Bedrooms, by definition and design, are meant to be serene spaces clad in calming colors that wrap the occupants in a warm embrace.
Although these comforting cocoons offer a rare retreat from the frenetic energy of the outside world, they are not meant to be bland and boring.
That’s why when Swampscott-based interior design Bari Lieberman, the visionary behind Bari Michelle Design, designed the primary suite for her own home, she used a visually stimulating yet subtle combination of color, texture and pattern to set up a sublime sanctuary that strikes a bold note.
The design is a delicate balancing act between past and present because Lieberman lives in Knollcrest, a 1906 historic shingle-style estate facing the waterfront in Swampscott.
“It’s one of two large neighboring houses built during the time this area was the Gold Coast for Bostonians seeking summer retreat,” she says. “I fell in love with its sprawling grounds, ocean views and rich history. I envisioned a year-round retreat that my family would love for generations.”
The challenge was making it work as a primary residence for her, her husband and their three young children while still remaining true to the beauty of its classical architecture.
Because the house was in good shape – “it was a well-loved home” – Lieberman was able to focus exclusively on the décor, which she was more than happy and excited to do.
In every room of the two-story residence, she saw beyond the traditional coastal-home color scheme of blues and whites.
“I was concerned that the colors of the beach and summer might not exude a warmth I was looking for in the middle of winter,” she says. “So I combined them with other colors – the pinks and purples of sunsets and the surrounding greenery.”
In the primary bedroom, she aimed for a soothing, yet personalized setting that makes a statement.
The story starts with Peter Fasano’s “Lockhart,” a subdued blue-green hydrangea pattern that has an old-fashioned look with a contemporary feel.
“When I saw it, bells went off,” Lieberman says.
Lieberman reserved it for the main wall, the one with the bed. The other walls are painted in Farrow & Ball’s “Wimborne White.” The trim, painted in Farrow & Ball’s Skylight hue, completes the coupling.
“I spent a lot of time on the trim color,” Lieberman says. “I thought about a deeper blue, but ultimately, I used that color for the drapes, which pick up the color of the wallpaper.”
The king-size bed itself is upholstered in a neutral beige-brown ticking, an homage to the origins and vintage charm of the house.
Although the furnishings are traditional and vintage, Lieberman brings them into the current century. The narrow nightstands, by The Resplendent Crow, are painted the same color as the walls but with a high-gloss finish that makes them standouts, and the black-painted bureau, which Lieberman brought from her previous house, is outfitted with new brass knobs in a nod to the brass wall sconces that bookend the bed.
The vanity bench at the foot of the bed straddles time periods: It’s in a classic style and looks aged, but it’s new and was upholstered by Lieberman in a modern neutral tone.
The custom bed pillows, arranged like a still life, are a study in curated color and pattern. The large square pillows, in Scalamandre’s exuberant “Sea of Trees,” are balanced by the solid rose of Pierre Frey’s “Zag” and by Peter Fasano’s classic “Bates Stripe.”
The room is grounded by a neutral solid-color carpet in an ivory tone.
Lieberman saved the whimsy for the large-walk-in bedside closet, where she set up her vanity. Its walls are proudly wearing a neutral colorway of Spoonflower’s “Cheetah With Purple Pineapple Hat,” whose pattern is just as playful as its name.