![]() “There is no musician on Earth that is as committed to their own derangement as Kanye, and in this respect, at this point in time, he is our greatest artist.” Kanye’s home - a passion project for the husband in this power couple, and not for the wife - has been interpreted by many as a vast, expensive symptom of that committed derangement, a monument to his obvious blend of genius and eccentricity. “Making art is a form of madness,” the Australian singer-songwriter Nick Cave wrote in his newsletter last year, very correctly, on the subject of his love of Kanye West. Reactions to the house on Twitter, to say nothing of the aggregated press, were as uniform as its décor, albeit rather less restrained - commenters called it “cold and creepy,” “horrifying,” and “a serial killer’s house,” its smooth, unbroken lines and vacant walls seemingly purpose-built to drive inhabitants to near-distraction. Courtesy Architectural Digest/ Condé Nast The Kardashian-West home designed by Axel Vervoordt photographed by Jackie Nickerson. Vibrancy, like laziness, was evidently not a concept held in high esteem in Hidden Hills, Calabasas. All the tables, very low and very chic, were made of marble. The Kardashian-Wests’ Steinway, which Kim had not learned to play, was the blanched color of a kitchen in a Nancy Meyers movie, putty-ish and faintly 90s. Her children, playing with Kanye West, appeared frolicking on a cloud-white bed the hallways, tall and arched, looked green-screen-eerie, like VR. ![]() ![]() “There’s no such thing as a lazy day here,” she explained, saying a mouthful not only about the necessary maintenance involved in being Kim, but the staggering discipline required to live in such a house. In the foyer, one small smudge about the size of a child’s finger on the hip of her culottes, Kim looked tanned and ultraluminous - somehow both perfect and at ease - as if she had been placed quite suddenly in front of a white photographic background for a shoot, a hot Madonna with three gorgeous, grey-clad children and the carefully-shaded cheekbones of a Patrick Nagel drawing. It was April 2019 when Kim Kardashian-West, dressed in a dove-toned skin-tight two piece with the approximate shape of a particularly sexy Star Trek costume, allowed Vogue to film inside the home she called a “minimal monastery” - a cavernous ex-McMansion whose interiors, either white or almost white, had been refitted to resemble something halfway between Patrick Bateman’s 55 West 81st Street apartment, and a mental institution from the future. ![]()
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