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To that end, the way Ravanbach pairs and positions her well-curated global finds means nothing comes off precious, even if it is. Her favorite piece is an 1890 oversize gilded French mirror, extremely rare and in beautiful condition. Though on the surface, something so opulent may seem counterintuitive to her relaxed style, she explains that in the environment “it looks effortless and nondescript, meaning no one will know how much it really cost.” Restraint is her modus operandi, for not only her own home, but for her clients’ events. “More is not more. I always leave negative space to demolish the look of clutter,” she says.
The effect is quite Zen, especially in Ravanbach’s bedroom, which she designed to foster sleep. Dressing her bed in down with lace-covered pillowcases plus light blue Currey and Co. sconces is soothing to her soul, she says. But Ravanbach’s beloved collection of artwork is the purest expression of her taste. She’s “doused the walls” with Norwegian artist Jorunn Mulen’s “impeccable depictions of female faces in the most sublime colors;” abstract ballet dresses painted by Laurence Amélie; and a pair of large yet minimal works by her “right hand” and friend Dodie Sy, whose “abstract and modern paintings bring a touch of feminine” to her bedroom and living room.