to shore things up. “Once we fixed the problem with a proper support
beam, the house literally sprung back into place and the lally columns
fell away. The contractors could hear them hit the ground.”
Responding to Vermont’s verdant forests, Favreau used a wall-
paper with images of the cut ends of stacked logs in the new space.
Instead of conventional cabinets, he found pieces of furniture to give
the room a relaxed look. Case in point: matching bureaus that flank
the stove. “It’s more like what a kitchen used to be,” he says, “a place
for the staff. I didn’t want any high-end glamour.”
The kitchen connects to both the refurbished dining room and the
front foyer, places where Favreau, a graduate of The Boston Conserva-
tory and a former musical actor and dancer, shows his theatrical side.
“I take patterns and blow them up,” he says, but in a respectful way.
The bold painted stripes in the hallway, for example, are a play on the
original striped wallpaper he saw in a vintage photo of the space. He
found a paper with supersize stripes in brown, white, and a pink-toned
fuchsia that suited him, but when he went to order it, “it was discontinued. That happens a lot to me,” he says with a chuckle, attributing
the phenomenon to his taste for the not-so-mainstream. So, heart set
on his design scheme, he hired Chelsea artisan Sue Wilmott to paint
his beloved stripes on the walls and stair risers. The result assures the
entering guest he is about to embark on a fanciful journey.
For the dining room, Favreau took fuchsia to the purple end of its
spectrum and embellished it with a capacious interpretation of a tra-
ditional “Louis-look” pattern in gold. “It was perfect,” he says. “The
whole house was full of wallpaper and I liked the idea of it, but wanted
it to be a contemporary nod to the time. It is not exactly historic, but
it relates to it.”
Around the dining table, he placed chairs he found at Sotheby’s in
San Francisco, the frames painted a rich turquoise and the backs and
seats upholstered in purple-toned faux crocodile with candy-stripe
fabric trim. “The purple on the seats makes sense,” he says, “but the
bed linens from Anichini’s Persia collection add a pop of color to the
otherwise subdued (for Favreau) master bedroom (above). “The room kept
telling me it would be sedate,” says the designer, who sewed the canopy
curtain and bed skirt himself. The wallpaper, a faint compilation of
“autographs of everyone and their brother,” says Favreau, “from John Hancock
to Babe Ruth,” is both understated and categorically fascinating.