Fashion is all about self-expression, allowing a person to show how they feel and their story through various textures, patterns, and fabrics. That’s where talented people like J Bolin thrive, and he has built an exceptional career doing just that.
Each January, The Winter Show returns to the Park Avenue Armory with a familiar mix of museum-quality antiques, fine art, and design. Long known for its scholarly rigor, the fair has typically rewarded historical fluency. This year from January 23rd to February 1st, the experience feels slightly recalibrated. Alongside connoisseurship, there is a greater emphasis on atmosphere, narrative, and how visitors move through the space. Two presentations in particular help define that: a design-led collectors lounge by frenchCALIFORNIA and a literary showcase by Peter Harrington Rare Books that treats books as both cultural artifacts and sculptural objects.
This year, frenchCALIFORNIA has designed the VIP Collectors Lounge, titled The Modern Salon. Rather than functioning as a branded pause point, the lounge reads as a fully realized interior. Furniture, lighting, sound, and spatial rhythm are treated as equal elements, creating an environment that feels composed rather than decorative. The installation brings together contemporary Italian design through Dexelance, featuring works by Meridiani, Saba, Turri, and Davide Groppi, unified by an emphasis on proportion, material quality, and human scale.
The lounge responds directly to the architecture of the Armory’s Veterans Room, originally realized under the artistic direction of Louis C. Tiffany. Instead of competing with the room’s historic presence, frenchCALIFORNIA works in dialogue with it. Modern silhouettes and restrained palettes sit comfortably against the building’s ornate bones, creating a quiet tension between past and present. Seating arrangements are intentionally relaxed, encouraging conversation without formality and reinforcing the salon’s role as a place for exchange rather than display.
Sound also plays a central role in shaping the environment. An immersive audio program by Bang & Olufsen is integrated throughout the space, with speakers treated as sculptural components rather than visible technology. Audio functions as a material in its own right, influencing the pace and mood of the room. The effect is subtle but deliberate. The lounge feels lived in rather than staged, offering collectors and guests a moment of pause that remains fully in conversation with the fair.
If frenchCALIFORNIA’s presentation centers on how design is experienced in real time, Peter Harrington Rare Books offers a counterpoint grounded in history, craftsmanship, and intellectual legacy. One of the world’s leading antiquarian book dealers, Peter Harrington arrives at The Winter Show with a tightly curated selection that favors depth over volume. The display encourages lingering, inviting viewers to consider books as objects shaped by labor, time, and cultural context.
Among the most significant highlights is The Science of Climate Change, a landmark collection assembled over more than a decade by collector David L. Wenner. Tracing the evolution of climate science from the fifteenth century to the present, the collection includes incunabula, handwritten observational data, and foundational research papers where ideas such as the greenhouse effect first appeared in print. Presented together, the works form a restrained but powerful narrative about how scientific knowledge accumulates over centuries and how long it can take for evidence to enter public consciousness.
Another focal point is a unique illuminated manuscript of Dante Gabriel Rossetti’s The Blessed Damozel, produced between 1910 and 1929. Illuminated by Alberto Sangorski and bound by Rivière & Son, the manuscript represents a high point of Arts and Crafts bookmaking. A full-page miniature inspired by Rossetti’s painting anchors the volume, while a certification leaf confirms the work “will not be duplicated.” The manuscript is presented less as a literary document and more as a singular artwork, blurring the boundary between book and fine art.
The booth also offers moments of levity. An archive of letters from P. G. Wodehouse to his American editor reveals the author’s humor and vulnerability late in life, touching on everything from royalties to adaptations and aging. Nearby, a complete set of first editions of The Chronicles of Narnia, bound in custom morocco with designs reflecting each volume’s themes, reframes a familiar series as a cohesive sculptural library.
Together, these two presentations point to what feels newly resonant about The Winter Show this year. The fair continues to reward expertise and close study, but it also opens itself to a wider range of entry points. Design-minded visitors are drawn to the lounge’s sensory intelligence and spatial restraint. Literary collectors and history enthusiasts can engage deeply with manuscripts and archives that connect past debates to present concerns. Even casual attendees encounter moments that invite curiosity rather than intimidation.
On December 27, The Christmas Night Opera filled Carnegie Hall with an audience made of longtime opera enthusiasts, devoted fans, and first-time listeners drawn by the holiday program. Set inside the Stern Auditorium, the evening brought together world-renowned vocalists and the American Symphony Orchestra for a concert that felt both celebratory and focused, offering a year-end gathering rooted in tradition rather than spectacle.
When artist Mari Gior and curator Marina Dojchinov come together, the result is not simply an exhibition; it is a declaration. The Afterlife, debuting December 20 at 219 Bowery in SoHo, marks the unveiling of Gior’s new body of work, The Shadow Dancers. Together, the two women are asserting a form of creative leadership that is intimate, intellectually rigorous, and unmistakably powerful.
At its core, The Afterlife is an exhibition about survival rather than spectacle. Gior’s paintings resist overt dramatization, instead offering ethereal figures suspended between presence and disappearance. Rendered in oil and mixed media, often incorporating deconstructed antique book pages the works feel both archival and immediate, as if memory itself has been pressed into the surface of the canvas.
“I didn’t paint grief,” Gior says. “I painted what survives it. These figures are still moving, still devoted, even when everything else has fallen away.”
A former principal ballet dancer, Gior brings the discipline of choreography into her painting practice. The bodies in The Shadow Dancers are not posed; they are felt. Each canvas captures a moment of transition-movement without destination, reflecting Gior’s belief that the afterlife of love is lived quietly, through continuation rather than closure.
That restraint is precisely what drew curator Marina Dojchinov to the work. Known for crafting exhibitions as immersive narratives rather than static displays, Dojchinov frames The Afterlife as a threshold moment in Gior’s career and in the broader cultural conversation around grief, femininity, and power.
“This show isn’t about loss as an ending,” Dojchinov explains. “It’s about what women build afterward. Mari’s work holds space for tenderness without collapsing into fragility, and that’s where its strength lives.”
Dojchinov’s own trajectory mirrors that ethos. A gallerist and art dealer who opened her first gallery at just 25, she has carved out a reputation for championing emotionally intelligent, narrative-driven work, often by women whose practices defy easy categorization. Her collaboration with Gior follows their earlier success with Down the Rabbit Hole, but The Afterlife signals a deeper, more mature alignment between artist and curator.
“Girl power doesn’t have to be loud,” Dojchinov adds. “Sometimes it’s quiet, precise, and devastating in its beauty. When women lead together, we don’t compete; we amplify.”
Visually, the exhibition unfolds like a whispered confession inside the noise of downtown Manhattan. Blurred figures hover across the gallery walls, layered with fragments of antique texts that read as relics, history colliding with the present tense of paint. A standout work, The Return of the White Rabbit, encapsulates the show’s ethos: romance without nostalgia, devotion without sentimentality.
For Gior, now stepping fully into her voice as a fine artist, The Afterlife represents rebirth. For Dojchinov, it is another example of curatorial authorship that privileges emotional truth over market spectacle. Together, they offer a model of what happens when two female powerhouses meet not to dominate, but to collaborate.
In a city saturated with openings, The Afterlife arrives as something rarer: a sacred pause. A reminder that the most radical power in art often lies not in volume, but in intention.
For Mari Gior, The Afterlife is unmistakably a moment of emergence. Long recognized for her physical intelligence as a dancer and her instinctive visual sensibility as a muse, Gior now claims her place fully as an artist with an independent, emotionally precise voice. The Shadow Dancers are allowed to breathe, hover, and command attention on their own terms, signaling not just a debut, but a declaration of authorship.
Event Details:
Artist: Mari Gior
Exhibition: The Afterlife — Debut of The Shadow Dancers Mari Gior
Curated by: Marina Dojchinov Date: Saturday, December 20, 2025
Location: 219 Bowery, Time to Be Happy Gallery, New York City
Format: RSVP-only
Schedule:
• 5:00–6:00 PM VIP & Press Reception (RSVP required)
•
6:00–9:00 PM – Gallery Viewing (RSVP required)
RSVP: LIFEAFTERSVP@gmail.com
Miami Art Week has never been short on spectacle, but during Art Basel 2025, Maison Perrier-Jouët offered something rarer: a moment of quiet attention. On the sands of Faena Beach, where sound systems usually compete with the ocean, the storied Champagne house unveiled Plant Pulses, a multidisciplinary installation by Polish artist and designer Marcin Rusak that invited visitors to slow down, listen closely, and reconsider what nature has been trying to tell us all along.
Unveiled from December 2–7 as part of Faena Art programming, Plant Pulses translated cutting-edge scientific research on plant communication into an immersive artistic experience — one that blurred the boundaries between art, ecology, and technology.
When Plants Communicate, Humans Finally Listen
At the heart of Plant Pulses is a collaboration between Rusak and researchers Bartek Chojnacki and Klara Chojnacka of AGH University of Science and Technology in Kraków, whose experiments revealed that plants emit ultrasonic signals when under stress, such as dehydration. These signals subside when the plant returns to a healthy state — a form of communication that has long existed beyond human perception.
Rusak transformed this data into a soundscape and visual language that made the invisible audible and the inaudible emotional. Inside the installation, visitors were guided by multidirectional sound toward a monumental central sculpture: a contemporary herbarium encasing three “hero” plants vital to the Champagne ecosystem — the vine, European birthwort, and white clover — alongside chalk soil and end-of-life Perrier-Jouët vines. Suspended in resin, the sculpture functioned as a time capsule, preserving botanical matter while symbolizing the fragile continuity of ecosystems across generations.
The soundscape unfolded in three movements — dehydration, inter-plant communication, and rehydration — while circular screens evolved visually from stark linear graphics into organic, bubble-like forms, subtly nodding to Champagne itself. Even the seating, 3D-printed and embedded with plants Rusak collected in Épernay, encouraged visitors to pause, observe, and reflect.
A Shared Botanical Heritage
The collaboration felt especially resonant given Perrier-Jouët’s botanical lineage. Founded in 1811 by Pierre-Nicolas Perrier and Rose-Adélaïde Jouët — both passionate lovers of art and nature — the House has long been shaped by horticulture and progressive viticulture. Its iconic Japanese white anemone, introduced by Art Nouveau pioneer Émile Gallé, remains a symbol of the brand’s symbiotic relationship with the natural world.
Rusak’s practice mirrors that ethos. Descended from flower growers, his work often incorporates discarded plants, questioning beauty, decay, and human intervention. As Rusak himself noted, visiting Perrier-Jouët’s vineyards revealed a shared philosophy: “the slow, patient process of creating champagne… much like my practice.”
From Installation to Table: The Banquet of Nature
That philosophy extended beyond the beach and onto the table. On December 2, Perrier-Jouët hosted the Banquet of Nature at Faena’s Mammoth Garden — a four-sequence dinner orchestrated by three-Michelin-star Chef Pierre Gagnaire, the House’s longtime ambassador and creative partner.
Designed in collaboration with experimental Dutch duo Steinbeisser, the dinner explored how design, tableware, and sourcing shape our relationship with food and nature. Guests were invited into conversations with Rusak himself, while vintage cuvées from the Belle Epoque Collection anchored the experience in Perrier-Jouët’s Champagne heritage.
The evening also marked the launch of A Banquet of Nature: Cooking Art and Ideas with Pierre Gagnaire, a new addition to the House’s Enchanting Library. Part cookbook, part cultural dialogue, the book gathers voices including philosopher Emanuele Coccia, botanist Marc Jeanson, novelist Maylis de Kerangal, and biologist Emmanuelle Pouydebat, framing cooking as a profound cultural link between species.
Design Miami and a Long-Term Vision
The conversation continued at Design Miami, where Rusak and Axelle de Buffévent, Global Culture & Creative Director of Maison Perrier-Jouët, participated in a public panel moderated by curator Glenn Adamson, exploring biodiversity through the lens of design.
This long-term thinking is central to the House’s mission. Since 2021, Perrier-Jouët has been rolling out an experimental regenerative viticulture program, with ambitions to convert 100% of its vineyards by 2030. Research like that behind Plant Pulses could one day inform real-time vineyard resource management — a tangible example of art contributing to environmental practice.
A New Cultural Prize Is Born
Fittingly, Art Week also marked the announcement of the inaugural Perrier-Jouët Design for Nature Award, created in partnership with Design Miami. The first recipient: Iris van Herpen, the Dutch haute couturier renowned for merging fashion, science, and living systems.
Van Herpen was awarded a carte blanche to create a design-led experience for Design Miami 2026, recognizing a practice that treats nature not as inspiration alone, but as collaborator. Her most recent couture collection, Sympoiesis, drew from oceanic ecosystems, translating ecological fragility into fluid silhouettes and layered, liquid-like forms.
As de Buffévent noted, the award is meant to push sustainability beyond rhetoric — toward joyful, optimistic experimentation. For van Herpen, it offers space to further explore “the ever-shifting relationship between our body and the living forces of nature.”
Walking into the International Ballroom at the Beverly Hilton on December 15, it was immediately clear this was not a typical ballet setting. American Ballet Theatre’s annual Holiday Benefit placed the audience unusually close to the dancers, creating a beautiful and intimate environment. Dancers, artists, longtime supporters, and guests including Sterling K. Brown and Ryan Michelle Bathé filled the room alongside ABT leadership and principal dancers, blurring the line between performance and gathering.
There are people born the year “RuPaul‘s Drag Race” premiered who are now able to vote. People who have had the show their entire existence. What a wonderful world.
Urban Stages was founded to support playwrights in developing and showcasing new work. They now also work to increase access to the arts. Their mainstage program supports artists and presents acclaimed plays and musicals Off-Broadway.
During Miami Art Week, Lavazza delivered one of the most compelling cultural experiences of the season with the debut of its “2026 Pleasure Makes Us Human Calendar“, photographed by acclaimed Magnum photographer Alex Webb.
You know what?! We (didn’t) invent Post-Its!