A Conversation with John & Christine Gachot

Together, John and Christine bring decades of experience shaping some of the most distinctive residential, hospitality, retail, and commercial spaces in New York and beyond. Before founding Gachot Studios, both held influential roles at Studio Sofield, with John also working at Thad Hayes Inc. and Christine later serving as Partner and Vice President of Design Development at André Balazs Properties. Through Gachot Studios, their work spans private residences and collaborations with leading names in fashion, luxury, and design. As returning members of our Design + Art Advisory Council, John and Christine joined us for a rapid-fire round of questions on surprise discoveries, upcoming collaborations, and more.

After 15 years, what do you think continues to set Salon Art + Design apart?

Salon has always been about the relationship between art and design. Salon brings together extraordinary things, but it never feels like you’re being told exactly how to look at them. You can encounter something historic next to something contemporary and understand both differently because of it. That mix feels very natural to the way we design.

Whose work are you especially excited about right now—whether emerging or newly on your radar?

We’re drawn to artists whose work feels deeply personal without needing a lot of explanation. There’s so much technically impressive work out there, but I’m most excited when you see something and immediately feel the person behind it. It’s even more exciting when it’s a friend’s work and you find yourself falling in love with their point of view all over again. Athena Calderone’s latest collection is so elegant, Clive Lonstein’s glass tables are gorgeous, and Maison Gerard is always “best in show.” We really believe in supporting our friends and the creative community around us. It makes collecting that much more personal.

What’s the best thing you’ve ever discovered at a fair that you weren’t looking for?

Usually the best thing is the thing you weren’t looking for. You can arrive with a very specific agenda and then see an object from across the room that changes the whole conversation. Those are often the pieces that end up making a project. The best discoveries are always the ones you weren’t looking for. If you can’t stop thinking about it, pay attention!

What piece in your own collection always starts a conversation?

We have a large Eric Sloane painting from John’s parents’ collection in our dining room that people always ask about. It’s a soft but dramatic cloud formation that somehow feels perfectly at home alongside our more contemporary pieces. The scale is wonderful, and it’s a real conversation starter—especially next to the bold Marilyn Minter nearby. The contrast between the two makes the whole room feel exciting and a little unexpected.

What’s one question you always ask a dealer or gallerist before recommending a piece to a client?

I always want to know the story. Where did it come from? Who lived with it? Clients connect to those details. You’re not simply bringing an object into a room; you’re bringing its history with it, and how you share it is just as important as how it fits into the space.

What makes you confident recommending a significant purchase to a client?

When the quality is undeniable and the piece has a reason to be there. We never want a client to buy something simply because it fills a space. A significant piece should hold its own wherever it eventually lives. Our job isn’t to build a collection for our clients that looks like ours, it’s to help clients recognize what feels like theirs.

What are you seeing clients become more adventurous about right now?

Layering! Clients are becoming much more adventurous with mixing important contemporary work alongside antiques, something highly refined next to something primitive, whimsical, or idiosyncratic. There’s less concern about everything belonging to the same category or a room feeling completely resolved on day one. That layering creates personality, tension, and ultimately a home that feels collected rather than decorated.

When you walk into Salon, what are you looking for first?

I’m not. That’s the point. You have to walk in and look! With that said, bumping into vintage jewelry and rare books is always a favorite.

What are you seeing now that you think collectors will be talking about five years from now?

A renewed appreciation for craft. We’re seeing makers return to traditional techniques and processes, but without nostalgia. There’s a real desire to see the hand in something: the irregularity, the process, the evidence of how it was made. That distinction between craft and contemporary design is becoming less and less relevant.

What exhibition or cultural event is at the top of your must-see list this fall?

Lincoln in the Bardo at The Metropolitan Opera!

What project or collaboration are you most excited about right now?

Our collection with Artemest. It touches on so many of the things we love about design (and about Salon!): craft, materiality, and the tension between old and new. Working with extraordinary Italian makers allowed us to draw on traditional techniques while creating something entirely contemporary. That dialogue between history, craftsmanship, and how we live now is what makes both the collection and Salon so exciting to us.