ART & DESIGN
MELODY & POWER
MAKING MUSIC with MICHA
PHOTOGRAPHER BRAD WALLS
EXHIBITS A NEW COLLECTION in SEOUL
October 2026
CELEBRATE STORYTELLING in ALL FORMS
LUCAS MUSEUM of NARRATIVE ART DEBUTS in LOS ANGELES DISCOVER ART by FRIDA KAHLO, NORMAN ROCKWELL & MANY MORE
ARCHITECT: STUDIO C ARCHITECTS PHOTO: MCEACHIN MEDIA
T R U S T. R E L I A B I L I T Y. C O L L A B O R AT I O N .
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In this issue On the Cover
The new Lucas Museum of Narrative Art in Los Angeles celebrates storytelling in all forms, from film to literature, visual art, architecture, design, and music. The building itself, designed by Ma Yansong of MAD Architects, Stantec, and Studio-MLA, looks like it came straight out of one of George Lucas’s Star Wars worlds, but inside, it holds much more than droids and spaceship replicas. Art from around the globe, created by storytellers ranging from Banksy to Ernie Barnes to Van Gogh and Norman Rockwell, is waiting to be discovered, each canvas a unique story to be told. Frida Kahlo’s self-portrait on our cover tells a story of suffering, gratitude, and dedication, as it’s dedicated to her trusted surgeon, Dr. Leo Eloesser, who treated her severe hand and foot pain and became a lifelong friend.
Frida Kahlo, Autorretrato dedicado al Dr. Eloesser (Self-Portrait Dedicated to Dr. Eloesser), 1940 Artwork ©️ 2026 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, CDMX / Artists Rights Society (ARS), New York
Vie is a French word meaning “life” or “way of living.” VIE magazine sets itself apart as a high-gloss publication that focuses on human-interest stories with heart and soul. From Seattle to NYC with a concentration in the Southeast, VIE is known for its unique editorial approach—a broad spectrum of deep content with rich photography. The award-winning magazine was founded in 2008 by husband-andwife team Lisa and Gerald Burwell, owners of the specialty publishing and branding house known as The Idea Boutique®. From the finest artistically bound books to paperless digital publication and distribution, The Idea Boutique provides comprehensive publishing services to authors and organizations. Its team of creative professionals delivers a complete publishing experience—all that’s needed is your vision.
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AUSTRALIAN PHOTOGRAPHER BRAD WALLS TRANSFORMS A SWIMMING POOL INTO A GALLERY OF MOVEMENT, CAPTURING THE INTERPLAY OF WATER, LIGHT, AND THE HUMAN BODY THROUGH HIS STRIKING AERIAL PHOTOS. THIS DISPLAY IS PART OF HIS IMMERSIVE EXHIBIT IN SEOUL RUNNING THROUGH MARCH 1, 2027.
Photo courtesy of Brad Walls
FEATURE 22 Beyond a Galaxy Far, Far Away: New Lucas Museum Celebrates Storytelling
VOYAGER 20
81 L’intermission: Mood Reader 84 Blank Walls or Unlimited Potential: Engaging Abandoned Places for Art
28 Petite pause: pause: MAD Arts Miami
90 Where Observation Ends and Art Begins
32 Polychrome Penthouse
96 Something Human: Through Art, Hira
39 L’intermission L’intermission:: Air de Lalique
Majeed Explores What Connects Us
40 Petite pause: AAHA Studio 42 New Life on Fairhope Avenue: Discover The
LA MAISON 102
Fairhope Hotel
104 Writing a Home’s Next Chapter:
48 L’intermission: World Architecture Festival 2026
Moonstone Design + Build
50 Permission to Pause: The Magic of Selah Ridge Resort
INSPIRATIONS 110
56 Petite pause: Scotch & Soda
112 Good Things in the Waiting
58 A Southern Holiday: At the Beach with
114 Melody & Power: Making Music with MICHA
Mallory Ervin
62 L’intermission: Scorpios Bazaar in Mykonos
VISUAL PERSPECTIVES 64 66 Not a Stage, Not a Screen: Photography
120 Petite pause: Kevin Klein Design at Walkers’ Dallas
C’EST LA VIE CURATED COLLECTION 122
Comes Alive Inside the Gallery
LA SCÈNE 128
73 Petite pause: Carolina Herrera Miami Flagship
THE LAST WORD 137
74 Art, Life, and Legacy: Celebrating George Rodrigue in Rosemary Beach
AU REVOIR! 142 V I E MAGAZ INE . COM | 11
CREATIVE TEAM CEO / EDITOR-IN-CHIEF / CREATIVE DIRECTOR LISA MARIE BURWELL LISA@VIEMAGAZINE.COM
FOUNDER / PUBLISHER GERALD BURWELL GERALD@VIEMAGAZINE.COM
EDITORIAL EDITOR JORDAN STAGGS JORDAN@VIEMAGAZINE.COM
ASSISTANT EDITORS K ATIE OGLETREE K ATIE@VIEMAGAZINE.COM CAITLYN BURRUS CAITLYN@VIEMAGAZINE.COM
CONTRIBUTING WRITERS
MEGHAN RYAN ASBURY, ANTHEA GERRIE, MYLES MELLOR, CAROLYN O’NEIL, BRAD WALLS
ART AND PHOTOGRAPHY ART DIRECTOR JACK KIRKENDALL JACK@VIEMAGAZINE.COM
GRAPHIC DESIGNER CALLIE NUNLEY
CONTRIBUTING PHOTOGRAPHERS
SHELLI ALLEN, L AUREN ATHALIA, IWAN BA AN, HUNTER BURGTORF, NATHAN BURTON, LOU CALTABIANO, ELIZABETH CARABABAS, MICHAEL CLIFFORD, ELY FAIR, JACK GARDNER, LEVI KELLY, ALLY L AMARCA, JEFF L ANDRETH, MARK LITTLE, CHELSIE LOPEZ, STEVEN MANGUM, ERIC MCCANDLESS, PHIL MCCARTEN, JAMES MEAKIN, DANNY MOLOSHOK, MATHIJS NIJENHUIS, VINAY PANJWANI, CARLO PIERONI, RICHARD POWERS, ROMONA ROBBINS, L AURA ROWE, PAUL SALVESON, JORDAN STRAUSS, DEANNE AND ED TEMPLETON, BRAD WALLS, DAVE WARREN, CHANDLER WILLIAMS, HIROAKI ZENKE, ABC, AP CONTENT SERVICES, ARTISTS RIGHTS SOCIET Y, BANCO DE MÉXICO DIEGO RIVERA FRIDA K AHLO MUSEUMS TRUST, DISNEY, HUFTON + CROW, INVISION FOR TELEVISION ACADEMY, MAD ARTS, MCEACHIN MEDIA, MODUS PHOTOGRAPHY, NON MUSEUM PROJECT, PHINA, SHUTTERSTOCK, STM PHOTOGRAPHY, ZAC + ZAC
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Editor’s Note
A SUMMER GETAWAY TO NANTUCKET
T
he jet gently swayed on its final approach in the late afternoon light. From my window seat, I looked out with anticipation. Not too far off, I could see megayachts parked like royalty along the wharf, with iconic fishing trawlers moored in the deep blue harbor, bobbing like toys by comparison. It’s hard to put into words what it felt like to see the island for the first time in thirty years. In those days, I used to take a puddle-jumper from Hyannis on Cape Cod. But this time we flew in from D.C. On touchdown, the engines’ reverse thrusters howled to slow the commercial jet, which looked almost ridiculously incongruous as it paraded past the quintessential Nantucket A virtual Carolina Herrera outfit from Memorial Airport terminal. The quaint building, head to toe! clad in cedar shingles, naturally weathered to a Photo and editing by soft gray—the familiar setting for the 1990s Gerald Burwell NBC sitcom Wings. Stepping back onto this magnificent Atlantic rock brought back a flood of happy memories and left me genuinely excited for the days ahead.
To stock up on provisions for our five-day stay, we visited Bartlett’s Farm near the south shore, toward Cisco and Ladies Beach. I hadn’t planned on doing much other shopping this trip, though I did pop into Dôen, Ralph Lauren, and a few local shops. During one of our long walking excursions, my husband spotted an outfit on a mannequin that he thought would look great on me. Uninterested, I passed on it, so he snapped a quick photo, and we carried on. A few days later, he worked some AI magic by superimposing the outfit onto a photo of me—and I loved it! Seeing it styled virtually changed my mind completely, and once I realized it was Carolina Herrera couture, I appreciated its incredible craftsmanship even more. I told Jerry he’s welcome to buy it for me anytime! I had wondered if returning to Nantucket would live up to my fond memories, and it exceeded every expectation. While perhaps slightly less sleepy than before, its core character and preservation ethics remain completely intact despite modest residential growth. The dedicated land conservation and extensive bike paths are true treasures—even if some modern influencers have tried calling it “The Tuck,” a nickname I’m not particularly fond of ! Preserving land is no easy feat, and I deeply appreciate the stewards who protected this island. Spending three hours cycling through these pristine vistas brought me profound peace—the kind found only where nature, wildlife, and people exist in harmony.
A family wedding paved the way for our trip to New England that week. My nephew and godson, Johnny, was getting married, and a family reunion was planned alongside the nuptials. Since we would be in the general area, we decided to spend time on Nantucket before heading to the wedding. Joining us for this island getaway were my husband, my brother, my sister-in-law, and my best friend since grade school with her companion. Nantucket is the kind of place made for family gatherings—a destination steeped in the charm of days gone by, where people linger, walk, dine, and embrace long days of exploring together. At the heart of the island’s charm lies iconic Main Street, honored as “One of America’s Greatest Main Streets” by Travel+Leisure. Here, remarkably preserved 18thand 19th-century architecture sits alongside tree-lined streets, harmonious with au courant boutiques, galleries, inns, and restaurants serving exceptional, inspired cuisine. Walking through downtown feels like stepping into an historic seaport village, where every storefront, street lamp, and building is strictly conserved to protect its original whaling-era character.
Bidding farewell to Nantucket, we boarded the Grey Lady IV high-speed catamaran ferry back to Hyannis and made our way to an exquisite wedding at White Cliffs Country Club. Read the full version of this travel diary on VIE’s new Substack publication, La Muse, and subscribe for free to enjoy more stories (VIEmagazine.Substack.com). —To Life!
Lisa Marie Burwell CEO/Editor-in-Chief/Creative Director V I E MAGAZ INE . COM | 15
The Creatives We collaborate with talented photographers, writers, and other creatives on a regular basis, and we’re continually inspired by how they pour their hearts and souls into their crafts. Follow these creatives on social media and don’t forget to check out our account, @viemagazine.
IN THIS ISSUE, WE ASKED THE CREATIVES TO FINISH THIS SENTENCE: WHAT’S ONE DESIGN RULE YOU LIKE TO BREAK AND ONE YOU LIKE TO FOLLOW?
breaking rules has guided my decisions ever since. In the studio, I frequently deploy more conventional materials while employing less conventional concepts, or vice versa. A long, orange-painted piece of canvas is dragged through an abandoned building rather than hung on a wall, for example, or classical forms are loosely referenced in a sculpture made of spray foam insulation and a sawhorse. This approach to rule-breaking (and following) continues to have an oversized impact on how I orient myself in my artistic practice. APRIL PHELAN Founder of Selah Ridge Resort @selahridgeresort
"NEVER SACRIFICE COMFORT FOR DESIGN."
I like to dream about what my inner child would love, which often means throwing design rules and trends out the window. Childhood had so few rules—the best kind offered guidance, but also freedom to imagine, explore, and play. I think spaces should offer that same freedom. Give me the hidden bookcase, the bed tucked into a tower, the reading nook among the trees—anything that makes a grown adult smile like a kid again. The rule I do follow? Never sacrifice comfort for design. The best spaces invite you to wonder, but also to stay awhile.
HIRA MAJEED Artist @wasitalladreaminc
LIDIA VALDIVIA
Founder of Moonstone Design + Build @moonstone.mn
The design rule I like to break is that a home doesn’t have to stay within one style or era. I love mixing periods, unexpected colors, old pieces with new ones, and adding something a little strange when a room starts to feel too perfect. The rule I always follow is to respect the architecture. I pay attention to proportion, scale, original details, and what the house is already telling us. I think you can be pretty bold once you understand that foundation. The goal is never to make an old home feel frozen in time, but to make the new work feel like it truly belongs there. 16 | O C T OBE R 2 026
JAMIE ZIMCHEK
Artist, The Non Museum Project @jzimchek
Years ago, I trained under a realist painter, and he told me I had to know all the rules of traditional art-making in order to know how to intentionally (and strategically) break them. That rule about
One design rule I love to break is the idea that everything has to match, follow one style, or even belong to the same medium. I have never really believed that art has to stay on a canvas, technology has to look like technology, or that you have to choose between being creative and technical. I will put 24-karat gold next to shattered glass, aesthetic vials on a canvas, LEDs inside a sculpture, or combine an anatomical heart with welded metal and barbed wire. I can create a seven-foot Formula 1-inspired sculpture, then turn around and build a humanoid robot that can see you, speak to you, move its eyes, mouth, and face, dance, and respond to your questions through AI. To me, if all of those materials and technologies help tell the story, then they belong together.
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La conversation
Made of Magic As we continue through the ’Ber months, routines have picked up, and the energy feels upbeat. This time of year gives us so many reasons to celebrate what’s changing while also appreciating the familiar. Embrace the trends, traditions, creativity, conversations, heartfelt stories, and all the little moments in between. Tag @viemagazine and let us know your favorite fall season plans! @thegoodtimehotel Word on the street? It’s always a good time.
@northbeachsocial It’s time for TRIVIA NIGHT! Come hang with us on Thursdays and test your knowledge with @supergoodtrivia, starting at 6 PM. Get here early, get your team name in, and order some grub, then get ready to go for four rounds with musical bonus points! Prizes for first, second, and third place!
LET’S TALK! @paintspacenola As seen in @viemagazine! October 13–16, step into four days of intuitive painting with abstract expressionist @mindymoorefineart and give yourself space to explore, release, and reconnect with your creative voice. Grounded in the belief that painting can be deeply therapeutic, Mindy will guide you through a range of techniques that invite freedom, curiosity, and personal meaning on the canvas. 18 | O C T OBE R 2 026
@viebookclub Have you checked out @viemagazine on Substack yet? We’re thrilled to share more original content from the VIE team and article highlights from the magazine on this insightful platform, and we hope you’ll read, like, and subscribe! This post by our editor and VIE Book Club host @jordanlstaggs explores the trend of mythology in modern media, including book and TV recommendations! Read it now at VIEmagazine.Substack.com and the link in our bio!
Send VIE your comments and photos on our social media channels or by emailing us at info@viemagazine.com. We’d love to hear your thoughts. They could end up in the next La conversation!
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T H U R S DAY – M O N DAY F O R D I N N E R 5 : 0 0 – 1 0 : 0 0 P M S AT U R DAY A N D S U N DAY F O R L U N C H 1 2 : 0 0 – 4 : 0 0 P M 5 0 O R I G I N S M A I N S T, WAT E R S O U N D , F L 3 2 4 6 1 | S C O U T S P O RT S TAV E R N . C O M
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Opening in January 2027, ÀNI Shoal Bay will bring ÀNI Private Resorts back to Anguilla where the brand first began in 2010. Sitting on the white sands of Shoal Bay, the property hosts up to 30 guests across 15 suites supported by a dedicated 1:1 staff-to-guest ratio. Set across four manicured beachfront acres, the resort features a breathtaking main infinity pool, a landing pool, a dedicated kids’ pool, a private Beach Club, and a sanctuary Spa with a hydrotherapy circuit. For active pursuits, the grounds offer tennis and pickleball courts alongside a private putting green, while the shoreline offers complimentary access to snorkeling, kayaking, stand-up paddleboarding, and Hobie Cats. The nightly rate encompasses ÀNI’s luxury inclusions, with full-board gourmet dining, daily wellness treatments, activities, seamless living logistics, and childcare. Each stay is fluidly tailored to the group’s preferences. Meals are individually crafted by private chefs. Premium wines and spirits flow freely. Wellness treatments become part of the daily rhythm. Guests are invited to engage directly with the island’s creative community via the ÀNI Art Academies in Anguilla: the first international studio in what is now a global non-profit network.
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JOIN US FOR A
GROUNDBREAKING BLESSING Founder & President Nancy Alcorn Invites You to Celebrate Mercy Multiplied’s Newest Addition in Santa Rosa Beach, Florida.
THURSDAY, OCTOBER 22, 2026 – 4:00 PM At the Future Site of Our Upcoming Residential Program Location on Highway 331 Reception to follow at Farm & Fire
MERCY MULTIPLIED IS A CHRISTIAN NONPROFIT ORGANIZATION THAT HAS PROVIDED FREE OF CHARGE, FAITH-BASED RESIDENTIAL CARE, COUNSELING, AND RESOURCES TO HELP INDIVIDUALS OVERCOME LIFE-CONTROLLING ISSUES SINCE 1983. If you would like to donate to our ministry, please visit MercyMultiplied.com.
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The Lucas Museum of Narrative Art opened in August 2026 at Exposition Park in Los Angeles. Ma Yansong of MAD Architects designed the groundbreaking building, with executive architect Michael Siegel of Stantec and landscape architecture by Studio-MLA. Photo by Hufton + Crow Right: The iconic Naboo Starfighter from Star Wars: Episode I hangs in the museum’s lobby. Photo by Iwan Baan
he most anticipated new museum opening of 2026 is what so many of George Lucas’s followers long imagined as a Star Wars-fest aimed squarely at kids and action movie fans. But despite an eye-popping exhibition celebrating the great space odyssey of the twentieth century, it’s so much more. The filmmaker who brought us Jabba the Hutt, Yoda, and the Wookiee from a galaxy far, far away has actually spent the past decade creating a public home for the phenomenal art collection he has built up over half a century. It has highfalutin aims—to showcase the storytelling which has inspired the filmmaker in every form since prehistoric cave drawings (yes, the master of illusion has managed to even bring some of those to California from Altamira in northern Spain), but the new Lucas Museum of Narrative Art in Los Angeles is nothing if not playful. The building itself, on a thirteen-acre downtown site in Exposition Park, near where Lucas studied filmmaking, resembles a giant spaceship, distinguished on approach by an astonishing rain fountain cascading from a tiered waterfall.
The interior also promises another world, its elevators shooting up within transparent glass tubes to not just the expected movie theaters but dozens of galleries showcasing artists most youngsters may never have heard of. This is predominantly a museum celebrating all things visual, the culmination of Lucas’s fifty years collecting American art of all kinds. Comic book art and animation sit side by side with the work of Maxfield Parrish and Norman Rockwell, as well as Georgia O’Keeffe and N.C. Wyeth. And since Lucas married Mellody Hobson in 2003, the couple have expanded their collection to include works by iconic non-American artists including Mexico’s Frida Kahlo and Diego Rivera and Poland’s Tamara de Lempicka. But it’s not all about blockbuster names, senior curator Ryan Linkof insists. “Our focus is much broader; we are interested in the art that surrounds us every day,” he says. “This means we celebrate works that have had a massive impact on the collective imagination, regardless of whether they were originally intended for a museum or a newsstand.” V I E MAGAZ INE . COM | 23
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inkof continues, “In its emphasis on artworks made for popular distribution, the museum’s exhibitions provide a window into the culture and experience of the past century.” What he personally finds exciting, he admits, is the head-spinning breadth of the collection. “We hold everything from Mexican murals to Japanese manga and contemporary works that challenge and define what ‘narrative’ can be.” Naturally, that includes a never-before-seen Banksy. Only one gallery is at entry level; the others are on the fourth and fifth floors, where glass elevators whisk visitors in futuristic pods. That’s a deliberate attempt to avoid flow planning that drives guests in a specific direction once they’ve entered and been dazzled by the Naboo Starfighter that greets guests in the lobby. “We want the experience to feel like a journey of discovery,” says Linkof, describing the main floor as “grounded in the history of how cultures have used images to make sense of the world, from the first cave paintings to the present day.” Which may mean some never get as far as the twentieth- and twenty-first-century art on the upper floors, but that’s OK. “Visitors are encouraged to navigate the galleries according to their own interests and curiosities,” says the man who, unlike many senior figures who quit during the museum’s troublesome development, went with the plan—or deliberate lack of one. 24 | O C T OBE R 2 026
This page and opposite right: The Lucas Museum of Narrative Art’s galleries hold art from all eras and around the globe, celebrating the power of storytelling throughout time. Photos by Paul Salveson Opposite left: The glass tube elevators that lead guests to upper floors and the rooftop Skywalker Grill Photo by Hufton + Crow
he inaugural exhibitions showcase 1,300 pieces from a 40,000-strong collection installed across more than 30 themed galleries. The grand aim is to trace the evolution of human culture all the way from sculptures of mythical gods to comics and contemporary film by way of the Renaissance. And childhood plays a big part; look out for illustrations from the likes of Beatrix Potter, who depicted Peter Rabbit and friends, E. H. Shepard, who drew Winnie the Pooh, and others. The opening Star Wars in Motion show is inevitably a major draw, featuring legendary racing vehicles including Luke Skywalker’s Landspeeder, plus costumes, props, and illustrations from the first six films in the franchise, not to mention a
few flying machines. While children seem bound to go for the stuff of sci-fi and fantasy, parents will find plenty to stir nostalgia in exhibitions devoted to Parrish, Rockwell, and Jessie Wilcox Smith of fairy-tale fame, while photography fans will be drawn to powerful twentieth-century images by Robert Capa, Dorothea Lange, and Alfred Eisenstaedt, among others. While choosing civic life as a subject—artists’ portrayals of courthouses, polling stations, and other public spaces—seems a little offbeat, there’s plenty of heart in the galleries reflecting more intimate aspects of life, from motherhood and family gatherings to sport, play, and work. And Lucas has devoted an exhibition to one of his own favorite themes, stories of the Old West—think wagon trains and shoot-outs. V I E MAGAZ INE . COM | 25
Slavko Vorkapich Theater at LMNA Photo by Lou Caltabiano
f course there are cinemas as well as galleries, although surprisingly only two. The one named for Slavko Vorkapich, an early master of cinema magic, is showing his own montages for Mr. Smith Goes to Washington alongside early Disney animations, Busby Berkeley sequences, experimental films by masters ranging from Man Ray to Lucas himself, and an episode of Star Wars: Visions. The other, named for documentary pioneer Robert Flaherty, shows films profiling Rockwell, Peanuts creator Charles Schulz, Maurice Sendak, and other artists featured in the galleries, as well as a seminal film called Seeing Is Believing: The Story of Narrative Art specially commissioned for the museum. One movie missing, at least for now, is Lucas’s first major feature film, THX 1138, which is not to say its director is not sentimental about his early work. “We will feature George Lucas’s first film, Look At Life, which he made while still a student at USC,” Linkof promises.
Photo by Paul Salveson 26 | O C T OBE R 2 026
While the restaurant is sleek and modern, rather than a rendition of the quirky cantina where Luke Skywalker and his fellow travelers met exotic space creatures, it is at least named after the Star Wars hero. The rooftop Skywalker Grill, designed by Rockwell (not artist Norman, but the contemporary design company), serves burgers made with wagyu beef from Lucas’s own Skywalker Ranch and enjoys longrange city and mountain views.
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Beautiful landscapes by Mia Lehrer and team at Studio-MLA welcome guests to the museum and to explore more of Exposition Park. Photo by Iwan Baan Below: LMNA founders George Lucas and Mellody Hobson Photo by Deanne and Ed Templeton
he new museum is a feather in LA’s cap, which so nearly didn’t happen there; original plans called for Chicago or, more logically, San Francisco, near the Lucasfilm headquarters. However, former LA mayor Eric Garcetti clearly touched a nerve when he successfully pitched that showier Southern California would allow the impact of the museum “to be amplified like no other.” It’s not so far from the home of the founders—Lucas and Hobson have an LA estate—but perhaps most fortuitously, Exposition Park also houses the California Science Center, where the space shuttle Endeavor has been raised this year to stand vertically in the new Samuel Oschin Air and Space Center opening in November—as much an architectural achievement in its own way as the building of Ma Yansong, who won the right to design the Lucas Museum in an international competition.
or under, active service personnel, and benefit recipients. And no one has to pay to access the magnificent gardens or research library of a museum, which is no spaceship but a firmly grounded product of the industrial light and magic on which its founder built his fortune. If it ran way over budget and over schedule, that’s no surprise to Lucas, who says of the $1 billion project he financed himself, “It’s exactly like making a film.” But last word to the wife—Hobson, remembering her own strictured childhood, insisted that at least one item in the gift shop—a covetable, beautifully designed pencil—be priced at just 25 cents.
Its philanthropic founders know they are opening in a low-income area of a city where the Getty and Broad, both truly world-class art museums, offer free admission. Only residents sharing the same zip code get in free to LMNA, but so do all kids seventeen
Visit LucasMuseum.org to learn more and start planning your trip. V I E MAGAZ INE . COM | 27
In Dania Beach, Florida, MAD Arts is pushing the boundaries of what a museum can be. The 50,000-square-foot space fuses art and technology through immersive exhibitions, experimental installations, and interactive works by artists from all around the world. Backed by its own technology and production capabilities, MAD Arts gives creatives the tools to turn ambitious ideas into reality, making it a dynamic new force in South Florida’s cultural scene. Learn more at YesWeAreMadArts.com.
Espectres by Playmodes on display at the immersive museum; Photo courtesy of MAD Arts
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Petite pause
Don’t just visit. Experience. —MAD ARTS V I E MAGAZ INE . COM | 29
ARCHITECT: A BOHEME DESIGN BUILDER: E ARTHBUILD LLC INTERIORS: MEL ANIE TURNER PHOTO: L AYNE LILLIE
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S
came with unexpected construction headaches. “It was as sparse as you could get, but the architect had to work with some very big steel beams they didn’t work into the design,” says Jo. “As well as disguising those, we had some weird layouts to work with, like a vast hallway you couldn’t really do anything with, despite the size.”
While most decorators welcome a new build, where everything is supposedly in the right place and ready for decorating, the apartment Laurel and David Fraser had their heart set on for its far-reaching water views as well as central location
She continues, “As soon as we got our hands on the property, we had to apply for planning permission to start moving walls around.” Jo’s brief from her American clients was to create a home away from home full of joy, color, and personality.
he calls it “a masterclass in maximalism”—Jo Aynsley’s eyepoppingly colorful transformation of an unpromisingly plain Edinburgh penthouse with bones that were anything but wonderful. “It was a basic white box, but one badly in need of rearrangement as well as personality,” says the design director of the allfemale PHINA interiors partnership.
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She calls it “a masterclass in maximalism.”
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nce the rooms were correctly sized, “The most important change was increasing the footprint of the master suite by reducing the size of the hall,” Jo says. She was then ready to fulfill her clients’ brief, which included paying tribute to David’s Scottish roots. The couple, seasoned design enthusiasts open to bold ideas, live much of the year in the US, but wanted a home away from home in the Scottish capital "particularly in August, when Edinburgh becomes one big festival.” That once annoyingly vast foyer still makes an impressive, but now much more intimate, entry with four feet lopped off to increase the size of the primary bathroom and allow more hanging space in the bedroom. Hand-painted wallpaper on the ceiling sets the tone for the bold color that defines the public rooms, and the foyer doubles as a miniature art gallery, showcasing sculptures cast locally by Powderhall Bronze. Meanwhile, a photograph by David Yarrow bridges Scotland with the Frasers’ American ties. An upholstered marble stool offers a luxurious perch on arrival to appreciate the art and the beautiful herringbone parquet flooring, a fine original feature, along with paneled, glazed internal doors that offer their own nod to Scottish design heritage in the style of Arts and Crafts pioneer Charles Rennie Mackintosh.
runs through the design, thanks to the bold pop of golden velvet surfacing the banquette against the midnight blue spotted velvet of the seat backs and playful black-and-white sunray face fabric upholstering the dining chairs. Beautiful glass light fittings reflect the blue and gold. “Every fixture was chosen for its sculptural qualities,” says Jo. A wealth of blond wood echoes the wall cabinets in the partially screened-off, just visible kitchen. A particularly challenging transformation turned what was a third bedroom into a cinema room with a hidden office. “We had two of those steel beams to hide, which we disguised within bespoke joinery, and we took out existing built-in closets to create space for a giant screen and hide David’s desk when he’s not working at it. We color-drenched it in deep red to make a narrow room seem larger, cozier, and more inviting.”
To test the waters with clients making only one brief visit to Scotland to meet their long-distance decorator, Jo presented the boldest of her design ideas for a jazzy powder room that looks as if its walls have been clad in a contemporary tartan. The bright plaids by superstar wallpaper and textile designer Kit Miles complement, rather than fight with, patterned tiles in sober navy and white. “I warned the clients it was going to be Marmite, as we Brits describe something you love or hate, and they loved it—at which point I knew we were going to have some fun!” A huge open living-dining-kitchen area was also endowed with some intimacy with the installation of a new pocket door that breaks up the space. A full wall of abstract mural wallpaper behind a corner banquette defines the colorful dining area with its bespoke table, while a huge curved sofa marks a natural boundary for the living area beyond. Fun V I E MAGAZ INE . COM | 35
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he neutral tones in which the two bedrooms are decorated make a striking contrast with the strong blood-red of the cinema room and the ceruleanaccented living-dining space, but a wealth of texture creates its own excitement. “We created a lovely calming base, delineating different zones within the master suite. The sleeping area is decorated with a natural oak finish, while the dressing area is painted, leading the eye through to the warmth of the oak and marble in the bathroom.” One huge slab of marble was harnessed to clad the wall, floor, and skirting, continue into the shower, and top a counter vanity. The vanity is fronted with fluted marble tiles framed in oak, echoing the oak trim and paneling in the master bedroom. The effect is luxurious, spectacular, and romantic, thanks to the installation of LEDs, which enable safe showering in the near-dark. All lighting is controlled through a Rako smart system. “It allows effortless presets that shift the apartment from entertaining mode to quiet retreat at the touch of a button,” says the designer. The overall effect is visual excitement for both owners and visitors in the public spaces, segueing into a serene retreat in the private areas. “Laurel told us that while she didn’t want to feel she was living in a rainbow, she wanted the whole place to feel joyful,” says Jo. “And while the clients wanted the apartment to feel distinctly Scottish, we approached that brief with subtlety rather than stereotype. Painterly plaids echo the watery views of the Firth of Forth, which, along with the city center views, already anchor this penthouse in Edinburgh. I think we’ve created a home which is unmistakably Scottish in spirit without a single predictable trope.”
More information at PHINA.co.uk.
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L’intermission
As Lalique continues its exploration of the elements, the French crystal maison prepares to launch its F/W 2026 Collection, Air de Lalique - Chapter II, available online and in boutiques. View the entire collection at us.Lalique.com. Photo courtesy of Lalique
Unveiling Air de Lalique The collection extends its poetic expression across decorative objects and interior design, translating Lalique’s signature interplay of light, movement, and sensation into both sculptural pieces and lighting. In addition to ALIZÉ Chapter II, Lalique introduces the PAPILLONS bowl and vase, which capture in crystal one of nature’s purest beauties, carried by the breath of the wind. And finally, Lalique has released the TEDDY AIR, a play on light and perception evoking a metallic balloon.
Love, VIE xo V I E MAGAZ INE . COM | 39
Petite pause Los Angeles-based AAHA Studio, founded by husbandand-wife duo Harper Halprin and Aaron Leshtz, takes a thoughtful, personal approach to architecture and design. Beyond creating distinctive residential spaces, the firm is now helping lead LA’s wildfire rebuilding efforts, bringing firsthand experience and innovative solutions to homeowners navigating the road to recovery. Visit www.AAHA.studio to learn more. Photo courtesy of AAHA Studio
A commitment to collaboratively designing solutions which are unique, inspiring, and responsive to the way we live, work, and play. —AAHA STUDIO 40 | O C T OBE R 2 026
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The Fairhope Hotel recently opened in a restored 1925 property in the heart of the coastal Alabama city. Right: The Fairhope Hotel owner and visionary Shelley Springer
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INTERVIEW BY JORDAN STAGGS PHOTOGRAPHY BY LAURA ROWE
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or Shelley Springer, hospitality was always in her blood. When Springer was growing up, her grandmother was known for having a gift for entertaining, she shares. Making everything from scratch— even the pastry shells for her crab dip—brought her joy as she prepared to share special moments with loved ones and friends. “Looking back, I realize she was creating something much bigger than a meal,” Springer explains. “She was creating an experience. For a few hours, she transported people.” Some of Springer’s earliest memories include sitting under her grandmother’s dining room table during her annual Christmas party, taking in the action while hidden beneath the tablecloth. “From that vantage point, everything felt magical,” Springer recalls, “with sterling silver, crystal, pressed linens, and the hum of conversation above me.” The warmth, love, and laughter of those events have always stayed with Springer, along with the idea that any home or table can be transformed into someplace special. Through her travels as a young adult, she further discovered a love of places that “feel collected,” she says, like each piece of a room or space was discovered piece by piece and added throughout time, building upon a story still being written. “A small inn tucked into a mountain town or a cafe that feels like it’s been there forever—those are the places that stay with you,” she says. Today, Springer is celebrating the most recent chapter of her own story and of the historic property at 131 Fairhope Avenue in charming Downtown Fairhope, Alabama. Originally built in 1925, the historic landmark is returning to its original name, The Fairhope Hotel, honoring its history and longstanding connection to the Fairhope community. The property has been reimagined as a new boutique experience that embodies the history and charm Springer loves so much. She and her team are thrilled to welcome visitors to The Fairhope Hotel.
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131 Fairhope Avenue came on the market in 2021, just after I had moved to the same block in downtown Fairhope. I was already familiar with the building, and it always felt like something special, like it had stories to tell. I made an offer quickly and reached out to my friend Allison Knight, whose family has deep roots in Fairhope. She connected me with local historians, and from there, the process began to feel less like a purchase and more like an excavation.
VIE: Did you know right away that you wanted the property to be a hotel? What was your vision for the space? SS: In the beginning, I planned to host guests through Airbnb and VRBO while operating a small gift shop from the former parlor. I wanted to spend time with the building, learning it and understanding it, while slowly bringing it back to life. As the project unfolded, I began to see the restoration much like traveling to a new place. Each decision became a form of discovery. Sourcing materials felt like wandering through markets, finding something unexpected that felt exactly right. Choosing fixtures, fabrics, and finishes was not just about design. It was about curation, layering elements that felt both timeless and specific to this place.
VIE CAUGHT UP WITH SPRINGER TO LEARN MORE ABOUT THE PROPERTY’S B A C K S T O RY A N D F I N D O U T W H AT I S I N S T O R E ! VIE: What led you to buy the hotel? Were you nervous about purchasing a historic property like this? SHELLEY SPRINGER: I began selling real estate about twenty years ago when my twins started school. It felt like something I could do while still being present at home, but it quickly became much more than that. Not long after I got my license, my youngest child was born, and he essentially grew up alongside my career. Many agents still remember him tagging along to sales meetings. Real estate has always been about more than transactions for me. It is about helping people step into a new chapter of their lives. Watching that transition unfold and seeing a house become a home has been incredibly rewarding. Looking back, I can see how naturally that led to the hotel. It is simply a larger, more layered version of the same idea, creating a place where people arrive, settle in, and feel something.
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There were surprises at every turn. Some were wonderful, and others incredibly challenging. There were moments where I had carefully selected something, only to find it unavailable when it was time to install. That forced me to pivot and rethink, much like you do when navigating an unfamiliar city. Those moments often led to something better, something I would not have found if everything had gone according to plan. During my research, I discovered what felt like a golden thread. The building was originally constructed as a hotel. That confirmation made everything fall into place. It was not just an idea. It was a return. I was never intimidated by the age of the building. If anything, I found comfort in it. It reminded me of my grandparents’ home and the way older spaces hold memory in a way newer ones cannot. My vision became clear. I wanted to create a place that feels as though it has always been there, while still offering something fresh, a kind of quiet luxury rooted in authenticity.
VIE: What have been some of the biggest challenges of working on this project? Does having the building on the National Register of Historic Places come with a lot of guidelines to follow?
SS: The challenges were real. Financing a hospitality project proved difficult, and I ultimately had to fund the restoration myself, which extended the timeline. The historic tax credit process added another layer. There are strict guidelines from both the National Park Service and the state. Once I understood them, I began to see them not as limitations, but as a framework for preserving what matters. Restoring original windows, doors, and materials became less about construction and more about stewardship. In one
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case, I found a window restoration craftsman on Instagram who happened to live in Mobile. He carefully removed and restored the original windows so they could function again. Moments like that felt almost serendipitous, like finding the right person or object in just the right place at the right time.
VIE: What does it mean to use National Park Service Historic Tax Credits and Alabama Historic Tax Credits on the restoration? What makes this significant for both the property and the city of Fairhope?
SS: The restoration demonstrates how historic preservation and economic development can work hand in hand. By utilizing both National Park Service and Alabama Historic Tax Credits, the project was able to preserve an important piece of Fairhope’s history while making the restoration financially feasible. We qualified for both programs through separate application processes, allowing us to receive historic tax credits that offset a significant portion of eligible restoration costs. As the first project in Fairhope to use both programs, it sets an important precedent and shows how historic preservation can help protect the city’s character while encouraging investment in its future. It also demonstrates to other property owners that preserving historic buildings can be both culturally meaningful and economically viable.
SS: Fairhope has been a special place to raise my children. It offers a quality of life that feels increasingly rare, safe, connected, and deeply rooted in community. We have always lived downtown, and I have such vivid memories of walking to the park and the pier, coming home to bikes in the yard, and kids playing outside. For visitors, I always recommend a sunset walk down Fairhope Avenue to the pier, a cappuccino at Refuge Coffee, a pasta-making class at Mari’s Italian Kitchen, and the seared redfish at The Pearl. It is a town best experienced slowly.
VIE: What are you most excited about now that the hotel is open? How many guests does it accommodate?
SS: What excites me most is finally sharing it with my neighbors, the community, and visitors who may be discovering Fairhope for the first time. The hotel features six suites and can accommodate up to fourteen guests. More than that, it offers a feeling. My hope is that when guests arrive, they feel cared for, comfortable, and quietly transported.
VIE: Do you have a favorite room or space? SS: It is hard to choose, but the light in the Bay Queen room is remarkable. It changes throughout the day in a way that feels almost intentional. That said, my favorite space is the downstairs owner’s suite. It has a soaking tub, and I am a big believer in an Epsom salt bath at the end of the day. There is something about that space that feels especially peaceful.
VIE: Will the hotel be available for weddings and events? SS: The hotel was designed with gathering in mind. The dining space can accommodate small groups for Mahjong or bridge, making it perfect for a girls’ getaway or a quiet moment during a wedding weekend. The staircase in particular feels made for memories. I can already picture a bride pausing there, her dress cascading behind her. There are so many moments waiting to happen throughout the space.
VIE: What do you love most about Fairhope? Where are some of your favorite stops? V I E MAGAZ INE . COM | 45
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Voyager VIE: Thank you and congratulations, Shelley! What’s coming up next for you? SS: On a personal note, I am thrilled to share that my daughter is engaged. After this chapter, I am looking forward to catching my breath and stepping into wedding planning. There is something meaningful about the idea of bringing two families together, possibly at the hotel itself. It feels full circle. More than anything, I am looking forward to walking to work each day and welcoming guests into this restored piece of Fairhope’s history. A place that, I hope, feels both discovered and remembered.
Visit FairhopeHotel1925.com to learn more or book your stay!
“FAIRHOPE OFFERS A QUALITY OF LIFE THAT FEELS INCREASINGLY RARE, SAFE, CONNECTED, AND DEEPLY ROOTED IN COMMUNITY.”
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L’intermission
The shortlist features 416 projects across categories ranging from best Creative Re-Use, Housing and Education to best Hotel, Health, Sports and Culture. See more about the events, schedule, and how to attend at WorldArchitectureFestival.com. Photo by Vinay Panjwani
World Architecture Festival 2026 This year’s best international architecture and interiors are revealed as the 2026 World Architecture Festival (WAF) shortlist is announced. Celebrating the most outstanding new completed buildings, interiors, and landscape designs from around the world, along with visionary future architectural projects, the shortlist sets the stage for the festival’s second event in the USA. Prestige University in Indore by Sanjay Puri Architects is shortlisted under the Completed Buildings: Higher Education and Research category.
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Love, VIE xo
The Magic of Selah Ridge Resort Long before there was a resort, there was a piece of overlooked Georgia mountain land.
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Photography by Levi Kelly
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Living room inside The Shiloh cottage
aniel and April Phelan, both Georgia natives, had come across those many acres, covered in years of neglect, by total accident. It was hardly the kind of place most people would look at and imagine a destination resort. But what’s that saying about happy little accidents? Daniel could see what the property might become. April, on the other hand, wasn’t quite as convinced. Neither came from a traditional hospitality or resort development background. Daniel is a builder, craftsman, and natural problem solver. April was always drawn to design, hospitality, and creating meaningful experiences. Her mother taught her how to bring people together, turning ordinary occasions into memorable celebrations. Daniel’s mother nurtured his artistic and creative instincts, giving him the freedom to imagine, make, and build with his hands. And eventually, those two influences collided on a mountain. There wasn’t a grand master plan for Selah Ridge at first. They knew they wanted to create an environment where people could reconnect—with one another, with nature, with God, and sometimes with themselves. The name Selah is a biblical word often understood as an invitation to pause and reflect. At Selah Ridge, that idea isn’t just part of the branding. It is the exact purpose behind the place. “Life is loud,” April explains. “Guests arrive carrying jobs, children, schedules, phones, responsibilities, and the constant noise of everyday life. The resort is designed to offer something increasingly rare: permission to be still.” To sit on a porch and watch fog roll across the ridge. To watch an entire sunrise unfold as the mountain slowly wakes up. To linger over dinner. To put down the phone. To look across the table and remember the person sitting there. The resort can’t manufacture those moments. What it can do is create the conditions for them to happen. 52 | O C T OBE R 2 026
The bedroom view and its charming view from inside The Shiloh
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The dynamic husband-and-wife duo mentioned something often missing in the hospitality landscape: genuine personal connection. They love beautiful resorts and elevated experiences as much as anyone, but they also recognized that luxury can sometimes feel sterile. Their goal for Selah Ridge was to combine the beauty, thoughtfulness, and attention to detail of a luxury resort with the warmth of being welcomed into someone’s home.
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An exterior view of The Tower (left ) and interior of the cozy bedroom
The unforgettable bedroom of The Treehouse and its exterior (above and left )
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“Ultimately, the most rewarding part of owning Selah Ridge has nothing to do with architecture. It's the people. Over the years, the couple has witnessed guests arrive during some of the most beautiful and most difficult chapters of their lives.”
simple yet favorite compliment they receive from guests is “You’ve thought of everything.” They constantly run a multitude of questions through their minds about their visitors: What might a guest need? What could make them more comfortable? What might distract them from being present? What detail could remove an unnecessary obstacle? When it comes to the architectural design itself, it’s the first part of the experience. Daniel has a particularly strong ability to look at challenging terrain and imagine what could exist there. A steep hillside becomes an opportunity to build into the trees. A spectacular view becomes the reason for a wall of glass. A difficult slope becomes a structure’s defining characteristic. As a result, no two buildings at the retreat feel exactly alike. A stay in one structure offers a completely different way of experiencing the mountain than a stay in another. The architecture, views, elevation, light, and relationship to the surrounding landscape shift from building to building. The design philosophy at Selah Ridge is difficult to place into a single architectural category, and that’s intentional. The couple draws inspiration from old mountain lodges, European countryside homes, historic buildings, whimsical storybook architecture, and spaces that become even more beautiful as they age. There is also a strong sense of play, with buildings including a treehouse, a lookout tower suspended high above the ground, and one that seems to have wandered out of a storybook or epic fantasy film. You know the one! These are spaces designed to awaken something in the guest—to unlock their inner child and create a sense of wonder. Of course, things that look perfect on paper don’t always work in the physical space. This is true for some buildings that didn’t work out at Selah Ridge. Rather than seeing those moments as failures, Daniel and April have learned to hold their plans loosely and stay open-minded. Sometimes the pivot produces something better than the original idea. The living grass roof on the Shiloh cottage is one example. So is the engineering and problem-solving required to build a lookout tower 35 feet in the air. Neither was necessarily the easiest choice. But sometimes, the owners believe, the impractical idea is precisely the one that creates the magic. Listening to the land is probably Selah’s strongest design principle, but it’s also very simple. Rather than clearing the property and forcing the mountain to
accommodate a predetermined plan, the couple asks a different question: What belongs here? They may study a potential building site for a year or more before construction begins. Daniel and April watch it through different seasons and at different times of day. They pay attention to sunrise and sunset, how the views change when leaves fall, where fog settles, and how light moves through the trees. Then the land begins to dictate the architecture. A tree may change a floor plan. A slope may determine the entrance. A view may decide exactly where a window belongs. Wood, stone, metal, leather, linen, and other textured materials help reinforce that connection to the natural environment. Colors often come directly from the landscape—the deep greens of summer, warm earth tones, stone, bark, and the mountain’s changing hues. Look closely around Selah Ridge, and you’ll find pieces of the couple’s story woven throughout in details such as precious family heirlooms, objects passed down from grandmothers, a photograph of the home where Daniel grew up, or old Coca-Cola crates that were discovered on the property when they first viewed the land. Those details sit alongside beautiful linens, carefully selected furnishings, and imaginative architectural elements. A beautiful space isn’t successful if guests are afraid to put their feet up. The goal is to create rooms that invite people to settle in—to curl up on the couch in their pajamas, have a special dinner, sleep deeply, and lose track of time. Ultimately, the most rewarding part of owning Selah Ridge has nothing to do with architecture. It’s the people. Over the years, the couple has witnessed guests arrive during some of the most beautiful and most difficult chapters of their lives. Some have gotten engaged on the mountain. Others have celebrated fifty years of marriage. Some have arrived grieving the loss of a three-year-old son. Others have arrived without the spouse they originally planned to share the trip with. Those experiences have fundamentally changed their understanding of hospitality. Because the truth is, they don’t know what someone is carrying when they drive up the mountain, but they have the privilege of creating the space, preparing it with intention, praying over the people coming through the door, and welcoming them in.
Follow along on Instagram @selahridgeresort and book your stay at SelahRidgeResort.com. V I E MAGAZ INE . COM | 55
Petite pause Scotch & Soda is bringing Dutch heritage into the modern wardrobe with a new collaboration with Royal Delft. Drawing from the ceramic house’s centuries-old Delft Blue tradition, the capsule collection reimagines archival motifs through contemporary prints, jacquards, and embroidery across men’s and women’s ready-to-wear pieces. View more or shop now at ScotchandSoda.com. Photo courtesy of Scotch & Soda
Each piece embodies a dialogue between past and present, where craftsmanship meets contemporary expression. —SCOTCH & SODA 56 | O C T OBE R 2 026
M O D E R N COASTA L D ES I G N Furniture • Art • Decor • Garden • Outdoor • Custom Upholstery • Design Services 16810 Panama City Beach Pkwy, Panama City Beach, FL 32413 Open Tuesday–Saturday, 10 AM–6 PM
(850) 775-1227 • MAISON30A.COM • @MAISON30A
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southern holiday AT THE BEACH WITH MALLORY ERVIN
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The view of the Gulf from Southern Holiday Homes’ “SEA-ing Stars” vacation home on 30A Photo by Dave Warren Right: Southern Holiday Homes founders Ashley and Brandon Youngs with their children Photo by Shelli Allen
here are vacation rentals, and there are vacation homes. The latter welcomes guests to truly unpack, stay awhile, and enjoy all the comforts of a second home at the beach without the pricey mortgage. Southern Holiday Homes, a bespoke vacation home business along Florida’s Scenic Highway 30A, specializes in properties guests often connect with and rent time after time for their beach vacations. That type of home invites families to make lasting memories without the hassle of familiarizing themselves with a new property every vacation. Kids can pick their bedrooms and grow up in them every summer, while parents know that the sweetest views from their Gulf-front balcony will be witnessing their family having fun on the white sand and in the surf below.
Interview by Jordan Staggs
Southern Holiday Homes was founded by Ashley and Brandon Youngs in 2020. Their dream to raise their family at the beach evolved into a desire to curate a collection of high-end vacation homes where others could do the same, even if only for a couple of weeks at a time. Meeting and bonding with repeat guests has been an unexpected yet incredible part of the experience. Their portfolio of homes has grown exponentially in the past few years, now boasting over 175 properties across 30A’s charming beach towns, including standalone homes, condos, townhomes, and Gulf-front showstoppers with the best views. V I E MAGAZ INE . COM | 59
SEA-ing Stars on 30A Photo by Dave Warren
Kyle DiMeola, Mallory Ervin, and their kids on a recent beach vacation
shley says Southern Holiday Homes’ “SEA-ing Stars” property is one of the area’s top-grossing rentals, and it’s easy to see why. The Gulffront home, located between Camp Creek Lake and Alys Beach, boasts ten bedrooms, nine full bathrooms, two half bathrooms, and sleeps up to twenty-eight guests, making it perfect for an extended family getaway. “It is a favorite of celebrities, influencers, corporate retreats, multigenerational family gatherings, reunions, and more,” she shares. “It is an absolutely one-of-a-kind property that wasn’t initially built to be a rental, but when our client acquired it, renting it was always the plan. This house has next-level finishes, furnishings, views, and things you would not typically get in a rental. It has fifty yards of private beach, and is over eight thousand square feet. It is just exceptional.” For busy mom, entrepreneur, author, and social media personality Mallory Ervin, getting away from it all at the beach is the perfect way to unwind and come home with fresh inspiration. For the past few years, Mallory, her husband Kyle, their four children, and extended family have made “SEA-ing Stars” their beachside headquarters for several trips, traveling down from Nashville to enjoy white-sand beaches, local shops and restaurants, and activities. “Southern Holiday Homes has become such a special part of our family vacations because we’ve been staying with them for years!” Ervin shares. “We come back to 30A 60 | O C T OBE R 2 026
Photo by Ally LaMarca
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every year (we’ve already come twice this year in two different houses), and they have the most incredible homes. We actually rent the ‘SEA-ing Stars’ house every year for our full family vacation because we love it so much. At this point, it really feels like part of the tradition for our family! It’s perfect for hosting big or multiple families, and access to the private beach is amazing! I think it’s the best house on 30A.”
particular, from oyster roasts to hibachi to hiring amazing local chefs or getting Goatfeathers shrimp. Just being a pile of family enjoying stuff like that together is probably my favorite memory.
As the founder of Living Fully Co. apparel and accessories and In My Sundays pajamas, every season brings new collections and new challenges for Ervin, so taking time away is essential to prevent burnout and make the most of family time.
Mallory: In no particular order: 1. Almond croissant at Fonville Press 2. Shopping for new jewels at MERIT by Willow 3. Oyster Rick 4. A quick lunch at George’s 5. Bonfires on the beach
We loved getting the chance to chat with the former Miss Kentucky, three-time Amazing Race alumna, author of Living Fully, and VIE March 2023 cover star, and learn what she and her loved ones enjoy most about vacationing on 30A with Southern Holiday Homes. VIE: Hi Mallory! So excited to catch up with you. What have you been up to this year? Mallory Ervin: This year has been such a full one in the best way! Between raising our four kids, running both Living Fully Co. and In My Sundays, traveling, creating, and getting to spend so much time with our community, there has been so much to celebrate. I feel like we’re in such a special season of life and business right now, and I’m loving it all! VIE: We hear you just got back from a stay in an amazing vacation home on 30A. Can you describe the “SEA-ing Stars” beach house in your own words?
VIE: What are your Top 5 Must-Do’s when you’re on 30A?
And, of course, a casual family beach day is on my list too! We also love just biking and walking around the area, grabbing lunch, shopping, looking at the houses—there’s so much to do around every corner. We’ve been coming for so many years that even our little routines down there have started to feel like family traditions. VIE: What’s coming up next for you and your brands in 2026 and into 2027? Mallory: There is always something new happening over here because I’m insane and am having so much fun with all of this! We have so many exciting things coming with both Living Fully Co. and In My Sundays, especially heading into the holiday season (our Super Bowl). Both brands have grown, and we’re expanding into some really cool things as we scale. We also have some amazing collaborations coming up for In My Sundays, and I have a totally new business launching next year that I’m so excited about!
Mallory: It really is the dream house. The layout Photo by Ally LaMarca works so well for our big family; there’s plenty of room for everyone to be together, but also space for families with a new baby or someone who needs more quiet to have that, too. Having kids I just feel so grateful, and looking back at our family vacations, it’s the good stuff of all different ages, the pool being steps from the beach is clutch, as well. We of life. I talk so much about living fully, and trips like this are such a reminder that also love the proximity to everything on 30A. It feels very central and close to so much of that happens in the everyday moments with the people and places everything our enormous family could need. A lot of times, the huge properties around you. I love that Southern Holiday Homes has become such a central piece are further out, but this one is smack dab in the middle, making it the best in of so many of our family’s memories over the years. And if you’re reading this and my eyes. It really is as close to perfect as it can get! putting off the trip, here’s your sign to take it! VIE: What was your favorite moment or memory from your trip? Mallory: Oh, there are so many! Honestly, I would say nothing beats just having our whole family together, watching the kids play on the beach all day, eating dinner together, and then ending the night with a bonfire on the beach or riding the golf cart to get milkshakes. I know I’ll look back on our family vacations forever, and it’s because of this property that there is enough space to house all our people and create so many memories! We love all our dinners at the house in
To learn more about Southern Holiday Homes or book your stay, visit SouthernHolidayHomes.com or follow @southernholidayhomes on Instagram. Learn more and shop Mallory Ervin’s collections at LivingFullyCo.com and InMySundays.com, plus follow along with her @malloryervin on Instagram and TikTok. V I E MAGAZ INE . COM | 61
L’intermission
Evolving from its beach party roots since opening its first Mykonos location in 2015, Scorpios has now built a concept that brings together art, design, food and healing. Its Bazaar plans now extend into 2027 and 2028. Find more at Scorpios.com/bazaar. Photo courtesy of Scorpios
Scorpios Mykonos A staple of the Scorpios beach club, the Bazaar on Mykonos has recently been brought in-house, with the club now exclusively curating a collection of over forty of the hottest emerging fashion designers, jewelers, and accessory brands from around the world into one place. Unlike other hospitality destinations that offer only large designer labels, this intentionally mirrors Scorpios’ reputation for unearthing talent early in its live music offerings.
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Love, VIE xo
Visual Perspectives
Visual Perspectives
For more information, visit EmmanuelleMoureaux.com. Photo by Hiroaki Zenke
EYE OF THE BEHOLDER
At Central Yards in Hong Kong, Emmanuelle Moureaux’s 100 colors no.54 “FLOW” turns the passage of time into a physical installation. One hundred colors and suspended numbers trace the years 2027 through 2032, creating a sequence that changes as people move through the space. The numbers do not represent fixed points; instead, they overlap, appear, and disappear as shifting perspectives alter the visual rhythm. The permanent installation, completed in 2026, continues Moureaux’s 100 colors series, in which color is used as a three-dimensional element rather than simply applied to a surface. Located along a busy pedestrian route connecting Hong Kong’s Central district with the Central Ferry Piers, FLOW brings color, movement, and time into an everyday urban setting.
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행진 – March, part of the new Gyeol Korean series by photographer Brad Walls
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Visual Perspectives
ast month in Seoul, Australian aerial photographer Brad Walls opened his first large-scale Asian exhibition, Photographs by Brad Walls: Moving Life, Still Art, at Groundseesaw Yongsan, running for six months through March 1, 2027. Spanning roughly one thousand square meters across six zones, the show gathers his signature works that have drawn coverage from international publications and galleries, alongside an original new piece created in Korea especially for this exhibition. As seen on the cover of VIE’s December 2025 Holiday Issue, Walls reconstructs human movement through the eye of the drone—an aerial perspective
that looks straight down on its subject, distilling the fleeting instants of sport and dance into line and rhythm, symmetry and negative space. The “moving life, still art” the artist speaks of lives precisely here: a single moment of the body in its most intense motion, brought to a perfect standstill. The exhibition unfolds as a single journey through six zones—from the clean lines found in athletes’ movements (Life Lines) and the vivid geometry of the human body (Body Geometry), to the supple curves and blue tones staged on water (Blue Harmony) and the gestures of ballet made sharper by a stripped-back background (The Silent Frame)— before arriving at its centerpiece.
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손수 – By Her Own Hand
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신호 – The Signal, on display at Groundseesaw Yongsan, Seoul V I E MAGAZ INE . COM | 69
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Brad Walls’ exhibit in Seoul runs through March 1, 2027.
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헌정 – The Offering V I E MAGAZ INE . COM | 71
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여왕 – Queen
That centerpiece is Still Art – Passé. In a large space saturated with striking red, dancers carry through the fundamental movements of ballet as a single continuous flow, and the fleeting instant in which they pause at each pose is captured in real time by an overhead camera positioned directly above, then projected onto a large LED panel. Visitors watch, before their very eyes, as the most intense moment of ballet is brought to completion as a single piece of still art. Neither a performance on a stage nor a video on a screen, it is a new form of experience in which ballet, photography, and performance meet in one space. The exhibition closes with Korean Still, an original new work created in collaboration with 1MILLION Dance Studio—the world’s largest dance studio, with more than 26 million YouTube subscribers—and directed by choreographer Lia Kim. Reinterpreting the curves and breath of Korean movement through Walls’s signature aerial perspective, the work makes its first-ever public appearance at this exhibition. 72 | O C T OBE R 2 026
Walls describes his experience in Seoul as “Such a whirlwind!” He says of the exhibition, “It has been so well received, and the merch is just beyond!” About the Artist Brad Walls (b. 1992, Sydney; based in New York) is known for his restrained, minimalist aerial photography and has built an international following for images of ballet, synchronized swimming, and athletic motion. His work has appeared in VIE, The Washington Post, CNN, Forbes, and The Guardian, and has been honored at the PX3 Prix de la Photographie Paris and the Fine Art Photography Awards.
Visit the exhibition through March 1, 2027, at Groundseesaw Yongsan: Living Park 8F, HDC I’Park Mall Yongsan, Yongsan-gu, Seoul, South Korea. It is presented and produced by Media&Art Co., Ltd. – Groundseesaw.
Petite pause Carolina Herrera has brought its signature elegance to Miami’s Design District with a new flagship boutique. Designed as a vibrant meeting point for fashion, art, and design, the space features custom details and original works by female artists, including Constanza Vallese and Liz Oliver. Opening during the House’s forty-fifth anniversary year, the boutique celebrates Carolina Herrera’s colorful, joyful aesthetic while embracing Miami’s creative spirit. Visit MiamiDesignDistrict.com to learn more. Photo courtesy of Miami Design District
A reflection of elegance, color, and sophistication at the heart of the house. —CAROLINA HERRERA MIAMI V I E MAGAZ INE . COM | 73
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ART, LIFE,
AND
LEGACY CELEBRATING GEORGE RODRIGUE
IN ROSEMARY BEACH
F
ans of George Rodrigue, the Louisiana artist whose landscapes, portraits of the Cajun lifestyle, and iconic Blue Dog series captivated audiences from the 1960s through the time of his death in 2013—and still do today—have two opportunities to view and celebrate his work in Rosemary Beach, Florida, along Scenic Highway 30-A. Wendy Rodrigue Magnus was married to George Rodrigue for sixteen years and now carries on his artistic legacy through speaking engagements, gallery exhibitions, and fundraising through the George Rodrigue Life & Legacy Foundation. Wendy will visit Rosemary Beach, near her hometown of Shalimar, this October 15, 2026, as the keynote speaker at the Patrons Celebration Party to kick off the Fifth Biennial Rosemary Beach Sculpture Exhibition (RBSE). Additionally, Wendy will be the guest of honor at a special reception on Sunday, October 11, from 5:00 to 7:00 p.m. at Curate 30a gallery in Rosemary Beach. A selection of original George Rodrigue paintings will be displayed during the event. “Our hope is to provide an opportunity for art lovers to meet Wendy and be inspired by the fascinating and mysterious works of George Rodrigue,” says Molly Johnson, gallery director for Curate 30a. She continues, speaking on the inception of the biennial townwide exhibition in 2017. “The vision for the Rosemary Beach Sculpture Exhibition was to complement the architectural heritage and natural beauty of Rosemary Beach by placing art in pocket parks, greens, gardens, and town square,” Molly says. “What began
with cold-calling sculptors across the US has grown into a premier fine art destination with hundreds of talented applicants and a juried exhibition. We have selected twelve incredible sculptures this year, which are to be installed the second week of October!” In the initial planning stages for the exhibition sites in 2017, Wendy donated the sculpture Colors of My Mind, created by her late husband. George is commonly referred to as “the Blue Dog artist” for his very recognizable subject matter, and this sculpture is one of those iconic pieces. It was included in the first exhibition and has remained a permanent fixture in the community and an intriguing symbol for everyone from art aficionados to casual passersby. “George Rodrigue used the Blue Dog to ask powerful questions and express his feelings. To me, the Blue Dog is George himself,” Wendy shares.
BY JORDAN STAGGS | PHOTOGRAPHY COURTESY OF WENDY RODRIGUE MAGNUS
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Untitled Demo, 2010 by George Rodrigue Acrylic paint and ss ink on chrome paper, 40 × 50 inches Left: Wendy Rodrigue Magnus
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“Y
et art takes on a life of its own, long after the artist is gone. And what others see in the art is just as important as George’s intent. Therefore, the Blue Dog can be anything to anyone! In my presentation, I’ll give a detailed history of the Blue Dog’s origins and development, as George explained it to me and as I’ve witnessed it over the past 35 years. It’s a great story, at times funny, at times extremely moving, and at times even shocking! From there, folks can interpret as they will, hopefully enlightened by the surprising background.” The reception at Curate 30a on October 11 will feature more than just Blue Dog pieces; Wendy plans to share paintings from her vast personal collection that have never been publicly displayed before. “I’ve found that most people, although familiar with Rodrigue, have never seen his original paintings in person, and they’ve certainly never seen these, which are from the walls of our home,” she shares. “Although I present this programming nationally on biannual tours, the artworks alter depending on a variety of circumstances. This grouping, for example, relates to the Rodrigue sculpture in Rosemary Beach, the hundredth birthday of Route 66, and the transition from George’s dark early works to his mysterious, mystical later paintings. I’m excited to share all of it and hopefully inspire others in their own art, whatever it may be!” Molly shares her own excitement to view more of Rodrigue’s original pieces in person. “At its core, George’s work is an exploration of humanity through pop surrealism,” she says. “Visually, his work is vibrant and refreshing, which is why it’s so memorable. When I think of Rodrigue, I am inspired to be curious, not judgmental. We all have a story to tell, but not all the answers, if any at all.” In an increasingly digital world landscape, Wendy and Molly agree that creating and sharing art remains an integral avenue to human connection, more important than ever. “George often said that the Blue Dog is looking at us for answers to questions like Where did I come from? What does it all mean? Who are we, anyway?” Wendy shares. “Those answers are not found on Google! We must remain curious as humans and explore these answers through our deepest personal expressions, our art! That might be painting, but it also might be writing or gardening or storytelling! It took
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me years to find my art, but now that I’ve found it, I feel far more connected to my fellow humans, and far more open to the magic and spontaneity found in living an authentic, present life.” Wendy continues, “I want to inspire and delight with this programming, sparking curiosity and wonder! My personal goal, however, is different. George and I were together in life, love, and business for 23 years. Since he died in 2013, I’ve seen him become almost mythic, like Picasso or Dalí. Yet for me, he’s just George. He was wonderful and special in the way that we all tend to feel for the ones we love. I want him to be real and relatable for people. And as to exhibitions, although today he hangs on the walls of numerous museums, I want to see him hanging on the walls of The Met!” In addition to other locations on her national tours, Wendy has worked for years with the Mattie Kelly Arts Foundation headquartered in Destin, Florida, sharing George Rodrigue’s original art and inspiring life story with students in Okaloosa and Walton County Schools. “I’m grateful to the Rosemary and Alys Beach Property Owners Associations and Curate 30A for inviting me to expand this unique programming for the wider community,” she says.
George and Wendy with Chanel No. 5 at Acadiana Center for the Arts
Her time in the 30A area will also include an educational event at Ohana Institute, located at 30Avenue in Inlet Beach. “This fall, my tour begins with the Florida Panhandle and continues with schools and museums in Louisiana and Oklahoma, where I’ll visit my 300th school! I’m thrilled to launch this milestone series of events on the Emerald Coast, an area that helped shape my love for the arts and that remains, in many ways, home.”
Other events around the US this year include the George Rodrigue Life & Legacy Foundation’s twenty-second museum exhibition, “REFLECTIONS: The Art of George Rodrigue,” which includes 35 original artworks from Wendy’s private collection, many of them unique late works on metal. The exhibition continues through January 2027 at the Louisiana Art & Science Museum in Baton Rouge. “The Bayou Collection by George Rodrigue,” at the Walter Anderson Museum of Art in Ocean Springs, Mississippi, features forty paintings from the 1980s, including Rodrigue’s first painting of the loupgarou, a Cajun myth that sparked his Blue Dog Series. This traveling exhibition is organized by the LSU Museum of Art and runs through January 9, 2027.
Wendy and Me, 1997 Acrylic and oil on canvas, 24 × 36 inches
Blue Wendy, 2000 Acrylic on Arches watercolor paper, 22 × 30 inches
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“GEORGE OFTEN SAID THAT THE BLUE DOG IS LOOKING AT US FOR ANSWERS TO QUESTIONS LIKE WHERE DID I COME FROM? WHAT DOES IT ALL MEAN? WHO ARE WE, ANYWAY?” WENDY SHARES.
Beach Ball Bingo, 2012 Acrylic on canvas, 24 × 48 inches 78 | O C T OBE R 2 026
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“THOSE ANSWERS ARE NOT FOUND ON GOOGLE! WE MUST REMAIN CURIOUS AS HUMANS AND EXPLORE THESE ANSWERS THROUGH OUR DEEPEST PERSONAL EXPRESSIONS, OUR ART!”
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new documentary film, BLUE: The Life & Art of George Rodrigue, is currently streaming on PBS. It received a stellar review in The Wall Street Journal and recently won the national Emmy Award for Outstanding Regional Documentary. As for more Rosemary Beach exhibitions at Curate 30a, Molly shares, “Curate looks forward to a series of art events this fall. Before Wendy’s visit, we will host renowned impressionist painter Steven Quartly for his second solo show of the year, October 1–7. On November 14, we will be serving sips and brushstrokes for the Rosemary Beach Uncorked wine festival. Attendees can anticipate live painting and great vibes! Closing out the season, third-generation glass blowing artist Tim Lotton will be in attendance for a show featuring his new body of glass sculptures on November 23 and 24.” Visitors can view the sculptures throughout Rosemary Beach anytime, with the RBSE on display starting October 17 until October 2027. A free printed exhibition catalog with a site map will be available to guide visitors through the RBSE at their own pace. An audio tour narrated by the artists themselves will also be available through the free Otocast smartphone app.
Wendy with a newer Blue Dog work inspired by Rodrigue’s original 1971 painting Aioli Dinner Photo by Nathan Burton, Santa Fe New Mexican
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“Public art fundamentally shapes how people experience their environments and often prioritizes accessibility,” Molly continues. “Rosemary Beach is an immersive experience that values community, champions creativity, and inspires everyone who has a chance to experience its beauty. Curate, RBSE, property owners, and patrons work in tandem to ensure that art remains a key part of Rosemary’s story.”
For more on the George Rodrigue Life & Legacy Foundation, visit RodrigueLegacy.org. Head to RosemaryBeachSculpture.com to learn more about the exhibition, and Curate30a.com for more on the gallery and its upcoming events. The RBSE is proud to be a partner with the Cultural Arts Alliance of Walton County for Art Month South Walton. The exhibition is also backed by the Rosemary Beach Property Owners Association (POA), the POA staff, and numerous volunteers working with the committee to help mount the Exhibition. The committee includes project director Alisa Ghazvini, Burt Beusch, Michelle Brooks, Ceil Chapman, Gary Handler, Molly Johnson, Mary Lostak, Johnny Mutina, Stacy Parks, Trevor Price, and Sherrye Röell.
George Rodrigue with his sculpture at Dixon Gallery & Gardens in Memphis
L’intermission
Visit AbigailKahan.com or follow on Instagram @abigail_kahan to see more. Photo by Richard Powers
Mood Reader “Crafted environments” are the specialty of New Jersey-based designer Abigail Kahan, whose Astor Place project in Rockland County, New York, is a lesson in timelessness. Traditional elements, mystery in its deep hues, and whimsical lighting combine in this library space. With custom details throughout the nine-bedroom home, all tailored to the clients’ unique needs and taste, Kahan’s team describes this residence as “especially attuned to materiality, mood, and sculptural restraint.”
Love, VIE xo V I E MAGAZ INE . COM | 81
BLANK WALLS OR
UNLIMITED POTENTIAL? ENGAGING
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ABANDONED
PLACES
FOR
ART
Visual Perspectives
BY JAMIE ZIMCHEK PHOTOGRAPHY COURTESY OF THE NON MUSEUM PROJECT
T
here is a preternatural quiet in the stone pines, punctuated maybe by the chirps of several birds, or possibly the dim sound of surf as its modest surge is muffled by a long stretch of tawny sand. The temporary absence of human presence is misleading. Six, even seven centuries ago, this section of Spain’s northeast coast was home to small fishing villages and frequented by raiding pirates. The lone watchtower on a low inland hill here at Platja de Pals in Catalonia, Spain, has begun to crumble, dwarfed by mature trees. In more recent centuries, tourists have taken over the shoreline in season. An annual Pirates and Corsairs Fest nods to the nearby Medes Islands, now a nature reserve but once a notorious pirate stronghold. More recently, the scrub-covered dunes backing the beach were known for a crop of large red and white antennas that interrupted the natural skyline. These antennas, the largest of which topped out at over 500 feet, were for four decades the most visible indicator that something was different about this beach. Direct ocean access, ideal for tropospheric propagation and ionospheric bounce to the Union of Soviet Socialist Republics (USSR), made this—Spain’s Costa Brava—a strategic choice for an American-funded radio transmission station during the Cold War. Radio Liberty was the most powerful shortwave broadcaster in the world while in operation from 1959 to 2001, retransmitting news and anticommunist messaging into the deeper reaches of the USSR. Now, in the off season, the beaches are empty. The antennas were demolished in March, 2006, eleven hours and nine minutes before the forty-seventh anniversary of the first broadcast. The perimeter fence, though largely upright, has whole sections missing; the barbed wire on top is merely decorative.
Above: The Non Museum Project at Radio Liberty, Platja de Pals on Spain’s Costa Brava Opposite: The Non Museum Project at Ostia, Rome
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T
he Radio Liberty facility, once a tidy footprint that included the primary office complex (designed by a well-known Catalan architect), ample security outposts, a diesel plant, a water tower, and small warehouse spaces, is now a gritty, abandoned shell. Local conservationist group Salvem la Platja de Pals has worked to protect the land and turn the compound into a museum, but efforts have stalled. In the meantime, pine trees and scrub have returned to the area where the antennas once stood. The buildings, however, are in a slow, painful slide: a mess of glass shards, crumbled ceiling panels, and debris, with walls covered in colorful graffiti tags and spraypainted messages that deviate sharply from the original radio content. Something about the intersection of recent historical import and current dereliction made this site of singular interest to the artist collective known as The Non Museum Project. Though made up of six artists, the group collaborates with even more, depending on location. Each project is site-specific, based in places that blur the boundaries between past and present, art and intervention. For every iteration, there’s been a local connection to at least one of the collective members. Cristine Balarine, a Brazilian artist with origins in architecture based in Sicily, brought the original group together in an abandoned pumice factory in Lipari, an Italian island off the coast of Sicily, in 2025. Several months later, the collective shifted to Ostia, a densely packed neighborhood at the mouth of the Tiber, not far from the home of Rome-based documentary photographer Stephanie Gengotti. For this third iteration in Spain, artists Fiona Morrison, an Andorran multidisciplinary artist, and Michelle Wilson, an interdisciplinary artist-activist of South African and British origins (both of whom live near Barcelona), brought the Radio Liberty site to the collective’s attention. In conversation with a local conservationist, Morrison and Wilson recognized this location’s potential, both for the unconventional nature of the space as a place for art-making and for its cultural significance, linking international policy with local preservationist initiatives. Joining the collective in person were interdisciplinary artists Jamie Zimchek and Shannon Cleere. Cleere is based in Seattle, Washington, and Zimchek in Northwest Florida—her academic background in history and U.S. foreign policy made this site feel particularly relevant.
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Punctuated by precipitous holes, rubble from broken asbestos ceiling tiles, and deep, litter-filled trenches left behind when machinery was removed and later looted, the site presented a number of physical challenges. All materials were hand-carried to the space. With no running water or electricity, local collaborator and composer Montse Miàs had to use a digital piano powered by a heavy battery hauled on-site to debut a new composition in the cavernous space formerly known as the Continental Room. Unlike traditional gallery or museum exhibits, this type of project is transitory, ephemeral. There’s a purity to the process. The participating artists carefully research the space, planning site interventions and visual responses that consider its contexts, both cultural and historic. There is no formal opening, no gallery hours, and nothing is for sale. Occasionally, a pedestrian wanders through, but there is no audience in the traditional sense. On some level, the work temporarily brings each site it engages back to life for a breath or two. On another, this work, largely removed from the site upon project completion, lives on, but only through careful documentation. A whispered audio component, playing on repeat in a rusting hulk of a form next to the defunct electrical substation, is recorded as video. Another project, dimly illuminated by red bulbs installed in the diesel plant’s stripped metal control console, now exists only in photographs and short video clips. A collaborative textile installation incorporates text from George Kennan’s 1951 strategic assessment of Radio Liberty, declassified in 2009, layered over archival images from the Hoover Institute’s Radio Free Europe collection. For three days on site, these pieces catch the breeze, fluttering in front of a decade’s worth of graffiti messaging and one lone satellite dish. Now they’re frozen in a photograph, already part of the past. A 130-foot-long orange stripe is pulled through the space, photographed, rolled up and packed away. One afternoon, several of the artists weave brightly colored tape and rope through the substation structure, an interaction that sits somewhere between safety hazard and joyful festoon. This is the one project left behind, an intentionally ambiguous reflection on power, both soft and electrical.
Visual Perspectives
This page: Elements of various art pieces and found objects from The Non Museum Project’s sites in Spain, Greece, and Italy Opposite top: Polaroid photo installation at the Radio Liberty site Opposite bottom: A lone photograph installation harking back to Ostia’s past V I E MAGAZ INE . COM | 87
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AN I N TE RAC T IO N T H AT S I T S S O M EWH E RE BE T WEE N S A FE T Y H A Z ARD A N D JO YFU L F E ST O O N.
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”
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L
ater this year, the group will convene in the U.S., joining a local collaborator at Sunshine Valley Ranchettes. This high-desert development in New Mexico was hawked in the 1960s and 70s as a desirable housing community favored for its warm, sunny climate. However, the inaccessibility of water and limited access to power rendered the land, often sold sight unseen, largely worthless. Today, a few forlorn homes and an old school bus remain, but most residents are long gone, leaving behind assorted possessions and unfinished construction. With several days and nights to work, the group will consider the place for both its bleak physicality and its recent history driven by human presence and absence.
The Non Museum Project continues to seek sites where history, abandonment, and intervention converge. To view documentation from the Radio Liberty project and learn about Sunshine Valley Ranchettes, as well as other upcoming collaborations, visit TheNonMuseumProject.com or follow @thenonmuseum.project on Instagram. Learn more about Radio Liberty and local conservation efforts in Platja de Pals at SalvemPlatjaPals.org.
The Non Museum Project artists Fiona Morrison, Michelle Wilson, Shannon Cleere, Stephanie Gengotti, Cristine Balarine, and Jamie Zimchek at Radio Liberty
Artist Phoebe Dickinson Photo by James Meakin
BY K AT IE O GL ETR E E | P H OTO GR APH Y CO U RTE SY O F PH O E BE DICKINS O N 90 | O C T OBE R 2 026
Visual Perspectives
WHERE OBSERVATION ENDS AND ART BEGINS A
rt has a way of revealing the person behind the work. For Phoebe Dickinson, painting isn’t just a way to create beautiful images, but a reflection of the world she inhabits, the people she encounters, and the experiences that shape her. Born in London, Phoebe Dickinson was introduced to art through her father, Simon Dickinson, a renowned art dealer whose gallery featured works spanning from the Renaissance to modern British art. Her early exposure to paintings and artists fostered a lifelong interest in art, and she began drawing at a young age. Her life and art are closely intertwined, offering a fascinating glimpse into both her creative vision and the society in which she lived. Rather than following a traditional university path, Dickinson pursued her passion professionally, studying for three years at the Charles H. Cecil Studios in Florence, Italy. Her training in Florence, particularly her work from the live model, gave her a strong foundation in drawing and oil painting. Over time, portraiture became one of the defining features of her career. Although portraiture remains central to her practice, Dickinson’s work extends into landscapes, still lifes, and interiors.
We had the chance to interview Phoebe on her artistic processes, how her creative vision has changed over the years, and what she hopes for her future and legacy!
VIE: When you begin a portrait, what do you notice about someone first? PHOEBE DICKINSON: I’m usually trying to take a lot in at once. What outfit flatters them most while also being wonderful to paint? What is their best angle? How should we style their hair so I can see their face clearly but make them look natural? What are their best features, and how can we accentuate them or make them noticeable in the painting? VIE: What happens when you enter a house you’ve been commissioned to paint in for the first time?
PD: Well, usually, after having a coffee and a discussion with the client about their hopes for the painting, we all look around the house together, and I check the light to see what options we have to create the best painting.
VIE: How much of a portrait is planned before you begin, and how much emerges as you paint?
PD: On the whole, I have a pretty clear idea of what I’m trying to do before I actually start painting, but sometimes things do change and develop as I paint. VIE: You’ve said that the setting should add interest to a portrait. What makes a room or landscape feel right for a particular person?
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Visual Perspectives PD: In some people’s houses, they have one room they particularly love and want to be the setting for their portrait. In other circumstances, there may be countless rooms to choose between, and when that happens, it’s a collaborative discussion with the client. Usually, we get a feel pretty quickly as to what outfit and room will make the most beautiful painting.
VIE: What are you trying to capture that a photograph can’t?
Left: The Cholmondeley Children by Phoebe Dickinson Below left: Girl in the Green Room Right: Dickinson working on a family portrait Photo by James Meakin
PD: I am trying to capture the sense of who that
Opposite bottom, left to right:
person is both inside and out, their soul and the essence of who they are as a person.
Rose at Houghton Hall
VIE: Has your approach to portraiture changed as you’ve become more experienced?
PD: Yes. With each painting, I learn something and therefore constantly have a better understanding of how best to go about things. I am learning to be more playful in how I approach painting. VIE: Is there a particular house or garden you’ve painted that you could happily return to again and again?
PD: One that comes to mind is Iford Manor near Bradford on Avon. The Harold Peto-designed garden is so inspiring, unusual, and a great source of inspiration for our own garden. The restaurant there is completely delicious. I highly recommend a visit! VIE: What did traditional training give you that you think is particularly valuable today?
PD: To really look carefully and keep stepping backward and looking at the painting from afar. People have often commented that I look like I’m having a sword fight with the painting. VIE: If you could preserve one moment from your life through a painting, what would it be?
PD: I think it would be painting my children more often. I’ve only painted them once, but with my schedule so booked up with commissions, it’s often hard to make the time to document the people closest to me. 92 | O C T OBE R 2 026
Lady Stella Lambton at Biddick Hall The Manners Sisters at Belvoir Castle
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Visual Perspectives VIE: What would you love to paint that you haven’t painted yet? PD: I once got a request to paint a young girl with her pet rats and ferrets! The commission never happened, but it got me thinking that it would be really fun to paint someone with a menagerie of animals all around them. VIE: If someone encountered your work 100 years from now, what would you hope they understood about the people and world you painted?
PD: Something I love about looking at old paintings is trying to guess what things mean or why they were wearing this or that. I would hope that even if people wouldn’t necessarily understand, they would be prompted to ask questions and be intrigued by the clothing and decor. Most of all, I would hope they think the painting is beautiful and that it gives them joy even if they don’t know the sitter.
THANK YOU, PHOEBE! Follow along with Phoebe’s work on Instagram @phoebedickinsonart or on her website at PhoebeDickinson.com.
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THROUGH ART, GRIEF, TECHNOLOGY, AND EMOTION, HIRA MAJEED EXPLORES WHAT CONNECTS US.
BY CAITLYN BURRUS | PHOTOGRAPHY COURTESY OF HIRA MAJEED 96 | O C T OBE R 2 026
Visual Perspectives here are some things you can’t explain. You can try to write them down. You can talk around them. You can search for the right sentence, the right person, the right way to make someone understand what is happening inside you. But sometimes there aren’t words big enough. For artist and creator Hira Majeed, that is where art begins. “I hope that, even if only for that moment, they feel seen,” Majeed says of the people who encounter her work. “I hope they find hope, inspiration, and some reminder that they are not alone.” This sentiment has become inseparable from the work itself. Majeed’s art moves through abstract compositions, figurative work, three-dimensional canvases, sculpture, life-size installations, digital work, AI, and robotics, but the medium is never the only story. Beneath the resin, gold, glass, light, unconventional objects, and technology is an ongoing curiosity about what it means to be human.
I first encountered her work at Art Basel Miami in 2025. Now, as she prepares to return to Miami for Art Basel, the work has taken on another layer—one shaped by loss, grief, rebuilding, technology, and everything that happened between then and now. To understand where Majeed is going, however, it helps to look beneath the layers of where she began. One piece she considers foundational to her identity as an artist is Hidden Beneath the Layers. She began the work as an attempt to put words to an experience she struggled to communicate. Majeed wrote directly onto the canvas, filling it with everything she was feeling at a time when she was afraid to talk about what she was going through.
Why do we love? Why do we hide? Why do we break? Why do we heal? And perhaps most importantly: What exists beneath the obvious thing we initially see? Majeed’s answer has been to keep creating.
But the words weren’t enough. “The more I wrote, the more I realized the words weren’t doing justice to what I actually felt inside,” she says. So she covered them. She layered the canvas with gold, including 24-karat gold elements, then splattered paint across it from different angles, distances, and methods. She added crushed glass, resin, and meaningful objects she had collected during some of her lowest moments. She cried for hours as she covered every letter. The result was layer upon layer of beauty concealing words no one could see. And somehow, she says, she felt seen. That realization became a turning point. Majeed understood that art could exist as its own language, a way to release something without having to explain every piece of it. “I think that was the moment I truly became an artist,” she says. That philosophy has followed her into everything she creates.
Left: Artist Hira Majeed with her work titled Healing Above: Hidden Beneath the Layers Opposite: Chaos V I E MAGAZ INE . COM | 97
ajeed pours her thoughts, emotions, experiences, and questions into her work, but once a piece leaves her hands, she wants the viewer to make it their own. During Miami Art Basel last year, she spoke with hundreds of people who experienced her work, often stopping what she was doing, even while creating live, to hear what they saw in a piece and where it took them. Sometimes their interpretations surprised her. Sometimes they taught her something about her own work.
Broken things do not always stay broken, and light can still pass through shattered glass. A custom LED illuminates the heart, flickering like a heartbeat—a reminder that even after heartbreak, the heart is still alive. Majeed’s Wabi-Sabi with Kintsugi turns another familiar cultural conversation on its head. The 20-by-36-inch mixed-media, three-dimensional work incorporates empty aesthetic-treatment vials from procedures including fillers, neurotoxins and neuromodulators, weight-loss treatments, and other aesthetic procedures. At its center, gold takes over through paint, 24-karat gold leaf, foil, resin, and other gold elements, with a custom LED system spelling “Wabi-Sabi.”
That exchange is part of the art. “Once that happens, the artwork isn’t only mine anymore,” she says. “Part of it belongs to their story too.” That idea feels especially significant in Majeed’s work because so much of it comes from experiences that have changed her own story.
Inspired by the Japanese philosophies of wabi-sabi and kintsugi, the piece considers imperfection not as something to erase, but something to illuminate. Majeed makes space for personal choice: If an aesthetic treatment makes someone feel beautiful, she says, that is their decision. Her message is simply that aging is beautiful, scars are beautiful, and wrinkles tell stories. “You don’t necessarily have to change a thing,” she says.
Protect Your Heart, for example, centers on a handmade anatomical-inspired heart created from clay and resin, with a small key resting on one of its valves. A handcrafted torso of barbed wire and welded metal forms a cage around the heart. Antique gold and layers of 24-karat gold leaf finish the torso, while a heart-shaped lock is partially concealed by shattered fire glass. Clockwise from left:
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The message is personal but universal: We hold the key to our own hearts. We decide who receives it. We decide when to open ourselves. And we can take the key back. Yet the shattered glass doesn’t stay hidden behind the torso. It travels around the body and upward toward the neck, reconnecting toward the heart.
Then there is Resilience. The 30-by-40-inch mixed-media drawing depicts a woman appearing to break through the canvas, created with charcoal, sketch pens, deep-black markers, oil pastels, resin, and hand-sculpted dimensional elements. The piece comes from a chapter of Majeed’s life that she says she couldn't openly discuss. Her first degree and career were in healthcare, and during that period she experienced assault, harassment, and discrimination for being a woman, and ultimately lost almost everything she had built. She spent years trying to prove what had happened while rebuilding her life. After years of fighting and investigation, she received an official finding in her favor. Now, she is sharing that part of her story publicly for the first time, hoping it encourages others to speak up and reminds them it is never too late to start over.
Visual Perspectives That is Resilience: not pretending something terrible never happened, but refusing to let it determine where the story ends. Majeed rebuilt. She became a Forbes-featured artist, had her work recognized during Miami Art Basel in 2025, built businesses, expanded into technology, artificial intelligence, robotics, marketing, apps, websites, PR, events, and mentorship, returned to school for artificial intelligence engineering, taught humanoid robotics workshops, spoke at events, and developed and filed patents related to AI data centers and robotics. And through every version of her life, art stayed. Then came Serenity. A life-size, Formula 1-inspired car sculpture approximately seven feet long, six and a half feet wide, and just over three feet tall, Serenity began in Chicago and was completed live in Miami during Art Basel. Built from EPS, clay, PETG elements, resin, and a color-shifting finish, the sculpture changes depending on light and viewing angle.
up a canvas, pencil, or paintbrush. But when she began drawing again, it was in a new style.
For Majeed, racing and art share something essential: the noise disappears. She has been racing since around age sixteen, and the feeling she experiences behind the wheel is similar to what she feels while creating. For a moment, only she and what is directly in front of her remain. That became the heart of Serenity.
She drew the exact moment she lost him: Gucci lying on the hospital table, herself beside him, tears falling onto him and forming a heart around him illuminated in light, with hospital staff standing behind them. She rendered almost the entire piece in gray, black, and white because that was how the world felt in that moment, as though all the color had disappeared. The piece will be exhibited during Miami Art Basel 2026. “I realized that maybe it didn’t have to be explained with words,” she says. Creating gave her grief somewhere to go.
Miami Art Week is bustling with exhibitions, dinners, events, traffic, schedules, people, noise; everything is happening at once. Majeed wanted the sculpture to stand still inside all of that movement. Cadillac Hotel & Beach Club now owns Serenity, so anyone interested in seeing it can contact the hotel about its current display.
It also changed the way she sees everything she creates. The pieces made while Gucci was alive became even more precious because his original mark can never be recreated. Still, she continues finding ways to incorporate him into her work because she wants part of him to keep living through her art. It is another layer.
Life changed again after Art Basel. Majeed lost Gucci, her dog of sixteen years, on February 14, 2026. Gucci had been beside her through nearly every chapter of her creative life. He was there when she painted in her bedroom, worked in a basement, studio, outside, or in a garage. Serenity began construction in Chicago with Gucci beside her. Majeed would sometimes mark her artworks with nontoxic, pet-safe paint, making his presence part of the work forever. When he died, creating suddenly felt different. For a while, she couldn’t pick
And, as Majeed says, her artwork has layers because she does. That same instinct to create without boundaries extends into technology. Majeed sees technology as another artistic medium, designing and building humanoid robots with movement, personality, expression, engineering, color, form, interaction, and emotion.
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ne of her humanoid robots can see people, move its eyes, mouth, and face, dance, and interact with them. It can respond to questions like a GPT-style AI system, and she has rebuilt parts of it so it can operate wirelessly on a rechargeable battery. To Majeed, that is art, too. Her work Equilibrium: The Written Conscience pushes that conversation even further, placing a heart and brain in balance and questioning the evolving relationship between humanity and artificial intelligence: Can intelligence be programmed? Can emotion? Can conscience? And can technology amplify what makes us human rather than replace it? Those questions are moving increasingly to the center of Majeed’s practice. At Art Basel Miami this year, she says visitors can expect mixed-media work, dimensional pieces, drawing, sculpture, and the materials associated with her practice: resin, gold, glass, light, texture, and unconventional objects. But the new work carries more emotion. Grief has entered it. Technology has entered it more deeply, too.
Hira Majeed presents her talking humanoid robot, Chewkey 2.14
The result is a body of work that looks inward and forward at once. There is grief beside robotics. Healing beside artificial intelligence. A Formula 1 car beside an anatomical heart. From the outside, they may seem unrelated. To Majeed, they are all asking the same question: What does it mean to be human? That may be the real thread connecting everything. Majeed doesn’t want people to walk past her work and call it beautiful. She wants them to stay, feel something, maybe cry, smile, or encounter a memory they had forgotten. Maybe they’ll see something differently than they did five minutes earlier. She wants the artwork to meet people where they are and, in a world where everyone seems to be moving at once, to stop long enough to feel. “You can break and still become whole,” she says. “You can grieve and still experience joy again. You can have imperfections and still be beautiful. You can lose yourself and still find another version of yourself.” If someone encounters Hira Majeed’s work for the first time this year, she knows exactly where she wants them to start: Hidden Beneath the Layers. Not because it is her largest or most technologically advanced piece, but because it explains why she creates. There are words beneath it that cannot be seen. Beauty sits atop pain, layered with gold, color, glass, resin, and meaning. At first, a viewer may see the materials, but underneath them is an entire story. Then, she says, proceed to Protect Your Heart, Resilience, Wabi-Sabi with Kintsugi, Serenity, the work born from grief, and eventually Equilibrium: The Written Conscience, where technology and artificial intelligence enter the emotional conversation. A canvas. A sculpture. A Formula 1 car. An anatomical heart. A humanoid robot. Artificial intelligence. Grief. Healing. Technology. Love. They all lead back to the same place. 100 | O C T OBE R 2 026
And perhaps that is exactly what Majeed hopes someone discovers when they stand in front of her work: not necessarily an explanation, but a feeling that says, “I see you. You are not alone.” “You don’t have to find the words right now,” she says. Sometimes all you can do is breathe, cry, draw, paint, or write something and cover it back up. Sit in silence and create. “Find somewhere safe to put it,” Majeed continues, “and please keep going.” Because the dream, for her, keeps getting bigger. She wants to create immersive experiences where art is not separated from technology, science, robotics, engineering, emotion, or human connection. She wants art to respond, move, speak, change, see people, and maybe even learn from them. She wants to create on a scale that currently feels impossible. And she wants what she creates to help someone. Because there was a time when she couldn’t see what came next; now she looks at everything that has happened— the art, Miami, Forbes, robotics, businesses, engineering, patents, racing, and the people connecting with her work—and knows she is still not finished. Maybe the goal is to keep turning the things that exist only inside her imagination into something real enough that, one day, she has to stop and ask herself, “Was it all a dream?”
To view and discover Hira Majeed's work, visit WasItAllaDreamInc.com.
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For more information, visit www.AAHA.studio. Photo by Michael Clifford
La maison WHERE THE HEART IS
For AAHA Studio, the Wildlife Residence project was an opportunity to rethink how its outdoor areas could function alongside an existing home. The Los Angeles-based, family-run studio, founded by husband-and-wife team Harper Halprin and Aaron Leshtz, joined the Malibu project alongside Pierce & Ward interior design to optimize the property’s outdoor and guest spaces. The work includes a new guest and pool house, a BBQ area, outdoor entertaining spaces, and standalone offices to enhance the property’s usability through functional design. AAHA Studio approaches design as a collaborative process, working with clients from site planning and details through project delivery and construction management.
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Writing a Home’s Next Chapter MOONSTONE DESIGN + BUILD
Born and raised in Nicaragua, interior designer Lidia Valdivia says she was often surrounded by color, plants, texture, old architecture, and homes that felt layered and alive. “There was never this idea that everything needed to perfectly match,” she recalls. Little did she know how much that aesthetic would later influence her career.
BY JORDAN STAGGS | PHOTOS BY CHELSIE LOPEZ PHOTOGRAPHY
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A
fter moving to Minnesota in 2018 and working in construction for a while—one of her first jobs was installing hardwood floors—Valdivia realized she wanted to branch out. She had finished school and started her own subcontracting business, but the creative side of home design called to her just as much as the building side. This desire for more led her to start her full-service firm, Moonstone Design + Build.
modern amenities and restoring or reimagining spaces for life today.
sitting down to develop the concept for a room, but I also genuinely love being on a jobsite solving a complicated detail with the team.”
With projects ranging from mid-century modern homes to historic houses and contemporary architecture, no two Moonstone Design + Build projects are the same, which is something Valdivia loves. She and her team of around ten people strive to think creatively through every residence, supporting the homeowners through every stage from concept to completion. Starting her career in construction trades
Renovations and reimagining homes also come with different challenges than creating something totally new. The Moonstone Design + Build team spends time carefully going over each “before” project to decide which elements should stay and what makes each home special, instead of gutting and stripping all personality from an existing house. “Moonstone grew out of the work I was already Next, they bring the client doing in construction, “I would rather you recognize the person who lives in the into that story so the owners renovation, and real estate,” she explains. “I wanted to house before you recognize the designer who created it.” can celebrate their home’s history while also bringing it create a company where up to date for modern life. design and construction weren't treated as two separate has given the owner a vantage point not every interior conversations, but where one team could carry the designer has. “I don’t just see a beautiful, finished “I think the combination of preservation, construction vision all the way from the first idea through the photograph. I see everything that had to happen knowledge, and a willingness to take creative risks gives finished home.” behind the wall to make that photograph possible.” our work its personality,” Valdivia shares. A Gemini whose birthstone is moonstone, Valdivia “Our design and build teams are constantly When asked about her company’s signature style, she wanted her company name to feel connected to her communicating with each other,” Valdivia says. also says, “I would rather you recognize the person who without sounding like a traditional construction “Our designers are thinking creatively, our field lives in the house before you recognize the designer company. She says, “Moonstone felt creative, a team is thinking about execution, our carpenters who created it.” little mysterious, and beautiful without being too are working through the details in real time, and precious. It just stuck.” our project team is coordinating the hundreds of Each project becomes a unique canvas to create life moving pieces behind a renovation. I still stay very for those who will live in it. “I don’t design something Moonstone Design + Build specializes in involved in both the creative and construction without thinking about how it will be built, how the renovations, bringing older homes up to date with sides of the company. That’s important to me. I love V I E MAGAZ INE . COM | 105
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“Your home should be your refuge, but ‘refuge’ doesn't have to mean restraint. It can be joyful, colorful, collected, and completely personal.” 106 | O C T OBE R 2 026
“I want people to worry a little less about whether their home is ‘right’ and think more about whether it feels like them.” LIDIA VALDIVIA V I E MAGAZ INE . COM | 107
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Owner and designer Lidia Valdivia of Moonstone Design + Build
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material will behave, or how someone is actually going to live with it,” she says. Still, elements that remind Valdivia of that colorful background in Nicaragua still influence her ideas through warmth, vegetation, saturated hues, handmade materials, and the connection between indoor and outdoor spaces. “I love color. I love natural wood, interesting stone, tile, vintage pieces, architectural details, and materials that have some variation and soul to them. I love creating one moment in a room that makes you stop and look twice.” She continues, “I’m also really interested in contrast: something refined next to something playful, an old detail beside something unexpected, a very traditional room with a strange color combination. I don’t want a home to feel designed within an inch of its life.” Travel and art also influence Moonstone Design + Build’s work. “I am constantly looking at architecture, restaurants, hotels, art, tile, furniture, textiles, gardens, old buildings. I can become obsessed with the color of a wall in another country or the floor of a restaurant and remember it years later.” Still, each home’s personality and style ultimately come down to the people who will live in it. With a mission to turn each client’s home into a modern sanctuary where they feel most at ease and most like themselves, Valdivia and her team consider each individual’s lifestyle when making design choices, not how to create a home with mass appeal. “I love figuring out what someone responds to that they haven’t necessarily been able to articulate themselves yet,” she shares. “Sometimes it’s a piece of art, a place they’ve traveled, an old chair they refuse to get rid of, or even a weird image buried deep in their Pinterest board. Those clues are usually where the best design starts.” This doesn’t mean sacrificing function. Things like storage, lighting, comfort, layout flow, and durability are also important in every residence. “But I also think beauty matters,” Valdivia continues. “Art matters. Color matters. The weird antique you love matters. Your home should be your refuge, but ‘refuge’ doesn’t have to mean restraint. It can be joyful, colorful, collected, and completely personal.” Valdivia says she loves that homeowners seem more comfortable with spaces brimming with personality again, as opposed to the neutral-toned, minimal, universal look that trended for the past several years. “I think we’re experiencing a little bit of design fatigue from seeing the same images over and over online,” she says. “People are craving homes that feel collected rather than reproduced. I’m seeing clients ask for color, wallpaper, dark wood, patterned tile, vintage furniture, unusual stone, and rooms that don’t look like everyone else’s. People are also becoming more interested in keeping original elements of their homes instead of automatically replacing everything. I don’t think the next era of great residential design is about finding another perfect neutral. I think it’s about giving people permission to figure out what they actually love.”
renovations. Valdivia says she particularly loves the stories behind historic and mid-century homes she and her team can breathe new life into. Her hard work and dedication to the company’s clients also earned Lidia Valdivia recognition as one of Traditional Home’s 2026 Rising Stars of Design, an honor she says has been incredibly meaningful. “I came into this industry through construction and built my career in a very unconventional way, so moments like that still feel a little surreal.” Her dream project, she says, would be designing a boutique hotel. “Hotels have always fascinated me because you get to create an entire world. Architecture, furniture, art, lighting, scent, landscape, restaurants, bathrooms, even the experience of walking down a hallway can all become part of the story. I would want it to feel residential rather than overly commercial, with every room slightly different and filled with art, vintage pieces, beautiful materials, and references to the place where it’s located. Travel has influenced so much of the way I see design, so creating a place that could become part of someone else’s travel memories would be incredibly special.” No matter how big the project is or who the clients are, Moonstone Design + Build hopes to continue creating places that feel comfortable, beautiful, and special, which Valdivia says doesn’t come from following every design rule. “The spaces we remember are usually the ones where someone took a chance,” she says. “Maybe the colors shouldn’t technically work together, the old tile isn’t perfect, or a piece of furniture is a little strange. Maybe everyone else would have torn something out, and you decided to keep it. Those decisions are where a house starts becoming personal. I want people to worry a little less about whether their home is ‘right’ and think more about whether it feels like them.”
See more work at MoonstoneBuilds.com and on Instagram @moonstone.mn.
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For more information, visit Quarto.com and FlowerMoxie.com. Photo by Ely Fair
Inspirations IMAGINE MORE
Flowers take center stage in Blooms Every Day, Day, a new guide to arranging by AIFD-certified floral designer and Flower Moxie founder Amy McCord. The book covers bouquets, centerpieces, and larger arrangements with step-by-step photography, plus sourcing advice, flower substitutions, arrangement mechanics, and care tips. McCord, a former wedding planner and self-taught florist, founded Flower Moxie in 2013 as an e-commerce floral company focused on affordable wedding flower kits. Her latest book brings that same accessible approach to wedding, holiday, and everyday arrangements, making professional techniques easier to bring home. Published by Rock Point, an imprint of Quarto Publishing Group, Blooms Every Day was released on May 5, 2026, as a 208-page hardcover.
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Inspirations 5 Good Things In The Waiting By Meghan Ryan Asbury I find myself in the same spot on the days when waiting gets particularly hard. I usually end up lying on the carpet, staring at the ceiling, trying to blink back tears as they slide down the side of my face. I’ll silently beat myself up for crying, trying to convince myself I’m just being dramatic or it’s not that big of a deal. It’s been a different floor and a different ceiling each year, but the questions I have for God and some of the prayers I’ve prayed are still left unanswered. I ask things like: God, are You ever going to change this? How much longer do I have to wait? I don’t know if I can hold onto hoping You are going to move for much longer. Some days it’s harder to pull myself together, and other days I let the sadness last a minute or two. I wish I could tell you exactly what it is I’m waiting for in those moments. Sometimes it’s obvious, and sometimes it’s just this inner ache for something I can’t really define. But I’m waiting all the time. Today, I’m currently waiting for a friend to text me back about plans this weekend and for a package to be delivered. But I’m also waiting for things that won’t come as quickly, like our house selling so we can move into a new one, and for the health of people we love. Because I am Type A and love a checklist, it frustrates me when I can’t do something to expedite the waiting process. I usually operate under the principle that 2+2 should always = 4, and A + B should get me to C. When it doesn’t, I get frustrated and start looking for some sense of control. I think, “There has to be something I can do,” and I certainly try everything I know. In the end, I feel helpless when nothing I do changes my situation. Then I find myself again, lying on the floor, crying while I stare at the ceiling, feeling hopeless in the seemingly never-ending cycle of waiting. What do we do when we are stuck in the middle? When we are aimlessly wondering when our circumstances are finally going to change? 112 | O C T OBE R 2 026
A verse I often come back to in these moments is Psalm 130:5: “I wait for the Lord, my whole being waits, and in his word I put my hope.” We can put our hope in God. It seems simple enough in theory, but how do we do it in practice? We have to know what His word says. By knowing what His Word says, we can gain knowledge of who God is and what He promises through the Bible. I often open my Bible in the middle of the waiting. Day in and day out, I go to the only place I know has the answers. It doesn’t always make me feel better in the moment, but I can see how it’s building hope in me. As I’ve looked at God’s promises and character in the Bible, I’ve discovered there are five good things in the middle of where I am and where I want to be. In the waiting, I’ve found: Protection from all I do not know and cannot see from my perspective. He sees and knows everything. Often, when I look back at things I was desperately waiting for, I can see how God was protecting me from something I didn’t see. My friend Lysa TerKeurst often says there is a physical reality and a spiritual reality, which reminds me I don’t always see the whole picture. Preparation for all that will come on the other side of waiting. Waiting is not a passive activity. Waiting is an action. There is something I need to learn now that is more important than getting what I am waiting for. Preparation in the present is practice for the future. Processes I need to go through to be transformed into the image of Christ. There is purpose in waiting; it produces patience and perseverance. Both grow our faith, help us get through difficult seasons, and make us more like Jesus. Proof that God is who He says He is and that I can trust Him. Every story in the Bible reminds me that He keeps His promises to His people. When I am tempted to think He is not there or that He is holding out on me, I see evidence of His love for me.
Peace in knowing God is ultimately working it all out for my good and His glory. There is comfort in knowing I won’t be waiting forever. One day, all the waiting will end, and we will finally be with Jesus, face to face, forever. I don’t know what you’re waiting for today. But I do know we can put our hope in God. Maybe God isn’t something you’ve thought about before, but I’d love to invite you to consider Him. I’d start with reading some of the Book of John and seeing what He is like. Time and time again, the Bible shows us He is faithful and keeps His promises. When we show up, despite our feelings, and look to His Word, we find good things. We may not get everything we are waiting for, but whatever God is working out in the midst of our waiting will be worth it.
Meghan Ryan Asbury is an author and speaker passionate about helping people live deeply rooted, purpose-filled lives. Through years of ministry experience, she’s had the privilege of encouraging people to discover their God-given gifts and step into the calling in front of them. When she’s not writing or speaking, you’ll likely find her with a book in hand, outside somewhere, or surrounded by the people she loves most. She and her husband are raising their family in her hometown of Santa Rosa Beach where they love the slower pace, salty air, and beauty of life near the water. Her first book You Are Not Behind: Building a Life You Love Without Having Everything You Want is available anywhere books are sold.
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Like many professional musicians, Dutch artist MICHA’s influence to create began early in life. His father was a musician and band manager for a while, and his mother is a painter, so art was always encouraged. The house “breathed music,” MICHA shares. “The piano was always tuned, and there were guitars everywhere. So it was only natural that I started to pick it up at a young age.” He wrote his first “real” song at age five and has never stopped writing since. Now, celebrating his debut solo album, Liar, MICHA looks to the future with optimism and a determination to make his mark on the world. Born Micha Bartelds in Zwolle, a historic city in the northeastern Netherlands, MICHA says hearing an electric guitar solo as a young child unlocked something in his creative soul. “I was always fascinated with melody and power,” he explains. “Something about the way the guitar bends the melodies, and the force it could give just gave me chills.”
He continues, “A little later, I discovered that the same thing can happen in a song. That’s why someone like Michael Jackson just struck me like a train. The way he crafted his songs and the way he sang was just something I’d never heard before, and I couldn’t get enough of it. It was pure urgency mixed with precision.” His love of writing music was further influenced by artists spanning many genres. “People like Adele and John Mayer really showed me how a simple, good, strong song can be all you need. And then I started listening to hip-hop. Guys like Drake, Mac Miller, etc. really showed me how you can flow with words and how the rhythm of words can be just as catchy as a good melody.” When asked if it was scary to start making and singing his own music for others, MICHA replied, “Making my own music? No. Actually, the opposite. I almost never played any covers once I picked up the guitar. As I already mentioned, I was kind of just in love with one thing: making my own songs. But sharing music with the world is always scary. It can be vulnerable and naked, but also electric and fun.”
Interview by JORDAN STAGGS | Photography by MATHIJS NIJENHUIS
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Inspirations MICHA first gained recognition in the Netherlands as half of the duo Micah & Julia with Julia Sabaté, and traveled to Nashville to work on their debut EP, 2 Deep 4 Me, at Liz Rose Music with producer and Grammy-winning songwriter Femke. The EP was released in 2020, and the duo released music for the next couple of years before amicably splitting up to pursue solo careers.
He also admits the most challenging part of touring is “not a sexy answer: to me, it’s just the financial part of it all. Touring is very, very expensive. And that is kind of the reason why I can’t just go to Australia or do a US tour or Asia. The touring game, because of the costs, is very much a strategic thing. Which can be kind of a pain in the ass when you just wanna play as much as I do.”
“Seven years later, I’ve built a beautiful bond with Nashville. I’m very fortunate that I get to work with, truthfully, the best writers and people in the world,” MICHA shares. “The biggest difference [between working in Nashville and other places] is probably the way they approach the song. It’s almost holy. The lyrics, the meaning, everything is important. Not just the vibe or the melody. And that’s why I love Nashville, ’cause I was raised on emotion and melodies. I feel like they just add to that with their own expertise.”
Fans can find tour dates online and more news via his social media channels, which have racked up around 700,000 followers across Instagram, TikTok, and Facebook so far.
MICHA has continued working closely with Femke during that time, who he says took him under her wing. She produced his six-track 2024 Dead End of a Dream EP and Liar, released April 10, 2026, which features seven tracks. The new album features a heartwrenching, soulful sound that puts MICHA’s dynamic vocals on full display. As he sings about learning to live, trust, hope, and overcome heartbreak, softness is juxtaposed with grit and lyrics blending both, such as “So darlin’, don’t you ever dare to let the night in, ’Cause one day they will see the wonder you’ve been, So shine, dear, don’t let them take your light.” The sound influences range from pop to country, soul, and acoustic ballads reminiscent of the singer-songwriters of the 70s, stripped down and heartfelt. “This album is my introduction to the world, musically and personally,” MICHA shares. “It’s a story about a young man trying to figure out life while big feelings like love, depression, fear, and pain take hold of him. I think it’s very much a young man’s story.” Liar was followed up on July 24 by the single “Lose My Life” and accompanying music video. The song has a distinct pop-country vibe, further exhibiting MICHA’s genre-bending abilities. As he embarks on a tour of the Netherlands and Germany, and his first solo show in the UK on October 6, the artist teases that this is only the beginning. “Let’s just say that I’m already working on my next project, so a whole lot of new songs are coming.” MICHA says he’s most looking forward to continuing to write new music, share his debut album, and tour and meet fans on the road throughout the rest of this year. When asked his favorite part of touring, he says, “Everything. I love it all. From the backstage hang to the long drives, to the music itself and the people. I love it all.” 118 | O C T OBE R 2 026
Knowing how social media can influence a musician’s career today, with some tracks and trends going viral overnight, MICHA astutely admits he believes it’s “a very cool thing and a very shitty thing, to be honest. I’ve gotten to connect with so many beautiful people from all across the globe who truly are making my dreams come true, in the sense that I get to play music for them. It’s a great, great way to reach new people. But it’s also an addictive, algorithm-based depression machine that will lift you up, but can also just as easily break you down. So I’m very thankful, but I’m sure there also will be a time that I’m not gonna be, because some algorithm decides not to show your stuff to the people that follow you. So it’s super great, but it’s also good to remember how it operates.” Similarly hopeful yet realistic, when contemplating the rising use of artificial intelligence in creative fields and how it might affect the music industry, he says, “I’ve had so many conversations with people about this, and the conclusion is always the same with me: people will use it. It’s a fun tool, or at least it can be. But just like a lot of things in this life, if you take it too far, it can become dangerous.” He continues, “Luckily, I think there are very smart people right now trying to figure out how the payouts and royalties are gonna look with this whole A.I. thing. I hope for the best and that people will keep making the music they wanna make.” Making music has always been in MICHA’s blood, but more importantly, it’s been a way to share his authentic self and help others do the same. When asked what he hopes people will feel when listening to his music, he says, “I think the most important thing to me is that the people who are going through similar things feel heard. It doesn’t matter if you’re having the best time of your life or the worst. I just wanna connect with the people who wanna connect, if that makes sense.” To those fans and anyone else who is reading this, MICHA signs off with, “Be kind to each other, and I hope to see you at a show one day!”
Liar is streaming now on Spotify, Apple Music, and more. You can keep up with MICHA on Instagram @whoelsebutmicha, TikTok @whoelsebutmichaa, and Facebook.com/micha.official.music.
Petite pause In the Lower Greenville neighborhood of Dallas, Walkers’ Bar & Market is reimagining the neighborhood gathering place through the lens of quiet luxury. Designed by Kevin Klein Design, the wine-forward concept shifts from a daytime market and sandwich shop to an intimate restaurant and bar after dark. Rich materials, vintage European lighting, custom furnishings, and a sculptural Italian marble bar create a space that feels elevated yet inviting, while reflecting the personalities and shared vision of sibling founders Rosemary Walker-Greene and Russell Walker. Visit WalkersBar-Market.com to learn more and KevinKleinDesign. com to see more projects. Photo by Elizabeth Carababas
Rather than imposing a singular aesthetic, the space is conceived as an extension of their personalities, histories, and shared vision. —KEVIN KLEIN DESIGN 120 | O C T OBE R 2 026
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Wrapped Up
Købn Tahini Towel kobn.com.au – $110 AUD
THE CURATED EYE
For October, our shopping edit takes cues from the world of art and the creative minds who shape it. Bags, clothing, jewelry, luxury goods, home pieces, and self-care finds come together with an eye for thoughtful design and individual expression. Each selection brings something distinct to the everyday, whether it adds character to a room, finishes a look, or becomes a small ritual of its own. 122 | O C T OBE R 2 026
C’est la vie
2
Light Work
Finkley Lantern vaughandesigns.com – Contact for pricing
Exotic Appeal 3
Byrd Bucket in Emerald Croc benehandbags.com – $575
Sells Seashells 4
Applique Crochet Halter Top, Sunset Shell kulanikinis.com – $72
6
Blue Away
Cashmere and Silk Scarf, Indigo chanluu.com – $225
By the Seashore 5
Applique Crochet Sarong, Sunset Shell kulanikinis.com – $80
Hours & Glass 7 8
Open Horizon
Small Eleanor Curve Watch toryburch.com – $370
Open Sky Baroque Pearl Beaded Necklace christina-greene.com – $168
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C’est la vie
9
Liquid Gold
Sebastian Potion 9 Super Luxe Styling Drops ulta.com – $40
Wild Thing 10
Blundstone #2620 Pony Boots blundstone.nl – €300
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Neck & Neck
Oli Denim Jacket cottonon.com – $110
Living Color 12
Cotton Short Sleeve Sweater uniqlo.com – $7.90
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Lip Service
LV Limited Edition Cosmetic Lipstick Pouch, Monogram Dune us.louisvuitton.com – $560
Tidal Charm 14
Coastal Calm Baroque Pearl Beaded Bracelet christina-greene.com – $98 124 | O C T OBE R 2 026
Frame of Mind 15
Suzet Glasses suziekondi.com – $395
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EMMY AWARDS 2026 The 78th Emmy Awards brought television’s brightest stars to Los Angeles on September 14 for an evening of celebrated performances, standout fashion, and well-deserved recognition. Hosted by Mariska Hargitay, the ceremony saw The Pitt take home Outstanding Drama Series, while Widow’s Bay led the comedy categories with four acting wins and the night’s top comedy honor. On the red carpet, Zendaya, Selena Gomez, and Nicole Kidman made their own statements in looks that balanced glamour with a fresh sense of personality. With television continuing to shape the cultural conversation, this year’s Emmys offered a polished reminder of the creativity, talent, and style that keep the medium in the spotlight. Photography by Invision for the Television Academy/AP Content Services V I E MAGAZ INE . COM | 129
La scène
DA N C I N G W I T H T H E STA R S S E A S O N 3 5 P R E M I E R E The ballroom was back in business as Dancing with the Stars returned for its 35th season with a two-night premiere on September 15 and 16. The new season brought 16 celebrities to the dance floor, including Jenna Dewan, Julia Stiles, Harry Shum Jr., and Giada De Laurentiis, each paired with a professional dancer for a shot at the Len Goodman Mirrorball Trophy. With nostalgic music, dazzling costumes, and a few surprises along the way, the premiere set the stage for another season of ballroom drama and live entertainment. Photography by Disney/Eric McCandless 130 | O C T OBE R 2 026
Dancing with the Stars host Alfonso Ribeiro, with Connor Wood and Rylee Arnold
Jackson Olson and Emma Slater
Sharna Burgess and Tyler Cameron
Julia Stiles and Ezra Sosa
Alfonso Ribeiro, Julianne Hough, and Season 34 Mirrorball Champ Robert Irwin
Guillermo Rodriguez and Witney Carson
Maura Higgins and Mark Ballas
Daniella Karagach and Ezra Frech Photo by ABC/José Alvarado, Jr.
Dancing with the Stars Season 35 female stars and their pros V I E MAGAZ INE . COM | 131
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The Last Word
Solution on next page
FOR THE LOVE OF ART BY MYLES MELLOR
ACROSS
DOWN
1 7 9 11 12 14 16
1 2 3
18 19 20 21 23 25 27 29 30 32 33 36 37 38
Famous Da Vinci painting, 2 words Morning time, abbr. ____practice Picasso introduced this art concept Blueprint or plan Nationality of the popular portrait painter Anders Zorn German-born painter and sculptor who was a pri mary pioneer of the Dada movement, Max ___ Trick Having a flat or dull finish Edited, as a film scene ___ Art: movement that emerged in the 1950s and 60s in the US and Britain using commercial objects in paintings Metric unit of length, abbr. Innovative Hieronymus Bosch oil painting about punishment in the afterlife Fly high Diminish in intensity Flower popular in the Netherlands Highly skilled artists Bring to mind Artist’s wooden frame stand Not artificial or imitation
4 5 6 8 10 13 15 17 19 21 22 24 26 28 31 34 35
Strands of hair Principal image of a painting Michelangelo famously painted its ceiling, 2 words British political head, abbr. It’s used to write notes on Color, line, shape, texture, space, form and value, for example French modernist painter, Edouard Potter’s oven Stylishly elegant Pixel ___ Paulo, Brazil One of the founders of the French Impressionist movement Trailblazer Sunshade carried by hand Major NYC art gallery, The ___ Vertical brick or stone barriers Strong yellow color Two-fold Also known as, for short Collection of items V I E MAGAZ INE . COM | 137
The Last Word Puzzle on previous page
“
Painting depends on freedom. When you’re feeling completely free, you can create, and this power to create is, in turn, the greatest freedom of all. —George Rodrigue
” 138 | O C T OBE R 2 026
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1
24,229 Total Children Helped
193,617 Total Services Given
$11,051,277 Total Dollars
Au revoir!
For more information, visit LouisVuitton.com. Photo courtesy of Louis Vuitton
Au revoir! BEFORE YOU GO . . .
Louis Vuitton’s Travel Book collection turns unfamiliar destinations into artistic journeys, inviting artists from around the world to document places they have never experienced through their own visual language. The newest title, Berlin,, follows Croatian illustrator Miroslav Sekulić-Struja as he explores the German capital through drawing, Berlin memory, and emotion. His interpretation of the city joins a collection that has been growing since 2010, with each Travel Book offering an individual perspective shaped by the artist’s surroundings and experiences. For the fourth edition of the Festival du Dessin in Arles, Louis Vuitton is also presenting original drawings by Sekulić-Struja alongside work by Gabriella Giandelli from Australia and Miles Hyman from Rome Rome..
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