Maker Monday: An aspire Exclusive Interview With Douglas Funkhouser

Douglas Funkhouser grew up in New York City and, at an early age, studied under Japanese acrylist Noriko Yamamota. He later attended Lester Polokov’s Studio and Forum of State Design in Greenwich Village, where he developed skills in set design, paint and costume. After more than a decade of work in theater, Douglas decided to apply his craft to residential interiors. He produced hand-painted finishes, textiles and wall coverings for such notables as Bruce Gregga and Michael Smith, and collaborated with Rose Tarlow in the development of the Melrose Collection. The evolution of the line is a reflection of the master finishes and custom murals that grace his portfolio. Douglas has since developed Le Gracieux, his own line of hand-crafted hemp textiles. He borrowed the term from an essay by French author Montesquieu, in which he discusses the many degrees of pleasure contained within the arts. Le Gracieux (the gracious) was listed among them, meaning “that which is refined and beautiful.” Douglas says, “It’s important for my textiles to possess an ageless sense of beauty and a hand softened by time.” See some of Douglas’ textiles in today’s Maker Monday.

Regello, le gracieux’s signature damask, is rendered as a resist-dyed linen in softly faded tones, offering a gentle hand and an air of antiquity in this installation by Michael S. Smith. Photo: Lisa Romerein

Andrew Joseph: How do you stay creative and inspired?
Douglas Funkhouser: I begin each day focused on positive thoughts and I do my best to adopt an attitude of gratitude for all the blessings that have come my way in life.

I am also an ardent fan of sketching. I have always said that “a sketch a day keeps the doctor away.” The discipline of sketching from life serves as a form of meditation to me.

AJ: Can you tell us about a specific moment in your career that made you feel accomplished?
DF: Once upon a time, in 1997, I called upon a designer named Rose Tarlow. She was just beginning her fabric line. After reviewing my portfolio she offered me a full time position as her “in house” textile designer. As a designer new to the world of textiles I could not have asked for anything more…

AJ: What is your favorite aspect of your job?
DF: I get to work with many well-known and talented interior designers on a regular basis. It brings me joy to see how each one is unique in their approach and how they use my textiles in different ways and in different contexts.

Kirachi – A kaleidoscope of color, this damask weaves together the soulful elegance of Turkish and Moorish motifs into a harmonious tapestry of design. Interior designer Jeffery Bilhuber. Photo Credit: Kelly Taub

AJ: How do you approach designing for a client with a specific style in mind?
DF: I approach it in the same manner that an actor develops a character for a role in a movie or a play. I immerse myself in the study of that particular style and develop it until it becomes part of me and I am able to produce it in my own hand.

AJ: What is your favorite design tool to use?
DF: I enjoy Photoshop… I began my design career on the cusp of computer technology. I am well versed in the old way as well as the new way of doing things. Nothing is better than the discipline of drawing and designing textiles by pen and ink in my own hand but nothing saves more time than being able to scan those designs into Photoshop and quickly build them into repeat and color separation.

AJ: Can you describe a project that you’re particularly proud of?
DF: I designed and fabricated a border freeze for the Treaty Room at the White House. This work was done at the direction of interior design extraordinaire Michael Smith. The inspiration we used came from a woven scarf of Turkish origin. The motif was stenciled to look as though it had been woven into the grasscloth wall covering.

It is an honor to see my work at the White House. I have always held a deep respect for the office of the President of the United States of America.

Triesta is a gentle symphony of color printed on soft linen, inspired by the timeless elegance of a 16th-century European tunic, seen here gracing the curtains with its understated charm in a room composed by Suzanne Rheinstein. Photo Pieter Estersohn.

AJ: What would your dream project or dream client be right now?
DF: I already have some amazing dream clients. One is Oprah, I’ve worked with her for many years. Another is Jaclyn Smith; she truly is an angel, and there are many more. My dream project is to have an art exhibition at one of the major galleries… please stay tuned!

AJ: Style (or design) icon and why?
DF: Interior designer Mr. Bruce Gregga. I’ve known him and I’ve worked with him for well over thirty years. He has mentored me and is the one who has taught me everything I know about the subtle use of “non” color and the mastery of decorative finishing for interior design.

AJ: What’s a new hobby/skill that you have learned recently?
DF: I currently study bluegrass and jazz on the guitar and the five-string banjo.

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