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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.

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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.

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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.

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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.

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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.

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Inside Biarritz’s Playfully Elegant Regina Experimental Hotel

A cliffside, Belle Époque property with interiors by Dorothée Meilichzon

David Graver

29 October 2024

From Experimental Group—the international hospitality pioneers known for leading cocktail bars and beach clubs as well as impeccably designed restaurants and hotels—the Regina Experimental bridges the legendary surf scene of Biarritz with the luxury amenities of a five-star hotel and spa. Playfully elegant, with warm and welcoming service, the Regina Experimental does more than offer a spectacular view of France’s Atlantic coast; it embraces the spirit and style of the surrounding Basque region.

This location joins Experimental Group properties in Paris, London, Venice, as well as the Balearics, the Cotswolds and the Alps. “Biarritz has this perfect mix of classic elegance and cool, laid-back surf vibes. It felt right for us—somewhere you can have a great time but still feel grounded in the history and culture of the place,” Romée de Goriainoff, cofounder of the Experimental Group tells COOL HUNTING. “We love to have this mélange when choosing our next destination: chic yet cool and understated. A place needs to be strongly rooted in food and wine culture—that’s the Experimental ethos. That’s a key differentiating factor for us, and I believe very few brands manage to balance this mix.”

Even before entering the Regina Experimental, one is drawn to its stately facade and its towering position atop a coastal road overlooking the bay of Biarritz and Miramar Beach. “The moment I saw it, I fell in love,” de Goriainoff says. “The Belle Époque style is grand yet soulful, and being perched on the cliffs with that view? I mean, It’s just magic!”

Experimental Group tapped frequent collaborator Dorothée Meilichzon for the property’s colorful interiors. “She knows we love the mix of modernity and references to the past—a chic, relaxed vibe, but always uncompromising on the quality and originality of the materials, furniture and overall design,” de Goriainoff says. “At the same time, we’re opening a five-star hotel so the brief was also: don’t forget the fun! Don’t forget the surf!” 

The room interiors and the colorful lobby speak to the same sense of relaxed luxury that defines Biarritz. “We wanted people to feel at home but also to feel like they’re somewhere extraordinary—somewhere that can only exist in a hotel,” de Goriainoff continues. “It was a challenge to create a homey feel with such large atriums, but Dorothée managed to transform it into a giant, cozy living room.”

In alignment with the culinary allure of Biarritz, Regina Experimental’s team created the on-site restaurant Frenchie, a delicious destination unto itself for elevated yet casual dining. It’s helmed by chef Gregory Marchand. “With Frenchie, the motto is: It’s not Basque cuisine, but a cuisine of Basque products. One cannot pretend to be from the region, so we decided to honor the culinary culture by working with staples of local ingredients without offering strictly Basque cuisine” de Goriainoff explains. “There are already amazing places around the hotel for Basque cuisine. We provide a unique menu and food experience with Basque products, but it’s not a Basque restaurant.”

Directly beside Regina Experimental is a sister property from Experimental Group known as Hôtel Le Garage (named for the fact that it is a former Belle Époque garage). This design-forward property encompasses only 27 rooms and suites, a sun-soaked pool and a chic restaurant known as Le Neo-Bistrot. “Le Garage is our wildcard,” de Goriainoff says. “It’s where people can kick back, have a killer cocktail and really feel the creative energy of the place. It’s less formal, more about the vibe and very approachable.”

For de Goriainoff, it’s important that guests remember the spirit of Experimental Group. “People see the beauty and elegance of Regina Experimental right away,” he says, “but what they might miss is how much fun this place is. It’s not just for relaxing—it’s for connecting, being inspired, and having a great time.” From its distinct position, the property offers an eagle-eye view of Biarritz, yes, but it’s also close enough to the beach and town below that hotel guests can tap into that energy, explore the local surf scene and then ascend back to their exquisite stay.

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The Macallan Honors 200 Years with The TIME : SPACE Collection

With their new TIME : SPACE Mastery release, the prestigious single malt scotch brand continues a milestone celebration

David Graver

17 October 2024

Earlier this year, The Macallan made headlines with the first release in their TIME : SPACE Collection in celebration of their 200 anniversary. Bottled in one circular, dual-chamber vessel, TIME : SPACE ingeniously coupled a 1940 single malt scotch whisky vintage with the first-ever release (distilled in 2018) from The Macallan’s new distillery. For the prestigious Speyside scotch house, this debut marked more than one exclamatory 84-year-old whisky. Rather, it was a metaphor for the relationship between whisky and time, and the way The Macallan always looks back at what was laid in warehouses before, and continuously distills for what will be utilized in the future. Limited to 200 bottles worldwide, TIME : SPACE represents the pinnacle of single malt scotch whisky.

Last week in New York City, The Macallan unveiled the second expression in their TIME : SPACE Collection, known as TIME : SPACE Mastery. Though this release also lives within a distinct circular vessel (and was also produced in The Macallan’s signature “curiously small stills”), the similarities stop there. Whereas the former centers two liquids from disparate points in the aging process, this new whisky integrates aged single malt scotch drawn from European oak sherry seasoned casks, American oak sherry seasoned casks, American oak bourbon casks and even refill casks. In fact, to achieve the flavorful layers of the liquid, Euan Kennedy, lead whisky maker for TIME : SPACE Mastery, tapped into single malt scotch from 14 different cask types.

The Macallan’s master whisky maker, Kirsteen Campbell, says conversations began around the entire TIME : SPACE collection more than three years ago. It was determined then that the focus would be time travel. “It’s not just about looking back and celebrating our wonderful 200-year heritage, it’s about the future. That’s why we are talking about being 200 years young,” she tells COOL HUNTING.

To understand TIME : SPACE Mastery requires a deeper dive into TIME : SPACE, The Macallan’s oldest whisky ever released. “That was the whisky that I led on,” Campbell continues, “and with our initial conversations around it, I knew I had to dig deep into our inventory and pull from some exceptional casks. I knew of two from 1940—one first-fill American sherry seasoned butt and one second-fill European sherry seasoned butt.”

The aged liquid was undeniably impressive, but The Macallan team reflected on it and realized it only represented time travel into their history; they wanted to highlight their future as well. “I mulled over it and thought that we actually time travel forward regularly in the sample room,” Campbell says. In addition to sampling whisky for use in their current releases, they also sample younger liquids to see how they’re maturing. “We had been sampling some very special stock from 2018, the year of first distillation in our new stills. We knew there was a fantastic parcel of stock, so we did something The Macallan has never done before—we release a whisky five years old. It’s a one-off and it’s an opportunity to time travel forward,” Campbell says, adding, that “it also shows continuity from our past to our future.”

TIME : SPACE is a very much a time machine—and, ideally, the whiskies could be sipped side by side. “I think that would be an incredible experience,” Campbell says. “I’m often asked which order to do them in and I am kind of torn. I’d probably start with the 2018. It’s got lovely vibrancy. It still has some of the new make [whisky just off the stills] character—orchard fruits, apples and pears—but it’s a single cask, matured in an American sherry hogshead, so you’ve also got a vanilla and honeycomb sweetness and an incredible mouthfeel.” When asked about the notes of the elder whisky, she references the evocative term, “antique oak.”

For TIME : SPACE Mastery, Campbell explains that it is really “a celebration of our 200 years and everything we’ve learned from our predecessors. [On the palate] we wanted to bring together the entirety of our inventory. European sherry sits at the heart. You get that immediately on the nose—dried fruits and soft spices. As for the American sherry, you get the baked peaches. From the bourbon barrels, you get the tropical notes. It’s very complex from its vibrancy to its depth and richness.” There’s a finessed mouthfeel, and immense length. Those who have long loved The Macallan will relish the fact that TIME : SPACE Mastery sings with some of their most beloved notes.

Ultimately, Campbell says it’s about centuries of obsession with quality. “For years we’ve been setting specifications on our sherry casks. It’s natural color, as well. It makes our job harder as a whisky team but again it’s all a marker of quality,” she says. This was evident in New York City, where a week-long TIME : SPACE Experience walked visitors through the heritage and allowed them access to a dram of TIME : SPACE Mastery, and nearby a public art exhibition invited all to learn more.

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Attending the 2024 FotoFocus Biennial: Backstories

For the duration of October, 107 photographic projects from 86 participating venues have opened across greater Cincinnati, Dayton and Columbus, Ohio, as well as Northern Kentucky

David Graver

16 October 2024

For anyone on the quest for a comprehensive, diverse discourse on the future of photography as an art form, look no further than the 2024 FotoFocus Biennial. Headquartered in Cincinnati, Ohio (with participants in Dayton, Columbus, and at Kenyon University, as well as in Northern Kentucky), FotoFocus brings together museums, galleries and non-traditional spaces under one unifying theme that links programming for the month of October (and, in some instances, beyond). Leading regional, national and international photographic talent showcase work in these institutions, and a thought provoking symposium deftly explores the nuance of the theme. Perhaps of greatest importance, all of this is free to explore thanks to the Biennial Passport program, which is underwritten by a handful of donors.

This year marks the seventh iteration of FotoFocus, which was formalized in 2010. “The theme is Backstories. We always try to pick a theme that is intrinsic to photography but also says something about what’s going on in the world,” Kevin Moore, the artistic director and curator of FotoFocus, tells COOL HUNTING. “This theme has to do with the way we parse through information, especially images or anything that’s told to us these days, and the essential nature of backstories to how we understand what’s going on in the world” Moore adds that an expansive idea of what photography is underpins the biennial, as well as “who is involved in it and who it affects.”

“Our mission is to inspire conversation about the world through the art of photography,” Katherine Ryckman Siegwarth, the executive director of FotoFocus, adds. “We are not a technical institute. We are looking at ways to engage and expand our interpretation of the world, have conversations with people, reveal new ideas that we can all better empathize. In the last three years, there has been a greater emphasis on shining a light on the stories in the margins and unwrapping histories that have been left out of the full context. ‘Backstories’ plays into that.”

In many ways, the theme is integral to participation. According to Siegwarth, the declaration of the theme stimulates ideas in regional institutions. It acts as an invitation, and it sets a course. “We’ve seen more people joining the fray, with pop-up spaces or getting spaces,” she continues. “One of the unique things about us is that, while Kevin develops the theme, it is an invitational. We have a lot of relationships with some of the larger cultural institutions. With them, we have conversations to see what projects they might produce or how we can help to place exhibitions—but the majority of our projects are people applying to participate. We have a huge range of thoughts around this one idea.” 

This year, FotoFocus introduced an additional, expansive measure to involve the local community and the midwest as a whole with their first-ever Call for Entry Selection. Housed in the Art Academy of Cincinnati (AAC), a series of exemplary exhibitions—Another First Impression, Digressions, Humphrey Gets His Flowers, Deeply Rooted, Contested Ground and Student Reflections—resulted from the public call. Each was as different—and valuable—as the other.

For Digressions, photographic collaborators Mark Albain and Joshua Berg assembled a selection of moody, evocative images—some in color, others in black and white. Underscoring the assemblage, was a sense of focus derived from a series of conversations they had, recorded, transcribed and edited into a book. They used insights from this to revisit their respective bodies of work. “We were inspired to go back and re-contextualize it,” Berg says, “and think about it from the place where we are now in our life. It was curated in response to the life that we were living.” This process brought clarity to years of imagery.

“This work spans from 2016 to 2024,” Albain adds. “Throughout the conversations we serendipitously pinpointed 2016 as a year for both of us where our photography shifted. Life events happened. It was the starting point where we would go back to.” Their images require pause and reflection. A mattress appears to be something more, a glimpse toward flora stirs feelings.

Beyond the AAC, Cincinnati’s FotoFocus footprint encompasses a powerfully expansive Ansel Adams show at the Cincinnati Art Museum, Memory Fields and Rachael Banks: The Trail of the Dead at Weston Art Gallery, Southern Democratic at The Carnegie, and so many other highlights. Ultimately, the sum of FotoFocus is greater than its parts; it’s not one singularly impressive show, but so many world-class curatorial efforts in concert.

Between Columbus and Kenyon College, a trifecta of venues host Ming Smith solo shows, which paint a dynamic depiction of the fine-art photographer. Smith, the first Black woman photographer acquired by MoMA, grew up in Columbus and her shows at The Wexner Center for the Arts and the Columbus Art Museum demonstrate her immense influence on the art form. The former, Wind Chime, incorporates an astonishing multimedia commission—that incorporates a soundtrack by her son, Mingus Smith. The latter weds two distinct exhibitions, August Moon and the utterly mesmerizing Transcendence. At The Gund at Kenyon College, the final piece of the photographic puzzle sets into place with Jazz Requiem – Notations in Blue. Each exhibition can be savored alone, but the strength of Smith’s work certainly compells one to see them all.

Attending FotoFocus this year provided COOL HUNTING with the opportunity to step into the structure that will become FotoFocus’ permanent home early next year, designed by architect Jose Garcia. “Our signature event is a biennial so for many people we are this kind of pop-up,” Siegwarth says. “This space will allow us to engage with the community on a daily basis with year-round programming. It’s a foundational shift. It’s great what we have, and we have wonderful people who attend—but we have a lot of people who attend but do not realize they are attending FotoFocus events. With this next step, we can help people understand to better all the things we do. That’s why the evolution around the FotoFocus Center is so important. We can sustain the conversation.”

The FotoFocus Center will include just shy of 5,000 square feet of gallery space over two floors. It’s expected to host two to four exhibitions per year, and complement the art programming already underway in Cincinnati. The building itself is set to be architecturally significant—and simply beautiful. “We had to think about what the history of the neighborhood was and what the materials here were,” Moore says of the development. “We looked to factory windows and the common building style around here. We even drew parallels to stairwell as the viewfinder of a camera.”

As important as the FotoFocus Center will be, equal importance will continue to be placed on all of their partner venues—like the Contemporary Arts Center (designed by Zaha Hadid). For this biennial, it hosts two of FotoFocus’ strongest highlights: a retrospective dedicated to 25 years of work from pioneering German photographer Barbara Probst, entitled Subjective Evidence, and a mixed-media exhibition exploring the work of American photographer, activist and physician Chip Thomas, entitled Chip Thomas and the Painted Desert Project. Moore meticulously curated both.

Beyond the walls of the Contemporary Arts Center, Thomas will wheat paste a depiction of legendary Cincinnati street artist William Rankins Jr, who has since gone blind. The large-scale will adorn a wall of the local restaurant Ollie’s Trolley, alongside one of Rankins’ own murals which sustained damaged over the years. Though it will be layered with varnish, the very nature of wheat pasting is ephemeral and, as such, the moving tribute will only last so long.

In Miami recently, Moore participated in a panel discussion about biennials taking place all over the country. “What I learned from that conversation is that we at FotoFocus started in much the same way that many biennials start, trying to energize a region and trying to bring arts into the economy,” he says. “There was already a lot of street art in Cincinnati, and sanctioned murals. It’s a city of public art, which speaks to its history. Our biennial is formalizing what has been going on in the city—and with the FotoFocus Center, we are evolving beyond the concept of a biennial.”

“Photography has always been my interest because it speaks to our daily lives,” he adds. “It’s not just something that you see in a museum. It’s on our phones. It’s everywhere. It’s controversial and problematic, in so many ways, as well. If you look to its past, you can see a history of a strong engagement with social impact.” FotoFocus does not ignore the complexities of the medium. Rather, it addresses them, embraces them, and amplifies the importance. With a physical institution on the horizon, it will only grow in importance.

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The Return of The Dalmore’s Cask Curation Series

Limited to 150 sets, The Port Edition is a stunning trio featuring The 27 Year Old, The 30 Year Old and The 43 Year Old

David Graver

7 October 2024

In conjunction with the onset of autumn, single malt scotch whisky brands often announce some of their most spectacular annual releases. Among this year’s slate, The Dalmore has unveiled the second entry in their Cask Curation Series, known as The Port Edition. Sold as a set of three whiskies, and limited to 150 sets worldwide, this trio of age-statement single malts honors Graham’s, one of their illustrious barrel partners. It’s a rarity in the world of single malt scotch to name specific barrel partners, but The Dalmore is well aware of the heritage of Graham’s, and the quality of the barrels they have received. The Dalmore’s legendary master distiller, Richard Paterson OBE, worked with the Scottish Highland whisky’s house character (reminiscent of a chocolate orange) and utilized three rare barrels from Graham’s to produce extraordinary liquid.

“For these four years we will celebrate our very best partnerships with wineries and [sherry wine] bodegas, which we have nurtured over the decades to ensure we have ongoing access to casks that you won’t see anywhere else in the industry,” Craig Bridger, the Vice President of Sales and Advocacy for The Dalmore in the US, tells COOL HUNTING, over a tasting of The Port Edition trio. This exclusive set debuts after last year’s critically acclaimed trilogy, which was finished in proprietary casks from González Byass Sherry in Spain.

To represent the spirit of collaboration with Graham’s, The Dalmore incorporated the signature green of the port producer’s labels into the textured package design of this Cask Curation Series. The ultra-luxe teal green leather case, which is meant to evoke the golden age of trunk travel on trains and steamships, was meticulously hand-assembled by artisans in Italy’s AB Florence. “It also calls to mind the journey from different ports of call for these casks to Scotland,” Bridger adds.

As with last year’s debut, this set is also limited to 150—with only 26 coming to the US. “Last year, we launched in early October and my 26 sets were spoken for 12 days,” Bridger says. “A lot of those collectors, when they were made aware that this will be a four-part series, they wanted to make sure they get every one.”

All three whiskies speak for themselves. Each was drawn from one single cask and bottled at cask strength without chill filtration. The color is natural, as well. “Of all the things that we can talk about at The Dalmore, my favorite thing to tell people about is our program of exquisite cask curation,” Bridger continues. “It’s something that we are really proud of. It sets the whiskies apart. It’s not even necessarily about the wood so much as the wine that was in those casks. At the end of the day, our proposition is casks that held better wine. That’s why you’ll hear us talk so much about the different kinds of wine. All of those details are part of our story.”

Having had the privilege of sampling all three, we can affirm the flavorful nuance—as well as the fact that all three are so different from one another. Of course, with its milestone marquee age statement, we were most curious about The 43 Year, which—after four decades in bourbon—was finished for three years in a 1952 single harvest vintage tawny port pipe. The result is a scrumptious sweet orange taste with notes of almond, baked pear and plum. A lengthy finish extends the spicier flavors.

It’s maple that defines The 30 Year Old, though the maple notes transform to molasses on the palate. It’s dessert-like, with an elegant deliciousness. After 27 years in ex-bourbon barrels, this liquid aged for three years in a 1994 vintage single harvest port pipe. With an ABV of 43.9%, the finish is unyielding. Counter to that, The 27 Year Old spent 24 years in ex-bourbon before finishing in a 1997 single harvest port pipe. Even though it was bottled at 49.3% it does not nose of heat. Rather, it emits aromas of honey, cherrywood and citrus. On the tongue, there’s a melange of raisins, toffee, baking spice and roasted pineapple. Individually, any one of these liquids can tantalize collectors; together, they’re an exquisite homage to valued partner as well as a microcosm of The Dalmore’s capabilities.

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September Scotch: Laphroaig Transforms NYC’s Governors Island into Islay, Scotland

A transportive night to celebrate 30 years of the Friends of Laphroaig whisky program

David Graver

30 September 2024

As representatives from around the world made their way to New York City for the United Nations General Assembly, another transportive international event brought guests to Governors Island, the verdant 172-acre locale eight minutes from Lower Manhattan by ferry. It was here that the team behind Laphroaig Single Malt Scotch Whisky replicated the splendors of Islay, Scotland, where their beloved liquid is produced. Under light rainfall, rather reminiscent of Scottish weather, the illustrious single malt scotch whisky brand celebrated the 30th anniversary of Friends of Laphroaig, their whisky club (which is free to join with the purchase of any bottle, or if you sign up here). For the latest installment of our September Scotch series, we made the trek across New York Harbor to learn more about the program.

To create “Governors Islay,” as the event was endearingly entitled, Laphroaig took over Collective Retreats—a rustic glamping outpost with uninterrupted views of the Statue of Liberty and the Lower Manhattan skyline. Here, amidst a smattering of tents, an outdoor cocktail bar and a great lawn populated with lawn games, guests were welcomed with mixed drinks (or drams) served to the tune of bagpipes. Simon Brooking, Laphroaig Brand Ambassador and Senior Ambassador Scotch Heritage at Suntory Global Spirits, soon after took the stage. “The ferry ride on Islay is a wee bit longer than the one that we took here today,” he announced, “but it can be a daunting journey at times.”

Brooking regaled everyone with the tale of Iain Henderson who, in 1989, was made the Laphroaig distillery manager. “30 years ago, whisky tourism did not exist,” Brooking said. “Iain not only welcomed travelers to the Laphroaig distillery but because the whisky enthusiasts had made the arduous journey to Islay, Iain himself would take these guests on the tour of the distillery and, occasionally, if they were nice enough, they’d end up joining Iain and his wife at their supper table.” Henderson realized customers were becoming more and more interested in the people who made the product and the method behind it. 

Henderson began traveling all over Europe to increase Laphroaig brand awareness and help international audiences understand more about Islay, Scotland. “Iain would say that whisky was made of four ingredients: barley, water, yeast and, the fourth secret ingredient, people. It was his love of people that inspired Ian Henderson to launch friends of Laphroaig in 1994,” Brooking said. It was Henderson’s idea to offer Friends of Laphroaig their very own square-foot plot on Islay, along with other exclusive benefits.

“Like many a successful idea, Friends of Laphroaig began with a simple gesture—an outstretched welcoming hand, a thank you in the form of an invitation to claim a plot of land on the island of Islay, along with periodic handwritten messages from Iain Henderson himself,” Brooking explained of the program’s early days. Henderson’s simple gestures worked. Today, Friends of Laphroaig counts more than 620,000 members throughout over 170 countries.

For 30 years now, the Friends of Laphroaig whisky club has demonstrated that connoisseurs and the whisky curious are both looking for community. “I think people get into it initially for the whisky,” Brooking says to COOL HUNTING, “but it’s really a group of friends that have developed over the years. You know who your neighbor is, with your square foot of land in Islay. You feel like you’re part of an international network that’s rooted in history. It’s about the sharing of drams, too, because whisky is not meant to be drunk alone.”

Many guests at “Governors Islay” were Friends of Laphroaig who had flown in from around the United States. Some shared drams together for the first time. As the light rain subsided, dinner was served and campfires were lit. Secretly Laphroaig team members ushered a handful of guests at a time into a tasting tent to try exclusive expression—from Lore to the Laphroaig 25 and the covetable Elements 2.0. As a last treat, Laphroaig 30 was served prior to guests ferrying away from Laphroaig’s pop-up Scottish dreamscape and back into the pulse of Manhattan.