The Needle Remembers | 80 PHOTOGRAPHY BY JENOA MATTHES
AN ICON REBORN
Tiffany & Co.’s newest jewels revive the legacy of Jean Schlumberger with a modern edge.
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HAUTE HOME
Couture ideals meet interiors as luxury fashion houses reshape the living room with design-driven collections.
22
THE SILENT MASTERPIECE
Liaigre’s reissued
Charpentier table, long a cult favorite, returns as a design obsession for collectors and interior designers.
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THE NEW VANGUARD
A bold new generation of creatives is redefining beauty and meaning through ambitious thinking.
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BETWEEN HERE AND HOME
Artist Do Huh Suh explores memory and belonging with ethereal installations that dissolve walls and reimagine home.
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MOVEABLE FEATS
Buildings transform through shifting walls and gliding structures in Olson Kundig’s kinetic architectural works.
WANDER
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MODERN BY NATURE
Rio de Janeiro’s ateliers and showrooms reveal the artisanal heart of Brazilian Modernism and its enduring furniture legacy.
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MUSEUM AS MUSE
Cultural institutions are reinventing themselves with bold openings that reshape how we encounter art.
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THE NEEDLE REMEMBERS
In Lefkara, Cyprus, lace-making traditions tell centuries-old stories stitched into cloth and cultural memory.
INDULGE
94
PICTURE PERFECT
Chefs worldwide are creating edible artworks, turning every dish into a striking visual and culinary experience.
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MAKING (SOUND) WAVES
Listening bars from Tokyo to New York unite vinyl, cocktails, and design in immersive nightlife spaces.
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WILD VINES
In British Columbia’s Okanagan Valley, vineyards meet wilderness, offering world-class wines amid dramatic landscapes.
HOME
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LES NOUVEAUX
Marriott International’s upcoming collection of Residences.
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LIST OF RESIDENCES
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THEN AND NOW
Celebrating a 25-year legacy of Residences by Marriott International.
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JOY OF OWNERSHIP
Life at The Ritz-Carlton Residences, Washington, D.C., where a lasting community has created a welcoming home.
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JENOA MATTHES
The Needle Remembers, page 80
“I was moved by the warm welcome I received in Lefkara,” says the Paris-based writer and photographer on her time in Cyprus reporting this issue’s travel feature. “I was invited into the Rouvis’s family home like an old friend, and I left feeling their love and sense of responsibility for a craft passed down through generations.”
The New Vanguard, page 28
The New York- and California-based writer, editor, and consultant reaffirmed the value of taking risks while interviewing five rising creatives for this issue. “It’s scary to start a business,” says the contributing writer at T:
The New York Times Style Magazine . “But if you have a strong vision, people will respond to that and the results can be well worth it, as all of them have shown.”
TOM SEYMOUR
Between Here and Home, page 40
“Do Ho Suh is now a fellow Londoner,” says the arts writer and correspondent for Cultured and The Art Newspaper . “But his work captures, in a way that feels both mundane and surreal, the experience of traveling through the world, and through time, and adjusting the concept of home to tessellate with each chapter of your life.”
SIOBHAN REID
Modern by Nature, page 62
The Canadian-born freelance writer who is currently based in Barcelona got so carried away with furniture-hunting in Rio de Janeiro that she ended up buying a Modernist treasure herself. “I shipped a Jean Gillon Jangada chair and ottoman all the way back to Spain,” she says. Reid contributes to Vogue , Condé Nast Traveler , and Travel + Leisure
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Tiffany & Co.’s Bird on a Rock. Opposite: Jewelry designer Jean Schlumberger at his drawing board.
Few jewelry designers can count Michael B. Jordan and Elizabeth Taylor, Lady Gaga and Babe Paley among their devotees—but the late Jean Schlumberger is one of them. A French-born polymath, he began designing for Tiffany & Co. in 1956 and became the first ever to sign his creations for the house. His work pulsed with extravagance and vitality with the use of bracing color, natureinspired forms, and a whisper of wit.
“His design vocabulary is unique. There was nothing like it at the time or before,” says Emily Stoehrer, PhD, senior curator of jewelry at the Museum of Fine Arts, Boston. “His jewelry has a real, organic quality to it—almost a spikiness.”
The union between America’s premier jewelry house with this singular European aesthete yielded enduring masterpieces—many now housed in museums. Among them is the Breath
of Spring necklace from the collection of philanthropist Bunny Mellon, where diamond-set blossoms wind between 16 large sapphires. But Schlumberger’s genius wasn’t limited to gala jewels. He also created classics for everyday life. Jacqueline Kennedy Onassis wore her Schlumberger-designed, gold enamel Croisillon bangles so often during her time in the White House that the pieces became known as “the Jackie”—still in production and still irresistible.
That exuberance feels newly resonant today, as fashion shifts from the pared-back to the decidedly bold. This year’s Blue Book collection, the most exceptional jewels the brand produces, looked to Schlumberger’s aquatic sketches for inspiration. The outcome includes a naturalistic starfish ring centered with a six-carat ruby, and pendant earrings cascading with stylized sea urchins in white and yellow diamonds. “These creations pull from
the past while drawing on the present,” says New York-based jewelry consultant Mirta de Gisbert. “They offer a beautiful way to bring a fresh perspective while still honoring the heritage and legacy Schlumberger left behind.”
Nowhere is that revival more vivid than in the house’s new Bird on a Rock collection, which elaborates on a clip introduced in 1965: a diamond-encrusted fowl in platinum and 18-karat gold resting atop a jawbreaker-sized topaz. One of Schlumberger’s most whimsical creations, the bird and its precious perch—variously rendered in a limitless palette spanning amethysts to opals—appeared on the lapels of the chic and famous for decades. Tiffany’s chief artistic officer, Nathalie Verdeille, has taken the baton from its creator, giving Schlumberger’s bird a wider range by recasting it in a complete collection. A high-jewelry necklace is composed of a flock with outstretched wings and a central morganite, while new watches make space for the iconic pairing on a flower-engraved mother-ofpearl dial. Petite earrings and pendant necklaces deliver lighthearted glamour for everyday wear. Tiffany’s flight of fancy proves joy is always in fashion.
Michael B. Jordan attends the 95th Annual Academy Awards with two Bird on a Rock brooches.
Opposite: Audrey Hepburn wearing Schlumberger jewels in Paris in 1995.
BY RIMA SUQI
Haute Home
Once exclusive to the runway, the reach of luxury fashion houses is increasingly infiltrating the world of interiors. Gucci, Louis Vuitton, Hermès, Fendi, Dolce & Gabbana, Loewe, and Ralph Lauren are among the latest labels translating their signature codes into domestic form, merging craftsmanship with context. These aren’t mere brand extensions—they’re spatial expressions of house identity in a new set of materials: wood, stone, silk, and ceramic.
Each April, the crossover is on full display in Milan, where the design calendar’s version of Fashion Week draws the style set into the interiors space. Louis Vuitton, last year at Design Week, transformed Palazzo Serbelloni, a neoclassical palace, into an ephemeral wonderland, filling its frescoed rooms with its Objets Nomades collection. Hermès, with its architectural exactitude, opted
to display at a former Basque pelota court, reimagining the space through theatrical sets. And there are sure to be more brands showing off come April.
As with fashion, these interior collections span couture and ready-to-wear. The former may involve highly specialized artisans whose families have honed techniques for generations. It could also mean commissioning singular works by artists, as Loewe does—this year’s theme: teapots. On the accessible end, Ralph Lauren continues to define American domestic classicism, with tabletop and bedding collections available at scale.
Unlike the seasonality of fashion, home furnishings are not so fleeting. Forms endure and materials age well, meaning that investment pieces in this category become heirlooms passed down through generations.
1/ Odysseus porcelain serving bowl with 18k gold trim by La Double J, $350, ladoublej.com 2/ Arches Legs table by atelier oï, price upon request, Fendi Casa, fendicasa.com 3/ Paddock leather basket by Studio Hermès, price upon request, hermes.com 4/ Louis Vuitton Signature Collection Aventura armchair by Cristián Mohaded, price upon request, louisvuitton.com
4
5/ Ribbon leather chair by Pierre Renart, $4,450, available exclusively at Longchamp’s SaintHonoré boutique in Paris.
6/ Blossom vase by Tokujin Yoshioka, $5,600, louisvuitton.com
7/ Rena pewter trinket tray, Artist in Residence: Ralph Lauren Home x Naiomi & Tyler Glasses, $595. ralphlauren.com
8/ Lunar bedside table by Jonas Van Put, price upon request, Fendi Casa, fendicasa.com
9/ Armani/Casa Pascal armchair, price upon request at Armani/Casa boutiques in New York, Los Angeles, and Miami.
10/ Loewe Buño teapot, available in two sizes, price upon request, loewe.com
11/ B 97 Set Serious tables from Jil Sander’s JS.Thonet collaboration, $2,600, thonet.de
BY SCOTT BAY
The Silent Masterpiece
In a time of design obsessed with spectacle, the Charpentier endures as a masterstroke of understatement. The table is Liaigre at its most distilled: elemental, architectural, and remarkably refined. Created in the 1990s and reissued for release this October in a new expression, this elegant yet monumental table remains one of the purest examples of the house’s enduring ethos.
Christian Liaigre, the late French designer who founded the studio, rose to prominence by stripping interiors of excess, instead focusing on a sense of serenity and necessity. His work— marked by natural materials and exacting craftsmanship—shaped everything from beachfront villas to megayachts to Manhattan penthouses. He brought a uniquely French sensibility, similar to the country’s eponymous couture houses, to the global home design stage, defining what would come to be known as “quiet luxury” decades before it became a buzzword.
CHLOÉ
The Charpentier sits at the heart of this legacy. “It perfectly embodies some of the essential values of Liaigre, a permanent appreciation for simplicity and a serious consideration of needs and functions, which in turn dictate forms,” says Bertrand Thibouville, the house’s senior creative director for interior design projects and collection since 2010. Named for the French word for carpenter, the table was designed to serve a function above all else—however, in Liaigre’s hands, that function was elevated into a design masterpiece.
The new iteration enhances that lineage with a coal finish that reveals the grain of the oak, giving depth to its simple silhouette. “This beauty is born out of generous proportions, special attention to ergonomics, usability, and the touch and feel of materials,” says Thibouville. “It visually disappears in an interior and becomes the perfect coffee table for every use.” The table anchors a room without ever overtaking it: “Through its silence and discretion, it becomes indispensable.”
The Charpentier in a Parisian apartment. Previous: Christian Liaigre.
CHLOÉ LE MESTRE
WITH IDEAS AS AMBITIOUS AS THEIR CRAFT IS CONSIDERED, A NEW GENERATION OF CREATIVES IS REWRITING THE NARRATIVE OF HOW BEAUTY AND MEANING ARE BUILT.
BY JOHN WOGAN
The New Vanguard
The design world is engaging more than ever with issues of sustainability, cultural relevance, and technology. The next generation of creatives is rethinking not only what they make, but how they make it. This new guard blurs the lines between disciplines and offers a deeper dialogue with materials, histories, and the people who inhabit their worlds.
Left: An organic sculpture by Brad Golden.
Right: Studio Tre’s worldinspired architecture. Opposite: OWIU Design’s Terracita project.
Founded in 2022 by Whitley Esteban and Ernesto Gloria, Brooklyn-based Studio Tre draws on influences that span the formal to the folk. Esteban, who leads architectural design, spent eight years as managing director and architectural design director at Roman and Williams. Gloria, who oversees interiors and decorative work, honed his craft with Tom Scheerer and Fairfax & Sammons.
“We surround ourselves in the studio with objects, furniture, and traditions of making from wherever we’ve gone,” Esteban says, citing both his and Gloria’s extensive international travels over the years. “A basket tradition might inform a light fixture; a manner of embroidery informs a wall painting.” The duo delights in tracing surprising global design connections. “Maybe the West Indies furniture makes perfect sense in the South Carolina Lowcountry, or the import of Eastern motifs feels right at home somewhere Western,” Esteban says.
A recent example, Casa Cavada at Islas Seca in Panama, shows how Esteban and Gloria immerse themselves in a culture’s native crafts—in this case, Indigenous decorative arts, which show up in various motifs and forms. “It seemed obvious to tap into that sense of wonder—of being underwater, of being a stranger in a strange land,” Esteban says. In every project, Studio Tre chases that same spark, creating moments that feel like discovery for a client, even in otherwise familiar rooms.
Whitley Esteban and Ernesto Gloria make up the Brooklynbased architecture and interior design practice, Studio Tre. Opposite: Maidstone New Orleans.
BRAD GOLDEN
Brad Golden traces his fascination with sculpture to his childhood. “On the weekends, as a kid, I found myself gathering scraps of wood that my grandpa had left behind on the garage floor,” he recalls. “My imagination would run wild as I played with the perfectly imperfect scraps.”
Sometimes his process is “organic and unpredictable,” he says, led by the stone itself; other times, it begins with a precise vision. “I had a special moment observing two women holding each other on a late-night bus ride home from Ojai. The moment stuck with me, and I sketched away for a few weeks. I found them in a beautiful piece of marble that was available and started to chip away.”
With large-scale public works on the horizon—including in Italy at the openair museum Arte Sella, and for a hotel in Joshua Tree—Golden is expanding both his studio team and his ambitions, exploring bronze and larger installations while keeping emotional connection and the human touch at the heart of it all.
Brad Golden’s Real Stone Camo. Opposite: The sculptor working by hand in his signature style.
OWIU DESIGN
The Los Angeles-based studio of Amanda Gunawan and Joel Wong was born from “recognizing a gap between design intent and execution,” says Gunawan— ultimately leading to a practice that carries projects from concept through completion. The couple’s in-house construction arm, Inflexion Builds, allows them to prototype, iterate, and problem-solve in real time, ensuring cohesion down to the small details.
What sets OWIU apart (OWIU stands for “Only Way Is Up”) is their ethos of sustainability, with a focus on designing and building on what’s already there. “A pivotal project that solidified this for us was Biscuit Lofts,” says Gunawan, describing a massive 1925 factory-toloft conversion in downtown L.A. “It was one of the first projects we took on from design to completion, and it was through this project that we learned how integral it was for us to maintain a dialogue between designing and building in order to achieve our vision.”
Japan’s reverence for craft also informs OWIU’s mindset. “We’ve been particularly excited to explore shikkui plaster, a centuries-old Japanese lime material traditionally used in temples and heritage buildings. It’s naturally sustainable, antibacterial, and humidityregulating, yet remains surprisingly underutilized in modern design.”
Gunawan’s narrative-driven vision pairs seamlessly with Wong’s technical precision. “Where I see a vision, he builds,” she says. The result: work grounded in integrity, with spaces conceived and constructed with protecting the environment as the ultimate form of beauty.
OWIU Design is sustainably minded and uses a reverence for craft to inform their design ethos.
GRACE FULLER DESIGN
“I always knew I wanted to pursue farming in some capacity,” says New Yorkbased landscape designer Grace Fuller Marroquin, who first felt the pull toward horticulture at age 18 during a stint at the verdant Lyon Arboretum in Hawaii. Postcollege, Fuller spent years in the fashion industry, including editor roles at Vogue and W, before returning to her longstanding passion of landscape design.
“My fashion career helped me understand how the finished product or image captured on film is a composition, the same as a garden,” says Fuller, describing the relationship between her two creative endeavors. Since founding her firm, Grace Fuller Design, in 2019, she has landed on Architectural Digest’s prestigious AD100 list, creating landscapes that are at once whimsical, romantic, and deeply rooted in sustainability, with projects spanning from Manhattan rooftops to gardens in Mumbai and Mexico.
“Starting a new career is an incredibly humbling experience,” Fuller says. “But I am proud of the organic growth of my firm and being awarded interesting projects, mostly by word of mouth, with a wonderful roster of clients.”
Landscape designer Grace Fuller Marroquin. Opposite: A recent project in New York City.
FERNANDO JORGE
Brazilian jewelry designer Fernando Jorge designs precise, sculptural pieces for an international clientele—one that’s drawn to his organic shapes as much as his nature-inspired philosophy. A 2010 graduate of London’s prestigious Central Saint Martins, Jorge has resided in the city ever since, opening an intimate, immaculately designed showroom in Mayfair in 2023.
Despite his current home base, Jorge’s Brazilian heritage deeply informs his aesthetic. “There’s an innate sensuality there, and the way in which jewelry interacts with the body is the foundation of my work,” he says. This translates into a design language that’s displayed in his latest collection, Vertex. Inspired by Art Deco and the Manhattan skyline (a city where he also has a showroom, in the Chelsea neighborhood), the pieces are architectural and engineered to sit beautifully on the body, with movement and flow in mind.
“Each item is articulated along a central line of baguette diamonds,” Jorge says, “like a spine, allowing for fluidity through rigid elements.” It’s a testament to his brand, effortlessly combining various cultures, the natural world, and his own artistic principles in every piece.
Jewelry designer Fernando Jorge.
Opposite: Pieces from Jorge’s latest, Vertex, on display at his New York showroom.
WALLS DISSOLVE, STAIRCASES FLOAT, AND ROOMS TRAVEL ACROSS CONTINENTS. ARTIST DO HO SUH’S WORK MAPS THE SPACES WE INHABIT LONG AFTER WE’VE LEFT THEM BEHIND.
Between Here and Home
BY TOM SEYMOUR
Do Ho Suh, Perfect Home: London, Horsham, New York, Berlin, Providence, Seoul , 2024 (detail).
As a child in Seoul, Do Ho Suh learned an idea that has shaped his 30-year career. The hanok, a traditional Korean home, could be “walked”—that is, these homes are constructed with the ability to be disassembled, moved, and rebuilt elsewhere. The notion that the walls around him were not fixed was less a fact than a seed of philosophy.
Once grown, the experience of leaving home is what made Suh ruminate on this concept. “It could therefore be said that home started to exist for me once I no longer had it,” Suh says at the Tate Modern in London, where his major mid-career survey, Walk the House, was recently on display. “But if that is the case, where and when does home exist?”
From this paradox came a practice that collapses the boundaries between the permanent and the itinerant. For Suh, home is never four walls and a roof; it is a memory—something you inhabit as much with the mind as with the body.
“The space I’m interested in is not only a physical one, but an intangible, metaphorical, and psychological one,” Suh says. “For me, ‘space’ is that which encompasses everything.” His works— fabric architectures, graphite rubbings, and photogrammetry—trace the rooms, corridors, and thresholds of his homes in Seoul, New York, Berlin, and London, rendering them spectral yet precise.
For instance, Who Am We? (2000), a wallpaper of tens of thousands of yearbook portraits, blurs into abstraction from afar; up close, each face asserts its individuality. Suh calls this “the minimum differential space that lets me be what and who I am and not you, or anyone else.” Here, home is the invisible space between one person and the next.
If that is a meditation on individuality, Staircase-III (2010) captures the inbetween. Based on the narrow stairs between his New York apartment and his landlord’s, the work hangs midair like a fleeting memory. Suh describes it as “challenging the ‘permanence’ of the institutional space” while allowing it to adapt each time it is shown.
Elsewhere, Suh wrapped his childhood home in mulberry paper, the graphite traces forming what he calls “a gentle gesture of loving, caring, and being attentive.” Every line or shadow is a muscle memory of the home made visible—the way your hand knows the grain of a banister in the dark.
Though his subject matter is autobiographical, Suh’s process is deeply collaborative. Teams of architects, seamstresses, and technicians across London and Seoul help realize his vision. “It’s the result of years of dialogue—not just between the artist and his memories, but between craftspeople across generations,” says the curator of the Tate Modern show, Dina Akhmadeeva.
“As a Buddhist, I don’t believe anything exists in a state of permanence,” Suh says. For him, the impossibility of holding onto home is not a loss but a truth to be honored. His work accepts the irretrievability of the past, yet affirms its lingering presence as an
atmospheric force. In his installations, visitors move through translucent passages, becoming part of “a wider constellation of bodies sharing the space and being momentarily in common.”
The houses he “walks” are both personal and universal. They remind us that, even when the walls are gone, the places we come from never leave us. We carry them—not as weight, but as architecture woven into our bones.
Do Ho Suh: Public Figures is on view now at the National Museum of Asian Art (Smithsonian) in Washington, D.C., while North Wall (2005) at Auckland Art Gallery, New Zealand, is on view until March 1, 2026.
Do Ho Suh, Rubbing/ Loving Project: Seoul Home , 2013-2022, installation view, Museum of Contemporary Art Australia, Sydney, Australia. Courtesy of the artist, Lehmann Maupin, New York, Seoul and London and Victoria Miro.
FROM STEEL SHUTTERS TO SLIDING STRUCTURES, OLSON KUNDIG’S INNOVATIVE ARCHITECTURE IS KINETIC, ADJUSTABLE, AND GROUNDED—ALL AT ONCE.
BY SCOTT BAY
Moveable Feats
On the edge of a glacial lake in northern Idaho, the entire facade of a house called Dragonfly seems to disappear. A massive guillotine-style door—framed in steel and glass— seamlessly slides with the crank of a wheel, completely transforming a sealed room into a breezy living room between nature and home. It is a distillation of Olson Kundig’s philosophy: Architecture is not fixed, but an active participant in the lives of its inhabitants.
“When you touch a building, that’s your handshake with it,” says Tom Kundig, principal, owner, and founder of the Seattle-based architecture firm known for spaces that quite literally move. “You’re becoming part of the device. It is you who turns the wheel or lifts the wall, and suddenly, you’re more connected to that place than you were five seconds ago.”
Jim Olson, the other half of the firm’s founding duo, adds, “The world is in constant motion. No two minutes are ever the same. It’s about humans adapting to the changing world around us. Like dandelions in nature closing at dusk and opening back up at dawn, architecture becomes a vessel to adapt to all the cycles of life.”
Dragonfly is just one example of the firm’s kinetic projects: a portfolio
Previous and opposite: Olson Kundig’s Dragonfly house has massive guillotine-style doors that seamlessly glide open with the crank of a wheel.
defined not by flashy interventions, but by designs that move with purpose— pivoting panels, crank-operated windows, and drawbridge-style doors that shift the character of a space in real time.
The new short film Counterweight traces that lineage from early experiments to real-world execution, while a Novemberreleased Phaidon monograph, Tom Kundig: Complete Houses, offers a tactile blueprint of the architect’s ideas developed and refined over four decades.
Kundig describes his earliest influences as mechanical. “I grew up around extraction industries—logging, mining, and agriculture,” he says. Watching huge machines move with elegance and purpose fascinated him, and later, working with artist Harold Balazs on his abstract metal sculptures, he saw how pulleys and sandbags could animate sculptures. “These basic engineering solutions inspired me to move large-scale things, much bigger than us, within architecture.”
This tug and pull is evident in Maxon Studio, a steel-clad office designed to slide along railroad tracks through a Washington forest clearing. “Our client Lou Maxon approached us with an idea of designing a home office he could commute to,” Kundig says.
“Like dandelions in nature closing at dusk and opening back up at dawn, architecture becomes a vessel to adapt to all the cycles of life.”
—JIM OLSON
AARON LEITZ
True to Olson Kundig’s kinetic work, Maxon Studio, seen here, glides on railroad tracks from one side of the site to the other in a playful “commute” to work as a home office.
“We joked about deploying Lou into the forest, and from there we developed the idea of putting the studio on railroad tracks so the office could move across the site.” What began as a jest evolved into a structure that embodies both whimsy and functionality.
For Olson, movement is not only mechanical but experiential. “Creating architecture is like choreographing a dance,” he says. “You’re figuring out how to move from one space to another.” He also likens it to Japanese gardens, where “even the smallest details become a special moment that you discover as you walk through.”
This ethos often manifests in designs that dissolve the barriers between the built and natural world. “I’ve always been a very context-driven designer, and I think it’s important not to compete with the landscape,” Kundig says. “If you start with the primacy of the site, everything else becomes a direct response to that particular place.”
The firm’s JW Marriott Los Cabos demonstrates this approach at scale. The desert landscape comes right up to the building, which consists of sandcolored stone and stucco, echoing the beach steps away, while also dissolving into the surrounding terrain. Meanwhile, in Seattle, the firm’s intervention at St. Mark’s Cathedral uses their skill set for performance.
Above and opposite: Olson Kundig brought its motion-based design to Seattle’s St. Mark’s Cathedral.
The sliding elements at Analog House. Opposite: A combination home and photographer’s studio, Studio House is an exploration of memories and their potential to resonate over time.
“The glass doors are an experiment in creating motion within a spiritual space,” Olson says. “You hear music behind the screen, and as it opens, the choir is revealed. It is dramatic.”
What makes these gestures even more compelling is their analog quality. In an era of digital automation, the duo insists on utilizing manual mechanics. Kundig sees this tactility as essential. “When a user takes hold of a wheel and turns it, the effect is not only physical, but emotional,” he says. “You’re the motor. It makes you think more deeply about how you take up space, which in turn promotes a sense of stewardship for that space.” In the end, each wall that rises or threshold that shifts reminds us that buildings—like the people who inhabit them—are meant to move with the patterns of nature.
The JW Marriott Los Cabos dissolves into the surrounding terrain as carefully planned by Olson Kundig.
The rhythm of the ocean and the glow of golden light define life at West Point, a collection of oceanfront residences within Dorado Beach, a Ritz-Carlton Reserve Residence. With vistas that stretch endlessly across sea and sky, these residences embody a rare expression of coastal elegance that defines the essence of barefoot luxury.
Rouvis Lace & Silver, in Cyprus, sells authentic Lefkara lace; it’s one of the last shops in town dedicated entirely to 100 percent handmade pieces.
WANDER
BY SIOBHAN REID
Modern by Nature
In 1922, on the centennial of Brazil’s independence, a group of trailblazing artists and intellectuals gathered at São Paulo’s Theatro Municipal for a three-day cultural event that would forever change the country’s cultural landscape. The Semana de Arte Moderna (Modern Art Week) brought together art exhibitions, concerts, and poetry readings that rejected European aesthetic traditions in favor of a new national identity rooted in Brazil’s Indigenous, African, and folk heritage.
The modernist movement that emerged laid the foundation for the sweeping, sculptural architecture of Oscar Niemeyer, whose curving concrete forms would come to define the urban fabric of Brasília, the country’s capital city. It also gave rise to a parallel tradition in furniture design that put a distinctly Brazilian spin on 20th-century modernism, reinterpreting Bauhaus and other international influences through exquisite natural materials
like jacaranda (Brazilian rosewood) and pau ferro (ironwood). More than a century later, these architecturalinspired pieces are now among the most sought-after in the world, regularly commanding five-figure sums at international auctions and galleries.
Thanks to the legacy of the 1922 movement, São Paulo is often considered the cradle of Brazilian Modernist furniture design. A stroll through the upscale streets of Jardim Paulista or Vila Madalena reveals dozens of independent galleries showcasing armchairs, coffee tables, and consoles by masters such as Sergio Rodrigues and Jorge Zalszupin. But it was in Rio de Janeiro where many of these 20th-century designers lived and found inspiration—and for those drawn to the stories behind the objects, the Cidade Maravilhosa (Marvelous City), as the city is often called, offers a more intimate experience, with familyrun workshops and unsung dealers keeping the flame of modernism alive.
A one of a kind chaise by Joaquim Tenreiro. Opposite: The lush jungle landscapes of Rio’s Jardim Botânico.
“São Paulo cemented its status through institutions and collections,” says André Bispo, co-founder of the gallery Legado Rio, “but Rio allowed modernism to breathe.” The street-level space he runs with his partner, Lucas Sales, is located just blocks from the towering palms and orchid gardens of the Jardim Botânico. Inside, the focus is on pieces that reflect how Cariocas live: objects custom-made for the city’s breezy seafront apartments, hillside homes, and lush artist studios. Expect finds by Zalszupin and artist Joaquim Tenreiro, as well as works that emerged from Brazil’s most storied workshops, including Marcenaria Baraúna—a São Paulo-based woodworking studio known for its collaborations with Lina Bo Bardi, among other modernist icons.
On the other side of town, in the bohemian neighborhood of Lapa, adjacent to the brutalist Metropolitan Cathedral of Saint Sebastian, is one of the country’s mainstays of Brazilian modernist design, Mercado Moderno, founded in 2001 by Rosana Vicente, Alberto Vicente, and Marcelo Vasconcellos. Open by appointment only (schedule a time slot via its website or Instagram
Mercado Moderno focuses on original, well-documented pieces that have been carefully restored and contextualized.
@memobrazil), the bi-level gallery focuses on original, well-documented pieces—mainly from designers who worked in Rio de Janeiro between the 1950s and ‘70s—that have been carefully restored and contextualized.
For Mercado Moderno collection manager João Vicente, part of what sets Rio’s design scene apart is its artisanal spirit. “While São Paulo is more industrial, Rio has preserved strong ties with neighborhood carpentry shops, family workshops, and a culture of restoration that is still alive today,” he says.
Its team works closely with master carpenters and family-owned workshops in Rio de Janeiro and Petrópolis to carefully restore and reconstruct sought-after designs, such as the iconic Mole and Oscar armchairs from Sergio Rodrigues. One of the biggest challenges, Vicente notes, is sourcing the materials: Many historic works were crafted from now-endangered woods such as jacaranda, which can only be reused if salvaged from demolition or repurposed from originalperiod pieces. “Fortunately, we still have workshops in Rio where these techniques have been passed down.”
RUY
Legado Rio’s Jardim Botânico showroom. Opposite: Carved from a single solid piece of pequi wood, this piece is part of Zanine Caldas’ Reclaimed Wood collection.
For the Peruvian-born, New York Citybased collector Rodrigo Salem—whose Manhattan furniture and decor gallery, Found Collectibles, specializes in Brazilian midcentury-modern pieces— some of the best treasures can be found at Rio’s weekend markets, such as the Rio Antigo Art Fair, Feira Da Praca Luis XV, and Glória Market. Salem advises travelers to bring cash, negotiate within reason, and arrive as early as five or six in the morning, when sellers are just setting up their stalls—“By 10 a.m., all the good pieces are gone,” he says.
He also recommends seeking out some of the smaller furniture stores in Rio’s North Zone, not far from the international airport, as well as in nearby cities such as Teresópolis. It’s in these lesser-visited locales that Salem has scooped up some of his top finds, including a 1960s-era lounge chair by French Brazilian designer Michel Arnoult, discovered amid a pile of old furniture in a wood restorer’s workshop.
“While it can be challenging to hunt around during a holiday, Rio really is a treasure trove,” he says.
The Girafa chair, designed by Lina Bo Bardi.Opposite: Rio’s dramatic skyline.
To pull back the curtain on the restoration process in the heart of the city, head to Mobix Galeria, where owner and photographer Arthur Cavaliere has transformed a restored colonial townhouse into an emporium for Modernist design. Inside, design objects like vases and wall art share space with impeccably sourced furniture by Zalszupin, Tenreiro, and other midcentury masters. Cavaliere often guides guests upstairs to the second-floor workshop, offering a behind-the-scenes look at the meticulous craft involved in reviving iconic designs, such as the low-slung Petalas table by Zalszupin, its octagonal petals arranged like a blooming flower. With tools on the bench and sawdust on the floor, it’s an environment that gives new energy to a design movement more than a century old—a reminder that, in Rio, Modernism isn’t a relic; it’s still being made.
Above and opposite: Mercado Moderno showroom.
The expanded New Museum. Opposite left: Almaty Museum of Arts’ permanent exhibition hall. Opposite right: The Frick Collection’s Emma Hart, Later Lady Hamilton, as “Nature,” George Romney, 1782.
BY RACHEL BOUVIER
Museum as Muse
Whether your interest is in centuries-old artifacts or the latest works of contemporary art, 2025 is set to be a banner year for museumgoing. From Paris to New York, London to Cairo, an array of bold new institutions and reinvigorated landmarks is changing how art and culture are housed, narrated, and discovered.
From throwing open archive doors to engineering massive moving
platforms, this is more than a season of openings—it’s a global rethinking of what a museum can be.
Take, for example, a storage facility that becomes the main attraction. That’s the premise behind the V&A East Storehouse. Opened in May on London’s East Bank, its initial purpose was to privately store half a million pieces of the museum’s collection. But instead of a closed vault, the V&A
decided to create a space that would be open to the public, demystifying the behind-the-scenes work of curators and providing access to rare objects and items not otherwise on display.
Long aisles of industrial shelving become avenues of serendipitous inspiration while the museum’s Order an Object program allows visitors to request an item to view with the assistance of a curator— an intimate interaction you wouldn’t expect at such a storied institution.
While the V&A East Storehouse pushes us to reconsider what a museum is, the new Fondation Cartier Pour l’Art Contemporain in Paris asks us to reimagine how one is built. Jean Nouvel, the architect behind the museum’s former glass-and-steel pavilion, has returned to design its new home: a Haussmannian building on the Place du Palais Royal that was originally constructed for the 1855 Paris Exposition.
Nouvel honors the historic structure while introducing innovative new design elements—most notably, five mobile platforms that can be reconfigured to shape the museum around the art on show. “The space is marked by a different way of doing: a way of conceiving how artists can have maximum power of expression,” he says. Its inaugural exhibition will look back at 600 works from more than 100 artists who have shaped the institution’s identity from 1984 to today.
Across the pond, two museums are changing New York City’s cultural landscape. In Midtown, the Frick Collection completed a $220 million renovation and enhancement project that restored the first floor of the Gilded Age mansion while adding a suite of new upstairs galleries. Formerly the Frick family’s private living quarters, these rooms are open to the public for the first time, offering an intimate setting for installations.
Meanwhile, in the Bowery, the New Museum is undertaking a futuristic, 60,000-square-foot expansion designed by OMA’s Shohei Shigematsu and Rem Koolhaas. The exterior architecture complements the existing building while still asserting itself. Inside, the spaces integrate seamlessly to double the museum’s gallery space and create a home for its incubator program, which supports emerging artists through residencies, resources, and mentorship.
Contrasting architecture also takes center stage in Kazakhstan at the Chapman Taylor-designed Almaty Museum of Arts. Inspired by the harmony between the natural landscape and urban environment of Almaty, the museum contains two wings: one in limestone to evoke the mountains, and the other in aluminum to represent the city. The museum promotes the region’s art with over 700 modern Kazakh artworks, as well as international pieces by Yayoi Kusama, Richard Serra, and Fernand Léger.
The most anticipated museum opening of the year is certainly the long-awaited Grand Egyptian Museum (GEM) outside Cairo. More than two decades in the making, GEM will officially open its doors at the end of 2025.
With a collection of 100,000 artifacts—20,000 of which have never before been displayed—the museum is the largest in the world dedicated to a single civilization. Many of its galleries are already accessible to visitors, but its centerpiece, the Tutankhamun Halls, promises to be a defining cultural moment. For the first time, all of the teenage pharaoh’s treasures will be exhibited together in one place.
Enhanced by technology—from VR to interactive elements—GEM is yet another example of how, even when housing humanity’s oldest treasures, today’s museums are dynamic and evolving into something entirely new.
The Grand Egyptian Museum will be the largest in the world dedicated to a single civilization.
Your Extraordinary Awaits
IN CYPRUS’S LACE-MAKING VILLAGE OF LEFKARA, EMBROIDERY TELLS A STORY STITCHED THROUGH TIME.
WRITTEN & PHOTOGRAPHED BY JENOA MATTHES
The Needle Remembers
Under a cloudless blue sky, the climb to Lefkara is a slow unraveling of Cyprus’s interior: fields gone golden, olive branches swaying in dry air, and the scent of dust and forest pines rising from the roadside. It’s early June, but the sun has already taken hold.
The narrow streets are quiet when I arrive, save for the gentle chatter of shopkeepers, preparing for the afternoon rush. I peruse storefronts selling local crafts, including L. Papaloizou–Cardiff Lefkara Lace Workshop & Silver, a generational family business whose owner’s greatgrandmother was the first to take Lefkara lace abroad, and Lefkara Arts and Crafts, which works with a small group of women who embroider lace for their shop.
When I step into Rouvis Lace and Silver, where Michael and Toula Rouvis and their son, Demos—a family of lace makers—carefully carry on Lefkara’s most celebrated tradition, I’m greeted like an old friend. I’m handed a glass of freshly squeezed lemonade and given a tour.
Shelves are piled with folded lace, some recently completed, some vintage, and even a few pink pieces that Demos noted with a grin were “very popular
in the ‘80s.” Upstairs, in their family home above the shop, he shows me his mother’s dowry: a finely embroidered white tablecloth that they still use for family celebrations.
Over the centuries, Cyprus passed through the hands of Byzantines, Venetians, and Ottomans—each empire leaving its mark, especially visible in the architecture of Lefkara. During Venetian rule in the 15th and 16th centuries, this small village became a favored summer retreat for nobles, who helped transform the handiwork of local craftswomen into a now-iconic style known as lefkaritika, or Lefkara lace.
This uniquely Cypriot art form was officially recognized by UNESCO in 2009 as an Intangible Cultural Heritage of Humanity. The village sits between Larnaca and Limassol, two of Cyprus’s largest cities, and is considered one of the most beautiful on the island. Among the handful of narrow streets that run through the village are still craftswomen, needle in hand, quietly stitching among artisanal shops.
One of the first things that catches my eye is a large print of Leonardo da Vinci’s The Last Supper hanging on the wall.
The charming narrow streets of Lefkara, Cyprus.
lace was officially recognized by UNESCO in 2009 as an Intangible Cultural Heritage of Humanity.
Lefkara
When I ask Demos about it, a conspiratorial smile spreads across his face. According to local legend, da Vinci visited Cyprus in 1481, during Venetian rule, and the artist brought a piece of Lefkara lace back to Milan with him. Later, similar geometric motifs appeared in the tablecloth on his famous painting.
Whether fact or fable, the tradition clearly made an impression: In 1986, a Lefkara tablecloth was commissioned for the altar of Milan’s Duomo for the 600-year anniversary of the cathedral’s foundation. It was designed by Demos’s father, Michael, and hand-stitched by three Lefkaran women over seven months—a tight deadline for a project that would normally take two years. Demos points with pride to a framed photo. “My father delivered it on the exact day it was due,” he says. “October 19, 1986.”
Toula, who learned the craft from her mother and grandmother, shows us a piece she has been working on. “Each design begins with stiff Irish or Belgian
linen,” she says, carefully counting the stitches and marking the layout by hand. “Everything is done from memory. No two pieces are the same.”
What began as a way to decorate their homes evolved into a source of economic independence for women in the village for over a century. These days, the art form is kept alive by a devoted few. “There may be only 40 women left who know how to make it,” Demos says. “The youngest is 60.” Most are in their eighties.
With fewer artisans earning their living through Lefkara lace, some are working tirelessly to preserve the tradition. A few schools still teach the technique, and hobbyists are seeking out the intricate knowledge.
Demos understands that the future of the craft is uncertain, but he speaks with quiet resolve. “My father has been doing this his whole life,” he says. “It’s a true passion. As long as we can keep doing it, we will.”
The Church of the Holy Cross, which dates back to the 14th century and is said to house a relic of the True Cross.
Lefkara lace details. Opposite: Toula Rouvis of Rouvis Lace and Silver.
Lefkara and Beyond
EAT LIKE A LOCAL
HOUSE 1923 Tavern is a go-to for traditional Cypriot dishes—try the chicken souvlaki. To Piperi Tavern is a cozy, rustic spot with a classic village-style menu. We ordered a selection of mezze; the whipped feta and tzatziki were standouts, alongside a refreshing Greek salad.
Further afield, popular seafood restaurant Agios Georgios Alamanou is known for its generous platters, piled with prawns, mussels, squid, and crab claws. Ideal for a long, lazy lunch by the sea.
PlusSea, less than an hour from Lefkara, is a high-end beach bar with a polished menu of seaside dishes and craft cocktails. Its red-striped loungers and quiet stretch of sand make it a great spot to refresh in the afternoon heat—in style.
TO
SEE
Lefkara corner shop, Eleni is an inviting place to pick up local olive oil, homemade marmalade, and other pantry goods. Don’t miss a visit to the Church of the Holy Cross , which dates back to the 14th century and is said to house a relic of the True Cross. Inside, the towering ceiling is painted with a vibrant starry sky and there is an opulent gilded altar screen.
White Stones is a lesser-known swimming spot along the coast with smooth limestone cliffs and shallow, turquoise waters, 30 minutes from Lefkara.
An hour west of Lefkara, Omodos is a winemaking village tucked into the hills of the Troodos Mountains. Be sure to stop at Oenou Yi Winery for a tasting on the terrace with rolling vineyard views.
Conceived by chef
as a living, ever-evolving space,
honors the landscape that surrounds it through the use of seasonal ingredients and intentional plating design.
INDULGE
Daniela SotoInnes
Rubra
Picture Perfect
Plating is no longer just a final flourish in the best kitchens around the globe—it’s a design decision. Like architects or sculptors, chefs are considering proportion, negative space, color theory, and texture hierarchy before a single ingredient hits the plate. The result: dishes that function as visual compositions, where every decision is as intentional as it is delicious.
Chef David Barata, who helms Michelinstarred Austa in Algarve, Portugal, decided to test his team’s ability to marry flavor and plating design by challenging them to come up with an “all-white” dish. They started with razor clams and peak-season white asparagus, adding house-fermented buttermilk as a sauce and finishing with a garnish of fermented white strawberries and yuba. “It was the most interesting dish we served all year,” Barata says. “Guests were super intrigued by the elements visually, but also because [the flavors] worked together so well.”
BY OSET BABÜR-WINTER
Despite the key role plating plays in the overall dining experience (you’ve probably heard the phrase “the eyes eat first,” or more recently, “the phone eats first” before someone in your party takes a few snaps of a particularly Instagram-friendly crudo), few chefs approach the process in the same way.
“I usually start with a feeling or a memory [because] the way we present the food should reflect that,” says chef Daniela Soto-Innes, whose new W Punta de Mita restaurant, Rubra, features a flaky tostada bejeweled with raw tuna, cucumber, and flowers from its garden. “The way we plate it feels like a little landscape: colorful, alive, and delicate, just like the garden that inspired it.”
On the flipside, at Manhattan’s buzzy downtown bistro Claud, plating comes toward the end of the development process for chef and co-owner Joshua Pinsky. “Our dishes are typically conceptualized based on an ingredient
Smoked trumpet mushrooms at Los Félix in Miami.
or a technique we’re excited about,” says Pinsky. “It can sometimes become a challenge because it is one of the last steps before it all comes together— or if we’re lucky, the fun part.”
While Pinsky’s team turns out plenty of eye-catching dishes, from a towering platter of mille-feuille with bright marigold tomatoes and gooey cheese, to ruby-red shrimp garnished with olive oil and served in a jet-black cast-iron pan for visual contrast, every plating decision is an opportunity to edit. “We’ll ask things like, ‘How much does this plate need?’ ‘How many ingredients go on it, and in the final iterations, how much can we take away?’”
Soto-Innes agrees. “The biggest challenge is knowing when to stop. It’s tempting to keep adding details, but sometimes the most powerful dishes are the most restrained.”
A trip to a museum or local gallery jump-starts the creative process for chef Sebastian Vargas of Michelin-starred Los Félix in Miami. “I get a lot of my inspiration from art itself,” he says. “You can see this in our grilled crab arepa, a dish currently on our menu. I was inspired by Yayoi Kusama, who plays with contrasting colors and dots. You can see a lot of that influence in the dish.”
Scallops with white asparagus at Claud. Opposite: Chef and co-owner Joshua Pinsky’s plating process comes at the end of the creative process.
Chef Daniela Soto-Innes plating a crudo at her new W Punta de Mita restaurant, Rubra.
Despite differing design approaches from concept to table, most chefs agree that plating forces a key conversation about how the different elements will realistically taste together, and how that impacts the overall dining experience. “In a perfect world, every bite is the perfect bite,” Pinsky says. “So if on one corner of the plate is X and the other corner of the plate is Y, and X and Y need to be on the fork to achieve deliciousness, I feel like I didn’t do my job.”
Barata agrees. “The careful distribution of the elements really matters,” he says. “The center [of the dish] is always where the guest will start, and how the guest experiences the dish is my main concern with plating.”
Catch of the day dish at Los Félix, for which chef Sebastian Vargas found inspiration from art galleries.
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Jam Record Bar is lined end to end with an exhaustive collection of records—15,000 in total.
BY BRAD JAPHE
Making (Sound) Waves
What started nearly a century ago in Tokyo has become one of the most talked-about trends in nightlife. Listening bars offer a high-fidelity escape from the overstimulated pace of modern life. At these low-lit sanctuaries, music isn’t background noise; it’s the main event, accompanying sleek interiors, analog sound systems, walls of vinyl, and cocktails stirred to the beat. “More and more, consumers are requiring an oasis from the chaos,” says Joel Harrison,
author of The Whisky World Tour. “[It’s] a moment to reflect and relax.”
Today, listening bars have evolved to incorporate a wide array of musical styles, all enhanced by cutting-edge audio technology. Opening one’s ears over opening one’s mouth remains a defining characteristic. Think of them as speak(less)easies. From Sydney to Mexico City, these listening bars are worth tuning in to.
The proud Japanese tradition still shines bright at Ginza Music Bar. Four floors above its namesake neighborhood, this snug, electric-blue parlor founded by veteran music producers feels acoustically closer to a studio than a bar. On any given evening, enjoy indie rock or movie soundtracks spinning on the dual turntables behind the bar. But regardless of the playlist, pair it with one of the best whisky highballs in town.
Tokyo Record Bar carries this ethos across continents and into the heart of lower Manhattan. The artfully rendered subterranean space combines the joys of the traditional Japanese listening bar with New York spontaneity. Guests collaborate on the nightly playlist, scribbling requests on slips of paper that DJs mix into a live, all-vinyl set. It’s a choose your own adventure that still respects the ritual of the format, with high-fidelity turntables spinning beneath moody lighting.
At One Park in Cape Town, fine dining, cocktails, and a record store are all cleverly combined under one roof. But a first-floor listening room— complete with custom-built speakers and inventive cocktails—has afforded the multi-concept venue legend-tier status. The bar program recognizes
Goodbye Horses is set in a pared-back, ultra-minimalist space in East London.
the country’s rich cultural heritage in liquid form. The Masala Pine is a prime example, a combination of rum with tropical fruit and Indian spices.
Austin’s nostalgic Equipment Room layers terracotta walls, shaggy carpets, and vintage concert posters into a warm, retro-futurist cocoon. A Klipsch La Scala sound system anchors the space, filling it with rich, analog sound from a 1,200-strong vinyl library. It’s all dim lighting, deep listening, and vibey cocktails crafted to match the mood. A-Sides denote the classics, including buzzy espresso martinis and sazeracs; B-Sides are filled with frivolity, like the Thumper, using a nopal and tomato-infused gin and housemade cotija chimichurri oil.
Set in a pared-back, ultra-minimalist space in East London, Goodbye Horses quietly makes its case as the city’s premier listening bar. Seasonal British bites like beef tartare and cheese toasties meet a focused list of natural wines, and the room’s real stars—vintage Tannoy speakers—distribute sound so evenly you could swear the music’s coming from inside your glass. It ranges from power pop to indie rock to electronic dance music, depending on the time of day.
If you’re after something more maximalist, step off George Street, in the heart of Sydney’s Central Business District, and into the pink-tinged environs of Jam Record Bar. It feels immediately playful, but its commitment to vinyl is entirely serious. The walls are lined end to end with an exhaustive collection of records—a staggering 15,000 in total. Signature cocktails take cues from Japan, like the Yuzu negroni and the Okinawa daiquiri, prepared with a house-made rum blend. Never one to be outdone by its Australian cosmopolitan counterpart, Melbourne’s Music Room has already attained status as a local institution. The snug soundproof drinking den makes you feel like you’re sipping cocktails inside an actual speaker box, with an eclectic variety of jazz, soul, and techno on repeat.
Mexico City’s Roma neighborhood is a leading example of the listening bar boom, and Roca HiFi is steps ahead. The cocktail menu and record selection both lean heavily into beloved classics like spicy margaritas paired with Peter Gabriel’s So. And though it can get rowdy here, the supremacy of the soundtrack is ensured by acoustically driven design, and there’s a verdant outdoor space where conversations carry on late into the night. So, you can have your listening room and speak loudly, too.
Austin’s nostalgic Equipment Room layers terracotta walls, shaggy carpets, and vintage concert posters into a warm, retrofuturist cocoon.
ROBERT GOMEZ
BY KATE DINGWALL
Vines
KELSEY HENDERSON
At Cedar Creek Estate Winery, enjoy modern tasting rooms or sip wine among the vines, picnic-style.
The Okanagan Valley’s landscapes have been formed over centuries: towering and time-weathered mountains, carved by glaciers that melted millions of years ago. The mirrored lakes fed by those glaciers and the surrounding evergreen forests are just as ancient.
Comparatively, the Okanagan wine scene is in its infancy. Grapes here were first planted in 1859, but it was only in the last 20-odd years that producers have caught on—a blip in time compared to the valley’s backdrops.
What the Canadian wine region lacks in age, it makes up for in promise. The Okanagan Valley, which stretches from the northern town of Salmon Arm to the Washington border, is a fertile wonderland for winemaking. Summer days are warm and long, while winters are mild—a perfect climate for pinot noir, cabernet franc, chardonnay, and pinot gris.
And the industry is paying attention. Top winemakers have flocked to the valley to make some of the continent’s most exciting new wines, from plush, rich, Bordeaux-style bottles to mineral-kissed whites, and electric, eccentric orange wines.
Nk’Mip Cellars is more than familiar with the Okanagan’s potential. The winery is owned and operated by the Osoyoos Indian Band, who have called the land home for thousands of years.
As time passed, new settlers pushed the band off their land, and they were forced to settle on the eastern side of the valley, in an arid pocket of Osoyoos. In the 1960s, they started planting grapes and selling them to local winemakers. As the vines became more established, they realized they were giving away phenomenal grapes—why not make their own wine? In 2002, Nk’Mip Cellars opened. They’ve been keen to keep their heritage woven
Opposite: Dock sipping in Summerland, overlooking Okanagan Lake. Above: Canada’s only desert on view at Nk’Mip Cellars. Left: The best way to visit Garnet Valley Ranch is on horseback.
into every step. They farm sustainably and organically. Nk’Mip’s finest wines— chardonnay, pinot noir, and syrah—are named Qwam Qwmt, which means “achieving excellence,” in nsyilxcən.
Christine Coletta is another valley veteran. She opened Okanagan Crush Pad 15 years ago, and now has several labels under her belt. At Haywire, housed in a cool-kid, wine-bar space in Summerland, she ages wines in large concrete vessels that add texture, body, and energy to the end product. At Freeform, she takes a hands-off approach to winemaking, letting the land and year dictate how the wines taste.
In 2023, she opened the buttoned-up Garnet Valley Ranch, an expansive, 320acre ranch where she tends to vines and conjures them into silky, serious pinot noirs and shimmering chardonnay.
“We’re only 10 minutes from downtown Summerland, but when you’re out here, you feel like you’re in the Wild West,” Coletta says. “There are no neighbors, no outside influences around you. It feels like you’re experiencing the Okanagan as it was 100 years ago.”
Indeed, that wildness is the Okanagan’s strongest allure. While wine tourism is blooming, most visitors are adventure seekers—hikers, snowboarders, skiers, and mountain bikers. Even the landscape is one of extremes: The
valley is narrow, so the mountains feel enveloping, interrupted only by glacierblue lakes that warm up like bathwater in the summertime.
“We are growing vines on 2 billion-yearold rocks on one side of the lake, and 40 million-year-old rocks on the other,” says Taylor Whelan, senior winemaker at Mission Hill Family Estate. “We see extraordinary wildlife, like bighorn sheep, bears, moose, and wild horses, wandering into the vineyards.”
Whelan was drawn to the emerging region to help put it on the global stage.
Mission Hill’s Kelowna winery is expansive, with soaring medievalstyle arches and a 12-story bell tower. The entire property sits atop a hill, rising from the valley floor toward the heavens. Its signature wine, Oculus, is one of the Okanagan’s first with a cult following—a Right Bank Bordeaux by way of British Columbia.
Outside of Oculus, Whelan focuses on cabernet franc, which he considers the rising star of the region. “The wines it is producing have freshness, vibrancy, and life to them,” he says.
While wildness is the Okanagan’s signature, there are luxuries to be found around every corner, along with vintners pushing the boundaries. Quails’ Gate pours tastings on a 49-foot yacht.
Frind Estate’s tasting room is on the shores of the lake—the first beachfront winery in North America.
Quails’ Gate, which sits atop a longextinct volcano on the western shores of Okanagan Lake, plays with pinot noir and chardonnay—globally two of the most popular grapes—but also works with maréchal foch, a hybrid grape that is becoming increasingly popular in the face of climate change for its exceptional tolerance to cold temperatures.
Andres Galvez Pizarro, winemaker at Cedar Creek Estate Winery , is betting on sauvignon blanc “because of its intense and diverse aromatic profile,” but he’s also into the Okanagan’s chardonnay—he finds it wildly versatile—and pinot noir. “Pinot noir can express the best of every corner of the valley,” he says.
Cedar Creek also has a sleek tasting room, but the rest of its property is a
little rugged. Scottish highland cattle— named Fern, Milo, Daisy, Bodhi, and Tui—wander the vineyards, a charming addition that’s also beneficial: Their hooves help fertilize the soil. Hives of honeybees buzz around them, helping pollinate the mustard, clover, and wildflowers blooming between the vines.
All of this diversity adds to the Okanagan’s allure. The summers are sun-soaked and golden, with only five hours of darkness at the peak—volumes more sunlight per day than the Napa Valley. And the shimmer lasts well into fall, when the verdant-green landscape gilds over with autumnal colors.
In the winter, pillowy blankets of snow wrap everything in sight and stags and skiers dot the thrilling peaks.
“It’s extreme. We’re both a cool climate and a warm one—it’s really wine-growing on the edge,” says Whelan. “But all good wine is made on the edge.”
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Anew slate of projects from Residences by Marriott International demonstrates a dedication to surprising and delighting owners with new heights of luxury living.
An exceptional opportunity to own one of 32 lakefront estate homes on a private island awaits at The Ritz-Carlton Residences, Muskoka, a serene retreat just over two hours from Toronto and a quick transfer from private air terminals. The site has turnkey cottages and waterfront lots that can be customized with a main house, guesthouses, boathouses, and private docks. Amenities offer the best of both worlds: an island community through an owners lounge and fitness facilities, or the ease of seasonal home preparation, car and boat valet, and on-island support.
Located high in the top 15 floors of a new tower in the Music City skyline are The Residences at The Nashville EDITION, with 84 palatial homes from one to four bedrooms, as well as two halffloor penthouses. Come home through a separate, private entrance in sweeping, porte cochere style before soaring up to a residence with floor-to-ceiling windows, deep balconies wrapping the corners of the building, and warm-toned interiors by INC Architecture & Design. Though steps from iconic Nashville landmarks like Ryman Auditorium and the city’s hottest restaurants, amenities such as a 50-foot heated saltwater pool with serviced cabanas and a golf simulator might make it difficult to leave.
An even more exclusive experience within one of the region’s most luxurious hotels can be found at Nujuma, a Ritz-Carlton Reserve Residence , located on the pristine white sands of the Ummahat Islands in Saudi Arabia. The 19 striking, seashellinspired villas range from one to four bedrooms, and each boasts its own private pool and terrace. Surrounded by sparkling, crystal-clear turquoise waters and one of the world’s largest barrier reefs, this oasis allows residents access to the hotel’s stunning experiences, including world-class dining, diving excursions, and hands-on activities hosted by cultural and nature experts.
The elegance of the French Riviera is transported to the Middle East with the Résidences Du Port, Autograph Collection Residences on the Dubai Marina. This gated waterfront collection of 74 elegant homes ranges from one- to three-bedroom apartments as well as duplexes, triplexes, and two penthouses. Along with private access to the marina’s promenade and its vibrant shopping and dining, residents may also enjoy lifestyle services such as move-in coordination and in-home spa treatments.
The Residences at The Westin Playa Bonita in Panama offer 350 modern seaside homes from one to three bedrooms. Situated between the Pacific Ocean and the rainforest, with access to the capital city and the Panama Canal, owners get urban convenience with the tranquility of waking up at a beach resort.
The Ritz-Carlton Residences, Muskoka.
LIST OF RESIDENCES
United States & Canada
ARIZONA
The Ritz-Carlton Residences, Dove Mountain
The Ritz-Carlton Residences, Paradise Valley, The Palmeraie
BRITISH COLUMBIA
The Residences at the Westin Bear Mountain Victoria Golf Resort
The Residences at the Westin Resort & Spa, Whistler
*CALIFORNIA
The Residences at The St. Regis San Francisco
The Residences at The West Hollywood EDITION
The Residences at The Westin Monarche, Mammoth Lakes
The Residences at The Westin Verasa Napa
The Ritz-Carlton Residences, San Francisco
The Ritz-Carlton Residences, Lake Tahoe
The Ritz-Carlton Residences, LA Live W Residences Hollywood
COLORADO
Beaver Creek Lodge, Autograph Collection Residences
The Residences at The Westin Riverfront Resort & Spa, Avon
The Ritz-Carlton Residences, Bachelor Gulch
The Ritz-Carlton Residences, Vail
The Sky Residences at W Aspen
DISTRICT OF COLUMBIA
The Ritz-Carlton Residences, Georgetown
The Ritz-Carlton Residences, Washington, D.C.
*FLORIDA
JW Marriott Residences Clearwater Beach
The Residences at The Miami Beach EDITION
The Residences at The St. Regis Bal Harbour
The Residences at The St. Regis Longboat Key
The Residences at The Tampa EDITION
The Ritz-Carlton Residences, Bal Harbour
The Ritz-Carlton Residences, Coconut Grove
The Ritz-Carlton Residences, Fort Lauderdale
The Ritz-Carlton Residences, Key Biscayne
The Ritz-Carlton Residences, Miami Beach
The Ritz-Carlton Residences, Orlando, Grande Lakes
The Ritz-Carlton Residences, Sarasota
The Ritz-Carlton Residences, Singer Island
The Ritz-Carlton Residences, Sunny Isles Beach
The Ritz-Carlton Residences, Tampa
Waterline Marina, Autograph Collection Residences
W Residences Fort Lauderdale
W Residences South Beach
GEORGIA
The Residences at The St. Regis Atlanta
The Ritz-Carlton Residences, Buckhead
W Residences Atlanta—Downtown
HAWAI‘I
Renaissance Residences Honolulu
The Ritz-Carlton Residences, Kapalua
The Ritz-Carlton Residences, Waikīkī Beach
ILLINOIS
The Residences at The St. Regis Chicago
The Ritz-Carlton Residences, Chicago
MARYLAND
The Ritz-Carlton Residences, Baltimore
The Ritz-Carlton Residences, Chevy Chase
MASSACHUSETTS
The Ritz-Carlton Residences, Boston Commons
The St. Regis Residences, Boston
W Residences Boston
MICHIGAN
The Residences at The Westin Book Cadillac, Detroit
MINNESOTA
The Residences at Ivy, a Luxury Collection Hotel, Minneapolis
The Residences at The Westin Edina Galleria
NEW JERSEY
W Residences Hoboken
*NEW YORK
The Residences at The St. Regis New York
The Ritz-Carlton Residences, New York, Central Park
The Ritz-Carlton Residences, Battery Park
The Ritz-Carlton Residences, New York, NoMad
The Ritz-Carlton Residences, North Hills
The Ritz-Carlton Residences, Westchester
The St. Regis Residences, Rye
ONTARIO
The Residences at The St. Regis Toronto Downtown
The Residences at The Westin Trillium
House, Blue Mountain
The Ritz-Carlton Residences, Toronto
OREGON
The Ritz-Carlton Residences, Portland
PENNSYLVANIA
The Ritz-Carlton Residences, Philadelphia
QUEBEC
The Residences at Delta Hotels by Marriott, Beaupré
The Residences at the Westin, Mont-Tremblant
The Ritz-Carlton Residences, Montreal
TEXAS
The Ritz-Carlton Residences, Dallas
W Residences Austin
W Residences Dallas—Victory
UTAH
The Residences at The St. Regis Deer Valley
VIRGINIA
JW Marriott Reston Station Residences
The Residences at The Westin Virginia Beach
COMING SOON
New locations opening between 2025 and 2027.
BRITISH COLUMBIA Okanagan
*FLORIDA
Estero Bay
Fort Lauderdale
Kissimmee
Madeira Beach
Naples Palm Beach Gardens
Pompano Beach
Sarasota Bay
Tampa
West Palm Beach
MASSACHUSETTS
Boston
MICHIGAN
Detroit
NEVADA Las Vegas
OHIO
Cleveland
ONTARIO Muskoka
TEXAS
The Woodlands
UTAH Kanab
Midway
St. George
ASIA PACIFIC
CHINA
Bulgari Residences Beijing
Bulgari Residences Shanghai
INDONESIA
Bulgari Residences Bali
The Residences at The St. Regis Bali
The Residences at The St. Regis Jakarta
W Residences Bali—Seminyak
JAPAN
The Residences at the Tokyo EDITION, Toranomon
MALAYSIA
The Residences at The St. Regis Kuala Lumpur
The Ritz-Carlton Residences, Kuala Lumpur
Marriott Residences Penang
PHILIPPINES
The Residences at Sheraton Cebu Mactan Resort
The Residences at The Westin Manila
*SINGAPORE
The Residences at The St. Regis Singapore
The Ritz-Carlton Residences, Singapore Cairnhill
W Residences Singapore—Sentosa Cove
SOUTH KOREA
JW Marriott Residences Jeju
Marriott Residences Daegu
THAILAND
The Residences at The St. Regis Bangkok
The Ritz-Carlton Residences, Bangkok
*VIETNAM
JW Marriott Residences Grand Marina Saigon
Marriott Residences, Grand Marina Saigon
The Ritz-Carlton Residences, Hanoi
CARIBBEAN & LATIN AMERICA
BELIZE
Alaia Belize, Autograph Collection Residences
BERMUDA
The Residences at The St. Regis Bermuda
*BRAZIL
W Residences São Paulo
CAYMAN ISLANDS
The Ritz-Carlton Residences, Grand Cayman
COSTA RICA
W Residences Costa Rica—Reserva Conchal
El Mangroove, Autograph Collection Residences
Nekajui, a Ritz-Carlton Reserve Residence
DOMINICAN REPUBLIC
The Residences at The Ocean Club, a Luxury Collection Resort, Costa Norte
The Residences at The St. Regis Cap Cana
*MEXICO
Bloom Tulum, Apartments by Marriott Bonvoy
The Residences at Solaz, a Luxury Collection Resort, Los Cabos
The Residences at The St. Regis Mexico City
The Ritz-Carlton Residences, Mexico City
Zadun, a Ritz-Carlton Reserve Residence
PUERTO RICO
Dorado Beach, a Ritz-Carlton Reserve Residence
TURKS & CAICOS
The Ritz-Carlton Residences, Turks & Caicos
EUROPE, MIDDLE EAST, AFRICA
AZERBAIJAN
The Ritz-Carlton Residences, Baku
*CYPRUS
The Ritz-Carlton Residences, Limassol, Cyprus
*EGYPT
The Residences at The St. Regis Cairo
GREECE
The Residences at The Westin Resort, Costa Navarino
ISRAEL
The Ritz-Carlton Residences, Herzliya
JORDAN
The Residences at The St. Regis, Amman
The Ritz-Carlton Residences, Amman
W Residences Amman
*KAZAKHSTAN
The Ritz-Carlton Residences, Almaty
The Ritz-Carlton Residences, Astana
OMAN
The Residences at The St. Regis Al Mouj Resort, Muscat
*PORTUGAL
The Residences at Sheraton Cascais Resort
W Residences Algarve
The Residences at The Pine Cliffs
OceanSuites, A Luxury Collection Resort
The Residences at The Westin Salgados Beach Resort, Algarve
Marriott Residences Salgados Resort, Algarve
QATAR
The Residences at The St. Regis Marsa Arabia Island, The Pearl Qatar
SAUDI ARABIA
Nujuma, a Ritz-Carlton Reserve Residence
TÜRKIYE
JW Marriott Residences Istanbul Marmara Sea
Le Méridien Residences, Bodrum
The Residences at Caresse, a Luxury Collection Resort & Spa, Bodrum
The Residences at the Sheraton Istanbul Esenyurt
The Ritz-Carlton Residences, Bodrum
The Ritz-Carlton Residences, Istanbul
UNITED ARAB EMIRATES
Bulgari Residences and Mansions Dubai
Marriott Residences Al Barsha South, Dubai
The Residences at The St. Regis Dubai, The Palm W Residences Dubai—The Palm
*UNITED KINGDOM
Bvlgari Residences Knightsbridge, London
No. 1 Palace Street, The St. Regis Residences, London
The Lucan, Autograph Collection Residences, London
The Residences at The Westin London City W Residences London—Leicester Square
COMING SOON
New locations opening between 2025 and 2027.
BELIZE
Ambergris Caye
COSTA RICA
Golfito
Manuel Antonio Sarchi
DOMINICA
Portsmouth
DOMINICAN REPUBLIC
Punta Cana
*EGYPT Cairo
*MEXICO
Costa Mujeres
La Paz
Los Cabos
Puerto Vallarta
Riviera Maya
San Miguel de Allende
*PORTUGAL Lagos
PUERTO RICO
Hato Rey
SAUDI ARABIA
Riyadh
SERBIA
Belgrade
SPAIN
Casares
Sitges
TÜRKIYE
Bodrum
Istanbul
TURKS & CAICOS Providenciales
South Caicos
UNITED ARAB EMIRATES
Abu Dhabi
Dubai
Ras Al Khaimah
*UNITED KINGDOM
Manchester
MARRIOTT-BRANDED RESIDENCES ARE NOT OWNED, DEVELOPED, OR SOLD BY MARRIOTT INTERNATIONAL INC. OR ITS AFFILIATES (“MARRIOTT”).
Then and Now
This year marks the 25th anniversary of Residences by Marriott International, a milestone that arrives in the midst of high demand and thrilling growth for the branded residential market.
“The astonishing success of this division demonstrates irrefutably a proof of concept—that our consumer base appreciates not just outstanding properties, world-class design, and unbeatable locations, but the personalized service and luxury lifestyle from brands they already trust,” says Dana Jacobsohn, the company’s chief development officer for North America and Canada Luxury Brands and Global Mixed-Use.
We are honoring the occasion by looking back at some of the landmarks across its past quarter-century.
2000 The Ritz-Carlton Residences, Washington, D.C., opens in the city’s West End neighborhood with 162 luxury condominiums of up to 5,600 square feet plus an oversized courtyard with
a waterfall. It becomes Marriott’s first branded residence with Ritz-Carlton.
2008 Marriott’s first standalone Residence debuts with The Ritz-Carlton Residences, Baltimore, bringing a stately stonework facade featuring wrought iron-bound balconies to the city’s prestigious Inner Harbor.
2010 With a location just minutes from the global shopping destination of Orchard Road, sky terraces for entertaining guests, a stunning maze garden, and towering ceilings within the homes, the first Residence outside the United States opens at The Ritz-Carlton Residences, Singapore Cairnhill.
2016 With the acquisition of Starwood Hotels & Resorts, Marriott International welcomes seven new residential brands, including the luxury St. Regis, W Hotel, and The Luxury Collection, as well as a push into the premium market with Westin, Sheraton, Tribute Portfolio, and Le Meridien.
2019 Marriott opens its 100th branded residence, The Ritz-Carlton Residences, Miami Beach, a standalone property with 111 waterfront condos and 15 villas designed by the globally renowned Italian architect Piero Lissoni.
2020 At 101 floors, The Residences at The St. Regis Chicago becomes the tallest building in the world designed by a woman, the visionary Jeanne Gang of Studio Gang. Jacobsohn was particularly gratified by this project. “It was exhilarating to execute this deal in the early months of the pandemic, when travel was limited and global development stood still,” she says. “It felt like looking forward.”
2021 Marriott International announces its largest branded residential project to date with the JW Marriott Residences Grand Marina Saigon and Marriott Residences, Grand Marina Saigon. The development represents a transformation of Ho Chi Minh City’s skyline and a testament to the nation’s ascent on the global stage.
2024 ONVIA—an exclusive platform for Residence owners that provides a comprehensive connection to professional staff, concierge services, hotel benefits, events, and much more— launches for 14,000 residential owners.
2025 With 145 residences and another 157 projects in development, Residences by Marriott International leads the industry and sets a global standard of excellence in luxury living. “This significant growth represents a response to consumer demand,” says Jacobsohn. “We will spend the next 25 years and beyond welcoming residential owners to the homes of their dreams, and ours.”
Opposite: Quadrant Lounge, The Ritz-Carlton Residences, Washington, D.C. Top: In 2020, The Residences at The St. Regis Chicago became the tallest building designed by a woman.
Bottom: 2025 marks the 25th anniversary of Residences by Marriott International.
Joy of Ownership
One of Susan B. Haight’s fondest memories at The Ritz-Carlton Residences, Washington, D.C., came when a blizzard left behind 100 inches of snow on the city in 2010. “One of my neighbors called and said, ‘Drop everything and come to the bar,’” she recalls, laughing. Everyone came dressed as they were—which led to residents whiling away the hours in fuzzy slippers at the hotel’s Quadrant Bar & Lounge. “It was an amazing impromptu gathering.”
Community wasn’t the top priority when Haight became one of the earliest buyers in Marriott International’s first luxury-branded residence, which debuted in 2000. “I mainly thought it would be an investment,” says Haight, who even adorned a hard hat to walk through construction. “D.C. didn’t have anything like this.”
The amenities appealed to Haight, given the demands of her career: She worked in real estate development, first as an executive at the Rouse Company and then with her own consulting firm, Retail Connections, which found her traveling nonstop. In her Marriott residence, she found a sense of much-needed calm and retreat. “I felt very well-cared for,” she says. “I can’t say enough about the staff—they’re remarkable. You chat every day, and they become like your family.”
Through her new home, she also discovered a new passion project.
As an expert in refreshing neighborhoods—and a big fan of public libraries—she set her sights on updating the library near the Residences, which she found out of date and understaffed. It took 10 years of lobbying, funding, and zoning, but the West End Neighborhood Library reopened directly across from the Residences in 2017. Haight now serves as president of the West End Library Friends and co-chair of the DC Public Library Foundation. “I’m all things library,” she says.
It’s not her only passion project in the area. She also co-founded the Foggy Bottom West End Village, an organization to help seniors reside at home as long as they can. Living solo at 77, Haight is keenly grateful for the ease that the Residences afford her during this chapter of her life. She looks forward to many more blissful mornings on her balcony in the South Building, enjoying coffee and reading the newspaper while overlooking the courtyard’s dramatic waterfall.
Time has flown in the quartercentury since she moved in. “No, it can’t possibly be!” she jokes. “A lot of us first-timers are still here.”
