Decorating & Design
Visit A Charming 230-Year-Old Home Reimagined For Modern Living
Published on March 2, 2021
It’s been a big year for Tommy Smythe. Not only did the designer turn 50 this past summer, he launched a design firm, TOM, along with fellow Sarah Richardson Design alums Lindsay Mens Craig and Kate Stuart. “I always wondered what it would be like to be out on my own,” says Tommy, who spent 19 years working with Sarah on multiple TV shows and design projects. “I wanted to try a new concept, where I gathered a community of designers, project managers and technicians to execute their skills on a per project basis, assembling a perfect team for each client.”
They tested that concept with a to-the-studs renovation of a circa-1790s home in Charleston, South Carolina — their farewell project for Sarah Richardson Design before launching TOM. The design brief? To make all the modern amenities disappear and highlight the home’s historical character. That meant finding local contractors and craftspeople who could recreate antique foxed mirrors, carve a new wood mantel to replicate an original and hide air-conditioning ducts in a chimney breast.
Among the crew on site, Lindsay confides that Tommy was fondly referred to as “Maestro.” She says, “Tommy and I have such a special working relationship, and Charleston is Southern charm on steroids. I fell in love with the architecture, the people and their dedication to craftsmanship; it was perfection.” Adds Tommy: “Our goal was to make this house livable for the next 200 years,” says Tommy.
Scroll down to tour this historical home that has been given a new life!
By Tommy’s estimation, the 3,500-square-foot house had been renovated in the 1930s, and then again in the ’80s. But the clients wanted to reconnect the house with its true heritage, so Tommy and Lindsay went back to the city’s roots, touring local museums for inspiration that were authentically Charleston. They suggested a fresh combination of aquamarine, marble gray and soft lilac hues to reflect the city’s seaport heritage and location.
A stripped mahogany demilune sideboard serves as a surface area for keys and mail in the entryway.
The house was furnished with pieces that looked as if they had been collected over 50 years instead of months. The clients didn’t want to feel like they were living in a time capsule, though, so they instituted a “no brown furniture or crystal chandeliers” policy. “They wanted a lighter, brighter vibe,” says Tommy. “The furniture is either painted or fabricated in a light wood to suit the reality of casual living.” Black lanterns, a Tommy Smythe signature, are a counterpoint to the living room’s pale putty palette.
The owners often work at the Gustavian dining table; the chairs are local finds that were bleached to update them. Antique ginger jars balance the scale of the chunky lantern. When sourcing antique furniture, there’s no such thing as a one-stop shop. “We got as much as we could from local consignment shops in Charleston,” says Tommy. “Some of these dealers are the best in the U.S.” He also hit up shops in Savannah, Atlanta and a cluster of antique dealers who landed in Stamford, Connecticut, when NYC rents went up.
“So we didn’t conjure up a kitchen of the 1790s, but one that looks like it might have been created at the turn of the last century, using materials that were prevalent at that time, like beadboard and brick flooring,” says Tommy. The mercury mirroring of the refrigerator’s custom panel makes it look authentically antique, as does the vintage hardware. “The fridge pull is an antique door pull — probably from a bank — so it doesn’t look appliance-y,” he adds.
The original fireplace was painted off-black to match the ebonized island.
The home’s original footprint was retained, but some spaces were opened up. The original dining room was combined with the kitchen to create a charming eat-in banquette area. “In the 1790s, the kitchen might not have even been inside the house because of fire concerns,” says Tommy.
“Florals can be bossy,” says Tommy of the sitting area in the principal bedroom. “You need strong architectural elements such as wainscotting and striped wallpaper to match the gutsiness.” The closets are concealed behind jib doors flanking the fireplace.
An Italian metal olive branch sconce is paired with a Gustavian cabinet in the principal bedroom for an eclectic mix.
In a hot city like Charleston, marble is a cool counterpoint in the principal ensuite. Traditional handheld sprays look historical, as does antique furniture. “I love old houses that function like new houses, but it’s an advanced manoeuvre for any builder,” says Tommy. “We had to bring walls forward, move ceilings up or down and utilize floor cavities and attic space for a great deal of equipment, then make sure the conduits were hidden.”
Ikat accent pillows and block print–style bed linens are a bold look in this guest room.
“Every room needs a mirror,” says Tommy of the gold leaf–framed mirror in the guest bathroom. “It reflects light, adds glamour and gives a sense of occasion.”
“They’re like a little girl’s party dress,” says Tommy of the guest room’s twin beds, which have been designed with children in mind.
Patrick Biller
House & Home November 2020
Tommy Smythe & Lindsay Mens Craig, Sarah Richardson Design