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Veranda published advice from interior designer David Kaihoi on framing and displaying artwork at home. His recommendations include choosing frames in response to each piece and its setting, mixing frames for collected groupings, and matching them for works intended to hang together as a series.
Interior designer David Kaihoi has shared advice on framing and hanging artwork at home, arguing that arrangements should respond to the art, architecture, furniture and light rather than follow a fixed gallery formula. In a report published by Veranda, Kaihoi recommends choosing frames piece by piece and using matching frames for works meant to hang as a series, while allowing more variety in a salon-style grouping.
Kaihoi, a partner in the design firm Redd Kaihoi, says a frame should draw attention to and complement the artwork, not compete with it. The right choice depends on the piece: a work may suit a modest raw-wood frame, a black frame or a more decorative option such as carved gilt. Kaihoi advises considering whether a frame’s finish enhances the work’s appearance rather than assuming a particular material or color will always work.
The room matters too. Kaihoi suggests natural wood as one possible fit for a beach setting and glossy black for a more elevated city interior. He recommends comparing samples with the artwork in person, since a frame that sounds appropriate in theory may distract from the piece when the two are placed together. In one example, he says a black frame can compete with a black-ink drawing, while a combination of raw wood and a silver-gilt face may make the ink stand out.
For arrangements, Kaihoi draws a distinction between a planned series and a looser collection. Matching frames can bring unity to family portraits, related photographs or prints intended to be displayed together. For a salon wall or pieces scattered through a home, he favors a mix that looks collected rather than overly calculated. He also recommends looking for secondhand frames at auctions, flea markets and antique markets, and describes French matting as an option for adding a colored or tonal border around some classical and contemporary works.
A Flexible Approach to Home Art
The advice offers homeowners a way to make framing and placement decisions without treating museum-style uniformity as the default. Kaihoi’s approach puts the artwork and its surroundings at the center: a frame should support the work, while the arrangement should suit the wall and the room rather than follow a single formula.
That flexibility can also shape how people spend on framing. Kaihoi notes that newly made carved frames can be expensive and suggests considering secondhand options. His comments do not establish that used frames are suitable for every work or condition, but they offer an alternative for people seeking a distinctive frame or working within a budget. The broader takeaway is practical: test choices against the actual artwork and consider the intended arrangement before committing.
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From Installation Work to Design
Kaihoi’s advice draws on experience installing art for interior designers in New York City early in his career. He recalls seeing markedly different approaches: designer Mario Buatta hanging six pictures from a single bow, while Jeffrey Bilhuber placed one small portrait in a large dining room. Kaihoi says both approaches could work, which shaped his view that display choices should be guided by the room and the art rather than by a rigid rule.
That work later connected Kaihoi with designer Miles Redd, and Kaihoi joined the firm that became Redd Kaihoi. In the Veranda report, he describes learning through installations as a practical education in how artwork can function within interiors. The source presents his recommendations as professional perspective, not as formal standards or rules that apply to every home.
“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, quoted by Veranda
No Universal Hanging Formula
The source offers designer guidance, not a measured comparison of framing styles or a universal set of installation rules. It does not specify standard hanging heights, spacing between works, wall-fixing methods or how to select hardware for different wall materials. Those practical details may depend on the artwork, its weight and the home’s construction; the report does not provide instructions on them.
Kaihoi’s examples are preferences and observations, not guarantees that a particular frame will suit every piece or room. The source also does not provide pricing for new or secondhand frames, or assess the condition and conservation needs of individual artworks. Readers considering valuable or delicate works may need advice tailored to the piece and its installation.
Test Frames Against the Artwork
Kaihoi’s recommended next step is to compare frame samples with the artwork in person. That lets the owner see whether the frame supports the image or competes with it before making a final choice. A useful process, based on his advice, is to identify whether the work belongs to a planned series or a looser grouping, consider the room’s character, and then test more than one frame option.
For a coordinated series, matching frames are one option; for a mixed collection, Kaihoi encourages variation. Shoppers can also look for existing frames at auctions or flea and antique markets, then assess whether a frame works with the piece they plan to display. The report does not set out a single layout to follow, leaving the final arrangement to the artwork and the home.
Key Questions
What is David Kaihoi’s main advice for framing art?
Choose a frame that draws attention to and complements the artwork. Kaihoi recommends judging the frame against the specific piece instead of relying on a rule that every work needs the same style.
Should frames match across a wall?
Kaihoi suggests matching frames when the works are intended to be displayed together as a series, such as related portraits or prints. For a more varied salon wall, he favors mixing frames so the grouping feels collected.
How can I tell whether a frame works with a piece?
When possible, hold frame samples beside the artwork and compare them in person. Kaihoi says a frame that seems suitable at first can compete with the work once the two are seen together.
Are secondhand frames worth considering?
Kaihoi recommends looking at auctions, flea markets and antique markets for existing frames, including frames sold separately from the art. The report does not assess the condition or suitability of any particular frame, so those need to be checked individually.
Source: rss
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