The New Traditional

Renowned interior designer Darryl Carter shares his perspective on the reinvention of traditional décor.

by Nancy Robinson

Today’s traditional décor has evolved past staid dark woods and antiques and embraces a balanced blend of timeless aesthetics. At the forefront of this look is renowned interior designer Darry Carter. We caught up with Carter to learn just what to look for in this new take on traditional design.   

Although he was trained as a lawyer, Darryl Carter has made his biggest mark in the world of design. Recognized for his restrained, distinguished yet livable environments, Carter is a master at mixing modern with classical and balancing individual comfort with a timeless aesthetic—all of which is beautifully illustrated in his book, The New Traditional. Here, Carter discusses the origin and development of his unique aesthetic, which is rapidly changing the way Americans think of traditional design.

How do you define the New Traditional?

D.C. I think there is a tendency to define the vocabulary of a room within a formulaic box; either traditional or modern for example. The New Traditional embraces a very thoughtful marriage of the two styles.

What is the origin of this style?

D.C. This is the very incarnation of my personal style. I often joke that there is a certain liberty to the untrained eye. It’s hard to have an apprehension about “breaking the rules” if you’re not confined by them. Necessity is the mother of invention. As I was furnishing my first residence, I discovered that I was challenged to find things that worked well together with regard to scale, so over the course of time I began to edit things that I would find; paring down the arm on an existing sofa, slipcovering a Chippendale dining chair, removing pendants form an ornate chandelier—all of which translated into the reinvention of traditional forms. Incidentally in this first go-round, budget was likewise a necessity of invention.

What are some of the hallmarks of the New Traditional? 

D.C. Simplicity of vocabulary. Continuity of scale and color. A thoughtful integration of classic with modern forms. The nuance being distinguished from gratuitous eclecticism (which can often give too much license to the marriage of disparate objects). The trick or challenge is refinement. For example, the pre-war envelope that is rife with period architecture and painted in contrasting colors takes on a modern sensibility and serenity once painted in monochrome shades of white.

How does this look differ from Old Traditional in terms of furniture, color, fabric and pattern, lighting and accessorization? 

D.C. Traditional environments can feel staid and hyper-disciplined—sometimes even off-putting and lacking a sense of welcome.

• Furniture: A dining room serves as a good example. To avoid the sense of regiment of a suite of matching table and chairs, I will often place graceful wing chairs at the head of a table and a shallow, low profile settee that seats two comfortably in lieu of two side chairs.  
• Color: A neutral monochrome colorway that subtly graduates in a procession throughout the rooms of a home lends a timeless modern sensibility.  
• Fabrics and Patterns: With regard to textiles, I find that a very graphic pattern often dates and can be jarring in an otherwise subdued environment. That shared, I often use textiles on the reverse so that the pattern is calmer; reading more as a watercolor. Likewise with rugs, they can often overwhelm a space due to their graphic quality, so I often place antique rugs on the reverse. The wear suggests that the rugs can and have been walked upon. A depressed feather-filled seat cushion also welcomes you to have a seat.  
• Lighting: Lighting takes on extremes by my preference. It’s either focal and counter intuitive to the vocabulary at large, or very discrete—but always on dimmers.  
• Accessories: Accessories should have memories attached to them: books read and family photos. Even in the context of utility, a uniform palette of plates on display are visually more calming. Too many disparate things equal clutter.         

Is it true that you rarely use color in a room, other than chalky washes and wood finishes?  

D.C. The color palettes that we use are highly complex, with the most subtle gradation from base to crown, with the intention of highlighting the architecture rather than camouflaging it. Color is informed by the client and the sense of places. For instance, one of my clients had a city townhouse that was wall-to-wall white to respect the very important art collection. Their country house was shades of pale—from yellow to celadon. Keep an open mind—green in one’s mind may be emerald and in another’s sage, so don’t immediately react to the color as color. I prefer chalky, mellow color in any context—which makes the walls feel less like barriers.

Can you offer our readers any other tips on how to create this look in their own homes?

D.C. Having executed so many environments over so many years I’ve tried to translate my on-the-job experience (while sparing the learning curve) in an unintimidating, user-friendly logic in my book The New Traditional (Clarkson Potter). Think of it as cookbook full of simple recipes.

In summary,  what are the major design obstacles to achieving the rich but simple luxe of New Traditional? 

D.C. Restraint is underrated. Every wall does not need to be embellished with art. Simple forms that have lasting grace never lose their appeal. Bigger isn’t always better. Things that show wear suggest use and signs of life. Nothing should be too precious or unapproachable.