their partners, that has changed, and the way it was covered changed as a result. A lot of that was the result of [the legalization of gay marriage in 2015]. If the term husband or wife isnt available, you dont use it. Whereas once there would have been a discussion about how to cover a same-sex couple in a shelter magazine, now you just do it.

Boodro: Were there instances of people who should have gotten promotions or jobs that they didnt get, and maybe their being gay was a factor? Yes, there were. But it certainly was more open than a lot of fields. And theres been an appreciation for the talents of gay people in these industries for a long time, whether it was acknowledged that they were gay or not.

GAY WOMEN IN DESIGNInterior design in its modern conception was invented by a gay woman: Elsie de Wolfe. Strange, then, that over time the profession came to be associated with gay men. There are, however, many gay women in design, and their visibility in the industry may be on the rise.

Boodro: In the magazine business, there was a lot more openness about gay men than there was about gay women, and thats probably still somewhat the case.

Darla Powell Courtesy of Darla Powell Interiors

Darla Powell, designer: There are some gay women locally here in Miami who are decorators and who have reached out to me. I had another one reach out with some fan mailshe is in Florida as well, shes also gay and getting into interior design. I have a feeling theres probably more than the stereotype would have you believe.

Rothman: I dont know necessarily why gay men have been more visible in the industry than gay women. But I suspect that it has something to do with peoples perceptions about who has taste.

THE CLIENT QUESTIONWithin the industry, tolerance is the norm. But much of a designers career is spent interacting with clients, who bring varying levels of understanding of and comfort and experience with the gay community to the table.

Corey Damen Jenkins, designer: In the industry, its not so much a big deal to be gay, but when youre working in the field, it can be.

Drake: I can only remember one client who felt uncomfortable. My manifestation was gayI had very long hair. Ironically, he was in the hair replacement business. I think there was a discomfort there that I was gay, and the project did not go forward.

Jenkins: I had one client who thought for years I was straight. She had affiliated gay men with being very effeminate, with a limp wrist and a high-pitched, lisped voicea stereotype. We were having dinner with her husband, going over the project. Im not exactly sure how I shared with them that I was gay, but somehow it came out. And they were shocked!

They were deeply religious people, and they were raised not to agree with [being gay] from a scriptural standpoint. When I shared with them that I, too, was raised in a very strictly religious household, and that my family refused to accept me for being gayto this dayit broke their hearts. She said, But youre so nice, youre such a good person, youre always giving back to charity, youre so giving of your time with me and my kids and my family. And yet your family doesnt associate with you? And I said, No, because of something I cannot change.

It kind of shocked her, because we had fallen in love as friends, and as co-workers on this project. By associating with me closely, getting to know me, laughing, literally crying, you knowthe ups and downs of building a large homeit helped her to get to know a gay man without really realizing that she was doing it. It dispelled so many of the misconceptions and prejudices she had held for a very long time.

Corey Damen JenkinsCourtesy of Corey Damen Jenkins & Associates

Eche Martinez, designer: After the Pulse shooting in Orlando, I was really distraught. I happened to have a very quick meeting with a client Id been working with for years the Monday after it happened. I was so upset, and I said, Im sorry Im not as effervescent as I usually am, but this really hit close to home. She connected not only with the severity of it, but she said, I never told you, but when I was growing up, I lived in Orlando; two of my best friends were gay and we used to go to gay clubs. She had been thinking about the same thing over the weekend. I wasnt expecting to hear that, and we really connected. Its not like, Im in the gay bubble, these people are in the straight bubble.

Powell: In the beginning when I was doing social media, I was like, How transparent do I want to be? Do I show pictures of me and [my wife] Natalie on my feed? And once I decided, Screw that, I am who I am, and if they dont like it, they can go pound sand, the clients really started pouring in. I did lose a few followers on Instagram at first, but it skyrocketed when I really started honing in. Now our clients are ideal clients and nobody ever has a problem with it. They know its coming!

OUTSIDE THE BUBBLEIt may be rare to encounter intolerance about ones sexuality in a fabric showroom. But when designers leave the comfort of a famously open-minded industry, things can be differentespecially when projects take them outside of coastal enclaves and liberal-leaning cities.

Drake: The last time I experienced [homophobia] was my first time in Denver, walking down the street in some giant fur coatand they werent coming after me because of PETA. But that was a long time ago.

Powell: In Miami, overall I feel pretty comfortable. When I go up to northern Florida, forget it. People are driving around with rebel flags on their pickup trucks, and Im like, You know what? Maybe my wife and I are just friends here.

Mikel Welch, designer: I went to college in the south, in Atlanta. Theres a joke that if you go outside of the 20-minute circle, youre in Georgia; the rest is Atlanta. When I step outside that bubble and go into a Hancock Fabrics or something like thatyes, in smaller towns, it is not as accepting. Youre going to have a harder time

Not that I would walk in there raising a flag. But my jokey manner that I have, I may not have that going in there. I might tone down myself to make it more palatable to themnot that I should. Its a toning down and being aware of where Im at and how itll be a bit easier.

Rothman: Ive been pretty lucky. Ive been on photo shoots where I really disagree with the homeowner on their politics, but it doesn't necessarily move on to the subject of their thoughts on [gay rights]. Ive never felt uncomfortable. I have been shocked by some peoples politics on economic policy, but I probably shouldnt have been.

Eche MartinezCourtesy of Eche Martinez

Rio Hamilton, designer and marketing expert: [In Las Cruces, New Mexico, where Hamilton has a home], it takes so much explaining! I tell people that Im an interior designer, and I do branding and marketing for other people who are part of that business. Most people say, Oh, you go to Ashley Furniture and buy stuff for people? And I say, Yes, but I would never go to Ashley Furniture.

Couturier: One day, I was flying down to Atlanta; it was 7 oclock in the morning, I was half awake, and this very proper American lady sat next to me and wanted to talk. She was asking questions, which became more and more pointed: Whats your religious background? Where do you come from? I realized I had become the picture of evil, as far as she was concerned. A foreigner, gayand when she asked me what religion I was and I said, Actually, Im Jewish, she looked at me in complete horror.

Welch: I stage for a closet company, so Im typically gone at least 10 days out of each month to set up a showroom. Im in Phoenix, Arizona, or Mobile, Alabama, and every time its different. I do have to tailor my approachin a lot of these red states, they dont understand why a man is in this position. This is a womans job is kind of the undertone that you get.

ADDING RACE TO THE EQUATIONA national conversation about race and inequality has rippled through all corners of American society in the wake of the killing of George Floyd, and the design world is no exception. Perhaps for the first time ever, the industry is taking a hard look at something designers of color have long known: gay or straight, racial inequality is still very much alive.

Jenkins: Being Black and gay is a completely different path than being white and gay.

Welch: Im very proud of the design industry, and Ive been happy to see that the design community is listening as a whole on the issue of race. But one thing Id like to see is an exploration about diversity within the LGBTQ community. When I walk through the showrooms, there arent many Black members of our community that are prominent. I do see lots of white gay men, but I really dont see much other than that. I would love for us, as we become more inclusive, to take a look at that. And not not just from a sales role, but in a leadership capacity.

Jenkins: There are all the stereotypes about how gay men are supposed to talk and act. Well, if you want to turn that switch off and act very conservative and have a deep voice and talk about sports, a white gay male can do that. A Black gay male does not have that option. You can be as unstereotypical as you can possibly be, but you will always be Black.

Welch: Racial relations within the gay community are just as bad [as the outside world]. You would think it would be a situation where you have two minority groups, they would feel some sense of camaraderie, but its not the case. And its sad. Once on a dating app, I had someone send me a message that said, No coons. There are some bars in Chicago and Atlanta that will say, No baseball caps, no hoodies and no hip-hop music. Its saying it without saying it. Even with workif there are four Black people together, its a Black business. But if its four white people, its just a business.

Courtesy of Mikel Welch

Martinez: More and more, were starting to realize that even within a very open-minded society like San Francisco, there should be more inclusion. The Black community keeps getting decimated in the Bay Area, especially the queer Black community. Theres definitely lots of room for improvement.

Welch: I have a difficult time doing gay pride interviews. I want my pride to be out there, but because I get doubly discriminated against, I oftentimes dont get excited about it. There are still issues that need to be corrected.

I am a gay man and Im proud of that. The design industry has been very kind to me. Ive been able to make some tremendous strides, but Im kind of at a point now in my career where Ive got to speak out because its not just about me. Ive got to make it easier for the people coming behind me now.

SAFE HAVENThe design industry has always been a welcoming place for gay men and womena place where many find a community that eluded them in other fields.

Boodro: [My being out] was understood but not discussed when I started in publishing. Im sure I thought I was hiding it more than I ever did. But the nice thing about the design world is that within that small world, you didnt have to pretend. Its not like I worked for a private company or even the government, where being gay could cost you your job.

Jenkins: It was pretty much dont ask, dont tell [at the car company where I worked prior to starting my design firm]. This was back in the late 1990s. I was kind of head down, blinders on. I wanted to do my job and go home. [When I started as a residential designer], being gay was much more out in the open.

Martinez: Growing up in Argentina, there was this overlap between your family and your friends from high school. It was never like, OK, five guys are gonna go to a gay bar. When I left Argentina 10 years ago, there was no the gay district or the gay bar. Moving to California, I really made a core group of friends who were gay men for the first time in my life.

Hamilton: In [UC Berkeleys interior design program], it was a relief: It was OK to be openly gay. Out of the classmates I had, maybe 50 percent of them were gay, and we all shared a common interestnot only in men, but in design. My first gay friends were in design school.

Powell: Im really a newbie, but my experience has been so positive. I feel so welcomed and accepted into the design industry.

Schneider: Were in a community that fully encourages us and celebrates us. The last decade, to me, has been the most accepting of all.

WHATS CHANGEDIn some ways, the raw facts havent much changed in 40 years. The design industry was, and is, a place where gay talent is celebrated. What has changed is the explicit celebration of gay identity, and the degree of normalcy.

Boodro: I used to think that you couldnt be a decorator unless you lived on the Upper East Side, had a navy blazer with buttons, and wore a tie all the time. It was a different world.

Schneider: I keep on going back to charities like DIFFA and Alpha Workshops that organized an entire industry. It was always welcoming to gay people, but we weren't running around with rainbow flags. It's really acknowledged nowit's discussed, and its reflected in social media more than it ever was.

Martinez: My experience of being queer back home was just a bunch of guys going out for dinner who happened to sleep with men. I slowly started to read more about it and get the subtleties about what it really means to be queer, or gender nonconforming or nonbinary. Theres definitely a more involved conversation.

Couturier: Young people today are probably equally as fluid as we all were when we were 16 or 17, except now its completely understood and completely normal and no one asks a question. Everybody understands.

Boodro: Young people are just much more open and relaxed about it. Even when you go outside the design worldto all my nieces and nephews, its just a given. Its not an issue. To us it was such an issue, and we fought so hard that sometimes you cant quite believe youve won the battle, and you still want to fight the battle. Sometimes you think, Oh, these kids dont know what we went through, they take it for granted! But thats the way it should be.

Homepage photo: Shutterstock

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Pride: An oral history of being gay in the design industry - Business of Home

The second club, the moody Les Deux Caf, was created in collaboration with the designer Michle Lamy and installed at Mr. Fortunes direction inside an Arts and Crafts bungalow cum crack house, resurrected and transported by truck across a parking lot to a new locale.

And it was at Les Deux Cafe, with its self-aware design quotations from Old Hollywood nightspots like Chasens, Scandia and the Brown Derby, that Mr. Fortune laid the groundwork for what is probably his signal achievement: the design of the Tower Bar, the clubby, walnut-paneled dining establishment that opened in 2007 and quickly became the Hollywood power nexus it remains.

Like so many other newcomers to the land of self-invention, Mr. Fortune adjusted and burnished his biography as he went along. While he would eventually acquire some of the affectations of a swell, he was born Paul Stephen Fortune Fearon on Sept. 5, 1950, in a suburb of Liverpool, England, to Frances (Fortune) Fearon, a telephone operator, and Kevin Fearon, a production manager at a company that supplied Christmas hampers to Harrods.

When he was still a boy, Mr. Fortunes family relocated to a large and ramshackle house in Cheshire, England, within earshot of the lions roar at the Chester Zoo. Pauls natural flair was a driving force in the restoration of Cranwood, as the house was called, his brother, Mark Fearon, said in an email. Mr. Fearon and Mr. Brock are his survivors.

As a youth, Mr. Fortune often dragged his three siblings to country house sales and auctions, Mr. Fearon explained, not only helping his parents furnish Cranwood, but also showing an unwavering conviction about the correctness of his own taste. This was to be an earmark of his design practice and recurring theme in Notes on Dcor, Etc., a 2018 book he wrote that was equal parts portfolio, memoir and how-to.

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Paul Fortune, L.A. Designer to the Stars, Dies at 69 - The New York Times