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Interior designer David Kaihoi’s advice, reported by Veranda, is to choose frames according to the artwork and the room rather than follow a single formula. He recommends testing frame samples in person, mixing frames for a collected wall and matching them when works are meant to hang as a series.
Interior designer David Kaihoi says art at home need not follow the uniform arrangements used in galleries: frames and placement should respond to the artwork, architecture, furniture and light. In advice published by Veranda, the Redd Kaihoi partner outlined ways to choose frames and arrange pieces, offering a practical alternative to treating every wall as a fixed design formula.
Kaihoi’s central principle is that a frame should draw attention to and complement the artwork, not compete with it. He advises considering what the piece can support: a work might suit raw wood or a restrained black frame, while another could benefit from a carved gilt frame. A frame that seems like an obvious match on paper may not work in person, he said, so he recommends comparing samples directly with the art when possible.
The room matters as well. Kaihoi suggests that natural wood may suit a beach setting, while glossy black can feel appropriate in a city interior. He also looks for secondhand frames at auctions, flea markets and antique shops, sometimes buying a piece primarily for its frame and choosing artwork for it later. French matting, which creates a decorative border around the work, is another option he likes for both classical and some contemporary pieces.
For arrangements, Kaihoi says matching frames make sense when works are intended to be seen together, such as a series of photographs or prints. A salon-style wall or works scattered through a home can mix frame styles to feel collected rather than overly planned. His own preferences include frames that show the raw sides of a canvas and combinations of refined gilt or silver-gilt faces with natural wood sides.
Frames That Respond to the Room
The advice matters for people displaying art at home because it shifts the decision from finding a universal rule to making piece-by-piece choices. A frame can change how artwork reads: a strong finish may accentuate a work, while a competing one may distract from it. Considering the room alongside the art can also help a wall feel connected to its surroundings rather than arranged as a separate display.
Kaihoi’s approach leaves room for both order and experimentation. Matching frames can give a related group visual unity; varied frames can make a broader collection feel accumulated over time. His comments are design guidance, not a set of technical hanging standards, and the report does not present them as a guarantee that a particular frame or arrangement will suit every home.
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From Gallery Work to Home Displays
Kaihoi’s view draws on his early work as a fine-art installer in New York, where he helped interior designers hang artwork. He recalled seeing different approaches: one designer arranging several pictures from a single bow, another placing a small portrait alone in a large dining room. Those contrasting examples, he told Veranda, showed him how varied artwork can look in an interior.
He later joined designer Miles Redd’s firm and became a partner in Redd Kaihoi. That professional background informs his preference for treating each installation as a response to the room rather than applying a gallery arrangement automatically. The supplied report offers his personal practices and examples; it does not include independent testing or a survey of designers.
“The gallery hanging approach is meant for a museum, and it has its place, but in the home, I think it can be much more lively, playful, and up for grabs.”
— David Kaihoi, interior designer, speaking to Veranda
Advice, Not a Universal Formula
The recommendations are Kaihoi’s professional opinions and preferences, as presented by Veranda. The report does not specify measurements for hanging height or spacing, offer safety instructions for securing different kinds of artwork, or establish that one frame choice will work in every room. It also does not provide a publication date in the supplied material. Readers should treat the guidance as a starting point and account for the artwork, wall and mounting requirements in their own space.
Test Choices Before Hanging
Kaihoi’s suggested next step is to compare possible frames with the artwork in person, rather than relying only on a mental picture of how they will look. Homeowners can assess the frame and mat against the piece, consider the room’s finishes and light, and decide whether the art belongs to a coordinated series or a looser collection. The report does not announce a follow-up project or later milestone; its practical takeaway is to test the pairing and arrangement before committing.
Key Questions
What is David Kaihoi’s main rule for choosing a frame?
He says a frame should draw attention to and complement the artwork, rather than compete with it. The right finish depends on the specific piece.
Should frames on a wall all match?
Kaihoi recommends matching frames when works are intended to hang together as a series. For a salon wall or art displayed in different places, he favors mixing frames to create a collected look.
How can someone tell whether a frame works with a piece?
When possible, hold or place frame samples beside the artwork and compare them in person. Kaihoi says a pairing that seems right in theory can look competitive once the frame and art are together.
Does Kaihoi recommend buying new frames?
He says he looks for secondhand frames at auctions, flea markets and antique shops, including pieces bought chiefly for their frames. The supplied report begins a section on mistakes to avoid but cuts off before giving its full advice on new frames.
Source: rss
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