A New York Restaurant With a Californian ‘Aura’

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Sofia Coppola’s Take on Striped Cotton Loungewear

The director Sofia Coppola had a natural entree into the hotel business. In 1993, her filmmaker father, Francis Ford Coppola, turned her childhood vacation spot in the jungle of western Belize into Blancaneaux Lodge. Turtle Inn — a clutch of thatched villas on the country’s Caribbean coast — joined the Family Coppola Hideaways group in 2001. She has an airy two-story beach house there (available to book when not in use), and lately she’s been building on her parents’ original vision with creative projects inspired by the properties. A new capsule collection with the Los Angeles clothing brand Comme Si — cotton poplin separates in tropical stripes — reflects how the director packs for Belize. “I like that this is a vacation version of a uniform,” she says of her preference for button-downs, in this case with relaxed notched lapels. The shorts and pants are for all-day wear, she adds, whether “reading or writing or going into town for a gelato.” (Tutti Frutti, in Placencia, is the spot.) Jenni Lee, the founder and creative director of Comme Si, mailed Coppola custom-dyed fabric swatches to pin down the precise colors. They landed on variations of green, turquoise and hibiscus pink that are also featured on bandannas (complimentary with orders) and breezy shirtdresses. Available in a limited run online, the pieces will also arrive at the Hideaways gift shops in Belize later this fall. From $95, commesi.com.

— Laura Regensdorf

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Marina Adams’s Abstractions, on View in New York

While visiting the Alhambra palace in Granada, Spain, the New York-based abstract painter Marina Adams became entranced by the ceramic tiles that seemed to multiply endlessly across its walls. It was a reminder, recalls the artist, that abstract images can create space for complex ideas to unfold. Her new exhibition, “Cosmic Repair,” at Timothy Taylor in Manhattan, channels that concept into large-scale canvases painted mostly over the past two years. She calls the works “necessarily political.” In “No Kings” (2025), a vertical band of oxblood red, white and blue anchors the canvas, while black and green press in from the sides; in the 2024-25 piece “Out of the Ashes (for Palestine),” a diamond form seems to break perpetually through the surface of the canvas. “I always think about the role of the artist in society,” she says. “With this work, I feel the need to offer people a creative sense of possibility.” “Cosmic Repair” will be on view at Timothy Taylor in Manhattan from Sept. 10 through Oct. 25, timothytaylor.com.

— Colleen Hamilton

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Flynn McGarry Brings California Dining to New York

On Oct. 7, the chef Flynn McGarry will open Cove, a California-inspired fine-dining restaurant in Manhattan’s Hudson Square, the quiet neighborhood nestled between SoHo, TriBeCa and the West Village. The glass-fronted space is larger than his previous ventures — the Chinatown restaurant Gem and its offshoots Gem Wine and Gem Home — with 16-foot ceilings and interiors designed by McGarry that feature cherry wood walls and a bright open kitchen. The chef, who was born and raised in Los Angeles, considers Cove a homage to the cuisine that shaped him: the menu will highlight local produce, including vegetables, herbs and flowers grown on McGarry’s personal plot at Isabella Rossellini’s farm in Brookhaven, N.Y., in dishes like lion’s mane schnitzel or marinated tomatoes with tuna and marigolds. During service, the line between back and front of house will blur, with plates served by the same cooks who prepare them. The dining room also contains vintage and custom pieces sourced by McGarry (midcentury bar stools by the Danish company Gangsø Møbler, minimalist tables made in collaboration with Grain Wood Studio upstate), intended to evoke the feeling of a living room. “To me, going out to dinner is about feeling completely relaxed,” he says. The menus echo that spirit of ease and flexibility. Diners can choose from an eight-course tasting menu, family-style dinner or an à la carte meal. The mix of high and low, meticulous and laid-back is another sensibility McGarry has drawn from his home state. “There’re a lot of chefs who cook with local ingredients in New York, but what makes everyone’s food special is where they come from. With Cove, we’re trying to inject an aura of California into New York.” cove-nyc.com.

— Tanya Bush

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Exuberant Fabrics Inspired by Colorful Cities

For her latest project, Laura Gonzalez, the Parisian interior designer who conceived the exuberant décor at the department store Printemps New York and Cartier’s Fifth Avenue flagship, partnered with another luxury brand: Schumacher, which has been producing decorative goods since 1889. Together they’ve created fabrics in eight motifs that include cascading vines, bright flowers and wavy lines; some suggest storied destinations with names like Bombay Rainbow and Roman Reverie. “I didn’t want to make a collection like ‘sea beach’ or ‘mountain’ or ‘city,’” Gonzalez says. “I wanted something more poetic.” The line’s rich textures include Italian jacquard and Indian epingle, a type of velvet. Gonzalez began working on the collection about two and a half years ago, researching everything from antique haute couture to vintage Japanese ceramics in the process. The fabrics, while elegant, have plenty of her trademark insouciance. “My design is décomplexé,” Gonzalez says, using the French word for “unintimidated.” “It’s luxury, but it’s very joyful.” Available on Sept. 15, from $117 per yard, schumacher.com.

— Rachel Felder

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Sculptural Cutlery Made by English Silversmiths

The London-based designer Rose Uniacke has become known for her elegant, restrained interiors. In 2010, she launched a line of home furnishings; in 2017, Uniacke expanded the collection to include plush velvet and textured linen fabrics, among others, and more recently she added a collection of paint. Now she’s releasing her first line of silverware. Uniacke took inspiration from clean-lined cutlery in the Vienna Secession style, which she saw on a recent trip to New York’s Neue Galerie. The three-tined forks are a nod to an unusual Byzantine piece (most forks at that time were two-tined). “What references there are, they’re very loose,” says Uniacke. “I’m aiming for something entirely new in spirit and design.” The final result is a nine-piece collection of sculptural, silver-plated cutlery with undulating lines and a satisfying heft, crafted in Sheffield by one of the few remaining English silversmiths. From about $218 for a set of two, roseuniacke.com.

— Lauren Joseph

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RF. Alvarez Shows a Moodier Side in Los Angeles

As a child, the Austin-based artist RF. Alvarez spent summers at his family’s cattle ranch in Texas. His paintings — of tender scenes with his husband and their queer friend group — often feature cowboy hats and boots as a way to reconcile his past and present. In “I Remember Everything,” his biggest show to date, and his first on the West Coast, the 15 paintings and three ceramic works on view at Megan Mulrooney gallery in Los Angeles are darker and more brooding than his previous works. They still depict dinner parties and intimate moments, but with a palpable tension; eyes no longer meet, and hands do so furtively. But while the tenor of the paintings is angstier, Alvarez says they represent new advances in his practice: He’s found peace with his heritage, and he’s moved from directly portraying memories toward more allegorical imagery. “Gimme Shelter” (2025), a fractured self-portrait of the artist dancing, and “The Fall” (2025), which sees him lying beside a horse, foreground feeling rather than the facts of his life. His cheerier side will also be on display at the Armory Show in New York, where his booth with Martha’s gallery plays on one of the fair’s themes — the American South — with a two-panel painting of a rowdy honky-tonk, which he says is his way of showing a sexually charged, queer-positive version of that fabled region. “I Remember Everything” is on view from Sept. 13 through Oct. 25, meganmulrooney.com.

— Juan A. Ramírez

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