What is Nestology?

We believe our patrons deserve furniture built to last, with style that always looks unique and fresh.  Every piece in our collection is selected by our designer, Paul Miller, twice recognized by Washington-area Home and Design magazine for superior design vision. Beautiful, functional, and sustainable upholstery should compliment your home for years.   

We know that Nestology upholstery makes any room better.

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The Next Chapter Is Green

                                                                                                                                                            John Strauss Furniture

By the time we left Market Square, we had not only found an exciting new furniture source, we had sat in on an impromptu lesson on craft and passion. The maker is John Strauss, who we had researched before coming to High Point for the spring market. We spent over an hour learning about the collections.  John showed us a curious little doodle the French use to line up wood cuts for drawer fronts.  It was no accident that we were spending this much quality time with one furniture maker.

Our goal is to kickstart an initiative to make our entire furniture offering both sustainable and American made. We found out about John's company while doing our research.  Going into market with these standards in place was transformative.  While we spent time with new resources - most of them artisans who chose to come to market in person to represent their lines - the rest of the attendees buzzed past with an air of confusion and agitation.  They seemed shell-shocked by the vast quantities of vendors and they reminded me of myself in past years: hit with a sugar rush of goods rather than nourished by a quality experience. 

We discovered so much of value in our research this market, as well as forging relationships with passionate craftspeople.  The American furniture makers of today are maintaining our treasury of hardwoods through responsible harvesting.  And our small-batch makers comply with the kind of workplace safety guidelines that are simply not present in most overseas markets. Most seductive to a designer's mind is the fact that our artisan resources thrive on customization, which allows us to offer more design options to our clients.

In recent decades there has been much talk about globalization.  In the sense that we knit nations together through robust trade and that we find common humanity through shared resources and knowledge, the concept of globalization is very attractive.  Yet we are deeply satisfied to opt out of doing trade with makers who are not sensitive to the needs of workers and the environment.  

When I was younger, I was a fierce environmentalist. Then I drifted, seduced by an industry that seemed careless to the matter.  When the determination to make changes in my company asserted itself, I knew the time had come to commit to the progressive values in business that I cherish personally.  Looking inward has helped me to discover seeds waiting to sprout and so the next chapter is green.



Scene Stealers

As much a character as any populating the pages of Daphne du Maurier's novel, Rebecca, the lovely seaside estate of Manderley epitomizes English grandeur.  Under the skilled hand of its former chatelaine and story namesake, until her death before the story opens, the vast manor was the setting of the most coveted soirees of 1930s society.  As the tale unfolds we follow the shy, inexperienced second mistress as she navigates the trappings of her new life with wealthy, handsome widower, Maxim de Winter, all the while reminded in countless ways of how short she seems to fall of his first wife's success.

The setting of the film had to meet the expectations set by the novel and those of director Alfred Hitchcock who was familiar with the kind of homes Manderley was based upon. The decoration demanded both opulence and restraint, and could not be a Hollywood fantasy of the era.  The architecture needed to convince audiences of the house's age and most importantly from a story-telling perspective, it needed to dwarf the young female protagonist.  The smooth and slow roving camera of photographer George Barnes earned the film an Oscar and lovingly shows the fine work that set decorator Howard Bristol brought to the production.  

A secluded morning room, boasting deep window seats and diamond mullioned windows, is dominated by a hearth vast enough to gobble up the timid young woman.  Yet due to the intimate scale of the room and the heft of its appointments, we understand that while she may not craft lofty correspondences here, as did her predecessor, she still feels more at home in this space than in the grander ones beyond.  Across the house in a wing overlooking the sea, the suite where Rebecca slept helps to fill in blanks about the first wife. Here the ceilings are higher, the architecture more contemporary and the textiles as supple and transparent as a fine peignoir.  That the fabrics suggest a seductive garment is no accident, for the story that unfolds reveals that Rebecca was as sure-footed a paramour as she was a doyenne of the haute ton.  

The modernity here separates the first Mrs. de Winter from the moorings of the past, indicating her freedom from passe expectations.  Furthermore, the design shows that Rebecca felt enough ownership of Manderley to transpose her personality unabashedly over the antique tastes of her husband's ancestors.

Watching this 1940 film is a pleasure on many levels, as the story adaptation, production values and performances are all stellar.  Yet in creating a character out of a house, Howard Bristol certainly deserves his own portion of the praise.