The designer Kelly Wearstler has always lived inside her work—spaces that feel as though they’ve been conjured from an interior rhythm of curiosity, emotion, and form. When we visit her at home in Los Angeles, it’s immediately clear that this is not just where she lives, but where she thinks—a sanctuary that embodies her devotion to materiality, composition, and the pleasure of the senses. The home unfolds like a living sculpture: stone, bronze, and glass coexisting with soft light, fresh flowers, and the quiet cadence of music. Each surface and scent feels deliberate, each piece—a painting, a vessel, a chair—chosen not to impress, but to move.
Wearstler’s world has always been about feeling as much as form. Through her hospitality and residential projects, she’s cultivated an intuitive relationship with art and design, weaving together antique discoveries, contemporary commissions, and the work of emerging artists. “I’ve always been drawn to the emotional undercurrent of art,” says Wearstler. “It’s not about matching aesthetics—it’s about resonance. When I fall in love with a work, it’s because it shifts how I see or feel something.”
That philosophy extends to how she experiences beauty and craftsmanship in her daily life. Photographed at home wearing Bvlgari’s Serpenti pieces—jewelry and handbags that honor the icon’s 90th anniversary—she exudes a sense of timeless creativity. For Wearstler, the allure of Bvlgari lies in its shared reverence for heritage and innovation, and in the way each design feels sculptural, sensual, and alive. “Bvlgari represents timelessness and fearless creativity,” she says. “When I wear it, it becomes an extension of self-expression—another way to live with artistry and intention.”
“Bvlgari represents timelessness and fearless creativity,”
Kelly Wearstler
Wearstler’s impulse to connect through curiosity has recently found a new home in Side Hustle, a debut curatorial platform. Its first exhibition, “Again, Differently,” transformed her pool house into a meditative gallery experience, featuring works by Leonor Antunes, Sonia Gomes, Madeline Hollander, Nynke Koster, Joana Schneider, Karl Holmqvist, and more. Visitors encountered illuminated sculptures and mirrored furniture bathed in sound and text—music by Kenny Beats, words by Jeffrey Deitch—creating a multisensory dialogue between space and spirit.
Ultimately, her home, her work, and her way of life all circle the same truth: that luxury today is not excess, but experience—a deeply personal expression of what it means to live beautifully, surrounded by the ideas, textures, and objects that make us feel most ourselves.
Photo by Steve Benisty.
WHITEWALL: How did you select the artists in Side Hustle’s first show?
KELLY WEARSTLER: The artists were really selected for their materials. Some I already had relationships with. I was introduced to Leonor Antunes, for example, by a client who’s a big collector. There’s an amazing piece of hers in their staircase—in a home in Brentwood that we did. I travel to Brazil and am friendly with Pedro Mendes from Mendes Wood DM, and he introduced me to Sonia Gomes. I meet people through my network, through clients and projects, and also by word of mouth.
“I’ve always been drawn to the emotional undercurrent of art,”
Kelly Wearstler
I’m always asking, “What new, emerging artists do you know about?” I go on studio visits when I’m traveling, so I’ve built this network.
The Meaning Behind “Again, Differently”
Photo by Steve Benisty.
Photo by Steve Benisty.
WW: Tell us about the title of the inaugural exhibition, “Again, Differently.”
KW: There are a couple of different meanings to that. Everything’s been done, so it’s about how you reinvent it and do something again—but differently. You’ve seen a stiletto heel, you’ve seen a chair with four legs, but how can you do it again and differently? There’s an emotional feeling when I’m seeing something done again, differently. It also means that when you do something and fail, you continue to push yourself—to do it again, differently—and evolve.
It’s also about repetition. That was part of the curatorial theme. For example, Nynke—an artist in the Netherlands, whom I met through a gallery owner in Amsterdam—said, “You should go to The Hague and meet this one artist who works in rubber.” I was intrigued, so I went to her studio and spent a few hours there. She was casting classical architectural moments across Europe—like the façade of a building entry or the base of a column. She would cast them, then return to her studio and turn them into rubber works.
I have a classic home in Los Angeles, and all the original moldings are intact. It was designed by a well-known California architect, James Dolena, and there’s a lot of Hollywood history to the home. So, I had her come out and cast architectural moldings, and then we created furniture pieces from that. We even developed a color theory together. The works are amazing and truly unique.
A Home with Hollywood History
Photo by Steve Benisty.
Kelly Wearstler, photo by Steve Benisty.
WW: Speaking of your home, the show takes place in your pool house. The location has an interesting history: it was once a screening room for the Broccoli family, who famously created James Bond. How does the history of your home inspire you?
KW: William Powell, a very famous actor in the 1920s, hired James Dolena, and for the interior, they hired William “Billy” Haines—a famous designer-decorator who was also an actor. Then you have the Broccoli family, the creators of James Bond, so there’s all this amazing creative energy.
When the Broccoli family had the home, this was their screening room. I decided I wanted a physical location close to home. I knew I’d learn a lot about running this curatorial platform, but I also wanted it to be a warm, friendly place for people to experience. What’s better than inviting people into your home? The pool-house culture also plays into the curatorial theme of storytelling—and that’s what filmmaking is about.
A Shared Language with Bvlgari
Photo by Steve Benisty.
Photo by Steve Benisty.
WW: For this story, we just finished a shoot with you in your home in Los Angeles, which was a perfect blend of design, fashion, and luxury. Notably, you wore Bvlgari jewelry and accessories from the Serpenti Collection. How did your relationship with Bvlgari begin? How were you first introduced to the brand?
KW: I’ve admired Bvlgari for as long as I can remember. Their design language—bold, sculptural, and luxurious—has always resonated with me. My introduction was through their jewelry, of course, but what captivated me most was their ability to balance heritage with innovation, honoring tradition while constantly pushing the boundaries of design.
WW: What do you feel you and the brand have in common? Are there similarities that you honor in your everyday life?
KW: Bvlgari and I share a deep respect for history while continuously pushing toward the new. Both my studio and the house draw inspiration from classical forms and materials, reinterpreting them through a modern lens. I try to live each day with that same sense of artistry and intention, whether in how I approach my work or how I experience beauty and style in everyday life.
“Bvlgari and I share a deep respect for history while continuously pushing toward the new,”
Kelly Wearstler
WW: The “Serpenti” collection is celebrating 90 years this year and is now a signature for high jewelry, watches, and accessories. How do you see this icon evolve for the next generations?
KW: “Serpenti” is such a powerful and timeless symbol. It embodies the beauty of continual transformation and reinterpretation. Today, we’re increasingly drawn to authenticity and storytelling, and I imagine Serpenti will continue to evolve through the exploration of diverse materials and innovative forms of craftsmanship—honoring its legacy while also inspiring new generations through creative vision. I’ve always been captivated by the vintage Serpenti watches. Their form feels almost architectural, with each curve and coil revealing both precision and sensuality.
To me, Bvlgari represents timelessness and fearless creativity. It’s a brand that doesn’t follow trends—it defines them—and that spirit deeply influences my own approach to design. When I wear Bvlgari, it becomes an extension of my self-expression, carrying the same artistry and individuality I bring to my work into my personal style.
Living a Fully Sensory Practice
Photo by Steve Benisty.
WW: How does your own practice embrace the full scope of creativity—design, art, scent, fashion, film, poetry, and more?
KW: It’s what I do. In my studio, if we’re working on a hospitality project, we curate every aspect of the experience—it can be a playlist or a scent. For a residential project or a hotel, it could be a sculpture. It’s about what car will pick you up from the airport. What’s that experience? What are people wearing? Side Hustle is a full-sensory experience, and nothing is off the table. It’s really exciting—a new way of thinking.
We wanted to incorporate performance art, for instance, and asked how we could turn this into something people can enjoy and take away. So, we created a video with Madeline Hollander—and you can actually acquire the work. It’s so meditative and beautiful. I’m also a huge believer in and user of AI and new media, so that’s an area we’ll continue to explore. I’m equally interested in how things are assembled—the craftsmanship and construction—so that will keep evolving, too.
I seek beauty in the world and the things that move me—and, in turn, move my clients to create an emotional response. It gives both them and me the opportunity to fall in love. That’s what it’s about—falling in love.
WW: So, it’s all about what you’re genuinely drawn to?
KW: It’s very personal, yes. It says what I love and who I am. I’m leaning into all aspects of creativity. I could have done wall works in a white-cube gallery, but so much is about the experience. I’m inviting people into my home to experience a gallery and new work—and I want to evoke an emotional response. When they enter the gallery, they hear Kenny’s playlist, which makes the work even more enticing. It creates an environment where you want to stay. That’s what great design does—you want to linger, collect, bring things home that remind you of a time in your life or a special memory.
With Side Hustle, being able to do this and keep learning from these artists is amazing. As a creative, one of the best things I continue to do is learn and evolve—through my team, architects, landscape designers, lighting designers, chefs—everyone who comes together for these large-scale projects. Continuing to evolve is what I’m about. I’m curious. I always want to try and discover new things, so this feels like the right time and evolution. It’s a natural extension of what I’m doing. There’s no agenda. It’s going to grow organically. I’m open to any possibility—to taking risks, to letting artists play in the sand. This is a place where they can do something they haven’t done before. My team and I are here for them to lean on.
Commissioning, Collecting, and Championing Artists
Photo by Steve Benisty.
WW: You’ve curated and commissioned art for your home as well as various projects in the past for clients. What is that like?
KW: Commissioning artists to do unique works is one of my favorite aspects of my job—going to studio visits, finding an artist, and having them create something proprietary for one of our projects. We’d get inquiries about these pieces—whether from someone staying at a hotel or seeing something in a book. People were intrigued by these works, so I felt there was an interesting story there.
“I’m open to any possibility—to taking risks, to letting artists play in the sand,”
Kelly Wearstler
I love the tension between vintage and historic objects and avant-garde contemporary pieces. That’s what my home represents. I commissioned Misha Khan to make a really cool bench for a room in my home. It’s next to a postmodern chair from the ’80s, where you can see the patina. There’s also so much patina on Misha’s ceramic glaze on the bench—it feels very handmade. There’s always something with a handmade quality. Even if it’s new, it’s tactile. I like things that aren’t so shiny and new.
I also love working with artists who started out doing something else—where this was their “side hustle”—and now they have a thriving practice. Or maybe they’re just starting out. I love supporting them and being a megaphone for them.
WW: “Again, Differently” included multi-sensory elements like a soundtrack by Kenny Beats and an essay by Jeffrey Deitch. How did you envision emerging names existing alongside established ones?
KW: They all support each other. I love fashion and emerging designers, but I also love the established ones. Who you sit beside matters to so many people—it’s about perception. Having emerging artists like Mariko sitting alongside Sonia Gomes lifts everyone up. That’s what the creative community is about—it should support itself.
Jeffrey Deitch’s contribution with text was especially meaningful to me because I’m just dipping my toe into the art world. It’s not foreign, but the business aspect is. Having his support means a lot. And in terms of expression—whether it’s Kenny Beats’ playlist or Karl Holmqvist’s mirrors and reflections, his “literature,” as he calls it—it’s all art and self-expression. It creates fascinating stories, dichotomies, and tension.
What’s Next and The Future of Luxury
Photo by Steve Benisty.
WW: What else are you working on right now?
KW: We’re working on a project in Lake Tahoe that once belonged to Frank Sinatra, called Cal Neva. It’s a large-scale project that will have taken six years when it opens. There’s a Frank Sinatra theater, a high-end casino with table games only, incredible food and beverage, 40,000-square-foot wellness facilities, chalets, a membership club, and more. It’s an ambitious project opening in two years.
We also just started a residential project in Bangkok, Thailand, and another in Melbourne, Australia. There’s a hospitality project in Courchevel, France, and another in London.
There’s really no rhyme or reason to the projects we take, but much depends on timing and type. I love the diversity in my studio. I also love taking on a small project that’s exciting, fresh, and new. I’m always open to riding the wave and enjoying the process.
WW: What do you envision the future of luxury to be?
KW: The future of luxury is rooted in wellness—of mind, body, and spirit. People are increasingly drawn to objects and experiences that nurture them, bringing a sense of calm and balance. Today, luxury is less about excess and more about intention—how something makes you feel, the craftsmanship behind it and the atmosphere it creates around you. Ultimately, it’s about beauty that enriches and elevates your wellbeing.
Photo by Steve Benisty.
“The future of luxury is rooted in wellness—of mind, body, and spirit,”
Kelly Wearstler
