Kacey Musgraves’s Serene Nashville Residence: Take a Look Inside | Architectural Digest

Built in 2012, the home was adorned in a daring, colourful, wallpaper-heavy more-is-more model when the Golden, Texas, native first moved in. But along with the inside designer Lindsay Rhodes, Musgraves quickly set about returning the area to one thing extra akin to a clean canvas. “Kacey needed to start from white to see where she wanted to go,” Rhodes says. “The house had a lot of subway tiles and Craftsman-style details, so we wanted to make everything feel clean. We basically blanketed the entire kitchen with plaster, even the island, to create smooth lines and give it a stonelike texture. Then we used a pale mineral paint throughout the house. It almost feels like a watercolor; instead of being flat, it gives a little dimension.”

(There is one area that was left untouched: a powder room papered with charcoal sketches by the late, domestically outstanding artist Hazel King, which aligned uncannily with an thought Musgraves had needed to implement in her earlier house. “I’d started collecting nude sketches because I had this vision of hanging them floor to ceiling in a bathroom, but I hadn’t done it. And then it was somehow here, already manifested, almost exactly how I’d pictured it. It’s one of my favorite things about the house.”)

Much of the house is now painted white or off-white, however the sundown hues that do seem had been chosen for particular, private causes. The piano room, for instance, ended up a dusky pink that was impressed by a candle Musgraves created in collaboration with the cult perfume model Boy Smells. “It’s a perfect balance of masculine and feminine,” she says of the shade. And the pale-yellow-toned striated-silk wall overlaying within the eating room enhances each the travertine desk therein and an orb-shaped Murano glass gentle fixture that hangs within the entryway, which Musgraves was “really proud” to have scored on 1stDibs.

A late-Nineteenth-century tramp artwork field stands atop a Biedermeier-style desk on the upstairs touchdown. Hand-knotted moroccan checkerboard rug.

“There are a lot of orbs and circles in the house,” Musgraves says. “I was writing the album at the same time I was moving into the home, and there were a lot of themes that were kind of presenting themselves [in both projects]. This theme of full-circle-ness kept appearing, and I had some spiritual experiences that involved orbs—I had a psychedelic plant therapy session in which people from my past kept presenting themselves to me in the form of orbs.” She laughs. “Without running the risk of sounding like an absolute psycho, it was really transformative for me.”

Many of the home’s bigger items – together with the big bust on show by the singer’s swimming pool – had been bought second-, third-, or fourth-hand. “I have a huge love for getting up on a Saturday and browsing estate sales. When I’m on the road, instead of staying locked away on the bus, I’ll get up, get coffee, and find the nearest antiques store. There’s something really interesting to me about taking ownership over an object that meant a lot to someone else, and kind of becoming the new steward of whatever it is.” Case in level: the vintage gilt French mattress body that she positioned in one among her visitor rooms. “I love thinking about who might have slept here, what they dreamed about, the love that was made on this bed,” she says. “To me, it’s really magical.”

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