JURANDE

As I sat down to write this week's blog post, I cast my mind to my most reliable source of inspiration - films. Today, I'd like to share with you my top ten films (in chronological order of their release)  - past and present - and their outstanding interiors that has me thinking about them long after the end credits have rolled. 
  • Sabrina (1954)

From the mansion in Glen Cove to Sabrina's apartment facing the Eiffel Tower in Paris, this Audrey Hepburn movie is one dream home after another — all with design beautiful enough to match Sabrina' couture. The office scenes will also delight any mid-century aficionados. 

    • The Graduate (1967)

    The Beverly Hills backdrop for the 1967 classic is as chic as Mike Nichols's Oscar-winning film. From the curved central bar, to the black leather armchairs, Mrs Robinson's interior décor taste was every bit as alluring as her character.

      • You've Got Mail (1998)

      You’ve Got Mail was a modern update of the 1940 comedy 'The Shop Around the Corner'. In a nod to the original, Meg’s independent bookstore was named The Shop Around the Corner. 

      It's no surprise that one of the most beloved romantic comedies ever has interiors that inspire warm and fuzzy thoughts. Kathleen Kelly's homey bedroom in Nora Ephron's classic film "You've Got Mail," is a direct representation of the character's warm and inviting personality. Fans of shabby chic styles will adore her entire Upper West Side apartment.

      • In the Mood For Love (2000)

      In the last decade, Wong Kar-wai has been arguably the most influential filmmaker of his generation. In the Mood For Love was shot in Bangkok, meticulously recreating the back alleys and noodle bars of 1960s Hong Kong. Wong Kar-wai’s 7th feature film is a wonder to behold; sumptuously designed, gorgeously coloured, profoundly sad — this is a movie you can simply drown yourself in.

      • Amelie (2001) 

      Shot entirely in saturated colour, Amelie was as rich in home inspiration as it was in verse. The title character's bedroom was every bit as quirky as she was with its thick quilted bedspread, dark red wallpaper, boudoir lampshades and be-coned dog portraits.

        • A Single Man (2009)

        Leave it to fashion designer Tom Ford to create a film where the design is almost as important as the plot. Every interior in the film makes use of layered patterns, colours and textures to bring to life a stylised version of the 1960s that will surely inspire any fan of the time period. Also, seriously, how gorgeous is that headboard?! 

          • 500 Days of Summer (2009)

          Summer's bedroom in "500 Days Of Summer" is warm, inviting, and quirky without feeling kitschy. Anyone looking to incorporate patterns and colour into their homes could learn a thing or two, while fans of muted black and white monochrome palettes will surely find inspiration in Tom's bachelor pad.
            • Coco Chanel and Igor Stravinsky (2009)

            "Coco Chanel & Igor Stravinsky" is the perfect film for people who dream in black and white. The interiors put the classic colour combo to work, while the use of interesting patterns and graphic shapes keep the design from feeling stagnant.
              • Call Me By Your Name (2017)

              Villa Albergoni, an uninhabited mansion in northern Italy, is the sumptuous setting for Call Me By Your Name – a come-of-age tale that sees romance bloom between teenager Elio Perlman and a 24-year-old grad student.

              Interior designer Violante Visconti Di Modrone gave the property a lived-in quality, carefully curating each room to reflect Perlman's cultured family and upbringing. Props include antique maps, paintings and books, as well as glassware and crockery that once belonged to Di Modrone's own parents.

              • Parasite (2019)

               The house’s architectural design – boxy, minimalist, open plan, complete with uninterrupted glass to drink in the sun – also plays heavily into the plot. The style – beyond making the space easier to film – contrasts with the clutter of the Kim’s house. “I wanted to show the increasing density that reflects the class difference between elevated areas and lower ones as appearances change from the rich house to the semi-basement neighbourhood,” explains Oscar-winning production designer Lee Ha-Jun.
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