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On The Radar
A Splendid Sortie

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Despite the foot of snow accumulating outside its doors, the David H. Koch Theater was nearly full on Feb. 10 with New York City Ballet supporters gathered for its annual luncheon. This year’s event celebrated the career of one of the company’s most celebrated ballerinas – and the last to be selected by its founder, the legendary George Balanchine.

In many ways Darci has led a fairytale life. Growing up with four brothers instilled an athleticism and competitiveness, but had her searching for a feminine outlet. Ballet satisfied that urge and became a relief from her brothers, a place where she could express herself and feel in control. At the age of 14 Darci was awarded a scholarship to attend The School of American Ballet, the official school to the New York City Ballet. She quickly excelled, and in a year she had joined the company’s Corps de Ballet. She caught the attention of Balanchine, or Mr. B as the dancers called him, and two years later she became the company’s youngest principal dancer. At the tender age of 17.

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Critics wrote of her “quicksilver brilliance,” “awesome artistic promise” and impressively fast ascension into the spotlight. “Seldom has the City Ballet cast a newcomer in such a succession of major roles,” wrote Jennifer Dunning in The New York Times in 1980. The larger-than-life Balanchine played an important role in Darci’s life, shaping the young ballerina – “He would say, don’t act, don’t pretend to be in love with your partner, just dance,” she recalled – even pairing her with her future husband, Peter Martins, who today is the company’s ballet master in chief.

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Darci will retire at the end of this season, continuing to teach at SAB, where she has been cultivating dancers and sharing Balanchine’s teachings for 15 years already. Darci’s sunny demeanor has no doubt been a bright spot for many a ballet student. During the luncheon program, dancer Kaitlyn Gilliland thanked Darci, her mentor, for the “Beauty, grace and kindness that has made her one of the most important people in my life.”

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The Beginning

Interspersed with performances from Darci and other dancers, City Ballet board member Bob Craft then sat down with Darci, to discuss her three-decade career. The following are excerpts from that interview.

Bob Craft: Let’s start from the beginning, you came from California and you were 14. How did you adjust to being repotted here in New York City?
Darci Kistler: I think that I should have been born here. I love New York. The first summer I came was 1976 and they had the blackout and I remember people were vandalizing stores and I just thought, ‘Wow, this place is so free, so wild one minute, and the next minute it’s so glorious and sophisticated.’ And I just loved that difference.

Question 1

Is it true that the first time that George Balanchine and Rudolf Nureyev and Peter Martins noticed you is when during rehearsal you loudly fell on your backside?
Absolutely. I’ll never forget I was an understudy for Le Bourgeois Gentilhomme and Balanchine was choreographing it on Patti McBride and I was marking. But of course I can’t mark, I’ve never been a good marker, it’s full-out or nothing. And wham, I went down in a little corner and the whole room stopped and I turned bright red. And Mr. B looked back at me and he said, ‘You know dear, falling is good. It’s okay to fall.’ He knew I was embarrassed.

Why don’t you explain what marking is?
Marking is what [founding choreographer] Jerry Robbins always wanted me to do in his ballets. Less is more. And Balanchine was the opposite. It was never enough. It was never big enough. It was never grand enough. It was never fast enough. He didn’t ever want you to mark so it was fun having the two different personalities.

The School of the American Ballet’s graduation performance was heavily anticipated in 1980 when was going to be Swan Lake with Darci as the lead. She was only 15 but her reputation was already known enough that tickets were very hard to get. Reviewers who normally got two tickets only got one and the place was sold out essentially. And it was an extraordinary performance. She joined City Ballet that same year. Why did you join City Ballet rather than another company?

I walked in the doors at the School of the American Ballet and fell in love. My mom always read Vogue and in it there was an article on George Balanchine and it was talking about perfume, how he would buy perfume for all his ballerinas. And I just thought, how romantic, what a really amazing man, I want to know him. … I loved New York City Ballet, it was my personal taste. I loved the music, the variety and the work ethic.

Our sponsor Valentino recently displayed Darci’s toe shoes on plots of grass at their store but Darci never let grass grow under her feet. When she got to the ballet she became a soloist the next year, 1981. She became a principal in 1982 at the age of 17. And perhaps more significantly, Darci was the last principal dancer selected by Balanchine, who died April of 1983. Did your incredibly fast rise create any difficulties for you?

No, I just really never cared about anything, I just loved to work. I never thought of being his last ballerina, being a principal, being a soloist. When I joined City Ballet it was like the way I went into SAB; the back of the last line, the last girl, just work and enjoy it. You have one life. That really has been who I have been my whole life. So I never thought about it.

When I look back on it, the one thing it made a little bit difficult was my personal life because there were no girls my age. And when I was a principal dancer everybody was 10 or 12 years older than me. … I think one thing that Mr. B and Peter Martins and Stanley Williams and Lincoln Kirstein they always told me was you have to be yourself. And every day you work at the barre, you’re not just doing exercises, you’re making yourself a better human being. You’re figuring out who you are, you’re growing. The worst thing for me would be to have been in this incredible company for 30 years and not to have grown at all and not to have been able to make a future for myself.

So what ballets did you start off dancing here with the company, besides Swan Lake?
I remember going to Washington, D.C. and I had Brahms Second Movement, Valse Fantaisie, Afternoon of a Faun and Swan Lake, Firebird, Brahms third movement – it was heaven. And I was literally thrown out there. Mr. B always had a saying, ‘sink or swim.’ I always giggle now because the casting has to be up I think two or three weeks ahead of time. Well, casting used to go up on maybe Friday for Tuesday and the rest of the week wasn’t even done. That’s how your life was; you really basically couldn’t go to college because your life was on such hold.

Well Darci’s performances were distinctive, but I was taken by what fellow dancer Robbie La Fossa said. He said you use rehearsal not to replicate what your predecessors had done but to figure out for yourself how to perform a role. Does that sound right to you?

I love Robbie. Robbie came over from ABT. Robbie would try and make me like Gelsey [Kirkland] and I would say, no Robbie, in this company Mr. Balanchine said to be yourself. To try and be like someone else was death. And if you think about it, it really is, because you never can be.

Well what we had here was a teenage phenom whose performances proved she was a true principal dancer. Dance critic Robert Greskovic said ‘the magic and mystery of star-bright performing were hers full force from her first appearance.’ Everybody thought that Darci was the best thing to come along in a long time. Your career blossomed with a lot of great performances. Were there roles that you felt cut out for, or roles that you had to adapt to?

I always felt in service. It was for me to make do and give my best whatever ballet it was. Do I have certain favorites? Oh, I’ll never forget the vision scene, being on stage in Sleeping Beauty. That music, that set, the lighting, everything. Theme and Variations, I loved dancing Theme because it was so classical … Second movement of Symphony in C, being onstage with the entire New York City ballet in the finale, it just doesn’t get better than that.

You danced with other companies, how do they differ from New York City Ballet?
They don’t rehearse as much. And I don’t think they perform as much. And they always have a hierarchy. I personally can say in this company that everyone is a ballerina or a great dancer.

How have your experiences differed from what the younger dancers are experiencing?
Well I think you have the difference of the leadership. Our life was completely on hold for George Balanchine. It was a little more like a dictator and I don’t think you can get away with that in this day and age, 30 years later. I think that the dancers are much more taken care of. Their needs are much more considered. We didn’t have a physical therapist. Getting a massage was a bad thing in my day.

What I’ve learned is to adjust, not to say what was or what is or what could be, but to be in the moment. And I think this is one of the greatest moments of New York City Ballet. … I see these dancers – and this is three decades – and I think wow, this is remarkable.Question 2

And how have you balanced motherhood with your dancing career?
You just do what you need to do. Every day when I see Cia, there’s nothing better in my day. But I have been so busy, extremely busy. And that’s why I think I sat down with Peter [Martins] and said, I don’t want to be half this and half that, a quarter that. That’s when I decided it was time for me to give more time to Cia and to the school, and also my marriage.

What was a typical daily schedule like?
I’ll tell you what my day was like yesterday. I taught school 10:30 to 12. We live outside of the city so I leave the house probably around 9, 9:30. Then I sewed shoes, made some phone calls. Took class 12:30 to 1:30. Rehearsed 1:30 to 3:30. Ran over to New York City Ballet to see the chiropractor. Ran back and taught class 4 to 7:30.

You’ve dealt with teaching and auditions for quite some time. Have you been able to pass on to your students what Mr. B, Peter and others have taught you?
I sure hope so. I always had really mean teachers. And that was one thing I always told myself, you don’t have to be mean to teach. One thing that I really love is to get to know the children and watch them grow. It’s such a remarkably beautiful life. I love watching them fall in love with it and become real dancers. It just doesn’t get any better.

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Further Inspiration…

Films:
“Dancing for Mr. B: Six Balanchine Ballerinas,” a 1989 documentary featuring Darci Kistler, available on DVD

“La Danse: Le ballet de l’Opéra de Paris” an inside look at the everyday life of dancers in the Paris Opera company by documentary filmmaker Frederick Wiseman in theaters now.

Books:
“George Balanchine: The Ballet Maker” a biography written by editor and former City Ballet board member Robert Gottlieb gives a glimpse into the life and personality of the dance great.

Performances:
Darci’s last performance will be Sunday, June 27 at 3 p.m. at Lincoln Center’s David H. Koch Theater. The program includes Monumentum pro Gesualdo, Movements for Piano and Orchestra, A Midsummer Night’s Dream (excerpt), Danses Concertantes and Swan Lake (final act).

The End


Please visit www.nycb.org.

Written with Carrie Culpepper.

Photography courtesy of the New York City Ballet & David Patrick Columbia (www.newyorksocialdiary.com).

C'EST INSPIRÊ
Overhead and Underfoot

 

Design

Charlotte Moss for IBU

Charlotte is excited to announce her collaboration on a capsule collection for Ibu - the groundbreaking apparel and accessories brand that partners with women artisans in developing countries around the world who craft every piece by hand.

Inspired by the Charlotte’s passion for travel around the globe, Charlotte Moss for Ibu reflects her favorite, timelessly chic classics with an array of dresses, caftans, day jackets, pants, and tunics of solid, printed and embroidered cottons and hand-dyed silks, cashmere and wool. In addition, a complement of must-have accessories from necklaces, bangles, cuffs, earrings, shawls and mules accompany colorful eyeglasses and capes to round out the collection.

Drawing from rich cultural traditions in textiles: weaving, dyeing, embroidery skills practiced by women – not quite extinct but endangered, Charlotte has imagined a modern, urban style that celebrates these ancient crafts, reflecting her well-defined sartorial style and travels. With a glamorous, artful sensibility Charlotte Moss for Ibu features garments and accessories handmade by women artisans in Bangladesh, Afghanistan, Uzbekistan, Kyrgyzstan, Peru, and Morocco.

As an ambassador for the Ibu movement, Charlotte’s collection is a reflection of her own soulful experience. She states, “I cannot tell you what a joy, a challenge, and a journey it has been over the past year working on my collection with Susan Walker and her talented team. It has been a rare privilege to have been given the opportunity to work with women artisans around the world through Ibu, while combining things that are dear to me. Supporting women through their work, making them feel vital and self-sustaining, and having the chance to collaborate with someone very passionate about her vision, all the while designing - something I have never done before - has been a deeply rewarding venture.”

Founded in 2013 by Susan Hull Walker, a former minister who studied world religions at Harvard Divinity School, Ibu is the culmination of Susan's spiritual and creative journey. Through her study of fiber-arts at Savannah College of Art and Design (SCAD), Susan learned to weave and articulate the language of material culture. Her sense of adventure and passion for textiles has led her to connect with women’s cooperatives around the globe.

The Ibu Movement, founded three years ago, has grown into an international social enterprise offering goods handmade by women in 79 different artisan groups throughout the world. The flagship showroom in Charleston, South Carolina, also houses a studio where the Ibu team designs fresh interpretations of textile traditions.

Charlotte Moss Books
Garden Inspirations

Charlotte turns her eye to the garden as a resource for interiors, entertaining, and good living. This book shows the myriad ways the garden provides inspiration every day —indoors and outdoors. Touring readers through her own garden, she offers insights on how to bring the garden into home life. Garden Inspirations also features additional web content accessed by scanning watermarked pages in the book with the Digimarc Discover App.

Buy a personalized signed book here:

Purchase
LOOK @ THE BOOK

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 As Featured In…

 House Beautiful-April 2015

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 Country Living-April 2015

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 NYC&G-April 2015

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About Charlotte Moss

Since opening her business in 1985, Charlotte has designed private residences and executive suites all over the United States and the Caribbean. In addition to designing interiors, Charlotte Moss’ career has included retail stores, celebrated for Charlotte’s unique blend of American, European and Classical influences.

Having launched her career on Wall Street, Charlotte has a keen sense for the shifting sands of change, amid all her decorating prowess. Widening her reach in recent years, Charlotte Moss, LLC now brings her signature Flair for Living to consumers worldwide with collections available under license. She has designed fabric and trim for Fabricut, carpeting sisals for Stark Carpet, and china for Pickard. Most recently, Charlotte has used her experience culled from twenty-five years of decorating couture homes to design a collection of furniture and upholstery with Century Furniture.

Charlotte is a sought-after speaker, lecturing widely on all the arts of living. Recent lecture titles include:

  • “Where Ideas Come From”
  • “A Flair for Living”
  • “Having a Visual Life”
  • “Living Well: The Key to an Enduring Style”
  • “Age Defying Decorating”
  • “What Sparks Your Creativity?”
  • “Show Me the Content: Design Blogging Today”
  • “Design Muse: Great Women of Style”

She has written nine books to date. Her most recent title, Garden Inspirations was published by Rizzoli in April of 2015. In addition to writing books, she frequently contributes to House Beautiful, Flower Magazine and other publications.

Charlotte’s work has been published in shelter magazines worldwide and she has received numerous awards, including The New York School of Interior Design's Centennial Medal, The Timeless Design Award, given by the Royal Oak Foundation, Elle Décor’s VISION AWARD, IFDA's (International Furnishings & Design Association) Circle of Excellence Award for the field of interior design and Traditional Home magazine’s list of the worlds’ Top 20 interior designers.

Charlotte considers her most important work to be her community service and philanthropy. She serves on the Boards of The Thomas Jefferson Foundation at Monticello, The Bone Marrow Foundation, American Corporate Partners, Madoo Conservancy, The Elsie de Wolfe Foundation and the Advisory Board of The New York School of Interior Design, where she received an Honorary Doctorate Degree. Charlotte sits on the Acquisitions Committee at The Museum at the Fashion Institute of Technology. In 2013, Charlotte was honored by the Bone Marrow Foundation with the Brandon Tartikoff Award at the ‘Be A Lifeline’ benefit gala, and received the Centennial Medal from the New York School of Interior Design in the spring of 2017.

 

CHARLOTTE ANN MOSS

Curriculum Vitae 

COMMUNITY SERVICE / CHARITABLE INTERESTS:

Current:

Thomas Jefferson Foundation, Monticello, Trustee

  • Committees: Chairman of Nominating and Governance Committee

Buildings and Grounds Committee
External Affairs Committee

  • The Bone Marrow Foundation, Board Member
  • American Corporate Partners, Board Member
  • New York School of Interior Design, Advisory Board Member
  • The International Council of Hillwood Estate, Museum and Gardens, Founding Member
  • Madoo Conservancy, Board Member
  • American Hospital of Paris Board, Honorary Trustee
  • Museum at F.I.T., Acquisitions Committee
  • Elsie de Wolfe Foundation, Board Member

Previous:

  • Parrish Art Museum, Vice President
  • Landscape Pleasures Garden Symposium at the Parrish Art Museum, Co-Chair (1998 – 2009)
  • Edith Wharton Restoration, Trustee
  • Leaders of Design Council, Executive Cabinet
  • The Irvington Institute for Medical Research, Trustee
  • Museum at F.I.T, Couture Council
  • Bard Center for Graduate Studies, Board Member
  • Teach for America Guest Teacher (May 2008)
  • UNICEF Snowflake Gala, Project Co-Chair, (2004 – 2010)
  • New York City Ballet Spring Gala, Gala Chair, (May 2008, May 2012)
  • The Smile Collection Gala for Operation Smile, Gala Chair, (May 2008)
  • Fashion Week/Lincoln Center Fall, 2009, Executive Committee Member
  • Kips Bay Showhouse, Gala Chair, (2008, 2009 and previous)

AWARDS:

  • New York School of Interior Design Centennial Medal of Honor (Spring 2017)
  • Guild Hall Lifetime Achievement Award for Leadership & Philanthropic Endeavors (2016)
  • Housing Works Groundbreaker Award (2015)
  • American Hospital of Paris, Honoree (2014)
  • The Bone Marrow Foundation’s 2013 Brandon Tartikoff Award (2013)
  • The IFDA Circle of Excellence Award (2012)
  • The Royal Oak Foundation’s 2010 Timeless Design Award (2010)
  • New York School of Interior Design Honorary Doctorate, Commencement Speaker (2008)
  • Edith Wharton Women of Achievement Award
  • American Hospital of Paris - President’s Award
  • Boys Harbor, Salute to Achievement Founder’s Medal for Philanthropy

RECOGNITION:

  • Elle Décor The A-List, Grand Masters List (2017)
  • Elle Décor The A-List, Grand Masters List (2016)
  • Elle Décor The A-List (2015)
  • Elle Décor Grand Master List (2014)
  • Elle Decor’s A-List: The Top 25 Designers (2010)
  • Elle Decor’s Vision Award (2009)
  • Traditional Home – Top 20 Design Icon (2009)
  • The Horticultural Society of New York, Honoree
  • House Beautiful, “Top Ten” Showhouse Award / Kips Bay
  • House Beautiful, “Top 125 Designers”

AUTHOR:

  • Garden Inspirations                                  (Rizzoli, April 2015)
  • Charlotte Moss: A Visual Life                 (Rizzoli, October 2012)
  • Charlotte Moss Decorates                        (Rizzoli, April 2011)
  • A Flair for Living                                       (Assouline, Spring 2008)
  • Winter House                                              (Clarkson Potter, November, 2005)
  • Design Inspirations, Vol. I                       (Boxwood Press, October 2004)
  • The Poetry of Home                                   (Boxwood Press, December 1998)
  • Creating a Room                                        (Viking Studio Books, March 1995)
  • A Passion for Detail                                   (Doubleday, October 1991)

 

FOREWORDS:

  • The Decorated Home, Meg Braff                                                            (Rizzoli, Spring 2017)
  • How they Decorated, Gaye Tapp                                                            (Rizzoli, Spring 2017)
  • Fresh, Sybil Sylvester                                                                                 (Glitterati, Spring 2017)
  • Linens, Jane Scott Hodges                                                                        (Rizzoli, 2014)
  • An Architectural Alphabet, Bernd Dams & Andrew Zega                 (2008)
  • An Invitation to the Garden, Michael Devine                                      (Rizzoli, 2014)

EDITORIAL ROLES:           

  • Special Projects Editor, House Beautiful
  • Guest Editor, House Beautiful (November 2013 Issue)
  • Contributor, WSJ, Off Duty
  • Contributor, T Magazine
  • Contributor, Flower Magazine

ARTICLES:

  • Charlotte Moss on Maximizing White Space (House Beautiful, October 2016)
  • Charlotte Moss on Starting Your Own traditions (House Beautiful, May 2016)
  • Charlotte Moss on Beautiful Beginnings (House Beautiful, March 2016)
  • Nancy Lancaster: Haute and Humble (Flower Magazine, January-February 2016)
  • Charlotte Moss on Decorating with Music (House Beautiful, December 2015)
  • Charlotte Moss on A Flair for Living (House Beautiful, October 2015)
  • A Romance With Weeds (Flower Magazine, May-June 2015)
  • The Elegant World of Bunny Mellon (Flower Magazine, March-April 2015)
  • Winter Wonderland (Flower Magazine, December 2014)
  • Bunny Mellon’s Collection, On The Block (T-Magazine November 2014)
  • Itinerary, Botanically-Themed Designations in Paris (and Beyond), (T-Magazine, July 2014)
  • The Eloquence of Silence (T Magazine, July 2014)
  • Modern is Fashion Forward (House Beautiful, June 2014))
  • The Woman Who Served Jell-O to The A-List (WSJ, July 2013))
  • Italian Sojourn (New York Cottages & Gardens, Oct. 2012)
  • That’s Entertainment! (WSJ, Sept. 2012)
  • Design Your Own Fabric (WSJ, Sept. 2012)
  • A Tuscan Garden Tutorial (WSJ, Aug. 2012)
  • A Place to Potter Around (WSJ, July 2012)
  • In the Air: Orchidelirium (Off Duty, April 2012)
  • Hedge Finds (Hamptons Cottages & Gardens, Sept. 2011)
  • That Garden Je Ne Sais Quoi (WSJ, Aug. 2011)
  • An Icon Uncovered (WSJ, May 2011)
  • The Old-World Artistry Behind the Modern House of Chanel (WSJ Magazine, April 2011)
  • Paradise Regained (WSJ, Dec. 2010) 

GUEST LECTURER:

Charlotte has lectured extensively on the topic of interior design appearing at showhouses, museums, womens’ groups, garden clubs, trade fair /antique shows and corporate events.

Past lectures include:

  • Fort Worth Garden Club, Dallas, TX (January 2017)
  • Cedar Rapids Garden Club, Cedar Rapids, IA (November 2016)
  • SCAD Style, Atlanta, GA (April 2016)
  • Marianne Scruggs Garden Club, Dallas, TX (April 2016)
  • Washington Design Center, Stark Panel, Washington, DC (March 2016)
  • Founders Garden Club, Dallas, TX (March 2016)
  • The Institute of Classical Architecture & Art, Houston, TX (March 2016)
  • San Francisco Design Center Fabricut Showroom Booksigning (February 2016)
  • Hillwood Museum Estate and Garden, Washington, DC (February 2016)
  • Decorative Arts Society, Newport Beach, CA (February 2016)
  • Greenwich Historical Society, Greenwich, CT (December 2015)
  • Southeastern Horticultural Society, Atlanta, Georgia (October 2015)
  • Century Furniture Showroom
“What’s New, What’s Next?”, New York, NY (September 2015)
  • Antiques & Design Show of Nantucket, Nantucket, MA (August 2015)
  • ADAC, Atlanta, Georgia (May 2015)
  • Institute of Classical Architecture, Washington, DC (May 2015)
  • The Ditchley Foundation, Enstone, England (May 2015)
  • Huntsville Museum of Art, Huntsville, AL (April 2015)
  • Virginia Museum of Fine Art, Richmond, VA (April 2015)
  • Albemarle Garden Club, Charlottesville, VA (April 2015)
  • Palm Beach Garden Club, Palm Beach, FL (February 2015)
  • Fabricut National Sales Meeting, Tulsa, OK (February 2015)
  • Century Furniture National Sales Meeting, Washington, DC (March 2015)
  • San Francisco Fall Antiques Show, San Francisco, CA (October 2014)
  • Nashville Antiques and Garden Show, Nashville, TN (February 2014)
  • Gibbes Museum of Art, Charleston, SC (March 2014)
  • High Point Spring Market, High Point, NC (April 2014)
  • 18th Annual Los Angeles Antiques Art + Design Show, Los Angeles, CA
(October 2013)
  • Nelson-Atkins Museum of Art,
Kansas City, MO
(October 2013)
  • Boston Design Center,
Boston, MA (June 2013)
  • KADO, St. Petersburg, Russia, (May 2013)
  • KADO, Moscow, Russia (May 2013)
  • Chicago, International Art, Antique & Jewelry Show, Chicago, IL (April 2013)
  • SCAD Style, Savannah, GA (April 2013)
  • London Design Week, London, England (March 2013)
  • Madoo Conservancy, Sagaponack, NY (March 2013)
  • Design Bloggers Conference
, Los Angeles, CA (March 2013)
  • Hillwood Museum Estate and Gardens, Washington, DC (February 2013)
  • The Mount at the NYSID Auditorium
New York, NY (February 2013)
  • Homefront Live: A Q & A Session with Jura Koncius,
New York, NY (January 2013)
  • Inside the Business of Design: An Interview with Keith Granet,
New York, NY (January 2013)
  • Holiday House Decorator Showhouse,
New York, NY (November 2012)
  • DCOTA Fall Market,
Dania Beach, FL (November 2012)
  • High Point Market,
High Point, NC (October 2012)
  • Soicher Marin Gallery
High Point Market,
High Point, NC (October 2012)
  • Marketplace Design Center,
Philadelphia, PA (October 2012)
  • Century Furniture Showroom
“What’s New, What’s Next?”, 
New York, NY (September 2012)
  • Devon Yacht Club, Amagansett, NY (August 2012)
  • Calico Corners
Calico Home,
Strafford, PA (May 2012)
  • Atlanta Decorative Arts Center,
Atlanta, GA (May 2012)
  • Washington DC Design Center
at the J. Lambeth Showroom, Washington, DC (April 2012)
  • WESTWEEK, Pacific Design Center,
Los Angeles, CA (March 2012)
  • International Women’s Day Luncheon, New York, NY (March 2012)
  • Phoenix Art Museum,
Phoenix, AZ (March 2012)
  • Coup D’Etat,
San Francisco, CA (February 2012)
  • Fabricut Showroom Appearance,
San Francisco, CA (February 2012)
  • Decorative Center Houston,
Houston, TX (November 2011)
  • The Heritage Club,
New Orleans, LA (October 13, 2011)
  • Fabricut Showroom,
New York, NY – (October 2011)
  • Antiques at the Gardens,
Birmingham, AL (October 2011)
  • Lauritzen Gardens,
Omaha, NE (September 2011)
  • The Parrish Art Museum: Landscape Pleasures,
Southampton, NY (June 2011)
  • Kips Bay Showhouse Booksigning
New York NY – May 19, 2011
  • Atlanta Symphony Showhouse, Atlanta, GA (April 2011)
  • Ralph Lauren Home, Naples, FL and Boston, MA (April 2011)
  • Lake Forest Showhouse, Lake Forest, IL (May 2011)
  • Visions 2011: A Garden Club of America, Carmel-by-the-Sea, CA (May 2011)
  • The Sulgrave Club, Washington, DC (May 2011)
  • Heritage Club, New Orleans, LA (October 2011)
  • Antiques & Garden Show of Nashville, Nashville, TN (February 2011)
  • The Mint Museum, Charlotte, NC
  • Gump’s Department Store, San Francisco, CA
  • The Massey Cancer Center at VCU, Richmond, VA
  • The Antiquarian Society, Montgomery, AL

INTERIOR DESIGN PROJECTS LOCATIONS:

 Montecito, CA                                         Houston, TX

Aspen, CO New York, NY
Bermuda Palm Beach, FL
Bel Air, CA Rancho Santa Fe, CA
Denver, CO Southampton, NY
East Hampton, NY St. Barths
Greenwich, CT Tulsa, OK

Palm Springs, CA

LICENSING: 

Current:

Furniture & Upholstery for Century Furniture

Fabric & Trim collections with Fabricut

China with Pickard

Carpet Collections with Stark Carpet

Fabric & Wallpaper with Brunschwig & Fils

Garden Planters with Siebert and Rice

CONSULTING      

Charlotte is frequently asked by various organizations to draw upon her expertise with consulting on various projects in manufacturing, retail, interior design and publishing. Consulting projects have included:

Gift shop design and space planning consultation, Monticello

Licensing Consultation, Colonial Williamsburg

Restoration of The Mount, Lenox, Massachusetts

Production of a Fundraising DVD, Kips Bay Decorator Showhouse

TV/RADIO APPEARANCES:

  • Nate Berkus Radio Show
  • Martha Stewart Living Today on Sirius Satellite Radio
  • HGTV
  • NBC Weekend Today Show
  • HGTV Our Home
  • E! Style
  • ABC Good Morning America

WEBSITE/BLOG

The Charlotte Moss website, A Flair For Living™, contains information on upcoming events, speaking engagements and licensed products, as well as the blogs, Tête-à-Tête and C’est Inspiré. Tête-à-Tête, editorially based, is updated regularly and contains articles of topical interest. C’est Inspiré, is Charlotte’s photo blog - photographs in which Charlotte feels do all the talking…

DECORATOR SHOWHOUSES:

  • Holiday House, Susan G. Komen Foundation, NYC, 2008, 2012
  • Laurel Showhouse for Veranda, NYC, 2008
  • Kips Bay Decorator’s Showhouse, NYC, 1994, 1995, 2001, 2006, 2008, 2009, 2012
  • International Designer Showhouse, NYC
  • Hampton Designer Showhouse, Bridgehampton, NY
  • The Mount, Lenox, MA
  • Hampton Designer Showhouse, Southampton, NY
  • Richmond Virginia Showhouse, Richmond, VA
  • The Royal Oak Foundation Showhouse, NYC
Events