Interior design partners Tony Ingrao and Randy Kemper are known for their unique approach to style. Ingrao believes that where style is singular and grows from a particular person, place and circumstance, design is the playful process of discovering a client’s personal style. Ingrao’s projects are open-ended conversations between the taste of his clients and his own intuitions and expertise.
With a high-profile client rosta, including Kim Cattrall, Howard Stern, and large public works in New York City and Hawaii, its no wonder Ingrao and Kemper are so sought after.
Ingrao Inc. blends a fresh, contemporary approach with old-world classicism. Process, material and reconciliation with natural elements, are paramount, and their keen eye towards quality at every level ensures the interiors are been noted for their refinement, utility, and tranquility. Always considering the original creation he’s about to reinvent, Ingrao feels that, “it is essential to pay attention to what the essence of a house is in order to capture its spirit.”
Ingrao established his studio 25 years ago and since then, his work has included the restoration and decoration of an 18th century mill house in Pennsylvania, an 11th century monastery in France, a contemporary Manhattan penthouse inspired by the pop-art movement, NEW PROJECTS.
Creative Director Randy Kemper began his professional career when he was selected by Hubert de Givenchy to work at his Parisian fashion house. He later launched his own firm where he dressed many prominent women of society including First Lady Hillary Clinton, before closing his business and joining Ingrao Inc. in 1998.
Ingrao’s aesthetic and signature style defy easy classification. He established his place among the world’s elite tastemakers through a series of high-profile commissions that demonstrated his mastery of traditional period design. When Vogue published images of a startlingly modern apartment from Ingrao, eyebrows shot up in disbelief and curiosity from his volte-face. Design discourse in the 20th century was predicated on the fundamental opposition of “modern” and “traditional” and this perceived dichotomy, continues to shape our understanding of designer’s professional identity and personal taste. Ingrao however has the talent to defy the authority of received ideas. Why should he have to forsake the 18th century in order to embrace the 21st? This is what he and Randy explored to spectacular effect at Ingrao Antiques and Fine Art. The gallery caused a sensation when it opened in 2002, as although Ingrao was hardly the first to experiment with the juxtaposition of antiques, contemporary art and architecture; the audacity of his vision was undeniable. High modernism met its match in antiques of extraordinary quality and character, and Ingrao’s predilection for furniture with robust, muscular forms and rare materials added to the drama of the pristine environment of finely detailed white marble planes.