Situated in Manhattan’s Nolita neighborhood, 75 Kenmare houses 38 luxe units beneath its geometric concrete facade, all of which feature bold interiors by the Lenny Kravitz–helmed, ELLE DECOR A-List firm Kravitz Design. Most of the condos in the building have now sold, but one particularly notable residence—the $11.5 million top-floor penthouse—remains up for grabs. ASH NYC, an interiors practice based just around the corner from 75 Kenmare, recently put its own spin on the lofty digs with dynamic staging that complements Kravitz’s vision.
“The design that Kravitz did is quite bold, ambitious, worldly, and almost rebellious for a condominium in New York,” says Andrew Bowen, head of staging at ASH. “We do this as our bread and butter, so to see something that has more striking details and materials was a great launch pad for us to work within.”
Kravitz’s preexisting elements included a white marble backsplash and countertop in the kitchen, warm wood floors and brass hardware. ASH echoed these features in its vision for the model unit, starting with the sprawling great room, which has three distinct seating areas: one around the fireplace anchored by a custom sofa and a pair of curved Alky chairs by Giancarlo Peretti, another that functions as more of a mini cocktail lounge with low-slung seats and marble side tables, and, finally, a dining space just off the entrance.
ASH mixed vintage and contemporary pieces—a classic Serge Mouille floor lamp with a custom one by up-and-coming lighting studio Trueing, for instance—to suit the interests of its imagined resident: a collector. “It’s definitely a high energy, creative person,” says Bowen. “They’re into the arts, they’re into fine dining, they’re into entertaining.”
That idea continues in one of the bedrooms, which ASH styled as an office with moody, dark gray walls and neon light sculptures inspired by Keith Haring. In fact, almost all of the bedrooms experiment with a different color palette, starting with the primary, whose blush wallpaper from Phillip Jeffries creates a “rose-colored glasses feeling,” per Bowen. The guest suite, meanwhile, is much bolder—perhaps a nod to Kravitz’s sensibilities—with the top half of the room painted black and the bottom white.
Above all, the goal was to make an impact. “It’s really all in the interest of creating the best possible experience to make the home sing,” adds Bowen.
