For Clinton, Loew saw a Yellow Oval Room that mixes influences from the candidate’s current home state of New York with those of the South, her husband’s homeland. The designer also wanted to introduce work by female creatives, both contemporary (such as sculptor Darcy Miro) and historic (such as ceramist Beatrice Wood).
Clinton’s Yellow Oval Room: ‘For Hillary Clinton, I would propose a White House that blends the best of Southern hospitality with the gravitas of her adopted home state, New York. In the Oval Room, which is for more informal meetings, I’d seek to create a frisson between muted and crisp, warm and tailored. Clinton’s White House would be chic, understated and polished. The room I envision features work by an international roster of women who are producing and creating in New York: fabrics loomed by hand in Brooklyn by Tara Chapas, exquisitely crafted wallpaper by Yolande Batteau’s Callidus Guild, a mirror by sculptor Darcy Miro. Other twentieth-century women whose work would be featured include Gabriella Crespi, Beatrice Wood, Ruth Asawa and Méret Oppenheim. No florals or chintz in this design, but always a fresh bouquet of jonquils — a celebrated flower in Arkansas. Shades of creams and steely blues and a hint of terra-cotta. Bouclé fabrics mixed with polished wools. Because of Clinton’s modern perspective and global experience, the furnishings would be international and noteworthy for their blend of craftsmanship and innovation, particularly from women artisans and women-led studios and workshops.”
Trump’s Yellow Oval Room: ’Trump has said he would do little to change the White House, and I agree. I would seek to keep it classy and steer things away from the temptation for gilding. (Some japanning, in lieu?) For Trump, I’d surf the line between traditional and bombastic. A seemingly traditional toile de Jouy on the windows, for example, by Sheila Bridges, which lampoons the stereotypes of the African-American experience. (She calls it Harlem Toile.) I imagine Trump holding forth in a Throne chair by Carlo Bugatti. Ingo Maurer’s Porca Miseria! chandelier is customised with Barro Negro pottery from Oaxaca, and an Aztec design is featured on the border of a rug by Jules Leleu. The furniture is by American greats of 1970s vintage, Warren Platner and Vladimir Kagan. The silver service is by William Spratling and produced by Taxco, a Mexico-based workshop. And I would fill Ettore Sottsass’ Shiva vase with jonquils, to remind Trump of Hillary Clinton.’