Most designers would insist on re-covering the piece entirely, but Ridder isn't interested in perfection. "It's just so charming when you walk into the house, because it's filled with life. It doesn't feel like a museum," she says. Not that she isn't nuts for impeccable details. Triple-weave stitching, decorative nailheads, embroidered curtain trims, silvered ceilings—all the hallmarks of the designer's work show up throughout the house. Her affinity for combining chinoiserie, Moghul-style flowers, and Provençal accents surfaces subtly, giving the rooms a whiff of exoticism without courting cliché.
Indeed, no two Katie Ridder homes are alike. "I've now been in three others that she's done, and I don't feel like mine is at all like any of them," the wife says. "What she completely got was that we have loads of guests, and of course, there are all the animals. I can't wait to do it again."
In the meantime, designer and client are tweaking a few things. "We're rethinking that white sofa in the library," Ridder says, laughing.
The bed, canopy, and curtains in the daughter's room are in a fabric by Muriel Brandolini, which also sheathes the walls; the lamp is by Christopher Spitzmiller.