Dean Martin, Tom Jones, and Nicolas Cage once called home the tony Bel Air manse that’s now in the hands of jewelry designer Jenna Grosfeld and her husband, real-estate developer Jason Grosfeld. But while the address comes with a Hollywood pedigree, its current incarnation is defined by something else entirely: the couple’s reverence for restoration, passion for objects with provenance, and belief that beautiful things are meant to be lived with. Across the sprawling 13,000-square-foot residence, art, antiques, and collectible design objects come together in a confident mix informed by instinct, memory, and everyday use.

The house also reflects the couple’s complementary strengths. Before founding her business, Jenna Blake, in 2005, Grosfeld studied interior design in New York. What began as a love for reworking vintage jewelry soon turned from a side hustle into a career. “I discovered that jewelry was a way that I could take all of the things I was learning and implement them into my own creations,” she says. “So it kind of became the perfect medium for me.” Her husband, founder and chairman of Irongate, has notably developed the Four Seasons Los Cabos and the soon-to-open Amanvari in Costa Palmas, as well as the Ritz-Carlton Residences in Waikiki Beach. “He and I both have a strong opinion and hand,” Grosfeld says. “He’s more into the architecture. I’m more into the furniture and interiors. We work really well together.”

Even so, their current move was an unexpected choice. “Interestingly enough, we never would have imagined ourselves living in an English Tudor,” she says. “We always wanted a classic California Mediterranean or Spanish home. We always wanted old, not new, but when we came in here, both of us immediately saw the vision. We just saw it as this jewel box that needed to be restored.” Built in 1940 by architect Gerard Colcord, the home underwent a three-year renovation that preserved its bones while editing out the eccentricities left behind by former owners—including Cage’s tarantula room and Martin’s personal performance stage, as well as his outdoor pony corral.

Honoring the estate’s original spirit, the couple leaned classic, layering in elements from various eras. “We have a lot of the same design inclinations,” Grosfeld notes. That meant retaining as many period-correct features as possible—an approach equal parts restoration and reinvention. “You’re not going to force a modern home here… You really have to go back to the initial roots of a home to keep it authentic.”

Achieving cohesion required artisans capable of working in the home’s initial idiom. Custom paneling, molding, and iron doors were added throughout. “What we did was, we took the iron of the preexisting small-paneled windows, and we worked in that same iron,” Grosfeld explains. Several fireplaces date back to Colcord’s time, while others, such as the living room hearth, were sourced from a London maker specializing in vintage reproductions.

One of the renovation’s biggest challenges was bringing in more natural light. The driveway was reconfigured to create a larger backyard, now home to a pool, guesthouse, fitness center, and patios. “For today’s life, we appreciate a backyard so much more,” Grosfeld says. “So we gave the larger amount of space to the backyard and the smaller space to the driveway, and we really took advantage of the way the light hits both spaces, allowing for a much brighter backyard and great afternoons and, of course, a fabulous sunset.”

Several architectural elements were reimagined through strategic relocation. A wall fountain sits along the back of the building where the original entry door once stood. The other side of the former main-entrance doorway was converted into a stunning powder room, its Gothic arch preserved and now faceted with mosaic tile. A modest rear-patio door was transformed into a dramatic custom wood-and-glass entryway, allowing sunlight to flood the interior. “The feeling that we always love to give people when they walk into our homes is a warmer, more open feel,” Grosfeld says. “We love the feeling of light and life coming through, so an open entryway always feels a little less formal and a little bit more casual.”

Inside, the house doubles as a showcase for the couple’s extensive collections. “I always find an anchor piece,” she says. “I find one piece I fall in love with… and do the whole room around that.” Over their 25 years together, the pair have amassed a trove of furnishings and objects, much of it stored off-site. “At first it started literally like a garage, then it turned into a chaotic—just cluttered—big, huge storage space,” she says. Now, it has been streamlined like a library. “Everything’s digitized,” she adds. “There’s dates as to when it was delivered and where it came from, and so now it’s all been archived much more professionally.”

Ceramics are a particular passion, most notably in the formal living room. Pastel Italian Bitossi vessels line a black-lacquer French Regency console, while vibrant works from French ceramicist Charles Catteau fill a display cabinet at the opposite end of the room. Most striking are the teal-green pieces with silver inlay from Swedish artist Wilhelm Kåge, arranged across a coffee table, along another console against the back of a sofa, and atop a complementary (and jaw-dropping) swan-shaped green-parchment bar cart by Aldo Tura. “Occasionally, when I’m entertaining, I love using the small ones as bud bases to line up along the table,” Grosfeld says. “It’s so fun because they’re all slightly different, but they also have the consistency of the color.”

In the morning room, Fromental wallpaper hand-embroidered with lily pads set the tone. “I always knew I wanted a green chinoiserie room, but not in the classic way, and I loved the dimension of their manufacturing,” she explains. The wallcovering inspired lacquered-celadon-green trim that echoes the branding of her jewelry line. From her archive, Grosfeld pulled two Paul Frankl tables to flank a Biedermeier sofa with green-striped ticking, pairing Asian influence with midcentury silhouettes. At the center sits a plume-leaf table from Grosfeld House—crafted by her husband’s grandfather’s business—surrounded by swan-accented mahogany chairs upholstered in burnt-orange and spotted cowhide.

Interestingly enough, we never would have imagined ourselves living in an English Tudor.

Nearby, the kitchen strikes a balance between grandeur and ease, moored by a light-yellow Karl Springer lacquered-parchment dining table and rustic leather bistro chairs sourced from a Paris flea market. Still, family dinners usually unfold in the more formal morning room. “We sit down with the kids four nights a week, and this is just conversational and quiet,” she notes. “When we sit in the kitchen, we get distracted—we get things out of the refrigerator, or someone goes and charges their phone.” As for spills on the fragile wallpaper, she says, “I’d find a way to make it work, like find a piece of furniture or something to cover it up.”

That same relaxed confidence carries into a stately space framed by Gothic windows she dubs the Rat Pack Room—a nod to Dean Martin, whose garden stage once stood just beyond; the crooner liked to personally serenade his guests from the perch. Today, it features a bold geometric blue-velvet L-shaped sofa with colorful throw pillows, set against a patterned Oriental rug splashed with pinks and reds. “We dropped in a sunken bar, and we made lots of wall-to-wall couches and comfortable living space so someone can really sit back, enjoy a cocktail, and chat for a while,” she says.

Throughout the house, signs of life are taken in stride. You might spot a frayed edge beneath a chair or a loosened stitch on a leather seat, but Grosfeld’s philosophy is that everything can be fixed—even an exceptionally delicate pair of early 1900s parchment chairs by Carlo Bugatti in the foyer, which she has already had mended by an artisan. Nothing is treated as untouchable. “That’s the irony of me—I am the least precious person, especially for a jewelry designer,” she 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.”

Top: The media room, a.k.a. the Rat Pack Room, was once an area where Dean Martin serenaded guests but is now a colorful entertaining enclave framed by Gothic-style windows.