The Gods Amongst Us

When I was in my late twenties and living in San Diego I was fortunate to land a position in an interior design firm that had a highly acclaimed name in Southern California. The name was the owner’s, Gerald Jerome. He was considered a master, and no one knew it more or believed it more than himself and his staff. Looking back, we were almost like a cult.

Working for meager salaries we thought nothing of staying until midnight if that’s what it took to meet deadlines. And that frequently happened because Gerry, quite the salesman, made promises he wouldn’t have kept otherwise. None of us could have possibly had a child or a marriage and survived that employment. Still, we were for the most part young and told ourselves that we were the fortunate ones, that there were hundreds of designers out there with portfolios under their arms who would love to have our jobs.

So we worked for the association with Jerome, the hope that some of his genius would spill over, and that one day too we might be on our own. Such is the nature of the field, it is almost medieval like the apprentice system. Gerry Jerome relished that. He had a larger-than-life persona, and oftentimes while we were under the gun he made himself at home in our office, sitting back with a vodka & tonic, telling tales. Meanwhile we were at our drafting tables working, flying down the hall to make blueprints, organizing all the materials he would need for his meeting with the client in the morning, and driving home half dead.

His genius, the look we became so good at, was over-scaled and custom-designed for the most part. His interiors favored textures such as wood, stone, wool, leather, hide, over pattern, unless it was tribal, an ikat or a primitive rug. He combined contemporary with primitive, with little to nothing in between. His color palette favored the naturals, and we tended to steer clear of color with the exception of “Jerome red,” a brick/rust red. Everything Had to Make a Statement. It was design with a man’s hand. And his signature at the end of a job was often a custom designed door that stood twice as tall, twice as wide, made of copper or carved. One had to marvel at how easily it swung.

I knew I was over the edge when one day my brother-in-law, a Boston based writer and filmmaker on assignment in LA, came to visit, and I tried to explain to him that Jerome was “like a god.” All my brother-in-law had to do was give me that look and I knew. Not that I was going to do anything about it. You have to remember, I was in heaven.

Looking back, much was not right. All those hours without overtime pay, the chauvinism we endured, the salaries that might have been better but for the fact that Jerome was fond of making deals with his clients, and often took payment in the form of a rare Pre-Columbian sculpture, a Tamayo or Francisco Zuniga painting, or a large piece of quartz, all of which were showcased in his home in Mission Hills.

And then one day, after he had turned all other clients away so that our small firm could oversee an enormous convention hotel project in Mexico with Westin, we woke to find that the Mexican economy had collapsed overnight and the government had imposed a freeze on the American dollar. I didn’t understand the economics then and I don’t understand it now, but Westin pulled out and Gerry Jerome laid us all off. Just like that.

For years afterwards in whatever I did in the arts, I felt Jerome over my shoulder, bellowing if he didn’t like what I was doing, or laughing that I “designed like a woman” (the ultimate insult).We put up with such behavior in a person that extraordinarily talented or bright, and here he wasn’t even around. I was married and at home with my first newborn when I received a call from an old associate in our firm, informing me that Gerry Jerome had died. He had come home, slipped out of his Italian shoes, and suffered a heart attack while sitting up in bed reading “Architectural Digest.” There always had been a matter with his heart; I seem to recall it ran a little fast. His memorial service had come and gone—while I was in labor and in the hospital giving birth–and I never had a chance to say goodbye to this man who had meant the sun, moon and stars to me. How many people can be that significant in a lifetime?

Later when my life took a decidedly literary turn, I assured myself that I would always have a hand in interior design so long as I had a shelter to live in. I think it was only in writing that I didn’t feel Gerry Jerome lording over me. It is in writing that I would find my own voice, and what looks like my own design style while I’m at it.

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6 Comments

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6 responses to “The Gods Amongst Us

  1. sophiewitman

    Today’s prompt on Minerva Rising was to write an obituary – for someone who is still alive. It really grabs me the way you kind of did just that (without the prompt). Not that this was Gerry’s obituary. Nor that he is alive. But kind of both. Great piece.

  2. It is fascinating to think of how good design is like good writing: first you add; then you edit, subtract, refine and subtract some more..

  3. pmayer

    Nice memory. I remember the man and even more the art displayed at his home. They could all have been fakes, but the man new how to take a piece and make it look like a million… well maybe they were? Certainly are now…

  4. Alexander Finn

    A fond obituary Kim, from which an epitaph might be drawn, a farewell to those who would have consumed me if they had not made me stronger.

    The Gods are nothing without worshippers.

    I love the phrase, “to lord over.” A friend of mine once used it to describe a shapely waitress we were goo-gooing over. “Yeah,” he said, “and she lords over them.”

    I had to look up Gerald Jerome and check out some of his signature designs of the time. He was a God. I vaguely remember him (his style). We lived in Modesto in the early 60’s and I recall our patio decor, earth tones: variations of the desert. My mother was, and still is, good, and she must have picked up on his, “take a piece and make it look like a million.”

    There was a picture of my sister and I at about 4 and 6 years old, both of us sitting in my dad’s lap on a circular concrete patio in a chair of GJ inspiration. It was canvas , colored rust-orange, draped over the palm of a four-fingered, steel rod frame, only the canvas had ripped out and we were all sunk into the palm with my Dad’s butt touching the ground. Thank-you GJ.

    I like the sound of Gerald “Jerry” Jerome’s name. The G and the J sound. Portuguese, baby sounds, “shhhhhh” only with more vibrations.

    Although your well-written post is a polite (heartfelt?) tribute to GJ, it is really about you. This a good thing. Your writing has clearly been strengthened by him.

    Is use of the conjunction, and, to begin sentences and even a paragraph on the rise? Could this be an unexamined charateristic the blog. I want to use, because, and, and but, far more than I should. I’ll start posting at, butblog.com

    I have never been in the presence of Gods, only a variety of semi-gods,demi-gods, imps and daemons. I am sure I’ll mention them before this voyage is over.

    To your health and happy writing,

    Alexander

  5. Anthony Vitale

    Gerald Jerome was my grandfather, I never met him. All I hear are tales of how great of a man he was, from my mother of course. I grew up in a house filled with his collection of pre-Colombian artifacts and I just wish I could’ve met the man who was made legend to me by my family. But this story still gives me the same sense of awe that all the others do.

    • I loved hearing from you, Anthony. Please give my best to your mother. We’re in the midst of remodeling a home on San Juan Island, and you know who is over my shoulder every step of the way, making it splendid.

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