The Dazzling World of Tony Duquette
The icon who turned scrap into gold.
In the early 20th century, the heyday of interior design, few designers embraced an excessive opulence as Tony Duquette. He appeared in an era when Modernism was commonplace; bold colors, reflective steel surfaces and plastics reigned. But his works were closer to the dreams of King Shahryar, who absorbed with glee the stories of Scheherazade in the Thousand and One Nights.
Whether it was set design, costume, jewelry or interior, everything he touched became a mesmerizing piece or a theatrical enclave. Rooms jump in and out of epochs seamlessly. One minute you are in a dreamy venetian ball, and then you are transported into a Balinese temple and a coral encrusted bedroom scooped from the sea floor. This is the dazzling world of Tony Duquette.
With Duquette, the line between theatre and living space was very thin. And for people tired of the white walls, hard edges and lifeless spaces of minimalism, Duquette offers a bold alternative.
As designer to the stars of old Hollywood, Duquette’s homes were spaces for entertainment. Surfaces are richly textured. Curious objects pose on cabinets and tables. Coffers groan with precious stones. Enchanted maquettes huddle in alcoves, and dramatic figures perform in miniature on the dining table. Everything is a conversation piece. And that’s the point.
His clients were the who’s who of Hollywood in the 40’s, 50’s and beyond. This was the time of grand parties and lavish couture. And the Duquette’s — Tony and his wife Elizabeth — were excellent entertainers. Their gatherings became well known around Hollywood for their extravagance and dramatic flair, the same spirit he put into his clients homes.
Beyond the rampant eclecticism, curious motifs appear throughout his work. Ostrich eggs, sunbursts, red coral and abalone shells adorn many of his pieces. In fact, he loved the abalone shell so much that his friends referred to him as “Tony Abalone”.
Yet whilst Duquette appears to be the height of luxury, what distinguished him from other designers of the time was his ability to repurpose, recycle and transform found objects into his art.
Spray painted tree branches stand in for red coral; airplane landing strips become the walls of a pavilion, and store-bought mirrors transform into French panels fit for Versailles. There was no compromise. If his vision demanded it, he got it done by any means.
This talent for the decorative arts and love of the theatrical was in Tony from a young age. At just ten years old he was already putting on elaborate puppet shows where he designed and made both the set and costumes himself.
Duquette was born in 1914 and grew up between L.A., California and Three rivers, Michigan. As a student he earned scholarships at the Chouinard Art Institute in L.A. and the Yale school of the Theatre. After graduation he worked at Bullock’s department store, designing seasonal environments.
His extensive and unexhaustive output launched him into the inner circles of Hollywood as a freelancer under the patronage of the famous designer Elsie de Wolfe — Lady Mendl — and her husband Charles Mendl. Later he became the president of the Elsie de Wolfe Foundation in 1951.
For Hollywood he designed various sets for MGM films such as Zeigfried Follies and Yolanda and the Thief. And in 1961 he won a Tony Award for the original Broadway production of Camelot, for best costumes. His reputation was firmly established.
You can see Tony’s playfulness stretch to his jewelry pieces, too — which are well sought after today. Inspiring the like of Tom Ford and Michael Kors, his jewelry weaves together organic forms with the usual Duquette motifs and flair. And like his other work, precious objects are repurposed into rings, necklaces and bracelets.
Sadly Duquette passed away on September 9th, 1999 due to complications from a heart attack at UCLA hospital. He was 85 years old. But his story doesn’t end there.
Hutton Wilkinson the current president and creative director for Tony Duquette Inc., and Tony’s business partner for 30 years, bought the Dawnridge property after Tony died and preserved it.
For just over twenty years he has maintained the Dawnridge estate and updated the property with original works by Tony Duquette as well as his own unique designs — such as the sunburst screen below.
You can check out more of Tony’s work at:
And in the fantastic book by Hutton Wilkinson:
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