While I know this is not cinema related, every now and then we get major inspiration from the flat panel on our wall. Such is the case of the set design for the hit ABC television show Ugly Betty...a show that is far from the word ugly.
Interior Design magazine just published a beautiful spread on the contemporary...or shall I say futuristic....designs for the combo comedy/drama that revolves around an unattractive young girl with signature braces who finds herself a job at the ultra chic fashion rag Mode. Apparently the edict for the designs were simple -- use an I-pod as a starting point.
Designed by production designer Mark Worthington (who gave us the great sets for Legally Blonde: Red, White and Blue) and music video designer Richard Devine as set decorator, the sets give us a heightened reality transporting us into a glam world filled with all sorts of ultra contemporary nods -- Eero Saarinen, mod sixties, 2001 Space Odyssey with a touch of "Dorothy Draper, Helmut Newton and Marcel Wanders." High gloss, bright colors and furnishings filled with everything from Z Gallerie and Crate and Barrel to Knoll, Artemide and McGuire furniture abound. The surroundings are colorful, forward thinking and above all, fun.
For more on author Bob Morris' article in the November issue of Interior Design, click here. Bravo for a terrific piece!!!
Perhaps my favorite set is the Dorothy Draper inspired room. Note the octagonal touches on the panels mixed with the circular (a recurring theme) tufted sofa by Mariette Himes Gomez and Laura Kirar chairs on a chocolate brown carpet.
Circles on mirrored glass accent the console table
Does it get any more 2001: Space Odyssey than this? You can easily tell by the circular themes and clean high gloss surfaces of the entrance that more futuristic designs await.
White gloss egg chairs and Todd Bracher desk on an Hermes orange area rug become a focal point for the co-editor's office.
Orange accents for Betty's office
Custom semi-circular shaped desk in conference room, orange used once again as an accent
Lavender custom chairs were designed by the production team
Phillipe Starck and Milo Baughman chairs and a Florence Knoll desk grace the private office of the managing editor.
Crocodile embossed wing type chairs (similar to those Kelly Wearstler installed in Bergdorf's restaurant) anchor the set's dining room
Wearstler's chairs in the lounge of the cafe at Bergdorf Goodman