Issue link: https://www.balharbourdigital.com/i/1541556
P H OTO S BY J O E K R A M M ; C O U R T E S Y O F T H E F U T U R E P E R F EC T iscovery—and giving you a reason to discover—is part of our DNA," says David Alhadeff, founder of the renowned collectible furniture gallery The Future Perfect, which has just opened its first Miami location (other outposts are in New York, Los Angeles, and San Francisco). "If you're coming out of your way to see what we're doing, we want to fulfill our promise and offer something worthwhile." By "out of the way" Alhadeff means Little Haiti, which is not really so out of the way at a mere 30-minute drive from Bal Harbour Shops. The occasion for opening this iteration was Villa Paula, an exemplar of Cuban architecture built by that country's government in 1926 to house its consul, Domingo Milord, and his Cuban-born opera-singer wife, Paula Milord. It was an irresistible location for the residential gallery model the business adopted back in 2017, when Alhadeff moved his traditional New York gallery space in NoHo to a West Village townhouse. For more than 20 years, The Future Perfect has been known for its exquisite curation of artists and designers living and creating at the edge of innovation. Its 100-plus roster includes Christophe Delcourt, Faye Toogood, Charles de Lisle, and Lindsey Adelman, as well as a younger generation of creatives such as Sophie Dries, Philippe Malouin, and Olivia Cognet. The Collectible design gallery The Future Perfect hangs out its latest shingle, this time in a storied Miami property. BY JORGE S. ARANGO pitch perfect D FROM TOP Bocci's 141.11 Random light hangs above Chris Wolston's Consani chair and Madonna bronze table at Villa Paula; the gallery's exterior; The Future Perfect Founder David Alhadeff reflected in a mirror by Chen Chen and Kai Williams. BALHAR B O U RSH O P S .CO M