Read Design

Leica Introduces the D-Lux 8

The German manufacturer updates their popular compact digital D-Lux camera

Julie Wolfson

12 November 2024

On a recent trip to Japan, Leica’s compact D-Lux 8 proved to be an ideal camera to go anywhere and capture everything. The body feels sturdy and lightweight—perfect to carry on an itinerary with cocktails in Tokyo, coffee in Kyoto, and on to Osaka to see the Chiharu Shiota exhibit at the Nakanoshima Museum of Art. A visit to the beautiful Katsuo-ji Temple outside of Osaka also feels enhanced by the D-Lux 8’s ability to capture the emotional expressions on the tiny darumas placed around the gardens.

Since 2003, the D-Lux has been the company’s focus for their digital compact camera category. Affordable by Leica standards, these cameras deliver Leica styling and quality for anyone who wants an accessible and user-friendly option. Through the years each iteration has added capabilities, modified the body shape and streamlined the interface. This summer, Leica debuted the eighth version, a new optimized D-Lux. With a few months of hands-on time, a colorful journey in Japan and a conversation with Mike Giannattasio (President of Leica Camera North Americ), we explore what’s new, what stayed the same and how the camera interacts with the Leica FOTOS app. 

“The Leica D-Lux line offers durability, functionality and optical quality that the brand is known for, in the smallest package,” says Giannattasio. “This allows for the camera to be an everyday carry camera, providing an opportunity for creatives to explore and witness their environments with ease.” That ease comes from both the small size a packability of the camera that can be comfortably worn in their molded black leather case or stored in a handbag or tote.

Weighing about 14 ounces, the ergonomically redesigned body made of die-cast magnesium is inspired by the Leica Q System. The menu feels more intuitive featuring a new button layout and user interface, providing easier navigation and increased customizability. Regarding some of the significant updates Giannattasio explains, “The D-Lux 8 now has an OLED screen for better viewing in contrasty environments, a 48% in back screen resolution making details in images more visible, support for DNG files, UHS-II SD card support and the ability to transfer RAW images and video files from the camera to a mobile device through the Leica FOTOS app.” 

With the new body design, the button layout offers the opportunity for user customization, while simplifying the layout of the camera. “Leica is continuously looking for opportunities to make the image creation process a fun and intuitive process,” adds Giannattasio. “Through its UI redesign, which is also inspired by the Leica Q system, Leica customers can comfortably view and adjust key settings with a single button click, allowing them to quickly return to the moment of capture.”

The camera can be fully personalized with a simple long press on any of the four function buttons. The user is able to assign a specific menu setting to each button, allowing for quick access to favorite settings. One of these settings can be Wi-Fi activation, to send full quality images and videos to a mobile device, through the Leica FOTOS app. The Leica FOTOS app also allows the user to control the camera from a distance, such as changing the zoom or camera settings and activating the shutter remotely. The D-Lux 8 has both JPEG and DNG formats for more post-processing flexibility and the ability to record 4K videos.

In addition to carrying a camera and taking photos, visiting Leica stores along the way adds to the Leica experience. Each store has knowledgeable staff to answer questions, accessories, and gallery exhibits. The Leica store in Kyoto is on Hanamikoji Street in the traditional Gion district in a 100-year-old, two-story Machi-ya townhouse. Currently at the Ginza store in Tokyo the gallery space upstairs is featuring Seiya Nakai’s exhibit “Scenic train rides with Leica.”

Each Leica Store and gallery becomes a gathering place for the photography community. Photo exhibit openings bring out large crowds at the Los Angeles location and many others around the world. It is common to see Leica photographers arrive proudly displaying their beloved cameras. “Brand loyalty to Leica is deeply rooted in a blend of quality, heritage and community, and is truly inspiring to see,” says Giannattasio. “At Leica events, seeing photographers proudly ‘wearing’ their cameras is a beautiful testament to their passion and dedication to their art form. Ultimately, it’s about being part of a vibrant community that shares a genuine appreciation for photography and the artistry that it embodies.”

Looking ahead to Spring 2025, Leica will be celebrating 100 years of the company with exhibits, experiences and collaborations. The company is committed to enriching their experience with exciting product launches, Akademie workshops and gallery events worldwide with Leica’s community of photography enthusiasts and professionals. “This centennial celebration will honor the significant impact Leica has had on photography and visual storytelling. From pioneering innovations to shaping how we capture and perceive the world, Leica has consistently led the way in photographic evolution,” says Giannattasio. The celebration will feature a series of events in NYC, highlighted by a vibrant block party on 13th Street, right in front of their flagship store and gallery. They are partnering with Photoville to create moments that encapsulate our 100-year journey and with the International Center of Photography (ICP) for a special exhibition commemorating this milestone. 

“This is a wonderful opportunity for us to connect with our community, share inspiring stories and celebrate the passion for photography that unites us all. Together, we will reflect on a century of achievements while looking forward to the next chapter of innovation and creativity at Leica,” says Giannattasio. “By actively listening to customer feedback on products like the compact D-Lux 8 and the Leica versatile SL3, Leica continually enhances its offerings while strengthening partnerships, such as those with Panasonic and Adobe.” 

The D-Lux 8 embodies Leica’s dedication to fostering a supportive community that celebrates the art of photography for all skill levels. For traveling light with carry-on luggage, on and off trains, and to so many locations, the size and capabilities of the D-Lux 8 makes it an ideal travel companion.

Read Design

The Female Design Council and Thornton Projects Welcome Guests to Salon Art + Design

A statement-making point of entry for the acclaimed design fair

David Graver

11 November 2024

If an entryway can act as a metaphor for a design fair’s thesis statement, then the welcoming halls of the Park Avenue Armory set exceedingly high expectations for what follows at this year’s Salon Art + Design. In the south hall, the Female Design Council‘s members presentation introduced the eye-catching works of six women-led studios. In the north hall, and flanking the passage into the fair’s main floor, Thornton Projects founder Brad Thornton stunned with a spectacle of flower, light and stone. Beyond these first steps, of course, was one of the most compelling iterations of Salon Art + Design, now overseen by executive director Nicky Dessources, which spotlighted exciting presentations ranging from Milan’s legendary Nilufar Gallery to London and New York-based jewelry designer Fernando Jorge.

“I was selected this year by the team to curate the front of house,” Thornton tells COOL HUNTING, “everything from the florals to the various installations, including these beautiful illuminated alabaster pillars by Marcus De Paula from Love House.” Two other pieces mirrored this glowing beacon. Thornton introduced an amorphous table lamp by Marcelo Suro for Superhouse—and designer Mary Wallis, who also happens to be a Female Design Council member and is represented by The Future Perfect, was commissioned for the engaging chandelier upfront. As for the abundance of otherworldly, artful florals, Thornton worked with NYC and LA-based design studio Audrey in the Garden.

The name of the installation is “Saluto,” derived from the Latin word to greet. In addition to it being an enveloping point of entry, “we wanted to nod to the fact that it’s an autumnal celebration,” he adds. “We also had the idea of nature reclaiming this beautiful, historic space.” For many fairgoers, the confluence of thoughtfully imagined lighting design and sprawling natural arrangements were reason to pause and reflect with wonder and awe.

This is the Female Design Council’s first presentation at Salon Art + Design, and it demonstrates the professional network and advocacy organization’s categoric depth. “We have furniture, sculpture, artwork and lighting,” founder Lora Appleton tells COOL HUNTING of their visual vignette. “We have INDO-, with the premiere of the Purdah Mirror. We have MATERIA, and this is the first showing of the floor lamp from their PLATEAU collection. We have Konekt, with their Silo Console Table. We have Tina Scepanovic showing the ‘Gobstoppers No. 24 Artwork.’ Her study is all about hand-finishes and this is all 24k gold leaf. Then we have Lisa Sacco, this fierce up-and-comer. For her glasswork pieces, she takes old reclaimed objects and blows glass around them. This is the first time she is showing ‘Vital Friction, Calescent II Sculpture.’ It just came out of the studio. Finally, we have Kristi Bender and Wendy Schwartz of Cuff Studio showing their fun Fraggle Block Stool.”

Though the Female Design Council selected these six members to spotlight, many others could be found on the floor throughout Salon Art + Design—including a solo booth from Little Wing Lee, the founder of Blacks Folks in Design and Studio & Projects. For anyone unfamiliar, however, their south hall presentation was both an introduction and an exclamation point. “It’s a real opportunity for us to show the strength of women in design and what we’re all about. We see this in flecks and specks through the industry but this is a real focus. For us, it’s about being able to speak to the whole community. We are the most powerful network for women in design and we feel proud about that,” Appleton concludes.

Read Travel

Interview: Valentina De Santis, CEO of Grand Hotel Tremezzo

Inspiring insight on the family-owned and operated Lake Como, Italy icon

David Graver

11 November 2024

Anyone who has been to Grand Hotel Tremezzo understands its allure—the colorful old-world charm, its glamorous perch along the banks of Lake Como, the warmth and sophistication of the service provided within. Many who have seen the facade from afar (or on social media) dream of one day visiting the Italian icon—for both its spectacular position, and its rich history as one of the world’s most recognizable grand hotels. Valentina De Santis, the CEO of Grand Hotel Tremezzo and a member of the family that owns and operates the property, knows that underscoring this historic magnetism is something modern. It’s not just the illustrious past, but a nuanced adaptability—from the grand hotel’s online boutique, Sense of Lake, to the continued development of wellness experiences. To learn more about Grand Hotel Tremezzo’s longevity, we spoke to De Santis for her inspiring insight.

For anyone who hasn’t been, how would you explain what Grand Hotel Tremezzo offers that cannot be found anywhere else?

It is unique in the sense that it is now—and has always been—a family-owned and operated property. When my family bought it from the founders over 50 years ago, we were inspired by the Gandola family’s dedication to innovation and a personal touch. They were pioneers in features like electric lighting and a tennis court, but they always made sure to make the guests feel extra special. So, we have continued in that vein—playing up the buzz of a grand hotel, with staff bustling about, exceptional cuisine, cocktails and amenities, but never forgetting to treat everyone who comes through the door as a treasured guest who deserves our special attention.

I believe the guests can sense that “something extra” in a family-run place. They feel the love and dedication of the many hands and hearts involved in making our properties what they are, and that always starts and ends with my parents and me. I think our family-oriented culture makes a big difference to the staff as well. The more detail-oriented we are, the more the staff will be. The more passionate we are, the more likely the team will exhibit that passion in their day-to-day work. The more we lead with love, the more that love will trickle down to every guest. For me, this is the secret to our success.

One would assume that most visitors tend to seek out a stay at Grand Hotel Tremezzo during the summer. What is it like during the other seasons? Do you have a favorite season?

Every season has its charm on Lake Como. I am partial to the springtime—right after we open in March—when our gardens are alive with color, though there still might be snow-capped mountains in the distance. The crisp mornings and slowly warming days invite guests to hike the hills behind the hotel; the views from the San Martino church are stunning! And you can visit Villa del Balbianello and other sights without the heat or the crowds of the summer. Oh yes, and the rhododendrons in our own garden and at our neighbors in Villa Carlotta in April have to be seen to be believed!

And then there is the fall. It can still be quite warm in the midday sun in October, and when the leaves start to change, the colors can be just as vibrant as they are in the springtime! Autumn is also the perfect time to sample the best in seasonal delicacies from chestnuts to truffles at outdoor food fairs in the region and in our own restaurants, when executive chef Osvaldo serves up the typical comfort foods of the season: polenta, mushrooms, pumpkin and more.

The food and drink program across the restaurants and bars at Grand Hotel Tremezzo is exceptional. What have you done to guarantee the quality of dishes and cocktails?

Grand Hotel Tremezzo is blessed with more dining experiences than you can count on one hand—and we always strive to make each a shining star in its own right. So, the variety itself is a unique selling point. They all have a few things in common—exceptional quality, outstanding service and an ambiance that elevates the food and drinks to something truly special—and they all have a few surprises up their sleeves!

At La Terrazza Gualtiero Marchesi, the only restaurant in the world offering the maestro’s most famous dishes, our Executive Chef Osvaldo Presazzi channels his former mentor with cuisine that “enhances the quality of the raw materials”. And Osvaldo makes sure to source those materials from the best suppliers, many of them local producers like Frantoio Vanini, making olive oil in Lenno in the sixth generation, or the Zanotta dairy farm, where the cattle feast on the wildflowers of nearby Monte Crocione. 

At L’Escale Trattoria and Wine Bar, guests enjoy traditional dishes and fine wines that showcase the best of Lombardy in a cozy, casual trattoria surrounded by the photo trouvées that I have been collecting from flea markets for decades. Da Giacomo al Lago sits right on the water, featuring fresh seafood enjoyed as it should be: al fresco with a beach-blanket-bingo Riviera vibe. T Pizza, on the other hand, offers an informal poolside escape, serving authentic Neapolitan pies sizzling hot from the wood-fired oven under the cool shade of our grandfather trees. And whether it’s an aperitivo on the terrace or a nightcap on one of the jewel-toned love seats in Sala Musica, T Bar is positively intoxicating even before our mixologists do their magic. For an unforgettable secret rendezvous, our Dimmidisì service chooses a secluded spot to make a guest’s special moment even more magical, whether it’s a proposal in a secret pavilion in the park or a candlelight dinner in the opulent halls of Villa Sola Cabiati. No two dining experiences are exactly alike at the Grand, and that’s just the way we like it: tradition blended with innovation and garnished with some unexpected surprises…

Your iconic pool sits directly upon Lake Como. What are other ways guests are allowed to access the lake?

There really is no better way to experience Lake Como than from the water. That starts with our floating pool, affectionately known as water-on-the-water or just WOW, which makes for a bit more relaxing dip than the actual lake around it (where a lot of boats are to-ing and fro-ing!), but it doesn’t stop there. Our fleet of lake cruisers offer the best seat in the house to watch the timeless Lake Como landscape go by, from our Venetian motor launches to our classic Riva motorboats. Our captains know every curve and cove of Lake Como’s 100-mile shoreline, so there’s nothing between our guests and an out of the way lakeside restaurant or a secluded swimming spot far from the madding crowd.

As you very well know, Grand Hotel Tremezzo is a family-owned property. What has the family done to honor its history but keep it relevant for contemporary travelers? I mentioned above that I believe that being a family-owned and operated hotel makes all the difference, not only to our guests, but also to our extended family, the staff. As the third generation of my family leading our hospitality business, I aspire every day to honour the legacy of my parents and my grandparents before them.They taught me to take care of our properties—in the deepest sense of the word—but also to approach hospitality like an entrepreneur, always seeing the guest experience with fresh eyes and always aspiring for more. And like them, I believe a big part of this is advocating for our destination as a whole. The culmination of that philosophy is our new property Passalacqua, which we as a local family acquired from its foreign owners—very different from most real estate transactions here! Restoring this lakeside landmark to its former glory and opening its doors to guests from near and far (echoing its 19th century origins!) is our way of giving something back to our beloved Lario region.

Of course, there are some elements of traditional hospitality that should—much like the beauty of our natural surroundings—always remain the same. It is our honor and privilege to be a part of this legacy and, as one of our key strengths, we must never forget it. But we cannot ignore the power of innovation, which keeps visitors coming back generation after generation. Innovation and tradition have to work together. We never want to introduce something new without making sure it is in line with our traditions. By the same token, we can’t avoid innovation simply because “we’ve always done things this way”. This goes beyond interior design, by the way, and extends to the entire guest experience: our standard of service, our interactions with guests, our range of amenities—striking the right balance between tradition and novelty is key.

We always try to stay true to our three pillars of Italianità, heritage and family, but in the end, hospitality is all about exceeding the guests’ expectations. And that does not mean always giving them what they want. We try to be creative and surprise our guests, so they are curious about what they might find at our properties. More often than not, the surprise is something very personal to someone in our extended family, a heartfelt vision of what makes a guest experience unforgettable.

Is there anything you hope people understand about Grand Hotel Tremezzo that might not have been mentioned yet?

Mainly, what I want people to understand is that hospitality is more than a job for us, it is our entire lives. And our properties are not just hotels, but our homes. Homes we are pleased to open to our guests. We put our heart and our passion into everything we do—and this does not just apply to me, but everyone on staff. Having an exceptional property is the first step, but it doesn’t end there. What sets us apart is how we put our heart, our passion and our personality into every guest interaction, from the warm welcome at the front door to the restaurants and rooms. Our goal is to give every guest the sense that they are in a place that is full of love, a love we cultivate so we can share it with them.

Read Food + Drink

Michelin-Starred Chef Sergio Herman Discusses the Art of Plating

The visionary also shares the inspiration behind his Inku Collection in collaboration with Serax

Ross Belfer

8 November 2024

Known as one of the leading and most talented chefs based in Antwerp, chef Sergio Herman began his career with the restaurant Oud Sluis in the small town of Sluis near the Belgian-Dutch border. Under his creative direction, Oud Sluis achieved three Michelin stars and was named one of The World’s 50 Best Restaurants for eight years. The town of Sluis was transformed it into a culinary destination, as well.

As part of his evolution in the table and culinary design world, Herman created collections of kitchenware with Serax including the coveted “Inku” series. Known for their partnerships with leading culinary and lifestyle brands, including Ottolenghi, Marni and Raphael Navot (Uncharted), Serax is an acclaimed design brand based out of Antwerp and sold internationally.

“With Inku tableware, we can not only decorate the plate nicely but complete tables with blossoms in ceramics,” says Herman, who will use the tableware in Le Pristine brasserie in Antwerp. “I don’t just view it as our task to inspire people from a culinary perspective, but I also want to create that with table decoration.” To make that picture completely perfect, the collection is augmented by fine glassware.

When plating a dish, what guides you on the composition? 

It varies. It could be the color, the product or even some beautiful flowers picked fresh in the morning. But balance is always key. The composition needs to feel organic and alive. Although I like things to be perfect, I’m fascinated by the concept of ‘wabi-sabi’—the beauty in imperfection. I approach every dish differently. Sometimes the plate itself guides me, other times it’s an ingredient. It’s all about the interaction between colors, textures, and shapes.

What is a simple way cooking enthusiasts at home can elevate their own plating techniques?

Don’t overcomplicate things. Less is more. Focus on clean lines and use white space on the plate. Another great tip is to think about height and layers—don’t just spread food flat. A few contrasting colors can also elevate the presentation without making it overly complex.

What key concepts about plating do you think are needed to make a dish stand out?

A well-plated dish should draw the eye to a focal point and make the ingredients shine. After more than 30 years in this industry, I’ve learned to focus on the essentials. Early in your career, you want to show everything at once. But over time, you learn to leave out what’s unnecessary and go straight to the core. One thing that never changes, though, is that the visual journey starts before the tasting.

How would you define imperfect perfection? 

Imperfect perfection is about creating visual tension. It’s the flaws and irregularities that give something its unique character. Perfection can sometimes feel sterile, while imperfection adds warmth and authenticity. It’s also subjective—my idea of perfection or imperfection may be different from yours, and that’s as it should be.

How do you translate this definition of imperfect perfection into plating a dish? 

I make sure the dish feels organic and alive, but I also let certain things just be. A sauce has its own natural flow, and greens don’t always have the same green. It’s about giving the dish a sense of life and movement while maintaining overall balance.

How do you believe your culinary career has helped shape your collection of tableware and glassware? 

My culinary career, travels, and the many restaurant visits I’ve made throughout my life have given me a deep understanding of the relationship between food and presentation. From an early age my parents would take me to the best restaurants on their days off, giving me a lifetime of experiences to draw from. As a chef, I know what chefs need in tableware—not just something visually appealing, but pieces that are functional and practical in professional kitchens and at home.

How do you connect the Inku collection with the local landscape and aesthetic of Japan?

The Inku collection is very personal, guided by my very own feelings, experiences and understandings in Japan. The subtle textures, like the ridges and flowing lines, were inspired by the shapes of petals, leaves and water. The plates lay horizontal with these patterns, while the glasses show those same vertical lines differently. It’s that sense of presence—not just the literal play of textures—that to me, reflects Japan.

Are there any other countries that you find yourself drawing inspiration from? 

There’s so much to be inspired by. In recent years, I’ve traveled extensively, something I couldn’t do while running Oud Sluis. I was so focused and disciplined, constantly pushing myself to improve, and that ultimately led to the three Michelin stars. But now, I have much more freedom to explore, and I find inspiration from all over the world. Each place has something unique to offer—whether it’s a color palette, a food culture, a texture or a design approach that informs my work and I’d like to state that I am a chef in the very first place, everything else comes after.

From a culinary perspective, is there a particular type of dish that served as guidance while creating this collection during your travels? 

When the design team at Serax and I were developing the Inku collection back in 2017 and 2018, I was also deep in the conceptualization of my restaurant Le Pristine in Antwerp. So, when designing, I always start with the entire table setting in mind—complete with people, ambiance, and the overall vibe. From there, we deep dive into the details.

Do you have a favorite piece in the Inku collection or a piece in the collection that you would consider your “go-to” for plating?

I envisioned the solid brass brasserie pots alongside the delicate shapes and forms of the Inku tableware, specifically the 12 piece tableware set in green. For example, the Orecchiette Zeelandaise dish with seafood from my home region, Zeeland, which is now a signature dish at Le Pristine, was part of that vision.  

Read Style

Testing the Limits of Columbia’s Latest Outerwear in the Land of Fire and Ice

Layering for the extreme weather in Iceland

Jason Harper

7 November 2024

This is a sartorial question we’ve never before asked ourselves: What does one wear when descending into the heart of a volcano? This fall, on a trip with Columbia executives and designers to Iceland to test the Portland, Oregon-based company’s 2024 outdoor gear, this premise wasn’t a thought experiment. We were descending into the Þríhnúkagígur volcano via an open-air mining elevator, where we’d drop through a narrow fissure in the volcano’s maw before settling onto an expansive boulder-strewn bottom some 700 feet below. 

Unlike the very active Sundhnúksgígar volcano less than an hour away by car, this one has been dormant for 4,500 years. So, we needn’t layer for lava. But Iceland’s weather varies to extremes, and this day was wet and foggy and cool—and we were told it would be even chillier inside, with icy water plink-plunking onto our heads from above.

We took care to consult with the apparel experts on hand. Should we don the solar-insulating base layers (no, too hot) or the OutDry Extreme Wyldwood shell jacket and rain pants? (Most definitely, if we wanted to remain dry.) 

The Iceland expedition, which included everything from walking inside thunderous waterfalls to a several-hours-long trek on a glacier glinting in the late afternoon sun, was a particularly keen way to test the company’s latest offerings.

Columbia doesn’t license materials like Gore-Tex, instead relying on its own in-house engineering and design teams. Take the Wyldwood rain gear, with so-called “OutDry Extreme” technology that uses an exterior waterproof membrane. “It is extremely durable and will never wet out,” says Stephanie Beaudry, the senior global director of outerwear. “And this is the most eco-friendly section of the line. The shell never needs to be retreated with chemicals. We’ve worked hard to take the chemicals out.” 

Most importantly, the rain gear served its purpose, keeping us dry even in the extreme wet. We either wore or carried the shell with us the entire trip, and it will become essential on future hiking adventures. The shell and pants are both light and tailored to move along with the body, with welcome stretchiness while still accommodating under-layers or gear on a belt. We found the pieces to be genuinely breathable. We don’t know how many times we’ve been promised breathability and quickly overheated as if we were wearing a black Hefty bag.

Another piece that earned its place in our forever closet: the Vast Canyon Softshell pants. They are water repellent and charmingly elastic. The warmth along the legs was welcome, ideal for navigating the ice on a glacier wearing crampons (the pants are gusseted at the bottoms and have gaiter clips). All of the pockets zip, and the one on the thigh is ideal for keeping a phone secure.  

As for the rest of 2024 line, the new Arctic Crest down jackets with a newer version of Columbia’s solar-capturing insulation called Omni-Heat Arctic, available with a hood or without, are best for more wintry weather, and the Alpine Crux III Down puffer shows how far Columbia has progressed from the purely practical to city-friendly aesthetics. 

The biggest surprise was footwear, a relatively new offering from the brand. Executives acknowledge that the wealth of footwear engineers in the Portland area, where Nike is also based, has proved a boon. The brand calls its new footwear platform Omni-Max for its cushioning and stability technology. We gravitated toward the Konos TRS OutDry Mid Shoe, a hiking boot with the soft comforts of a sneaker, but with trustworthy stability around the ankle. We only needed a single hike before the trip to realize we didn’t need a further break-in session. Our feet were dry despite dousing them repeatedly in rivers; and the treads were amazingly tacky, allowing leaps from boulder to boulder.

We’ve previously been to Iceland in summer, and in the dead of winter. Mid-season proves no less beautiful, and no less temperamental. Having gear that weathers that variability can make all the difference.  

Read Travel

Word of Mouth: Kyoto

From Hotel The Mitsui to Radio Bagel, WHISKY SPOT CHALMUN’S TOYBOX, the Path of Philosophy and more

Andrew Maness

6 November 2024

As the ancient capital city of Japan it’s no surprise to find Kyoto is home to more than 2,000 Buddhist temples and Shinto shrines, including 17 UNESCO World Heritage Sites. Equally impressive is its natural beauty and the feeling of serenity that it brings with it. Surrounded by non-imposing mountains with a city center split into east and west banks by the Kamo River, it’s a relaxing metropolis compared to Tokyo and far easier for a first-time visitor to immerse themselves within in a matter of days. While tradition permeates all of Japanese culture and the reverence for history is especially palpable in Kyoto, there is an exciting creative energy in the city as well. During our visit we sought out the rhythm enjoyed by locals and travelers alike, which we found to be one of experimentation with traditions and classic refinement.

Hotel The Mitsui Kyoto

Located on the grounds where the executive branch’s Kyoto home once stood, the four-year-old hotel pays homage to the famous industrialist Mitsui family in name and by incorporating original elements of the home into the stunning property. Primary among these is the SHIKI-NO-MA, a room at the heart of the house where the changing of the seasons could be observed within the traditional Japanese garden of what was then known as the Abura-no-Koji Residence. Landscape designer Shunsaku Miyagi created a nearly 14,000-square-foot tribute to the original garden, complete with a suiban water basin, over-water walkways and plant features that instantly transport you far from the urban setting. The beautiful garden is but one of the many elements of Hotel The Mitsui that has a profound effect not only on your state of mind, but on your physical wellbeing.

From the moment you pass through the carefully restored 300+ year old Kajimiya Gate that once welcomed guests to the Mitsui residence, there is an understanding of how much thought has been put into all these singular moments. Hong Kong-based designer Andre Fu led a team of Japanese artists and designers in putting together a well rounded sensory experience that invites you to move through each space a little slower and drink in the details. It is contemplative; the spaces stay with you and invite you to return again at different hours of the day. Hotel The Mitsui feels like an incredibly stylish person’s home that you’ve been invited to stay at, that just happens to sit across from the 400 year old Nijo-jo Castle constructed by the Tokugawa Shogunate.

We enjoyed dining at the hotel’s signature restaurant, TOKI, which serves chef Tetsuya Asano’s take on French cuisine and utilizes Kyoto ingredients, notably the soft water for which the city is famous. This soft water is perfect for making flavorful dashi stock and growing vegetables with rich taste and aroma, both key to chef Asano’s French fond, soup stock made from vegetables and meat with a delightfully unforgettable taste. If a seasonally influenced, 12-dish meal with wine pairings isn’t what you’re looking for, there’s also FORNI, the more casual Italian-inspired restaurant on the opposite side of the property, which offers pizzas from a wood-fired oven and a variety of grilled meat centric dishes like bone-in Mangen pork loin from a farm in Shizuoka Prefecture.

Regardless of where you have dinner, a drink at The Garden Bar afterwards is a must, and the Hibiki whisky tasting experience highly recommended. We’d encourage you to visit the cavernous geothermal spa underneath the hotel or book one of the private onsens for maximum relaxation. There is of course an appropriately stylish gym as well if you’re intent on staying on routine while traveling. With all these amenities and such comfortable environs, one could easily be forgiven for not wanting to leave the property at all. However the central location makes quickly popping out to do some sightseeing a breeze.

Radio Bagel

Like so many things imported to Japan, Radio Bagel has imbued something foreign with extra craft and care, resulting in the elevation of a familiar product. In this case it’s simple ingredients carrying such vibrant flavors that a humble ham and egg breakfast sandwich left us contemplating a second order.

MOON and BACK Ramen Bar

Located near the buzzing Nishiki Market in the Nakagyo Ward, this ramen spot may not have the Instagram friendly authentic appearance so many visitors to Japan look for, but it does have unbelievably tasty broth and that’s really all that should matter. In addition to the ramen options they offer a signature Mabushi rice dish topped with Japanese wagyu that’s torched right in front of you to your desired level of char. With chef and owner Tatsuya Fukuda having lived in Australia for seven years, you’ll not want to skip the coffee or canelé options, the recipe for the latter having been refined through Fukuda’s time working as a sous chef at a French restaurant.

Sushi Matsumoto

As if walking the small, dimly lit streets of Gion after dark isn’t memorable enough, we encourage you to step out of your comfort zone and into the intimate Michelin-starred world of Sushi Matsumoto. This is traditional Edo-style sushi with two omakase menu options of 17 or 27 pieces that progress in flavor from light to strong. The floor staff is welcoming and informative, and the chef is intently focused on his craft. The result is a dining experience that one must be prepared to take in stride, especially if you’re traveling solo. The food is worth it, especially the tuna and conger eel, although the red vinegar rice alone would bring us back.

Gion Finlandia Bar

This elegant little bar in a former Geisha house doesn’t have a robust menu or background music, but that’s alright because you’re here for cocktails and quiet conversation. A Finnish Gin & Tonic is a smart place to start, but you can tell the bartenders what you’re looking for and they’ll deliver a fresh, creative drink that’s a pleasant surprise. We recommend trying the “Kashoan” from the signature menu, which brings together matcha, tequila and amaretto in a drink you won’t forget.

WHISKY SPOT CHALMUN’S TOYBOX

Just down the street from Hotel The Mitsui you’ll find one man’s passion for Japanese whisky, scotch whisky and Star Wars, expressed in a small space you could easily overlook. We certainly did on our first couple of outings before noticing the low street sign that invited passersby in for a small cover charge. Once inside your head will spin with the sheer variety of bottles and it’s best to go with a tasting flight, at least to start. Masashi has been building this collection for over a decade and he brings a deep wealth of knowledge about both Japanese whisky and scotch to the table, so you can trust his guidance, as we did when exploring flavor profiles and venturing into uncharted territory.

The Philosopher’s Path

Tracing its roots to a drainage line for Lake Biwa, this scenic footpath in the Sakyo Ward has had many nicknames thanks to its proximity to Kyoto University. Officially designated the “Path of Philosophy” in 1969 when a local group was formed to prevent the city from paving over the drainage line to create a road, the footpath has since become a major tourist attraction thanks to some 400 cherry trees (many of which date back to the early 1920s) and a number of shrines, temples and local businesses that it runs by. It’s only about 20 minutes to walk the whole thing, so we recommend taking your time to pop into various cafes and eateries, like Salon de thé Mercredi (for coffee, tea and sweets) and Juugo (for soba noodles). It’s also a great before or after option if you’re a hiker given its proximity to Mount Zenki and the trail network that leads to many waterfalls and ruins.

TOKINOHA Ceramic Studio

Visiting Tokinoha Ceramic Studio in the Yamashina Ward of Kyoto is a wonderful way to gain a full appreciation for Japanese craft and artistry. The studio concept is a collaboration between Daisuke Kiyomizu (part of the 240 year old Kiyomizu Rokubei line of ceramists) and his wife Tomoe. It is a place of learning, exhibition, practice and production, open to the public, but also available for scheduling private one-day lessons, as well as extended courses for those interested in developing professional pottery making skills. For our part we participated in a short lesson with Tomoe focused on “Kintsugi” (the Japanese art of repairing broken pottery with urushi lacquer mixed with gold, silver or platinum dust) and got to bring home the small cup we repaired a chip in. In addition to the cup, we walked away with a deeper understanding of Daisuke’s mission to inspire a new generation of potters by bringing a workshop and retail concept together in one beautiful space. Both he and Tomoe are intent on fostering a more direct relationship between consumers and their pottery, asking that people consider what went into the creation of each piece by way of their products only being available for purchase at the studio or through their online store. It’s quite a departure from the mass-produced wares that dominate the marketplace, but knowing the people behind the pieces and what goes into their conception and eventual creation makes each use an undeniably special moment. 

Read Food + Drink

Dewar’s Double Double 38 Year Old Sets a New Standard for Blended Malt Scotch Whisky

This limited edition liquid, a partnership with two-Michelin-star chef Gabriel Kreuther and a new global campaign mark a premiumization of the category

David Graver

4 November 2024

Many generations of whisky drinkers look to Dewar’s for its superlative reliability, passing down an appreciation for the scotch like an heirloom. With the recent release of the Dewar’s Double Double 38—a high-age-statement blended scotch whisky, with a flavor profile that’s certain to tantalize aficionados—the historic scotch producer has gone one step further and released an heirloom quality liquid. The limited edition Double Double 38 follows last year’s Double Double 37, an introduction to Dewar’s four-part Collector’s Series, which will continue with next year’s 39 and 2026’s 40. And the blend of each new release contains an allotment of the liquid released the year before.

Each of the four Double Double expressions will honor one of Scotland’s famed whisky-making regions. The Double Double 38 shines a spotlight on the Upper Highlands thanks to a finishing process in an ex-Pedro Ximenez sherry cask that previously held Royal Brackla Single Malt Whisky, one of the covetable heart notes of Dewar’s. The result is an flavorful bouquet of notes familiar to Highland scotch drinkers—floral and citrus aromas; vanilla and almond initially on the palate, with lingering notes of fig and plum, as well as a lengthy finish of creamy dark chocolate.

As with the 37, the 38 marks an ambitious step into premium categorization for a scotch producer known for its accessibility. A first sip affirms that these efforts are successful, beyond expectation. “With our Dewar’s 38-Year-Old Blended Malt, we are exploring one of the many futures of blended scotch—a category that is premiumizing and evolving with the times,” Dewar’s Vice President North America, Brian Cox, tells COOL HUNTING. “Our unique four-stage aging process elevates the whisky’s complexity by expanding the depth but also breadth of flavor notes that are traditionally found in scotch whisky.” This process was devised by Dewar’s award-winning master blender, Stephanie Macleod—who, this year, was named Master Blender of the Year by the International Whisky Competition for a record-breaking sixth consecutive time.

To underscore the excellence of Dewar’s Double Double 38, the house partnered with Gabriel Kreuther, the two-Michelin-star chef of an eponymous Manhattan restaurant. Kreuther, a Dewar’s drinker himself, utilized drops of the 38 within custom chocolates—designed to be enjoyed alongside the rare whisky, or savored alone. The collaborative chocolates are currently available online now—as a box of 19, or in sets of six.

It was at Gabriel Kreuther Restaurant that we first tried the Dewar’s Double Double 38, alongside a pairing menu designed by the chef to accompany various Dewar’s releases, some woven into imaginative, unexpected cocktails. Throughout the evening, we explored the ways the notes of world-class cuisine and whisky could converse. For many, the ease, and excitement, and the learning behind it all—that Dewar’s (and blended scotch whisky) could harmonize with the courses of a Michelin-star meal—came as a welcome surprise.

“This release makes Dewar’s a standout innovator in the luxury whisky segment, and it reflects the same dedication to craftsmanship and whisky exploration as our recently launched ‘Here’s to the Story’ brand platform,” Cox continues, acknowledging the brand’s global campaign, which was unveiled this October. “It celebrates the richness of our traditions while inviting whisky lovers to savor and enjoy new moments of discovery.”

“Here’s to the Story” warrants attention for one primary reason: it acts as a bridge between the Dewar’s identity of the past (where everyone has a place at the table to forge a memory) and their commitment to the present and future (underscoring their impeccably crafted and sought after scotch). “‘Here’s to the Story’ is more than just an ad campaign; it’s a long-term vision and brand belief to connect with the modern whisky drinker, Misha Semiz, Dewar’s global brand vice president, tells us. “It’s a celebration of the rich, authentic heritage of Dewar’s and the meaningful moments behind every pour—embracing both history and the untold stories waiting to be made. For those just discovering Dewar’s, it means becoming part of a legacy rooted in craftsmanship and the appreciation of life’s enriching discoveries.”

Of course, “Here’s to the Story” also honors the brand’s 180 years of history—during which time Dewar’s helped to popularize scotch whisky on a global scale. To watch the campaign’s filmic centerpiece—which features drone footage of a sprawling table, stretched across a verdant, mountainous landscape, with people settling in to enjoy a dram of Dewar’s—is to understand their mission and the way it focuses on shared experiences.

“The individuals chosen for ‘Here’s to the Story’ reflect today’s modern whisky drinker—one who shares the curiosity, and authenticity that defines the Dewar’s brand,” Semiz continues. “They represent a range of people but all share a desire to make the most of life, sharing their enriching moments of discovery with the people around them. Each story speaks to a unique journey, capturing a spirit of discovery that mirrors Dewar’s own approach to whisky-making.” Altogether, the campaign, the partnership with Kreuther and the Double Double 38 work in concert to set high expectations for the next chapter of Dewar’s.

Read Culture

World Monuments Fund Honors Architect Peter Marino and Dr Marilyn Perry

The Venetian-inspired 35th Annual Hadrian Gala underscored the importance of preserving our most cherished sites

Afrodet Zuri

4 November 2024

Founded in 1965, World Monuments Fund (WMF) is the leading independent organization dedicated to preserving the world’s most treasured places. WMF has worked at over 700 sites in 112 countries. Through its biennial, World Monuments Watch program, the New York City-based non-profit organization uses cultural heritage conservation to empower communities and improve human well-being. In partnership with local communities, funders and governments, WMF inspires an enduring commitment to stewardship for future generations.

For their 35th Annual Hadrian Gala, held at the New York Public Library, the organization celebrated the preservation of global cultural heritage. This year’s event honored architect Peter Marino and Dr. Marilyn Perry for their significant contributions to safeguarding Venice’s architectural treasures. The gala raised a record-breaking $2.1 million, underscoring the importance of preserving the world’s most cherished sites.

The evening was a Venetian-inspired affair, with guests donning black tie and masquerade attire, adding an air of mystery and elegance. The night featured a performance by Grammy Award-winning opera singer Anthony Roth Costanzo and the Opera Philadelphia Orchestra. A dinner menu crafted by renowned chef Daniel Boulud echoed the theme with Venetian mask-shaped wafers accompanying the first course. The programming wrapped with a lively auction led by Christie’s.

Bénédicte de Montlaur, President and CEO of World Monuments Fund, emphasized the organization’s mission as a global movement dedicated to preserving cultural heritage. She noted the power of these efforts to foster respect and understanding across diverse communities.

Marino, recognized for his work with Venetian Heritage, expressed his gratitude for the honor and reaffirmed his commitment to preserving Venice’s unique architectural and artistic legacy. Dr Perry, a long-serving board member of World Monuments Fund, reflected on the organization’s growth and its pivotal role in the global heritage movement. Ultimately, the Hadrian Gala, supported by generous contributions from Gregory Annenberg Weingarten and the Stavros Niarchos Foundation, continues to be a vital platform for recognizing leaders in conservation and promoting the preservation of the world’s art and architecture.

Read Culture

Performance Art Biennial Performa Turns 20

An artist party, featuring a Performa Archives costumes installation designed by Charlap Hyman & Herrero, ushers in a milestone anniversary for the pioneering organization

David Graver

1 November 2024

For the last twenty years, as the founding director and chief curator of Performa, RoseLee Goldberg has asked the art establishment and the art curious to keep performance top of mind and to consider its role in the historic development of other art forms. As a commissioning biennial, Performa has worked with numerous artists—many of the world’s most famous—to develop and premiere hundreds of performance art works within dozens of unexpected locations across New York City. This week, the organization celebrates its 20th anniversary with an artist party accompanied by a costume installation designed by Charlap Hyman & Herrero that features works from the Performa Archive—including pieces Marcel Dzama and Mike Kelley. It’s a theatrical exclamation point to the second decade of Performa’s necessary work.

Goldberg attributes her commitment to performance art to her upbringing in Durban, South Africa. “There wasn’t suddenly art and life,” she tells COOL HUNTING. “Art was all around. It wasn’t something that you just stopped at and said ‘oh look here is painting and sculpture.'” Goldberg pursued dance, as well as a fine arts degree—the two constantly vying for her attention. While studying at the Courtauld Institute of Art in London, she saw an Oskar Schlemmer Bauhaus exhibition. “The Bauhaus was the first institution that set out to bring all different mediums together,” Goldberg recalls, “as well as the first to have a performance department.”

When Goldberg accepter her first job, as director of London’s Royal College of Art Gallery, she applied her Bauhaus learnings. “I presented the idea of the gallery as something that could integrate all the different departments of the graduate school,” she says. This led, in many ways, to a unification of the departments, as well as an immersion into diverse explorations of space and time—from the sound work of Brian Eno to performance art with Marina Abramovic.

In 1979, Goldberg shifted perceptions in the art world (and beyond) when Thames & Hudson published her book Performance Art. The seminole work, which has been in print for 45 years and translated into several languages, was the first chronicle of the history of performance art, with an emphasis on time periods linked to explosive ideas and exciting collaborations. Goldberg wove the history of performance art into that of broader art history in an informative, inspiring and accessible way.

Founding Performa in 2004 became a way to overcome the obstacles still present in the potential for widespread acceptance of performance art. “When I started Performa it was to stay ‘I am going to make this clearer on a much bigger scale.’ I felt like up until that point performance art had been presented as a sideshow,” she says. Performa has been successful as getting both individuals and art institutions to recognize that performance art has been integral to the history of art and culture—and at expressing how performance is capable of shifting ideas.

In addition to offering performance art a larger platform outside of the museum framework, Goldberg had two other goals. “I wanted to create a community around artists,” she says. “When I started it in 2004, the art world was—and still is—dominated by conversations around money and branding. The artists were at the bottom of the line. Today, the conversation often isn’t about the artists. They aren’t writing the manifestos or running the show. I want to bring the attention back to the artists.”

Further, Goldberg wanted to be able to commission works never before seen. “I had gone to performances three nights a week, everywhere around the world, for years,” she says. “I needed to see things that were moving to the next level—that were not just a brilliant idea, but that were executed without limits.” Underscoring this was a vision to approach visual artists whose work Goldberg felt could translate to performance art and asked them, “what if you went live? What would you do?”

Performa prefers a collaborative position with their artists. “It’s not just, ‘here’s a commission. See you in six months. Here’s your date. Here’s your funds,'” she says. “We start from zero. It’s not like I’ve seen something in Paris and we bring it to New York. We are not presenters. We are commissioners.” Goldberg says she’s always surprised and exhilarated by what the artist produces.

Through the success of Performa, Goldberg has observed that more traditional art institutions now recognize that performance art is a great way to interface with their audience. “It brings the audience in,” she says. “They feel much more connected to each other as a group and to the work. There’s a sense of learning from it. Whereas if you put someone before something more abstract, they might say, ‘I didn’t study art.’ They might not know what to say. There’s a much more visceral response for people outside of art history. They see it. They feel it.”

Goldberg sees performance art as the medium of the 21st century—and she can clearly identify the role that Performa will continue to play. “This is a place where you will discover its history, and you’ll learn that its quite remarkable, whether you’re coming in as an economist or as a dancer or a filmmaker,” she says. “You will be excited about what this says about society and how we think about live performance.”

As for her thoughts on galas, Goldberg explains that while they are necessary to arts organizations like Performa for operational funding, she knew from the beginning that theirs needed to be different. In fact, their first-ever gala was a reference a Laurie Anderson piece from the ’70s. Everyone was asked to wear white and films were projected. In essence, the attendees were the screens for the films. For this year’s gala, Performa is looking toward its own history and extensive archives with intention. This is how Dzama came to be involved.

“I did a piece with Performa last year,” he tells COOL HUNTING, referencing “To live on the Moon.” “It was a film and musical performance about Federico Garcia Lorca. He had written a screenplay. The Lorca Foundation had given it to me. They wanted me to perform it but their funding fell through. Performa made it possible.” Some of the Dzama costumes at the gala were used by characters in the Lorca film.

When asked what has changed with Performa over the last two decades, Goldberg says not much. “We are as fiercely determined as ever to gather together the brilliant, creative souls of this city to show how art changes us,” she explains. “And, we are always moving forward. I always think you’re only as good as the next one.” Next year, Performa will place their groundbreaking performance art commissions throughout New York City for their 2025 biennial, running 1-23 November.

Read Culture

Interview: NoMo SoHo Artist-in-Residence Stephanie Ketty

Expressive painted works grace the walls of this NYC hotel’s lobby

David Graver

31 October 2024

An expressive flourish of color and texture, gestural shapes and conceptual forms—all of these layers grace the canvases of NYC-based fine artist Stephanie Ketty. The current NoMo SoHo artist in residence, Ketty has works on display in the lobby; she also recently live-painted the mesmerizing centerpiece in the hotel’s penthouse. It’s been a busy October for the painter, who had an acrylic and oil wax crayon on canvas piece, “Sporadic Solitude” (2024) in ARTWALK NY’s Coalition for the Homeless: Benefit Auction 2024, and contributed “Everything is Promising” (2024) to an engaging group exhibit entitled The Collective II with the global arts platform and community Visionary Projects. Presently, Ketty is in the planning stages for three 2025 shows, one each in Paris, New York City and Los Angeles. In conjunction with her residency, we spoke with Ketty to learn more about her passion, process and palette.

Will you share a bit about the origin of this show? How did you become involved with NoMo SoHo and its residence?

I have lived in the neighborhood for years, and have always loved the property. I got connected through Highgate who reached out about a collaboration and, of course, I jumped at the opportunity. It just made so much sense. A lot of the work comes from my experiences in this neighborhood—all of the feelings and meetings and stories that have come from my time here. I think the origin of the show is really expressing that.

When did you craft the body of work on display here?

The 16 pieces of work on display were created in Soho over the past 15 years. However, the centerpiece of the show was created in the penthouse of the NoMo SoHo, surrounded by friends. It’s funny, I had never really painted in front of that many people before, but there was something about all of the light coming through at different times of the day, overlooking the neighborhood I’ve lived in for so long, that produced a different expression in me. The centerpiece is almost a reflection of the show itself, but with the levity of a higher vantage point meeting the intimacy of community. This piece feels like me inviting people into my work and my process, so it feels right that it’s in the center of the show.

How does new work start for you?

It doesn’t just start one way, from a tactical perspective. However, in the end it does come from a moment of feeling—sadness, joy, release, whatever. Painting is very therapeutic. My day job is very people-facing and strategic, so when I want to get emotion out I funnel it through my art. There’s very little pre-planning. It’s very “grab the palette and go to the backyard,” or wherever. I don’t really plan anything but the size of the canvas. I’d say the work almost starts itself as one of the only times I feel like I don’t have to think to express myself.

Can you talk about your relationship to the use of color?

Color, to me, is deeply linked to a range of emotions. Saturation, warmth, coolness, what have you, are all connected like fibers to memory or feelings I’m having or have had. Color has always been a language to me, and in a lot of ways is one of the core parts of why I started painting. I love finding passion and joy and energy in bold or hot hues, while being reminded of calm landscapes and the feeling of gratitude and stillness in cooler, deeper tones—a lot of those more tranquil notes I found in Oregon this summer with my boyfriend. I also think traveling and seeing new environments have helped me shake loose new ideas too. When I paint, I’m constantly searching to hone a visual language that will connect to people the way color connects to me. 

My paintings are my stories because they create constellations of feelings and connections and memories.

Is there something you hope people know about your art practice, or you hope they observe in your art?

I hope people know that this is what I was born to do. It’s a coincidence, I guess, that I landed a 15-year career working alongside some of the biggest brands in the world to help them tell their story, because within all that I find a lot of creative energy in those relationships, and with New York. I think after all this time I finally understand that I’m also a storyteller myself. My paintings are my stories because they create constellations of feelings and connections and memories. Though perhaps not linear, just like my journey as a painter, they tell the story of what the world looks like and feels like to me. I hope when people see my work they can tune into their own creativity too. 

Can you describe your studio or where you work—what does it look like, how often are you there, how do you use it?

I’ve always painted in my home. I also have a garden space at my place in SoHo. I paint on my bed, I paint on my couch, I paint on my roof. I paint wherever I paint! One of my goals for 2025 though is to build a dedicated space, even though I’m scrappy it would be nice to settle down.