A Designer’s Guide to LA

My friend didn’t need to do much convincing for me to join her for Design Los Angelos. The former La Cienega Design Quarter (LCDQ) has recently rebranded under the leadership of Rebecca Birdwell, supported by a board of notable industry figures such as Jennifer Gracie of Gracie, Nick Grinder of Apparatus, Glenn Lawson of Lawson-Fenning, and Joe Lucas of Harbinger. We spent most of our time in West Hollywood, where LA’s interior design showrooms cluster densely—especially along La Cienega. Since few of these brands show in Boston, and only a handful appear in New York, seeing them on the West Coast felt essential and energizing. With Boston still caught in a chilly spring, the five-hour flight was well worth it to immerse ourselves in Southern California’s warm weather… and open-toed shoes were a welcome shift.

These showrooms feature brands I’ve admired—and specified—for years. Some are based in LA with flagship stores, others gather pieces from around the world. Read on for a Boston interior designer’s guide to LA interior design showrooms, with a few shopping and dining mentions at the end… a girl’s gotta eat (and shop).

Rose Tarlow

Rose Tarlow is synonymous with American design that bridges antiquity and restraint. The Melrose Place showroom feels like a study in atmosphere—intimate, moody, and deeply layered. Furniture pieces often reference English and European antiques but with subtle edits: slightly thinner legs, softened proportions, bespoke finishes. Rose tarlow doesn’t stand trends; the showroom, furniture, and fabric embrace longevity; the foundation of timeless spaces. Lighting is low, palettes are hushed, and nothing screams for attention—perfect for clients who understand quiet luxury.

Below, an upholstered chair features a tight back and a loose, scalloped skirt that pools softly on the floor. A distinct stitch line down the back adds intrigue—almost like the chair is opening its arms, waiting for someone to sit. Nearby, an armoire with a bold off-white and navy triangle pattern feels architectural. The cornice and base are painted blue, while the top features a slightly different motif. The doors carry their own rhythm, with thicker horizontal rails and a series of varied rectangular panels. Lastly, a curved lounge chair in channeled neutral linen rests on light oak legs—barely stained. The curve of the frame feels instinctive, like it was designed to cradle the body.

Peter Dunham / Hollywood at Home

Peter Dunham’s style is distinctly West Coast with European influence. Hollywood at Home is warm, layered, and maximal in a controlled way. Known for his textiles—often hand-block printed—Dunham fills his showroom with upholstered pieces, wallpapers, lighting, and case goods that mix British charm with LA ease. The mood is global but not bohemian. Everything feels purposefully casual. It’s one of the best examples of how to inject personality into traditional frameworks without going kitsch or trendy.

It begins with outdoor furniture: a teak chair with a light blue patterned cushion and a bold purple pillow. Classic trellis planters frame the entrance, overflowing with greenery—a perfect welcome to the store. Inside, the vignettes unfold like lived-in rooms: a curved velvet sofa in a lounge, canopy beds in the bedrooms—one upholstered, the other with a woven headboard—both set against blue patterned wallpaper.

Throughout the space, each “room” features a different wallpaper, often paired with groupings of vintage art. In the back courtyard, more teak furniture appears, dressed in geometric outdoor fabrics. The palette feels light and playful—whimsical patterns, fun colors, and unexpected shapes. It’s a blend of laid-back Southern California charm with old-world European influence.

Nickey Kehoe: Household

Nickey Kehoe walks the line between old-world utility and soulful refinement. Their main LA showroom is deeply atmospheric—muddy tones, moody lighting, and curated vintage pieces styled as if they were inherited. Their in-house collection includes furniture, textiles, and lighting with folk references and a wabi-sabi edge. The Household Collection is more functional: linens, ceramics, cleaning brushes, small goods—like a Shaker general store for the design-obsessed. Their visual language is consistent: unpolished, collected, and full of restraint.

It starts at the Household storefront—a crisp, classic red. Not too bright, not too faded. The color feels like what a New Englander might call barn red, the kind you’d find in a Benjamin Moore historic collection. Inside, a vintage soapstone sink invites visitors to test the hand soap, paired with a newer bridge faucet. There’s some vintage furniture, but the star is the custom millwork, showcasing curated collections of ceramics, glassware, linens, and even custom hardware—all aligning with Nickey Kehoe’s signature look.

Nickey Kehoe: NK Shop

Next door, the main furniture showroom pairs antiques with moody, small-scale printed wallpapers. A petite slipper chair with tapestry-style fabric and tassels evokes vintage proportions and a bygone era. A pair of cabinets—one black, one turquoise—look beautifully aged (and maybe they are), each housing groupings of ceramics.

The standout collection: French ceramics by Astier de Villatte. Made of traditional clay, triple-dipped in porcelain, they have a soft, chalky finish that reveals the base clay beneath. They’re available only here and at the John Derian showroom in NYC.

A custom kitchen in the back features green cabinets, a bold marble backsplash, more ceramic pieces, and a panel-ready refrigerator that hides the modernity behind traditional lines. In another room, a pair of vintage doors are mounted on crisp white drywall—a contrast I loved. And lastly: the restroom. A skirted sink, wallpapered walls, and the chicest brass cover plates and push-button light switches. Say no to plastic rockers—this is how it’s done.

Ken Fulk: LA Showroom

Peeking into Ken Fulk’s mind feels a bit like Mary Poppins leaping into a chalk drawing—whimsical, theatrical, and surreal. The experience begins outside with a nostalgic red vintage car. The bold exterior of the building is painted olive green, and the front courtyard has been reimagined with rectangular stone pavers, soft gravel, and a collection of vintage planters—some concrete, others stone or terra cotta.

True to form, Fulk practices his favorite illusion: trompe l’oeil. Faux-painted columns appear along the facade, rendered in a cartoon-like style. They’re not meant to be perfect—but that’s the point, and it works. Inside, the rooms continue the magic. Painted finishes give walls the appearance of wood, plaster, or draped fabric, adding depth and character to simple architecture.

One room, made to look like paneled wood, is so convincing you feel compelled to touch it. The faux finish extends to the windows and even to a set of custom shelves filled with ceramic plates. Elsewhere, hand-dipped candles, framed art, and tramp art pieces mingle with furniture, creating a layered, giftable mix.

Gracie Wallpapers

Gracie sets the standard for traditional hand-painted wallpaper. Founded in 1898, the company grounds its designs in Chinese export papers and updates them through custom colorways and compositions. The showroom is less about styling furniture and more about architectural impact—these wallpapers are art installations in themselves. Their team handles custom sizing, color-matching, and layout planning, so it’s as much a design service as a product.

The exterior of Gracie sets the tone immediately. Hand-painted details cover the front door, and glass windows reveal the hand-crafted paper inside. Inside, visitors can pick up their book—the cover features a brilliant blue paper also on display at the Melrose storefront. A generous demonstration station was provided, allowing fellow designers to sit for a painting lesson.

During the session, the team shared insights about the paper, the milk and egg paint (which requires refrigeration), the brushes, and the techniques. Taki, a master artist based in New York, led the demonstration; holding brush in each hand—one large, one small—and slowly layered color onto the flowers and leaves.

BDDW

BDDW is the rare American brand that truly owns the intersection of craftsmanship and conceptual design. Founded by Tyler Hays, the company produces furniture, lighting, and accessories in Pennsylvania with a level of detail that rivals European ateliers. The LA showroom is spare but soulful—plaster walls, oil paintings, puzzles-as-art, hand-thrown ceramics. Woodwork is meticulous, hardware often sculptural, and nothing is mass-produced. It’s not about decoration—it’s about material truth and artistic expression. It appeals to those who appreciate restraint with an edge of weird.

The entry itself makes a strong first impression—a wallpapered door in climbing greens, layered with hand-painted art and proudly marked “made by Philadelphians.” A few framed puzzle-art pieces hang throughout the space, adding a touch of whimsy. Handcrafted armoires and credenzas anchor the rooms, combining wood, leather, and delicate brass hardware. One piece, painted black with fine floral details, stood out in particular.

Their collection also includes upholstery and hand-loomed area rugs. My favorite: The Rosevale armoire—crafted from domestic wood and featuring ceramic floral sculptural elements that serve as door pulls. From a distance, they almost resemble a rock climbing wall, but up close, the craftsmanship feels entirely unexpected. I couldn’t resist snapping a photo of some tiny tiles, casually—yet intentionally—placed in a narrow corridor. Not fully installed, just… cute.

Closing Statement

I love you, LA—and I’m not done yet. Travel always fuels my design work, and this trip was no exception. I still have more to share, including my take on showrooms like Ben Soleimani, Armadillo, Christopher Farr, Claremont, Harbinger, and Jenny Cooper, along with plenty of restaurant and shopping recommendations. I’ll be updating this post soon with even more inspiration.