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12.17.22

Saturday Selects

Week of December 12, 2022

A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week: Our favorite new London shopping destination, a chic eatery in Melbourne, and a New Zealand–born collection of stained glass lights that has us praying they'll ship to America.
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12.14.22

Q+A

Sophie Lou Jacobsen Gets Emotional About Objects

For Brooklyn-based designer Sophie Lou Jacobsen, objects have a life of their own. “I firmly believe that objects have their own energy, and that what they bring to your environment and daily experience is almost spiritual,” she says. “I’m not religious by any means, but I do believe in the interconnectedness of our world, and that there should be this sort of mutual relationship between us and our things — one of respect, care, and thoughtfulness. I think in my mind I live in a very Beauty and the Beast-like world!” It's not just in her mind, though — we can easily see the likes of Mrs. Potts interacting with Jacobsen’s curving, almost animate vases, intricate stainless steel candleholders, and draping glass lamps.
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10.26.22

Interiors

Conjuring the Soul of Baltimore — And John Waters — At ASH’s New Hotel Ulysses

At The Ulysses, ASH’s latest hotel, newly opened in Baltimore, maximalism is having a moment — but in a surprisingly considered way, where a wealth of patterns, textures, and influences combine and cohere in a highly cinematic, vintage style. The interior nods to Baltimore’s own John Waters and his trashy-kitsch leanings, for sure, but it's matched with the refined opulence a Visconti set from the Italian cinema classic Il Gattopardo. We spoke to ASH's Will Cooper about how ASH approaches the cities they inhabit, how to be trendy without becoming dated, and how to know when over the top is just enough.
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10.15.22

Saturday Selects

Week of October 10, 2022

A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week: a new chair collection from a beloved interior designer, a light-filled restaurant atop Ace Hotel Sydney, and a longtime Danish exhibition whose conceptual works continue to push the boundary between form and function – and make a few statements about the climate crisis and sustainability along the way.
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10.12.22

Sighted

Jacqueline Sullivan’s Tribeca Gallery Breathes New Life Into the NYC Design Scene

Gertrude Stein’s experimental text Tender Buttons is more than a hundred years old and yet it still surprises. In the book’s three sections — Objects, Food, and Rooms — Stein evokes an eclectic domestic scene that it is at once cozy and weird, making ordinary things, and language itself, strange, beguiling, and new. It’s what New York gallerist Jacqueline Sullivan is also after in her inaugural exhibition: working to reframe and refresh objects and the ways we live with them.
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10.06.22

Sighted

Bower’s New Mirrors Are Based on the Elements of a Home — But They’re Really a Portal to Someplace Else

Mirrors have always conjured thoughts, both lofty and literal, about reflection and perception, consciousness and subjectivity, surface and depth. Any mirror, when you look long enough, will provoke this. But the latest ones from Bower do even more: They’re transformative objects that turn space into something else. Over the last couple of months, the Brooklyn-based design studio, led by Danny Giannella, Tammer Hijazi, and Jeffrey Renz, has launched six individual mirrors that all nod to familiar architectural elements you think you know well — doorways, bookshelves, windows, arches — but become unexpected, making you do a double take.
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herman miller x hay eames
09.22.22

Sighted

How Do You Remix the Most Iconic Furniture of All Time? Give it a Splash of Danish Color

Charles Eames once said that “the details are not the details — they make the product.” So, when Danish design brand HAY had the chance to collaborate with Herman Miller on a refresh of eight classic Eames pieces, we imagine the opportunity was as exciting as it was daunting: How do you take something so iconic and rework the defining nuances in your own style? The Eames Office has rarely let creative liberties be taken with these mid-century designs. But this collaboration, born out of mutual appreciation, features a revitalized color palette and some updated materials that feel utterly contemporary while remaining true to the originals.
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09.16.22

Sighted

In Common With and Sophie Lou Jacobsen’s Collab Lighting Collection is the Drama We Need Right Now

There’s a wonderful sense of mystery in the new lighting collaboration between Brooklyn-based studio In Common With and French-American glassware designer Sophie Lou Jacobsen. The Flora collection, as its name suggests, draws on the forms and proportions of plant life — but not your average bouquet or potted succulent. More like an unknown but totally intriguing specimen you might encounter growing on the forest floor. The 20 pieces here feature hand-blown, mold-blown, and slumped glass in milky off-white, amber, lavender, soft browns, and reds. Sconces are edged with dark, scalloped details, tables lamps and pendants are mushroom- and bell-shaped; and on a gorgeous chandelier of curving brass arms, delicate shades of draped glass resemble the blossom of an Angel’s Trumpet.
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09.10.22

Saturday Selects

Week of September 5, 2022

A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week: a posh, velvet-filled, Boston-adjacent restaurant, an exhibition in a handmade home in New Jersey, and a new showroom that shows off its Hamptons location to a T.
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09.09.22

Up and Coming

“Am I Just Making the Trash of the Future?” And Other Philosophical Questions With Designer Drew Abrahamson

“I always want my work to be fun, not taken too seriously, a point of conversation,” says Australian artist and designer Drew Abrahamson. And while it definitely is, it’s thoughtful, too, and even veers, in a light-hearted way, toward the kinds of philosophical questions anyone who puts anything out into the world ought to probably ask themselves: “Am I just making the trash of the future?” Abrahamson’s answer, in his recent series “We Are All Garbage,” is pretty much yes, but concedes that there’s freedom and liberation in the act of creation, especially when it isn’t so tightly tied to the constraints of marketability. 
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