Madeline Stuart is a leading member of the Los Angeles design community whose projects reflect a collaborative relationship between architecture and furniture, function and form, client and designer. Over the past 25 years, the work of Madeline Stuart & Associates has been featured in numerous publications including, Architectural Digest, Elle Décor, Veranda, Town & Country, House & Garden and House Beautiful. The firm has been distinguished by its inclusion on the AD100, Architectural Digest‘s prestigious list of the top 100 design & architecture firms. Since 2010 Elle Décor has included Madeline on their A-List as one of the top designers in the country.

1. Who gave you your "big" break in the design business? Did you have a mentor?

The complete and unabridged version of ‘The early years of Madeline’ is detailed at some length in the forward of my book.  But to give you the Cliff Notes version, I was recommended by a friend to help a young screenwriter, Ed Solomon (Bill & Ted’s Excellent Adventure), with his first grown up apartment.  He had a futon on the floor and one of those hideous Barcaloungers from the now defunct Broadway department store.  I gave him a sexy upholstered bed, some Tizio lamps, the classic Eames Lounge chair and ottoman and the rest is history… He recommended me to a friend and so on and so forth.  I like to say I was passed around young Hollywood like a hash pipe.  In fact I still work for Lisa Henson, who was my second client, and we’re going on 30 years.

As for having a mentor, I didn’t. I learned the hard way, the Trial by Fire method, which I do not recommend to anyone.  I still rue the fact that I didn’t train with an established firm.  It took me too long to discover Chinese furniture.

2. What qualities do you think are important to become a successful designer?

Insatiable curiosity. 

Professionalism.

Honesty.

Diplomacy (note to self…)

And most importantly, be prepared to pay your dues.  Sure, anyone can decorate a house, but you don’t become a great designer overnight.

3. Has your design aesthetic changed over the years? If so, how?

The more I learn about design and architecture, the more my work evolves.  I think my work is  now more sophisticated and nuanced, due to the knowledge I’ve acquired over the years. 

4. What is your non-negotiable in accepting a design job?

Pay for play.  This is my profession, not a hobby.

5. Why did you choose those pieces as your favorites from LUCCA inventory?

I could have chosen scores of pieces from Lucca’s inventory.  I so appreciate the style, scale, and wit that’s evident in each and every item that’s been created, collected, and displayed in the shop. 

I find the sheer scale and quirky quality of the French Modernist sculptures truly stunning.  The pictures don’t do them justice, but I’ve seen these in person and they’re spectacular.  I just need to find the right client!

As for lighting, I am a devoted seeker of unique and interesting light fixtures and have found many at Lucca over the years.  Lighting for me is like jewelry, and I think it’s critical to find something that provides not just light, but visual interest.

The French rope chairs are simply chic. And they remind me of something Jacques Grange would have in his own home. That’s good enough for me!