Jenna Blake's Bel Air Tudor Revival Becomes a Living Jewelry Showcase

Somewhere between the Barovier & Toso Murano-glass chandelier and the pair of early 1900s parchment chairs by Carlo Bugatti, a philosophy crystallizes. Jenna Grosfeld, the designer behind Jenna Blake Jewelry, and her husband restored a 1940 English Tudor in Bel Air into something rarer than a showroom: a home that is actually lived in, with frayed edges and loosened stitches accepted as the honest marks of a life spent among beautiful objects.

"That's the irony of me — I am the least precious person, especially for a jewelry designer," Grosfeld says. "I am rough on my things. What's the point of having it if you can't live with it? A home needs to be functional. I love precious things, but I'm not precious about them."

That ethos extends to the Bugatti chairs in the foyer, as delicate a piece of early 20th-century furniture as one is likely to encounter outside a museum. Rather than retire them behind a velvet rope, Grosfeld had them mended by an artisan and returned to daily use. Nothing, as the house makes plain, is treated as untouchable.

The grand dining room reads like a considered argument for maximal living. A custom cut-glass table rests on vintage Art Deco bases, surrounded by Gustav Siegel chairs and anchored overhead by the Barovier & Toso chandelier. Grosfeld House Regency-style buffets line the walls, the surname on those pieces an entirely coincidental echo of her own. The primary bedroom layers a circa 1925 Paul Dumas rug beneath James Mont table lamps, with drapes cut from Delaney fabric by Jane Churchill completing the scene.

The accumulation is deliberate. Grosfeld has spent more than two decades collecting vintage jewelry and antiques, developing what she describes as a "more is more" aesthetic rooted in reverence for Art Deco and mid-century design, and for the French designers of the 1940s. Her jewelry, designed and made in Los Angeles, carries the same sensibility: vibrant colors, definitive textures, unexpected materials, and the quality of craftsmanship that her brand describes as evoking "the sentimentality and the permanence of heirlooms."

Working from the Bel Air house itself, the line between studio and collection is intentionally blurred. The art, antiques, textiles, and flora that fill the rooms are not backdrop but source material, the same imagination that sends her searching for a perfect vintage cocktail ring or a strand of multi-hued beads finding expression in the architecture around her. Jenna Grosfeld's Los Angeles home is, as the Robb Report feature framed it, a case study in transforming a historic estate into a masterpiece of color, pattern, and personality fit for modern life. The 1940 English Tudor did not become a museum. It became a jewelry designer's most persuasive argument for why precious things deserve to be worn, handled, and repaired when they break.