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Few contemporary directors have a style as instantly recognizable as Wes Anderson’s. While his films have spanned locations ranging from Japan to the Swiss Alps to 1960s New England, you can tell an Anderson-directed movie just by looking at a single shot. His style of production design is equal parts twee pop, and French New Wave, with healthy doses of vintage upholstery thrown in for good measure. The meticulous attention to detail gives design lovers plenty to obsess over during repeat viewings. He also designed a cafe in Milan, so the man clearly has an interest in design that goes beyond storytelling.
Each Anderson film is unique, but certain motifs emerge over, and over again. The auteur loves to use symmetry, geometric patterns, and muted versions of the primary colors. Shots are often monochromatic at first glance, but reveal rich color and texture variations upon a closer look. He loves to show handwritten notes and furniture that looks like it could be found in that cool vintage store down the street. His over-the-top production designs have a playful awareness of their own artificiality, looking a little too staged for the real world, but blending seamlessly into the worlds of his characters. They create the feeling of living in a storybook. And let’s be honest, who wouldn’t want that?
Anderson’s unique style has earned him a mainstream following, in part because his movies are delightful to look at. His distinct aesthetic has spawned “Saturday Night Live” parodies, and endless discussions about what his take on various settings, and genres, would look like. Which begs the question: how would it look if Anderson took a stab at your house or apartment? We might be able to help with that. The following home goods contain elements of his trademark style, making you feel like you’re vacationing at the Grand Budapest Hotel – even if you’re locked down at home. Pick up a couple of pieces to add a cinematic touch to your living room or office, or grab them all to fully immerse yourself in his world. It’s a great way to get your Wes Anderson fix while you count down the days until “The French Dispatch” is finally released.
This phone looks like it could have sat in Edward Norton’s office at Camp Ivanhoe, ringing off the hook with urgent calls from distressed parents of missing Khaki Scouts. The shade of yellow is so distinctly Anderson, it’s a wonder it isn’t named after him. It looks so cool, there’s no need to tell anyone if you don’t have a landline to plug it into.
An eye, an arrow, a single lightbulb, one pill, some bees, and a heart so small you might miss it if you weren’t looking. The list of images on this tray sounds like it could be the subtitle of a future Anderson movie. Stylized without trying too hard, and painted in a muted shade of red that would fit in any of his movies, this tray is an essential addition to any Anderson-inspired room.
Like many great Anderson props, this clock manages to find wry humor in its utilitarian nature. It only shows what is necessary to tell time, but the drab shade of green gives it a playful 1960s aesthetic. But time moves a little differently in Anderson’s world, so he could probably use in any number of decades.
Just flashy enough to look like it could be a misguided display of wealth, just odd enough to catch your eye without distracting from the scene, and just unique enough to make audiences wonder where Anderson found it. It is very easy to picture Bill Murray, and Tilda Swinton, being served tea on this tray by a butler played by Jason Schwartzman.
If there’s one thing Wes Anderson loves, it’s symmetry and repetition. This three-layered bar cart would be at home in any Anderson film, provided you fill it with bottles of obscure vintage absinthe, and slightly-chipped antique highball glasses.
A meticulous attention to detail is a hallmark of Anderson’s movies, so of course rugs are important too. Even the slight discoloration within a rug matters, and this one from Surya certainly fits the bill. The red-on-slightly-different-red design is very on brand for the director. It manages to be elegantly designed while simultaneously looking like it could have been collecting dust in a penthouse for the past three decades. If you picture the rug with some typewriter font on top, it even resembles the layout of an Anderson movie poster.
Even if Anderson hadn’t made “The Life Aquatic With Steve Zissou,” these patent prints from the legendary sea explorer (and a personal hero of Anderson’s) would fit his aesthetic perfectly. The fact that he did make the movie just makes them more of a must-own.
This symmetrical red cabinet looks like it could be used to store any number of leather bound journals, or Belle and Sebastian records. It’s the kind of piece that lays the foundation for flashier set dressings. Design lovers might notice this cabinet and fall in love with it during their third viewing of an Anderson movie.
Leave this on your desk with an unsent, meticulously-worded goodbye letter to an old lover sticking out of it. Enough said.
For all of his decorative impulses, Anderson can be quite minimalist at times. This muted-yellow end table is simple, cool, and tastefully stylish. Whether he was putting it in one of his movies, or the cafe he designed, the “Moonrise Kingdom” director would definitely approve.
Anderson loves to label things, and this bluntly-stamped cookie jar is reminiscent of the storybook aesthetic found in so many of his sets. If you want to feel like an indie film character with a wandering mind who needs to be reminded of where the cookies are stored in your own house, look no further.
With its melancholy yellow walls and touches of detail in the middle, this print could just as easily be part of a storyboard for a sequel to “The Darjeeling Limited.” If you’re looking for something to hang on your wall, why not pick one looks like the opening shot from a movie that Anderson hasn’t made yet?
With each passing film, Anderson’s production designs seem to become more and more ornate. This end table looks like it would blend perfectly into the scenery of the Grand Budapest Hotel. Like any piece of Anderson-inspired furniture, it would do an excellent job of playing its small role in a larger design symphony. Pleasantly detailed for those looking at it, but not loud enough to distract from the rest of the room. A lobby boy would have almost certainly been berated for setting a drink on it.