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Rayman Boozer’s Southampton house for consumer-tech executive Maureen Sullivan is a five-bedroom Shingle Style home built around a blue-and-white foundation, layered with green, pink, navy, and high-gloss blue. Boozer—principal of Apartment 48—completed the project after Sullivan’s previous Long Island retreat sold unexpectedly, moving the family in during July 2020 after four weeks of decorating meetings over Zoom. The result is the cheerful, deliberately mixed-color house featured by Architectural Digest in December 2021.
“People who don’t get color don’t get me,” Boozer told AD. That sentence explains the design better than any product list: Sullivan calls herself a “blue-and-white person,” while Boozer adds green, embraces contrast, and pushes the family just beyond predictable matching. The house is warm and highly personal, but the published story does not disclose an address, square footage, budget, paint codes, or furniture model numbers.
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What is Rayman Boozer’s Southampton project?
It is the fifth home Boozer has designed for Sullivan and her family, not a current real-estate listing or a newly built showcase. The completed house is a five-bedroom Shingle Style property in Southampton, New York, documented by Sam Cochran for Architectural Digest on December 16, 2021, with photography by David Land. The companion gallery contains ten numbered images, and an AD Instagram post from December 10, 2021, focuses on the dining room.
Sullivan had first encountered Boozer through his Manhattan design shop, Apartment 48. She found the store as a young adult sharing an apartment with roommates, then hired him to decorate the one-bedroom she shared with her husband. When a previously designed Long Island retreat sold suddenly, she and her family needed another house quickly. Friends directed her to the Southampton property; its traditional plan and decorative details felt immediately right. “What were the chances it would be perfect?” she recalled. “My next call was to Rayman.”
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| Project fact | What the published sources establish |
|---|---|
| Designer | Rayman Boozer, principal of Apartment 48 |
| Client | Maureen Sullivan, a consumer-tech executive, with daughters Ryan and Lucy and son Teddy |
| Location and type | Southampton, New York; five-bedroom Shingle Style house |
| Move-in | July 2020, following four weeks of remote decorating meetings |
| Publication | Architectural Digest, December 16, 2021; photographed by David Land |
The pandemic made the house an active family setting rather than a formal retreat. School took place remotely at the dining table, and gatherings moved to the pool. Sullivan says Boozer has been present through “all our phases as a family,” giving the first small apartment the same attention as the Southampton house. “He will forever be my go-to,” she said.
How did Sullivan and Boozer build a shared design language?
Their collaboration works because the two begin with a genuine preference and then disagree productively. Sullivan “self-identifies as a ‘blue-and-white person.’” Boozer does not erase that instinct; he stretches it. His shorthand is, “She likes things to match; I like things to clash.” Green enters as an overlay—appearing in wallcoverings, pillows, and art—so the familiar blue-and-white base becomes more botanical and varied rather than being replaced.
Sullivan describes the process as a controlled push beyond her comfort zone: “Rayman always pushes me just outside my comfort zone. He knows how to make it that much more playful and more interesting.” The house therefore feels coordinated without being uniform. The repeated Thibaut wallcovering links rooms, while different accent colors give each space its own emotional register.
Boozer’s stated goal is mood as much as composition. “It’s an upbeat house for upbeat people,” he told AD. “I like to do projects that are happy. That’s what I am always striving for, to put positive vibes out into the world.” The family’s use of the house—remote school, meals, pool time, and everyday gatherings—makes that goal practical rather than merely decorative.
What does the color story look like room by room?
The AD story and gallery identify a clear sequence: blue and white at the core, green woven through shared rooms, exuberant pink for the daughters, navy for the son, and a saturated blue basement. The captions name several manufacturers, but not pattern names, collection names, paint brands, or product codes.
Breakfast nook and dining room: green as a base layer
The breakfast nook uses Thibaut wallpaper with chairs by Ralph Lauren Home. In the dining room, Thibaut wallpaper is described as “a base layer of green.” That room appeared in AD’s December 10, 2021 Instagram post. The wallcovering does more than provide a single accent: it establishes the botanical, sylvan note that Boozer wanted to introduce into Sullivan’s blue-and-white world.
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Living room: the family’s everyday center
The living-room photograph shows Sullivan with Ryan, Lucy, and Teddy. The caption credits Thibaut wall covering, an RH cocktail table, Wisteria sofas, and Serena & Lily chairs. Those pieces combine a substantial central table and sofas with lighter occasional seating, allowing the room to support both conversation and family activity.
Kitchen: an update through paint, not replacement
Boozer repainted the existing cabinetry white. The published account does not describe new cabinetry, a renovation, or a replacement kitchen. Thibaut wallpaper appears here as well, and the pendants are by Williams Sonoma Home. This is one of the project’s clearest examples of an existing element being altered to fit the broader palette rather than discarded.
Children’s rooms: pink exuberance and navy calm
The daughters’ room is described as an “exuberant pink medley.” Its credits include Thibaut wallpaper, Peter Dunham valance and shade fabrics, and Samuel & Sons trim. A separate image shows a custom headboard, but no maker is named, and the story does not identify which daughter sleeps in which bed.
The son’s room follows a navy scheme. The text does not isolate furniture makers for that room, so it is more accurate to describe its color direction than to assign uncredited pieces. Together, the rooms show how Boozer lets the children’s spaces become more concentrated versions of the main house’s color confidence.
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Basement: a high-gloss blue retreat
The basement is painted in a high-gloss blue, with wallpaper on the ceiling, and contains a CB2 sectional. No paint brand, color name, or sheen code is published. The glossy walls and ceiling wallpaper make this the most enveloping blue room in the house, distinct from the greener shared spaces above.
Pool: the outdoor expression of the same brief
At the pool, armchairs and chaise longues are by Serena & Lily, and the umbrella is by Williams Sonoma Home. The outdoor arrangement is the lightest, most relaxed version of the house’s cheerful approach: comfortable seating, clear color, and no attempt to make the pool area formal.
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What is the difference between matching and clashing in this house?
Matching supplies continuity; clashing supplies energy. Sullivan’s blue-and-white preference creates a dependable visual starting point, while Boozer introduces greens that “creep into the mix like vines,” according to AD’s description. Pink, navy, and the basement’s high-gloss blue then create deliberate departures without making the rooms feel unrelated.
In practical terms, the contrast comes from several sources:
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- Pattern: Repeated Thibaut wallcovering links rooms, while fabrics, trim, and art add different scales and motifs.
- Finish: The basement’s high-gloss blue reflects light differently from the quieter wall treatments elsewhere.
- Furniture language: Retail pieces from RH, Wisteria, Serena & Lily, Ralph Lauren Home, Williams Sonoma Home, and CB2 sit alongside trade textiles and a custom headboard.
- Old versus altered: Existing kitchen cabinets were repainted white, showing that a strong palette can transform what is already there.
This is why the house reads as edited rather than chaotic. Boozer is not adding random bright objects; he is repeating a few relationships—blue against green, white against pattern, matte furnishings against a glossy blue surface—until the differences feel intentional.
Which furnishings and finishes are actually identified?
The captions support brand-level credits, not a shopping list of exact products. Thibaut is the most frequently named wallcovering company, appearing in the breakfast nook, dining room, living room, kitchen, daughters’ room, and the final gallery frame. The sources do not name a Thibaut pattern. Likewise, they do not provide a Peter Dunham fabric name, Samuel & Sons trim number, Serena & Lily collection, Williams Sonoma Home pendant or umbrella model, CB2 sectional name, or RH cocktail-table collection.
That distinction matters when trying to recreate the look. A brand credit tells you who made the category of item shown; it does not prove that every product currently sold under that brand matches the photograph. The story also does not identify paint colors beyond the descriptive high-gloss blue in the basement and the fact that the kitchen cabinets were repainted white.
Online searches can further blur the distinction. An Amazon search for “Thibaut wallpaper” reported 298 results on November 14, 2026, but the leading sponsored listings were lookalike peel-and-stick papers rather than verified Thibaut trade wallcovering. The count is volatile and is not a catalog of genuine Thibaut designs. For an accurate recreation, begin with a trade showroom or the manufacturer’s current catalog and compare a physical sample with the room’s scale and lighting.
Who is Rayman Boozer?
Boozer is the principal designer of Apartment 48 and an Indiana University alumnus who studied interior design and fashion. Before opening his shop, he worked with Conran’s and at Saks Fifth Avenue and Bloomingdale’s, learning branding, merchandising, and presentation. The Indiana University account of his first 25 years says he was extremely shy and initially delayed building a conventional design practice.
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He opened Apartment 48 in 1994 on the garden level of a townhouse at 48 West 17th Street in Manhattan. The store was arranged as a warren of rooms—a kitchen, bath, and bedroom outfitted as if inhabited—so customers could experience a complete atmosphere rather than isolated merchandise. “I was trying to find a way to express all my ideas at once,” he said. “My biggest desire was to be understood.”
The shop operated from 1994 to 2008, according to Architectural Digest’s AD100 2023 profile. Devoted customers became residential clients, and Boozer gradually moved from shopkeeping to full-time decorating. In 1997, Time Out called him “the color guru”; the explanation, as recounted by AD PRO and republished by Indiana University, was his ability to choose “perfect paint color.” An Elle Decor cover in 2006 became, in Boozer’s words, “a major turning point in my career.”
The first interior project described in the Indiana University account was a 14th Street alcove studio for a regular shop customer, transformed into a one-bedroom. It was not Sullivan’s apartment. Boozer said he held back on that early job and found the result “a bit muted for my taste,” an experience that reinforced his view that part of a designer’s role is opening clients to ideas they have not yet realized they want.
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A free scan shows the junk files, broken settings and background clutter dragging Windows down - then fixes them in one click.Free scan · Windows 10 & 11Later profiles document other work, including an English-inspired Upper East Side townhouse for Stephen Jordan and Misti Bridges, described by The Times in 2024, and a separate apartment discussed by Better Homes & Gardens in 2026. Those projects should not be merged with the Southampton house. The Southampton story itself is the evidence for Sullivan’s five homes, its room credits, and its July 2020 move-in.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.What does Hamptons design mean to Boozer beyond this house?
In a 2021 Galerie interview, Boozer described Hamptons style in general—not specifically Sullivan’s rooms—as beach-minded, easy, and relaxed, with comfortable, low-maintenance furniture. He said that light is plentiful, so “less is more in the Hamptons.” He also singled out hooks as practical drop-off points for towels, totes, and other beach accessories.
He attributed the region’s appeal to traditional architecture with sloped rooflines, inviting porches, and cedar-shake siding. That is a statement about the Hamptons vernacular, not proof that Sullivan’s house has cedar siding; AD identifies her property as Shingle Style but does not specify its exterior materials. Boozer’s Galerie favorites—Jetsam Studio, Hidden Gem, Mecox Garden, LongHouse Reserve, Monika Olko Gallery, Tutto Il Giorno, and Almond in Bridgehampton—are personal recommendations, not sources for the furnishings in this project.
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What information about the house is not published?
Architectural Digest does not provide the street address, square footage, lot size, purchase price, decoration budget, contractor, architect, or original construction year. It also does not publish paint codes, wallpaper pattern numbers, furniture SKUs, or a room-by-room floor plan. Those omissions are important: the house can be described accurately as a five-bedroom Southampton Shingle Style project, but its scale and cost cannot be inferred from the photographs.
The same caution applies to current availability. Retail and trade collections change, and Boozer’s AD100 status is documented here through the 2023 roster and a 2024 newspaper reference; a later roster is not established by the supplied record. The design’s enduring lesson is therefore the arrangement of color, pattern, and personal history—not a promise that every credited item remains available.
Why does the Southampton house remain a useful color lesson?
The project demonstrates how to make a strong palette livable. Start with a client’s real preference—in this case, Sullivan’s blue and white—then introduce one governing counterpoint, Boozer’s green. Repeat the wallcovering selectively, let private rooms take stronger colors, and use finish changes such as the basement’s high gloss to create depth. Repainting existing cabinetry can deliver a major shift without claiming a full replacement kitchen.
Most importantly, the design is collaborative rather than prescriptive. Sullivan’s willingness to be pushed gives Boozer room to clash; Boozer’s respect for her starting point keeps the result recognizably hers. That balance explains why a house filled with bold color can still function as a family home—and why Sullivan says, after five projects, that Boozer will always be her go-to.
Frequently Asked Questions
When was the Rayman Boozer Southampton house published?
Architectural Digest’s byline is December 16, 2021, in a story by Sam Cochran with photography by David Land. An Architectural Digest Instagram post featuring the dining room appeared on December 10, 2021, before the byline date.
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Does Architectural Digest publish the house’s square footage or address?
No. The feature identifies a five-bedroom Shingle Style house in Southampton but does not disclose its street address, square footage, lot size, purchase price, budget, contractor, or architect.
Which daughter sleeps in each pink bedroom?
The story identifies Ryan and Lucy and describes their room as an exuberant pink medley, but it does not assign a particular bed or room to either daughter. The published captions also do not name the custom headboard maker.
Are the exact paint colors and wallpaper patterns available?
No exact paint codes, Thibaut pattern names, furniture model numbers, or textile style numbers are given. The basement is described only as high-gloss blue, while the kitchen cabinetry is described as repainted white.
How can I tell genuine Thibaut wallpaper from a lookalike listing?
Use a trade showroom or the manufacturer’s current catalog and request a physical sample before ordering. Marketplace searches can mix unrelated peel-and-stick products with trade wallcovering; an Amazon search recorded 298 results on November 14, 2026, a volatile count that does not verify authenticity.
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