The Modern Chandelier Trend That’s Making Everything Else Seem Dated

IN THE INTERIOR DESIGN WORLD, a new kind of chandelier has taken hold: fixtures whose metal components are coated in quietly arresting, matte, white plaster. The humble material—once the darling of rococo mirror frames and highly ornamental ceiling medallions—is showing up on chandeliers with few flourishes but lots of style, making a statement without being gaudy.

“I have used plaster lighting quite extensively,” said Los Angeles designer Martyn Lawrence Bullard. The pieces “add great drama and sophistication yet don’t overpower a space.” Cate Dunning also admires their subtlety, and recently installed a six-armed version by Currey & Co in a client’s dining space to give the eye a spot to rest in a pattern-filmed room that might be characterised as grandmillennial in style. Said the partner at Atlanta interior-design firm GordonDunning, “I love that plaster chandeliers introduce a new texture without adding another metallic finish.”

When creating a line of light fixtures for furnishings retailer RH’s Contemporary collection, New York designer Ryan Korban looked to the plaster creations of European sculptors Serge Roche and Alberto and Diego Giacometti, who collaborated with French decorator Jean-Michel Frank on chandeliers in the 1920s and ’30s. “Because of the simplicity in colour and material, they add a level of architecture to a ceiling and blend beautifully within any space,” Mr. Korban said of the pasty white style.

Indeed, Mr. Bullard has installed plaster chandeliers everywhere from drag queen RuPaul’s primary bedroom, which Mr. Bullard describes as “an ode to Dorothy Draper,” to American sportswear designer Tommy Hilfiger’s Palm Beach living room. “A pair of abstract 1940s chandeliers bring a freshness to the Palm Beach palette,” said Mr. Bullard, referring to the classic tropical elements of rattan chairs and potted palm trees.

New York designer Gideon Mendelson installed a pair of 1950s vintage, French, half-moon-shaped plaster fixtures in his Sagaponack, N.Y., home and relies on the style to bring “casual sophistication and texture to a space,” he said. Indeed, the dusty organic finish can help relax a formal room. Said Ms. Dunning, “It works for us specifically because it adds a more modern or ‘off’ element to a more traditional space.”

Nashville designer Sarah Bartholomew likewise toned down the stuffiness in an “architecturally intricate” wood-panelled room with Stephen Antonson’s slightly industrial Alexander model. “The white pops against the warmth of the wood walls,” she said. In a recent project, Chicago interior designer Summer Thornton hung a plaster chandelier—in which “floral blossoms” conceal the bulbs—in her client’s family room. The clean lines and chalky texture were, she said, “a welcome contrast to the velvet-adorned, traditionally shaped furniture and antique rug.”

Then there is the matter of the light they throw. Indianapolis designer Heidi Woodman goes so far as to say that plaster chandeliers cast an “ethereal” glow when illuminated. “Because plaster seems to absorb light—as opposed to metal, which bounces light—it provides a softer hue,” she explained.

The most 2026 element of the latest screen adaptation of 1847’s hottest novel, “Wuthering Heights,” is the scene in which Heathcliff repeatedly asks the young lady he’s undressing, “Do you want me to stop?” even as she writhes with lust, indicating an affirmative response is unlikely.

Previously understood as a notorious brute even by 19th-century standards, Heathcliff now exhibits signs of having earned perfect grades in today’s campus training modules.

There’s also a reference to septicemia, which is writer-director Emerald Fennell’s perhaps too-technical stab at explaining the nonspecific Victorian disease that afflicts one character.

Mostly, however, Ms. Fennell has done an admirable job of not modernising a dark and moody romance. If most of today’s filmmakers crave hearing, “This is not your mother’s (fill in the blank)” when adapting classic material, this pretty much is your mother’s “Wuthering Heights,” or at least one she will recognise.

Catherine Earnshaw, played with great soapy gusto by Margot Robbie, is still the same judgment-impaired social-climbing drama queen as ever, and Ms. Fennell frequently associates her with a rich, decadent red—the colour of the bordello—to suggest that she has unwisely traded her body for riches.

Ms. Fennell, who won an Oscar for writing the feminist parable “Promising Young Woman,” doesn’t bother suggesting that Catherine is a victim of society’s impossible expectations for women, which allows her to focus on the core story without intrusive mutters of disapproval for 19th-century mores.

The plot is a template for every Harlequin romance about a woman caught between a sexy beast and a languid but wealthy wimp.

Catherine, who lives with her frequently drunken father (Martin Clunes) on a struggling Yorkshire estate called Wuthering Heights, grows up with a wild, apparently orphaned boy adopted by her father after being found hapless in the street.

The boy at first doesn’t even talk, and seems to have no name, so Catherine calls him Heathcliff. As an adult, he is played by Jacob Elordi , an excellent match for Ms. Robbie, both in comeliness and star power.

The pair grow up best friends and even sleep in the same bed. The desperate attraction between them is evident to both, but Catherine has her sights set on a higher-status mate than this mere stable boy.

After much figurative and literal peering over the walls of the posh neighbouring estate, Thrushcross Grange, she twists an ankle and becomes a six-week houseguest of the gentleman who owns it, the wealthy Edgar Linton (Shazad Latif). He lives with his ward, Isabella (Alison Oliver). Heathcliff, in agony, moves away without notice while Catherine marries Edgar.

Ms. Fennell has greatly streamlined the complicated plot of Emily Brontë’s novel, eliminating the framing device, the supernatural element, several peripheral figures and a second generation of characters.

Other adaptations have made similar excisions, and yet the latest version is luxuriantly long, fully half an hour longer than the much-loved 1939 film by William Wyler that starred Merle Oberon, Laurence Olivier and David Niven.

Ms. Fennell is a millennial who might have been expected to make the material slick, hip or at least fast; she has done none of that.

The story is a slow burn, as it should be, an extended sonata of moaning winds, crackling storms, smouldering glances and heaving bosoms. When you’ve got two actors as luminous as Ms. Robbie and Mr. Elordi, you don’t need them to say clever things, and they don’t.

Having simplified matters, Ms. Fennell sloughs off the psychological depth of the novel and instead lavishes attention on the heavy breathing and the decor, exhibiting much interest in the ornate mansion in which the Linton family lives (one room is set aside for ribbons only) and the costumes and accessories with which Ms. Robbie is gloriously draped.

Catherine essentially becomes a character in a Sofia Coppola movie who grows increasingly trapped and anguished in proportion to her cosseting. A slate of songs by Charli XCX captures Catherine’s tragic self-absorption without seeming jarringly modern.

The movie is very much aimed at female viewers, and Heathcliff (whose bare-chested form Ms. Fennell’s camera adoringly takes in) is less robustly drawn than in some previous iterations, driven mainly by carnal lust rather than a more all-encompassing rage.

Olivier’s demonic anger at the world came through clearly, whereas Mr. Elordi’s Heathcliff seems as though he’d be content to simply peel away Catherine from Edgar. And though Nelly (Hong Chau), Catherine’s maid and confidante, plays an essential role in developments, her character remains a bit frustratingly hazy.

Still, in the wake of adaptations such as 2012’s “Anna Karenina,” with Keira Knightley , and 2013’s “The Great Gatsby,” with Leonardo DiCaprio, that were all sizzle and flash, “Wuthering Heights” is a worthy throwback.

Deeply felt longing is its own kind of sizzle.

The Modern Chandelier Trend That’s Making Everything Else Seem Dated

Glitzy metal chandeliers have ruled for years. But now fixtures crafted from plaster—earthy, subtle and sensual—are emerging as a new go-to for interior designers.

Margot Robbie and Jacob Elordi star in an adaptation of the classic novel that respects the romance’s slow burn.