“Everything is a canvas,” says the fashion illustrator Carly Kuhn, whose playful doodles and minimal contour drawings have featured in prints, magazines and, recently, an outdoor mural at the Row shopping district in downtown Los Angeles. “I like the different personality that my art can take on when it’s applied to a new space.” Kuhn credits her love of improvisation and people-watching to her previous stints as a television producer and aspiring sketch comic. She would “create little moments on the page” in her down time — the wobble of a turtleneck, a pair of fine brogues, the pattern of a woman’s dress — and post them to her Instagram account, The Cartorialist, alongside a mood board of influences like vintage beauty advertisements and the storybook character Eloise. Kuhn’s big break came in 2014, when a serendipitous repost by Sarah Jessica Parker went viral, attracting collaborations with brands like Prada and Oscar de la Renta. This month, she debuts a design studio for interiors, The Cartelier, with a collection of wallpapers featuring dainty shoes, occasional chairs, red lips, cocktail glasses or palms rendered in charming, hand-drawn imperfection; textiles will be added later this year. Says Kuhn, “The idea is that I’ve come in and doodled on your walls.” From $90/yard, thecartelier.com.
There’s a power that comes with wearing a suit shaped to one’s body and tastes, as the designer and editor Ash Owens observed while apprenticing under Rocco Ciccarelli, the storied Queens tailor who cut Thom Browne’s first shrunken set over two decades ago. Yet it wasn’t until Owens’s own coming-of-gender that they fully grasped the garment’s ability to draw out deeply felt selfhoods. “Suiting was such a transformative thing that really allowed me to feel confident in myself — and to show up for myself,” they say. Owens intends to make this custom experience more approachable and budget-friendly with a new clothing line, Suited Atelier. In addition to boxy cropped button-downs and laboriously handmade sets, which Owens has fashioned privately for clients since 2019 (the renowned house DJ Honey Dijon is one devotee), the brand lets shoppers customize any of its preset, seasonless suits by selecting details like button location and sleeve length. They come in limited-run colorways and traceable fabrics: One chalky gray pinstriped suit is constructed from recycled wool respun by an Italian mill, while a sleek maroon kilt can be worn over pants or alone. Owens hopes, too, that eliminating binary sizing will facilitate better conversations about fit, form and, ultimately, emotion. “I want to learn more about what people want to feel in their clothing,” they say. Suits from $1,498, suitedatelier.com.
A Place to Slide on Turkish Slippers
The Manhattan-based entrepreneur Mickey Ashmore of the footwear, leather goods and accessories brand Sabah has been fine-tuning and expanding his vibrant takes on traditional Turkish slippers since he started the company nearly a decade ago after living in Istanbul. Now, he’s bringing that sense of experimentation to a New York flagship, Sabah House, in one of NoHo’s historic brick Bleecker Street buildings. Here, he’ll sell his own shoes, board games and other products (including those by select makers and partners) in a handsome space outfitted with imported vintage Turkish carpets, a mosaic-tiled bar and lots of warm oak shelves and benches made by a family of Cape Cod woodworkers. Ashmore, who loves entertaining guests and friends alike, aims to create a spirit of conviviality at the boutique by offering visitors tea, wine or just a place to relax as they try on classic leather slippers or one of many upcoming collaborations. The latest, available in May, is footwear designed with the textile artist Laris Alara Kilimci, of the Istanbul-based LAR Studio, her fabrics in geometric shapes and bold colors forming the uppers. Though Sabah still makes many of its items in Turkey, Ashmore recently expanded production to El Paso, Tex., and will thus be able to fill this spot with even more limited-edition pairs. sabah.am
An Exhibition on Surrealism’s Magical Roots
At the outbreak of World War II, the celebrated art patron Peggy Guggenheim set out to purchase one work per day, many of them by Surrealist artists such as René Magritte and Max Ernst (whom she went on to marry). Her collection is the starting point for a new Surrealism exhibition at her namesake museum in Venice, where co-curator Gražina Subelytė’s years of research into the key artists’ interest in magic and the occult led to the show’s singular perspective. Mystical figures and symbols appear in iconic paintings like Victor Brauner’s “The Philosopher’s Stone” (1940) and Salvador Dalí’s “Uranium and Atomica Melancholica Idyll” (1945), as well as an eerie portrait of Ernst as a shaman with a split tail by Leonora Carrington, who studied witchcraft; relevant sources and projects are offered, such as the original 1948 edition of Kurt Seligmann’s history of the occult, “The Mirror of Magic,” and several playing cards, also used for tarot readings, from a deck handcrafted in the 1940s. The first large-scale show of its kind, the display is actually the latest of Surrealism’s forceful resurgence across the cultural realm, from Schiaparelli’s fall 2022 runway to a popular exhibition at the Met that’s just arrived at the Tate Modern in London. As it did a century ago, interest in the movement represents an understandable reaction to a destabilizing era. “Surrealism and Magic: Enchanted Modernity” is on view through Sept. 26 at the Peggy Guggenheim Collection in Venice, guggenheim-venice.it.
As big a draw as the Jardin des Plantes has always been for travelers to Paris, the surrounding neighborhood is remarkably limited in its selection of quality hotels. That changed with this month’s opening of the 44-room Hôtel Orphée, a seventh property from Orso, the collection of Parisian hotels by the husband-wife duo Louis and Anouk Solanet. The couple have earned a reputation for bringing on different creative talent for each property and letting their visions run wild; for Orphée, it was Eloise Bosredon, the French designer-architect behind the Levantine pastry shop Maison Aleph and Kinasé, a Japanese sake boutique. “We liked that Eloise hadn’t worked on many hotel projects and wasn’t conditioned by the constraints that can often go with them,” Anouk says. Bosredon cleverly balanced the property’s 19th-century bones with a penchant for modernism: Art Deco shapes on headboards and hallway rugs, as well as arched doorways and an earth-tone palette, are strong signatures, while some rooms contain Okoumé wood storage units that channel Le Corbusier’s Cabanon. There’s no on-site restaurant, but the lower level will soon bring appealing substitutes: a hammam on one side and an intimate lounge on the other, kitted out with plush couches, dim lighting and a sharp selection of cocktails and bar snacks. Rooms from around $140, hotelorphee.com.
From T’s Instagram
In a Storied Milan Building, a New Headquarters for Loro Piana
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