Keke Palmer’s Family-Friendly Los Angeles Home Radiates Straight-From-a-Sitcom Charm

When Keke Palmer first found the traditional California ranch house that she now calls home, she was immediately drawn to its straight-from-a-sitcom appeal: the gently sloping tile roof topping big, light-drenched windows; the easy rambling layout; the sunny, open kitchen; and plenty of bedrooms ready for her two sisters and their broods, as well as for her three-year-old son, Leodis, to grow up in. “My house is kind of like Full House,” Palmer says during a visit in early April, “except instead of three uncles, we’ve got three aunts.” So that makes her Danny Tanner? (Bob Saget’s straight-man paterfamilias part, for the uninitiated.) “Danny Tanner, girl! Leo is Michelle: ‘You got it, dude.’ ” She cocks a finger in the manner made famous by the early ’90s Olsen twins. “I wanted it to have that kind of vibe, but to be luxury, too,” she says, getting serious again: “The value supports the people in it.” It should probably come as no surprise that Keke Palmer, who has built a rocket ship of a career out of the sheer force of her own indelible charm, prefers a house with a soul.

Today, the apartment bears little resemblance to its former self. With the eventual blessing of his benevolent landlords, Grattan has completely transformed the rental unit— widening doorways, upgrading electrical systems, and reimagining every wall and ceiling. (Think leopard print in the den and kelly green in the central dressing area.) He gutted the kitchen, replacing an outdated scheme with a sexy mélange of mirror, lacquer, Rouge Griotte marble, and African mahogany. All that remains of the old bathroom is the tub, now refinished in a cherry hue and complemented by a blue-glass shower panel, red mosaic tile, and a matte-black toilet and fittings.

In the living room a bespoke sofa in a Rogers & Goffigon cotton velvet curves around a pair of Nola tables from Lucca Antiques placed on a Ligne Roset Gavrinis 3 rug; Ruemmler pendant light, custom Calacatta Viola–clad fireplace surround, walls in Portola Paints Roman Clay in Patagonia.

Palmer’s Airstream trailer seen through the dining room window

Not that she has much free time to sit back and soak it in. Palmer has been working steadily for the past two decades, from her first part in 2004’s Barbershop 2, when she was 10, to last year’s instant-classic buddy comedy One of Them Days with SZA. She hosts a podcast, has released music (both as a solo artist and as a member of a group called DivaGurl), and has published two self-help-style memoirs. Most recently, Palmer starred in the new Peacock series, The ’Burbs (just tapped for a second season) and Boots Riley’s critically adored new film, I Love Boosters. Oh, and she recently delivered a TED talk and launched her own wellness-focused app, Practice by Palmer.

All the more reason to make sure that her home felt like an elevated retreat. “It was really about making the place feel calming, supportive, and homey,” she says; the kind of house where kids can tear around freely, and adults can sink into a soft piece of furniture with a cool drink. “I think at the end of the day, this home is a reflection of Keke. It’s grounded, expressive, and effortlessly warm,” says Michele Booth of Rylston Road Interiors, who along with fellow designer Anna Viola worked to realize Palmer’s vision in a quick eight-month turnaround. “Our goal was to create a space that feels as dynamic and layered as she is, while still being a sanctuary where she can fully relax with her friends and her family.”

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That hands-on approach is at the heart of his multi-faceted philosophy. Grattan isn’t afraid to roll up his sleeves—or raise a few eyebrows. Since exploding onto the scene as the winner of the reality-television competition Ellen’s Next Great Designer, the Ohio-born talent has operated on his own creative terms, whether fashioning interiors for the likes of Megan Rapinoe and Sue Bird or making sleek editions of case goods, as with his 2024 Thick collection.

“Design is not how it looks when everything behaves,” says Grattan, whose work can be found in the collections of the Brooklyn Museum and the National Museum of African American History and Culture. “Design is how it survives friction.”

In the media room, a custom modular sectional in a Manuel Canovas velvet wraps around a George Ghaby coffee table; curtains of Hollywood at Home’s Fermoie in Mendip; Kaza area rug by Exquisite Rugs.

If his practice has largely existed outside mainstream models (“It felt like a mirage,” he says, recalling past temporary presentations), it now comes fully to life in his Bed-Stuy apartment, where he has conceived every piece of furniture himself.

That includes the octagonal dining table, crafted of sapele (“deeper than walnut”) and topped with marquetry that incorporates strips of green. The color, based on a placeholder USM desk, reappears on the bedroom shelf, one of several wall-mounted pieces. In the dressing area hangs an altar to his late mother that riffs on a Día de los Muertos ofrenda, its lacquered frame blending into the surrounding color-drenched space.

The backyard, with its canopy of mature live oaks, open-air kitchen, and multiple seating areas, was built for entertaining—it and the mirrored bar in the great room see a lot of action, Palmer says, “sometimes in the middle of the day, honey”—its sprawling views reminded Palmer of lying in the grass outside her grandmother’s house in Robbins, Illinois, back when she had only herself to entertain. “Honestly, it was like a trash field that was next to my grandma’s house,” she says now. “But for me as a kid, I felt like I was in a jungle.” Out front, an Airstream trailer she sometimes takes on location lives in the driveway, a reminder of explorations in the Hollywood jungle.

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