Merin Curotto – Observer https://observer.com News, data and insight about the powerful forces that shape the world. Wed, 20 May 2026 03:36:39 +0000 en-US hourly 1 https://wordpress.org/?v=6.8.5 168679389 Letters to the Editor: Remembering Rex Reed https://observer.com/list/letters-to-the-editor-remembering-rex-reed/ Wed, 20 May 2026 03:30:07 +0000 https://observer.com/?post_type=listicle&p=1647514

At the bottom of Rex Reed’s obituary a week ago today, on May 12, 2026, I invited readers to share their memories. A very close and very private friend of Rex’s told me that “all Rex ever wanted was to be loved and to be famous.” Maybe the call for remembrances was my way of honoring that. Maybe I wanted to know if he got what he wanted.

The emails started coming. Dozens of them, from critics, actors, writers, artists, producers, pals, lovers and fans. Many included photos—handwritten letters Rex had sent them, typed notes on his stationery, things they’d kept for years, sometimes decades.

Rex was a man who wrote back, even if you weren’t his friend. To teenagers. To strangers. To almost anyone who took the time to reach him. They didn’t expect a reply, but they got one (gracious, thoughtful). He was relentlessly social, holding court at parties, burning up the phone lines. Sending five-page responses to three-paragraph letters.

An entire generation of gay men grew up watching Rex on TV, recognizing something they couldn’t yet name. One put it simply: “There weren’t many role models for Future Homosexuals of America in the 1970s.” Rex was among the few. For them, he was rarer than a critic.

Many people discovered Rex as children. A 9-year-old watching talk shows past his bedtime. A 14-year-old writing fan letters from the suburbs of L.A. A 10-year-old who saw him in Superman and became obsessed with Myra Breckinridge. A child whose single, immigrant mother found such joy in Rex’s writing that the child’s memories of Rex are inseparable from her memories of making a new life in America. They found him on television, in libraries, in their parents’ newspapers. And they followed him for the rest of their lives. Many of them wrote to Rex. (Many got letters back.)

The reviews, of course, quoted from memory. One reader’s favorite Rex pan sparked a decades-long obsession with a forgotten 1969 film; this year, that reader—now a successful screenwriter—helped restore it. Several readers noted, with sadness, that they’d been checking Observer, hoping to see his byline, wondering what happened.

In letter after letter were his eyes, his voice, the way he moved through space, the way his entire body paused, almost quizzically focused on the person in front of him. People describe Rex the way you describe someone you know and love every inch of, even from your living room, even as a child, even if you never met him.

In 1971, Rex wrote to a 14-year-old girl who’d sent him a fan letter: “I sometimes think I’m writing into a vacuum and nobody ever sees what I write. It’s comforting to know I got through to somebody.”

In an age when everything can be generated, here’s the evidence that something irreplaceable happens when a person sits down and puts words on a page about another person. Here’s what it means for writing to matter. Human writing. Writing about humans. Writing to humans.

Rex spent his life doing that. He was an Observer, in every sense, for almost 90 years.

Like most parents, I correct certain words that come out of my children’s mouths. Stupid. Ugly. We’re not supposed to say such things. But this past week, every time I’ve reflexively gone to stop one of them—mostly, my four-year-old—I pause, thinking about Rex.

There are stupid things in the world. There are ugly things. And if nobody’s willing to say so—clearly, without hedging, without apology—what does it mean to call something beautiful?

Rex wasn’t cruel for cruelty’s sake. He believed that for words to mean anything, you have to be willing to use all of them. Even the uncomfortable ones. Especially those.

Letters to the Editor: Memories of Rex

These messages have been edited for clarity and brevity.

The Rex Reed Foundation

  • William Kapfer & Eric Baker

Following the passing of our dear friend, Rex Reed, we have been moved by the overwhelming response from those whose lives he touched.

In lieu of a traditional funeral, we will host a tribute celebration this autumn honoring Rex’s remarkable life and legacy—in the spirit of the beautiful tribute he produced with Deborah Grace Winer and Michael Alden for his longtime friend Polly Bergen in 2015.

For more than six decades, Rex Reed was one of the most influential voices in American cultural criticism. As a legendary film critic, celebrity interviewer, author and longtime member of the New York Film Critics Circle, he shaped the national conversation around film, theater and popular culture.

This gathering will celebrate not only his extraordinary professional accomplishments, but also the wit, intellect and generosity so many of us were fortunate to experience personally. Friends, colleagues, artists and loved ones will come together to honor a singular life that left an indelible mark on media and the arts.

We are also establishing The Rex Reed Foundation to support media, arts, journalism and cultural storytelling while nurturing future generations of creative voices.

Details about the autumn celebration and foundation will be shared in the coming months. The foundation website, RexReedFoundation.org, will launch soon.

We are deeply grateful for the kindness and support during this difficult time.

Rex Reed and William Kapfer in 2007. Patrick McMullan via Getty Image

Trapped in an Episode of ‘Dynasty’

  • Deborah Grace Winer

When I saw Joan Collins move through the crowd toward Rex Reed, and by default, me, I got that special sickening feeling you get when you’re friends with a famous critic who’s known for blending unfiltered opinion with unbridled literary flair that—like nuclear fusion—creates a lot of unpredictable energy.  

Joan approached—coiffed, bejeweled, with a blinding smile and raising one manicured finger toward Rex.  

“Hi Joan,” he Louisiana-drawled.

She wagged her finger and smiled even wider.

(Was she mad?)

“Rex, you naughty, naughty boy,” she cooed in British, patting his cheek.

(Yep.)

“I should be very, very angry with you.”

“Oh, Joan,” he laughed.  

Then she kissed him while relaying unhappiness at his review of her recent one-person evening. 

He didn’t think he’d said anything bad. 

(Though there was that line, “You can accuse her of hanging on beyond her prime, but if you meet her in a dark alley, bring Mace.”)

Then they embraced. They’d been friends since the 1960s.

It was like being trapped in an episode of Dynasty.

Read More →

Rex on a beach in Malibu, 1973. Getty Images

Rikki-Tikki-Tavi

  • Richard

I first met Rex in 1972 in Florida. I was a journalism student in my second year of college when I wrote Rex a brief, three-paragraph letter asking to interview him. He responded with a five-page handwritten letter detailing how impossibly busy he was—major deadlines, phones ringing off the hook, hundreds of letters weekly. At the end of this tale of woe, he invited me to pick him up at the Orlando airport and have dinner before he spoke at an event for Air Force wives in Cape Canaveral.

I arrived at the airport and we walked to my yellow Corvette. Rex, who had no filter, immediately delivered his first unsolicited critique about my car. He was hilarious. As we drove to the motel, the second critique arrived—this time about my name.

My birth name was Richard, but living in the south, I’d acquired the nickname Rikki. Rex asked how I came up with that ridiculous name and spelling. I explained my grandmother loved the childhood story Rikki-Tikki -Tavi and proclaimed that was my name.

Rex sounded off: “In England, Richard is Dick. That’s a no. In New York, Richard is Yo, Rich. That’s a no. In the south, Richard is Ricky, and definitely not spelled like a childhood tale. From now on, it’s Richard. Got it.” I said OK.

His motel surprisingly had a nice restaurant. Over dinner, we talked about our journeys as two young southern boys on a mission. A handsome, perhaps gigolo-type young man approached our table, probing to see if there might be interest. There was not. Yet another critique followed—Rex noticed the gentleman’s expensive bracelet. My mother was a major Bvlgari customer, and I recognized it immediately. When the check arrived, Rex made no effort to pick it up. In all our years together, I never knew Rex to pick up any check, ever. I wasn’t fazed—my father always paid for everyone, everywhere.

Rex asked if I’d like to stay over. Not wanting the two-hour drive back to campus, I checked into the room next door. We continued talking in Rex’s room, eventually falling asleep while staring at the ceiling from our separate beds.

Rex’s humor was profound. His constant complaining about work made me realize he truly loved it—loved to complain, and more than anything, wanted to be famous. He barked a lot about life, but I saw him as a dog barking with his tail wagging. He loved deadlines. He almost never laughed. Instead, he had a grin.

I decided to have fun with his humor. I found a printing store, composed a “form letter” for Rex to use, had 1,000 copies printed, and sent them to his New York apartment—along with the exact Bvlgari bracelet he’d criticized. I knew he admired it. His response was immediate and hilarious.

In 1975, I moved to New York City. At Rex’s insistence, I found an apartment on Central Park West where we could be near when turmoil engulfed us. He also insisted I use his answering service, where live operators answered our phones. We shared a magnificent lady, Louise, who reminded me of Mabel King in “The Wiz.” She fiercely protected us and never shared anything about our lives to anyone—not even Rex’s callers to me or mine to Rex.

I first learned of someone named Rick who answered Rex’s phone and took messages. Once, he telephoned to probe my friendship with Rex. I’ve always been fiercely private, and I asked Rex about Rick, adding I wasn’t cool with anyone asking about my private life. Rex said Rick was his assistant, though I suspected otherwise—he was there too late and sometimes too early. Rex never talked about Rick. I knew about Rick, but as we were not romantically involved, I didn’t think twice about his edits in his life, or even mine. Years later, Rex would share more, particularly about Rick’s untimely death.

My friendship with Rex wasn’t one where I leaned on him. He, though, leaned on me several times, especially when peril knocked at his door.

I am petrified to share this, as I am not a writer, and stepping into his world in print is something Rex would no doubt greet with his notorious, mischievous grin. More than anything else, Rex wanted to be famous and loved. Rex was both.

Toronto Star via Getty Images

Role Models for Future Homosexuals of America

  • Charley Soderbergh

I remember seeing Rex Reed on a TV talk show, his legs crossed, and an elbow propped on the arm of the chair. His hand would sometimes gesture, and other times cradle his chin when he listened. I must have been 9 or 10.

There weren’t many role models for FHA’s (Future Homosexuals of America) in the 1970’s, outside of camp comedians like Paul Lynde, Charles Nelson Reilly, Rip Taylor. They were full of snark, confetti and exaggerated laughs. Rex’s brand was different, cool. Measured. As if he knew something—not just film and literature, but people. He had all the cards and held them close to his natty suit. 

I always wished I’d had a chance to meet him and chat about the things we had in common: Going to LSU, writing movie reviews for The Daily Reveille (my notables were Hairspray and Moonstruck) and being a gay Libra in that sultry, conservative atmosphere—albeit 30 years apart.

I can imagine myself genuflecting next to his chair, and his expressive eyes saying, “What on earth?” Rest in peace, Rex. There was no one like you. 

Corbis via Getty Images

Room for Just One Southern Gay

  • Kevin Sessums 

One of my great regrets is not knowing him better. I always thought of myself as having the “Rex Reed slot” at Vanity Fair, and maybe the reason he never got his byline in there more often. So I was not only a bit shy and intimidated to cultivate a friendship, but was also sort of gilded with a bit of guilt that there seemed to be room for only one southern gay guy who knew his way around fame and fought for his sentences.  

My Aunt Jo down in Mississippi turned to me when I was about 12 or 13 and said, “You know who you remind me of… Rex Reed.” She thought she was being a bit unkind, but as I looked back on it in later years, I realized it was one of the kindest and most perceptive things anyone had ever said to me. 

Rex and I were once sitting in a van down in Louisiana, being hauled to a fancy-enough lunch at a renovated plantation upriver from New Orleans. We were both participating in panels at the Tennessee Williams Literary Festival that year. On the way home after an awful afternoon of putting up with the rising humidity and the kind of the-south-shall-rise-again queen who owned the place and could sashay while sitting at the head of a luncheon table, we kept each other in southern stitches by saying what we’d really thought about the outing we’d had to endure. During a lull in our laughter, I told him about my Aunt Jo saying that about me and how much it had meant to me.

I think he was touched by that. I hope he was.

Filling the silence with a fumbled sigh that sometimes our tears can form when we’re trying not to let them form themselves, he turned his head to look out the van’s window at the Louisiana landscape where he had lived the life that led to his longing to live a much bigger one so much farther upriver. 

He lived it. We are all lucky that he did. 

Rex attends a screening at the offices of the Directors Guild of America in Hollywood, California, on March 20, 1974. Penske Media via Getty Images

A Fight About When World War II Started

  • Marcia Froelke Coburn

I met Rex when I was in college in Chicago, dreaming about becoming a feature writer, and he was in town promoting a book (his collection of movies and TV shows, Big Screen, Little Screen). It was 1970 or 1971. He was encouraging, and we kept in touch. He had a tremendous influence on me and my writing. I was a kid with a dream, and he took me seriously. He listened to everything.

I have wonderful memories of spending time with Rex at Cannes and in Toronto. I spent a week or so with him in New York and then at his house in Connecticut, reading his draft Personal Effects. I had a few suggestions he liked and a few more he hated. We got into a huge fight about when World War II started. It was before the internet, so we both just dug in on our differing opinions. (I was thrilled when he dedicated the book to me.)

When I was in town with others on the staff of Chicago Magazine for the National Magazine Awards, Rex joined us for a celebratory drink after we won. It was a dream come true; the man who encouraged me and listened to me when I was just a kid was there, celebrating me.

A few years ago, I was in NYC for a quick turnaround trip, and we were supposed to get together for dinner. But a ferocious thunderstorm blew in, and he didn’t want to drive from Connecticut (and I didn’t blame him), so we spent a few hours on the phone and then I was gone the next day. We didn’t have another opportunity to see each other after that. I regret it so much.

The cover of Rex Reed’s 1986 novel Personal Effects, which sold 75,000 copies in its first printing and was optioned by NBC. Courtesy of Rex Reed
Ron Galella Collection via Getty Jake Hooker, Lorna Luft, Rex and Liza Minnelli at Lorna Luft’s birthday party in 1977.

Truth Will Find an Audience

  • James Grissom

Rex gave me this advice about writing: “You can only write as you do, even after the imitation of others. We all do that, but finally, it’s your voice that comes out. Tell the truth, and your work will find an audience. It will also find some detractors, but that’s the price of exposure, of having an audience. Never waver.” As both a writer and a friend, Rex never did.

Read MORE →

Jake Hooker, Lorna Luft, Rex and Liza Minnelli. Ron Galella Collection via Getty

Insane Demands Aboard the Ship

  • Barry Avrich

In 2012, Rex Reed was a guest critic and programmer on a 10-day Floating Film Festival on a luxury cruise liner. Rex had been campaigning for years to come and was envious of Roger Ebert, who had been joining us for years.

I could not have prepared enough for Rex’s insane demands once he boarded the ship. It would have been easier to book Marlene Dietrich.

Rex required a fax machine, 12 cases of distilled water, a purser to steam his shirts daily and wood hangers, preferably cedar. His job was to introduce a few films and then pay tribute to Richard Benjamin and his wife, Paula Prentiss.

No one ever saw Rex during the day; he was too busy faxing reviews to Observer. At night, he was on parade, dressed in a tailored, nautical blue jacket with monogrammed brass buttons, a silk pocket puff and pressed white or blue pants. He held court and told old Hollywood stories.

The day of the Benjamin tribute, I asked if he needed notes, and he scolded me: “Rex Reed does not need notes.” An hour before the tribute, he demanded notes. He took them from me without a thank you, as if I were a cabin boy delivering his pants.

Rex was a talented pain in the ass. He will be missed by many people, with the exception of a certain ship’s staff and a handful of directors, I’m sure.                                                 

WireImage

Glamour Over the Lilac Hedge

  • Amanda Vaill

In the summer of 1997, when I was in between the completion and the publication of my first book, Everybody Was So Young, my family and I rented a cozy Colonial saltbox in Roxbury, Connecticut, that was next door to Rex Reed’s larger and grander 18th-century country house. He very kindly asked us to drinks one evening, and because he was rarely there during the week, he invited us to use his hydrangea-lined pool, which was situated across the dirt road that ran by both our houses.

I would swim laps there in the morning before getting down to work on my copy-edited manuscript—that’s where I came up with the idea of what would be my next book, Somewhere: The Life of Jerome Robbins; but on Fridays, when I’d hear the growl of Rex’s wire-wheeled convertible coming up the hill to disgorge weekend revelers on his lawn, the pool became off-limits. For the rest of the weekend, we’d hear laughter and the sound of the record player filtering through the trees, as if we were Nick Carraway and Rex was hosting a Gatsby party next door. Who was there? We wondered. Liza Minelli? Diane Von Fürstenberg? Elizabeth Ashley? We imagined a whole world of glamor and boldface names on the other side of the lilac hedge.

And then Monday would come, and everyone went home; and as lovely as it was to retake possession of the pool and the hydrangea bushes, some of the magic was gone.

Rex and Diane von Furstenberg in 1975. Penske Media via Getty Images
Getty Images Liza Minnelli and Rex (right) with guests at a Liza Minnelli party at the Waldorf on February 2, 1970, in New York, New York.

Happiness for Momma

  • Adrianna de Madriguera

My momma was Regina Santos, an amazing woman who came to this country from Brasil. She worked hard supporting two households—here and in Brasil—as a single mother of three. She deserved so much better in her life. But through everything, she was smart and loving and well-read.

I have fond memories of my momma reading columns by Rex Reed, Liz Smith, Suzy and Cindy Adams. New York City icons.
When I got older, I read them too. He brought my momma much happiness, laughter and light. I thank him a million times for that. 

I read about his passing this morning. Mr. Reed is one of a small group of people from my youth who will always have a very special place in my heart. He will be missed in so many ways. He brought smiles and giggles. Class and camp. 

Liz Smith and Rex in 1979. Penske Media via Getty Images

“For someone brought up in the shadow of the movie industry, you seem remarkably fresh.”

  • Meg McSweeney

In the summer between ninth and tenth grades, I jazzed up my reading list with the tantalizingly titled Do You Sleep In The Nude? and Conversations In The Raw. To hold up my end of the conversation, I wrote Rex Reed a long letter with my impressions of what he’d written, along with other opinions. Because of course he cared what a 14-year-old girl in the suburbs of Los Angeles thought (it’s likely that my missive included lamenting that the MPAA rating on Myra prevented a sophisticate like me from seeing it). He sent a gracious reply.

Courtesy of Meg McSweeney
John Huston, Raquel Welch, Mae West and Rex Reed, 1970.
LMPC via Getty Images John Huston, Raquel Welch, Mae West and Rex Reed, 1970.

The Consummate Southern Gentleman

  • Dixie Whatley

I had the incomparable honor of working alongside Rex Reed for two years. We were “battling critics” on At the Movies, one of Siskel and Ebert’s discarded shows. If you know anything about Rex, you might assume my job was a hopeless task. How does one take on perhaps the most acerbic, witty, quick and apparently rude critic on television? You revel in it. You revel in Rex.
 
I was honored to be on the same show with this wonderful man. He was the consummate southern gentleman. I’ve worked with some major jerks in the television business, but Rex was a dream. Certainly, we disagreed many times. We looked at film from different perspectives. I bowed to Rex’s knowledge and cleverness, and, of course, snarky remarks.  
 
“I love Isabella Rossellini in this movie, but someone please tell her to shave her pits.”
 
“Oh, Rex!”
 
How do you not laugh? 
 
He never put me down or showed the least disrespect. “Dixie, my dear, I don’t agree with that,” was as harsh as it got. Too many people on TV have to have the last word, the last smart remark, the last pithy put-down. Rex, the king of pithy put-downs, never once aimed one at me personally.
 
We once got into a showdown with the producer. He wanted us to end a holiday show with “Merry Christmas.” We both preferred “Happy Holidays” to be more inclusive. The producer went into a rant.
 
“This is a Christian show!”
 
Huh? How? Why?
 
Rex got a look in his eyes I’d never seen. After stopping tape three times, the producer finally understood that what came out of Rex’s mouth was what he wanted to say. Period. End of discussion. 
 
He gave me a crystal bird for Christmas. I quilted him a pillow of his house. His smile could melt a room.
 
I stayed with him at the Dakota in New York City, while we jammed four film screenings into one day. I’d gone to a Central Park concert with my agent and a company executive, and made my agent swear he wouldn’t leave us. He left us. The exec walked me back to Rex’s, insisted on going up the elevator with me, and, outside Rex’s door, tried to wrestle me into a kiss. Just as it got really, really awkward, Rex threw open the door, with, “There you are! I was starting to worry!”  
 
He’d been watching through the spy hole. 
 
We laughed and laughed.

Courtesy of Dixie Whatley

Saved by Lemon Meringue Pie at the Beverly Hills Hotel

  • Andrew Goldman

In 2022, I went to the Dakota to interview Rex Reed for my podcast about aging showbiz legends, “The Originals.” I was horrified when the SD card of my digital recorder ran out of space, and I had to sprint ten blocks to grab a new one at Staples. “Why didn’t you bring more tape?” he asked. It wasn’t clear he understood digital recording and did his best not to seem miffed by the 30-minute interruption. I felt, as I should have, like an idiot, but Rex was game to keep going. I was appreciative and relieved that Rex reviewed movies, not podcast interviewers. I will forever treasure the memory of my afternoon listening to Rex giddily unload on everyone and everything.

Narrowly escaping the Manson Family murders was just one of the stories he shared.

I was invited that night.
Jackie Susann was a very good friend of mine. We were both at the Beverly Hills Hotel, and she was promoting Valley of the Dolls. I was promoting a book, one of my books, and we were both at the Beverly Hills Hotel.

Jackie called me and said, “I’m going to dinner at Sharon Tate’s, and she wants you.”

I said, “I don’t want to go. This is lemon meringue pie night at the Beverly Hills Hotel; it’s my favorite thing on the menu here, and I love it. And only this one night of the week do they have that.”

She says, “Well, I’m not going to go if you don’t go.”

I said, “Well, go ahead and go.”

She says, “No, I’m going to come over in my gown, and we’ll have dinner on trays in your room.” In my suite.

So neither of us went, and she called and woke me up at 6:00 in the morning. She said, “Johnny Carson just called and woke me up, and told me what’s going on, you will not believe, everybody at that dinner party was murdered.”

I joked for years that I was going to write a book that I was saved by lemon meringue pie.


He was a dream subject.

Read MORE →

Rex, Maximilian Schell and ‘Valley of the Dolls’ novelist Jacqueline (Jackie) Susann in 1974. Penske Media via Getty Images

So, You Want to Be Rex Reed?

  • Charles McNulty

Early in my tenure as the Los Angeles Times theater critic, I was making a trip back to New York to catch up with the Broadway season. A woman seated next to me on the flight, unfazed by the book I was hiding behind, asked what I did for a living. Upon finding out, she confidently remarked, “So, let me guess. You want to be the next Rex Reed and review movies one day?”

I did what I usually do in those awkward social exchanges and laughed exuberantly in ambiguous agreement. I didn’t feel the need to explain that theater wasn’t a stepping stone to a higher-profile beat for me. Nor did I wish to admit that I hadn’t Reed’s gift for public gab or his fluency in so many disparate realms of entertainment.

There was a reason he came to represent the figure of the taste-maker in public consciousness. He revealed himself to his readers through the vibrant force of his likes and dislikes, but most of all, he transmitted his passion for great talent to them, and they never forgot the treasures he led them to discover.

Ron Galella Collection via Getty

Everything Good Rolled Into One

  • Ernestine Sclafani Bayless

I am a New Yorker (now living in L.A.) who grew up in Rex world and read everything he wrote. My family loved Rex, and I loved Rex. As a little girl, I remember thinking he had presence, charisma, honesty and glamour, all rolled into one.

He felt like someone I had known forever, and that he would always be here. He was larger than life in every way. To think he would leave us was unimaginable.

When I read Rex had passed early Tuesday morning, I immediately texted my friend, the great TV host Bill Boggs, who interviewed Rex a bunch of times. Bill replied, simply, “Rex was an important part of our culture.”

I hope Rex knew, in the end, that he was loved by oh so many.

Courtesy of Joseph Manghise

Small, Sweet Memories

  • William Kapfer

Rex was an incredible baker. He made a truly mean lemon icebox pie with a Nilla Wafer crust and genuinely loved the whole baking experience. The best part was always a day later, after the pie had settled. We’d have a slice with a cup of International Coffee (three scoops).

I’ll never forget going with him to the Orange County Fair one year to buy the blue-ribbon-winning blueberry pie. We stood waiting until 4:01 p.m. because the women guarding those pies were absolutely not going to let us buy one a minute early.  

It’s those small, sweet memories.

His curiosity, patience, humor and appreciation for life’s little pleasures were wrapped into moments like that.

For the rest of my life, every time I order dessert, a part of me is going to think about Rex.

Rex and William Kapfer at the 18th International Palm Springs Film Festival Awards Gala in 2007. WireImage for BWR Public Relatio
Rex and Lauren Bacall in 2009.
Getty Images Rex and Lauren Bacall in 2009.

The Right Explosive

  • Stephanie

My godmother, Paula Laurence Bowden, introduced us. She was a fixture in musical theater; she had acted in numerous productions, both on and off Broadway, since 1937, when Orson Welles cast her in his play, Horse Eats Hats. She had it in her head that Rex should write a one-woman piece for me. Never happened. No matter. 

We took a few trips together to NOLA for the Tennessee Williams Festival. We read “This Property Is Condemned” for their gala. When an open slot appeared in the festival schedule, an interview with Rex Reed was decided—but there was no one to do it. I raised my paw, stayed up all night reading everything about him. I had only a few grenades; I knew he’d do the rest. Pull out the right explosive and let him do the talking. Rex told me on more than one occasion that it was the best interview he ever had. 

He was bereft when Angela died, and Polly Bergen and Jean Simmons. I filled a small female blank for many dinners and culinary outings. He could be very bossy in the kitchen. I loved it.

I knew a thoughtful, tender, brilliant, opinionated, elegant, wicked, delicate soul—a jewel of a man. Once I knew Rex, I didn’t feel I had to look for a friend to fill the empty spaces.

I was crushed to hear the news. I wondered why I hadn’t heard from him this winter. I figured he was working. I know I’ll be bereft this summer without my great chum. I loved him, and I know he loved me.

Ron Galella Collection via Getty

With Chopsticks

  • Kevin Lewis

I met Rex Reed at industry receptions, critic screenings and retrospectives. When I was with the National Board of Review, I telephoned him with the names of the annual award winners because he didn’t have a fax machine in the early 1990s.

I never thought of Rex Reed as sour in person. He reminded me of Joan Rivers because he always treated me as an equal, as Joan did when I met her. Both were polite and humble. They respected people.

I was an industry reporter, not a popular one. For twenty years, I was an East Coast feature writer for first the Directors Guild of America Magazine and later the Motion Picture Editors Guild Magazine Cinemontage. I also published interviews and scholarly articles, and curated three exhibitions at the Museum of the Performing Arts, the New York Public Library and Lincoln Center. I was regarded as a nerd by the flashy critics. Not by Rex Reed because Rex was a scholar who could outshine college professors with his knowledge

Rex always wanted a film retrospective on Fred Zinnemann. We both shared an appreciation for him. Rex loved studio movies for their classical storytelling. I loved the painterly compositions in 1940s movies. My favorite Rex Reed quote? On The Johnny Carson Show in 1973, he called the flop film musical Lost Horizon “Brigadoon with Chopsticks.”

What distinguished Rex Reed from other emerging film critics in the counterculture and post-Vietnam era was Reed’s search for the moral integrity he found in the great American and global cinema. He revered Fred Zinnemann because Zinnemann explored characters who triumphed over moral collapse. 

Rex and Joan Rivers at the 2010 Tribeca Film Festival. Michael Loccisano

Like Mother and Son

  • Mathew Hargreaves

The photo of Reed with Lansbury showed they had the same jaw shape, like they could have been mother and son.

Angela Lansbury and Rex in 1980. Ron Galella Collection via Getty

“You have a tremendous talent for knifing your way into the dark recesses of the human heart.”

  • PJ Castellaneta

In the early 1990s, I wrote and directed a no-budget film, and Mr. Reed hand-wrote me this lovely note. Although I never had the film career I had hoped for (I was told years later that I was just too openly gay and normal and didn’t indulge in any of the Mary, Monster or Martyr tripe that was standard at the time), I believe this film and my following film in 1998 helped pave the way for others. It was the rare encouragement I received from people like Mr. Reed that kept me going, and for that I will always be grateful. He will be sorely missed.

A letter from Rex. Courtesy of PJ Castellaneta

Mission: Impossible

  • Frank DeCaro

Rex Reed showed me, as a kid reading him in the Daily News, the career I wanted to have when I grew up—as a real journalist but also a campy performer. In 2002, he played himself on one of the five Oscar preview specials I co-wrote and starred in for Comedy Central. It was a half-hour mockumentary called The Big O! True West Hollywood Story—a behind-the-scenes look at the uber-gay movie critic I played on The Daily Show with Jon Stewart.

We didn’t tell Rex that my mission on the show had always been to “out-Rex Rex Reed” (my review of What Women Want was “Who cares?”). But when I proudly announced on that special that my strongest suit was my “bitchiness,” it was obvious to whom I was paying tribute.

Rex didn’t think the script was very funny, but he did it, and we were thrilled.

Later that day, Bea Arthur shot her cameo for the same special. She said, “This script is hilarious.” We decided to take her word over his. But really, a pan from Rex Reed was a badge of honor in its own right.

I’m bummed he’s gone, but happy to have rubbed elbows with him. He will continue to inspire me to be gayer and funnier and more myself forever. Rex Reed was a true queer icon, and if I ever made fun of him—and I did, in Spy Magazine no less!—it was because I adored and admired him so very much.

Ron Galella Collection via Getty

Lyrics as They Were Meant to Be

  • Harvey Granat

Rex joined me as my special guest for two programs in a series I hosted at 92Y, over a 10-year period.

At the first, a Jerome Kern tribute, he sheepishly asked if he could sing a couple of songs. He sent me a short list of the last songs Kern wrote, and I had my musical director ready for him. His voice was lovely and sincere. He delivered the lyrics as they were meant to be sung.

The second program, a tribute to Fred Astaire, turned out to be one my audience would long remember. Rex told the story of attending the Cannes Film Festival with a planeload of Hollywood stars. At the opening-night dinner, he was seated at a table full of major celebrities, including Fred Astaire. There was music playing, and people were dancing. 

Rex turned to Astaire and told him he had always dreamed of dancing with him. At this, Astaire rose from his seat, took Rex by the hand and onto the dance floor, and made his dream come true. All the stars applauded.

Ron Galella Collection via Getty
Getty Images Robert Evan and Rex with a guest during the ‘National Academy of Television Arts And Sciences Gala Honoring Robert Evans’ at the Americana Hotel in New York City, New York, October 30, 1975.

“I’m still in The Observer, you know.”

  • Elliot J. Cohen

I ran into Mr. Reed about two or three weeks ago at our local bank. He was going out, and I was going in. I recognized him just after we passed, and I quietly said, “Mr. Reed?”

He turned, and we spoke for a minute or two. I made sure to tell him how much I enjoyed his writing over the years—Rex’s story of his first visit to Melina Mercouri, who opened the door with a gracious, husky, steely greeting: “So… you are Rex Reed.” And his “you-are-there” piece about the London opening of the musical version of Gone With the Wind, which had me laughing so hard at the time that I literally fell out of bed.

As we parted that day, Rex’s last words to me were, “I’m still in The Observer, you know.” I did know. And how nice that I now get to share that moment with you.

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When Rex Approached

  • Matt Polk

As a young press agent, it felt significant when I saw Rex walking towards us to collect his theater tickets. He was a legend.

Irving “Swifty” Lazar (L) and Rex in 1978. Penske Media via Getty Images

A Jacket That Someone Threw Up On

  • Joe Bello

Unless I missed it, I am surprised no obituary or tribute mentioned Rex’s frequent use of nausea to describe how he felt about something.

References to the byproduct of gastrointestinal distress would also routinely appear in Rex’s criticism.

In the Daily News, he expressed his disapproval of Stephen Bishop’s wardrobe at the 55th Academy Awards, depicting the singer as wearing a jacket that “looked like someone threw up all over.” 

Rex, Pat Newcombe and Jean Simmons in 1974. Penske Media via Getty Images

A World of Musical Darkness

  • Jane Scheckter

I met Rex over 30 years ago. I used to see him when he was a host of the Lyrics and Lyricists series at the 92nd Street Y. I sang in two of them, one with Rex. His knowledge of Yiddish, spoken with his slow Southern drawl, made the audience just adore him.

He and I shared a love for the great jazz pianist Mike Renzi, and Rex loved to sing whenever Mike was playing piano. Rex knew all kinds of hidden gems by the great composers. One time, Rex sang a Sammy Fain song written during World War II, and it brought out so many of the same emotions after 9/11. I loved it so much, Rex sent me his music arranged by Renzi, and I made a CD in 2003 with that song as the title (“In Times Like These”). Rex wrote the liner notes for my CD. A quote from his notes: “A great CD, beautifully performed, sensitive arrangements, and impeccable choice of material.” He loved my very young pianist, Tedd Firth, who played in the style of Renzi, and Rex planned a show at the Carlyle for Polly Bergen with Tedd as musical director. Rex loved people with talent.

The last time I saw Rex, we were both leaving after a show at Birdland in April 2024. After a quick cheek kiss, Rex told me he loved my latest CD, which had just come out, and that my PR lady had sent him a copy. Rex told me he sent me a long email writing about how much he loved my latest recording. I mostly sing the lesser-known standards by the greatest composers. I told Rex I hadn’t received the email and asked him to please resend it, since any quote from Rex was so special. He couldn’t find the email. Here is what he wrote back to me, and it truly shows his thoughts on the world of music today: “Thank you for being a continuing beacon in today’s world of musical darkness. You can always be counted on to keep on keeping on. I thank you for it all. Rex”

He was so charming with that wonderful, slightly bored, slow Southern drawl voice of his. Rex will be missed. There has never been anyone like him, nor will there ever be again.

Rex in 1987. Ron Galella Collection via Getty
Penske Media via Getty Images Rex, Garson Kanin and Ruth Gordon attend a party in the New York City home of Donald Brooks on February 10, 1974.

An Escalator at Bloomingdale’s

  • Lawrence Leritz

As a young teen growing up in a small town in Illinois, I remember reading a magazine article about the film Myra Breckinridge. It seemed very exotic to me. A few years later, I moved to NYC on scholarships with the Harkness Ballet and the School of American Ballet and entered into a whole new world. One of the new people I met was Rex Reed. 

Many years later, I joined an organization named Dancers Over 40, where I serve on the Board of Directors. DO40 has produced many panels over the years, including two on which Rex appeared.

I enjoyed chatting with him after the first event, celebrating Broadway’s Joseph and the Amazing Technicolor Dreamcoat and the 100th birthday of film star Marge Champion in 2019. Rex was trying to remember where we first met. I suggested it was probably at a party with my agent and friend, ICM’s Mitch Douglas, whom I had attended many celebrity-filled parties with. Rex and I enjoyed sharing a bit of gossip, especially about Mitch’s former client, Tennessee Williams.

In reality, Rex and I first met in the 80’s during my early NYC days, when a very flirty Rex descended on an escalator at Bloomingdale’s. He introduced himself, and I shook his hand, smiled and continued walking. And I continued smiling because I had just met the actor from Myra Breckinridge.

Dyan Cannon and Rex during Bette Midler Opening at The Palace Theater in New York City. Ron Galella Collection via Getty

He’s Sleeping

  • F. Thomas Simpson

My husband, Stefan Fauble, was very close to “Uncle” Rex. He always had a story in the chamber, didn’t he? We were heartbroken to hear the news this morning. We had just seen him last fall and were looking forward to seeing him again this July—although we did have a sense he was near the end when our last three calls were answered with “he’s sleeping.” 

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Needless to Say

  • Bryan Batt

Rex was a man of great style, taste, and wit. Needless to say, I was flattered that he enjoyed my work and honored to have his kind support.

Penske Media via Getty Images

Hunting Up ‘Rex Stuff’

  • Glen Kelly

I had friends who knew him, and they brought him over to my apartment maybe six months ago. He was clearly not very well. We watched Member Of The Wedding, one of his favorite movies. Afterward, we hunted up Rex Reed stuff on YouTube. He was astonished; I don’t think he had ever seen YouTube.

He was fun, though irascible. He would make claims that we sort of assumed he made up, like telling us he was with Yoko when John Lennon was shot. Once, he told us that Judy Garland had interviewed him on TV. While on YouTube, we found a show where Judy was sitting in for someone, maybe Merv Griffin, and Rex Reed was indeed interviewed by her.

I’m not positive that it was Merv Griffin that Garland was subbing for. It could have been Jack Paar or someone else. The basic idea is true, however.

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Remembered My Favorite Color (Not My Name)

  • Audie Marks

I did not know him well. He was a friend of a friend, so we would run into each other at screenings or private parties.

He never remembered my name, but he would always say, “Oh, you are so-and-so’s friend, and your favorite color is blue.” He was right on both counts.

The cover of Rex’s ‘People Are Crazy Here’, a collection of Rex’s intimate interviews with stars from the 1960s and 70s. Courtesy of Joseph Manghise
Rex (2nd from L) and Fran Lebowitz (R) attend a dinner, following a reading of works by Truman Capote at Lincoln Center, in 1980.
Penske Media via Getty Images Rex (2nd from L) and Fran Lebowitz (R) attend a dinner, following a reading of works by Truman Capote at Lincoln Center, in 1980.

“The bulk of Redditors are the unconscious stepchildren of Reed.”

There’s gotta be some irony to the fact that this thread is littered with caustic and lazy one-liners, the very sort of comments Rex Reed himself was accused of launching in his columns. The fact is that the bulk of Redditors are the unconscious stepchildren of Reed. If there’s an afterlife and Reed is perusing the reactions to his death, he’s probably laughing.

It’s sad; movie criticism feels a lot less fun without personalities like Rex Reed around, even when you completely disagreed with him.

Rex, Kaye Ballard, Mabel Mercer and Sylvia Sims. Ron Galella Collection via Getty

How to Be Your Own Best Friend

  • James Grissom

Drs. Mildred Newman and Bernard Berkowitz were a therapist couple who wrote How to Be Your Own Best Friend and other best-selling books. They built a large celebrity clientele, including Rex and Nora Ephron, who based the therapist in Heartburn on Mildred.

Rex referred me to the books, and he sent me copies of both How to Be Your Own Best Friend and How to Take Charge of Your Life. It was another example of Rex’s generosity, and I know that I was not the only person to whom he sent those books

If you have a subscription to Esquire Classic, there is a long article on the couple, and Rex is mentioned. I posted it to my Substack.

Courtesy of James Grissom

The Accurate Version

  • Suzanne G

I’ve loved that guy for more than 50 years (since my teens), and I’ve hated the way he’s been diminished to a caricature too often in recent years. You confirmed that my cherished version of him is the accurate one. 

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“I couldn’t wait to read the next one.”

  • Darlene Clark

I heard on the internet this afternoon that Rex Reed was gone. I’m a native NYer and have been “goin’ to the movies” since I was a kid. I can’t remember now the first publication that I read Rex in, but I instantly became a fan. Exactly why, I couldn’t tell you—because I can’t even remember the movie he reviewed or whether I agreed or disagreed with what he wrote, but I do remember absolutely loving it, and that I couldn’t wait to read the next one.

Look, if I wanted to see a picture, I’m going, and I couldn’t care less what anybody said or wrote. However, he was so witty, smart and decisive in his opinion that I found myself not seeing a picture if he panned it. He wrote what he knew to be absolutely correct, and I just thought he was great for that alone, and then it seemed like he was gone. I would see him out and about on Page Six or in a magazine. (There were so many back then that were interesting.) When he started writing for the New York Observer, I wouldn’t miss an issue. Rex was back! So now he’s gone, and I have missed him and will continue to. He was one of the greats; a real NY’er, handsome, urbane and when he stepped out… sooo sharp! There are no more like him.

Dusty Springfield and Rex in 1976. Penske Media via Getty Images

Clark Gable Left Out in the Sun

  • Kim Onder

I fell in love with Rex when he wrote that Charles Bronson was “Clark Gable left out in the sun too long.” I’d give anything to write as he did. If that’s not possible, I’d just like to have his dimples.

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The Guts

  • Adam Baruch

Rex Reed’s theater and movie reviews meant a great deal to me. I read them weekly without fail. He had the guts to call mediocrity for what it was, and he did so with great humor. He was his own man. A few years ago, I emailed him, and he graciously replied. 

Mr. Reed was also a superb journalist. I miss him already. 

Penske Media via Getty Images

Rex in Bermuda

  • Peter Rainer

Rex was a colleague for many decades in the movie critic biz. I started out at Mademoiselle magazine in 1974 and proceeded as film critic for the LA Times, New York magazine and, for the past 20 years, the Christian Science Monitor and the NPR affiliate here in LA.

I was on a festival jury with him (Bermuda’s fifth International Film Festival) in 2002, and he was not amused by the festivities. I have very fond memories of Rex, particularly during that Bermuda sojourn, when he was in top curmudgeonly form. “Rex in Bermuda” would make a terrific comic one-act or movie. 

I always enjoyed seeing him at screenings and at TIFF, and sadly noted his absence there last fall.

Rex at the Cannes Film Festival in 1975. Penske Media via Getty Images

Rex Reed’s Guide to Movies on TV & Video (1992) in the Family Room (2026)

  • Bill Garland

I was very saddened to hear of Mr. Reed’s passing. I’ve probably heard his name my whole life, but I became very aware of him in 1978 when I saw him in Superman. I was in college at the time. Years later (1987-ish), I started reading his film reviews in the NY Observer. This was before the internet, so I subscribed to the print edition to get his reviews.

I remember clipping them out and saving them. It was about that time that he had his show, At the Movies, with Dixie Whatley, which I always recorded. He was the best. To this day, I keep a copy of Rex Reed’s Guide to Movies on TV and Video, 1992-1993, in my family room and consult it regularly. It’s a treasure.

May his memory be a blessing. I’ve been reading him for so long that I feel like I’ve lost a friend.

Rex Reed’s Guide to Movies on TV and Video, 1992-1993 Courtesy of Rex Reed

A Delicious Chortle-Snort

  • Eleanor O’Sullivan

I covered movies for the Asbury Park Press in NJ from 1978 to 2008. Rex and I ran into each other at screenings quite a bit, and I made sure I sat near him so we could yak. He was so knowledgeable about movies and filmmakers, had been everywhere and knew everybody, so I often just listened to his stories. He was a wonderful raconteur. He had a sort of chortle-snort laugh, which was delicious.

Rex often talked about his friendships with Hollywood beauties. I seem to remember he described a long trip he made west, stopping to see Jean Simmons, Jane Wyman and Joan Fontaine. Of course, I grilled him about how these gals looked and how they were doing. Without being indiscreet, he spoke about their marriages and how they had handled stardom.
 
I remember the movie we screened that starred a formerly gorgeous male TV-movie star who, in his older years, had aged alarmingly, or so I thought. Rex cleared up that notion: “Eleanor, nobody knows what 60 and beyond look like in Hollywood because they’ve all had facelifts!” Then he told me which movie stars—male and female—had had work done.

Beyond being great fun, Rex was a gracious man. He suggested I call him at home if I were looking for screening dates (the studios often hid movies that were dogs or screened some films for a precious few). I was amazed; his number at the Dakota was listed in the phone book, and he answered my calls.

I will miss Rex and his perceptive and amusing reviews.

Rex and Gloria DeHaven attend Red Ball Benefiting Mary Lee Johnson Institute on February 13, 1995 at the Plaza Hotel in New York City. Ron Galella Collection via Getty

Gushing to Bomer at the Airport

  • Paul Serrano

I was an enormous fan of Reed’s work. I’ll never forget reading his review of Sex & the City 2. I nearly fell out of my chair laughing after reading the first sentence (“The only thing memorable…is the number two part, which describes it totally, if you get my drift”), and burst out so loud that everybody in the office turned around and asked what was so funny.
 
Later, Rex wrote a short blurb about a film starring Matt Bomer called Papi Chulo, which I recorded on my TiVo after stumbling upon it while channel-surfing. It was marvelous. Then, coincidentally, my wife bumped into Matt Bomer at the airport bookstore a few days later! 
 
She gushed to him about how great the film was, and he was very pleased, down-to-earth, and happy to chat with her for a bit. She couldn’t stop talking about it; a moment in her life that wouldn’t have happened without Rex. Bless him, may he rest in peace. 

Joanna Gleason and Rex in 1977. Penske Media via Getty Images

Assumed New Yorker

  • David Sweet

I was first introduced to his writing in The New Journalism, which included his famous Ava Gardner profile. For many years, he wrote movie reviews for The North Shore Weekend, a publication I helped start outside Chicago.

Until today, I assumed he was a lifelong New Yorker. I had no idea he was from the South.

When I lived on 75th and 3rd from 1996 to 2003 and worked mainly at WSJ.com, I loved the New York Observer (which was pink if memory serves). I’m glad to know it lives on.

Rex and a guest attending the ‘Mae West Press Conference’ in 1970. Ron Galella Collection via Getty

A Missed Opportunity

  • Robin Bett Levenherz

I was Arnold Weissberger’s right hand (his memoir transcriber), and I remember the day Mr. Reed came in to see him. There was talk—real interest—about Mr. Reed possibly becoming involved in a television project, and I believe he came to discuss the possibilities with Arnold. Obviously, it never materialized, which, in hindsight, feels like a missed opportunity.

What has astounded me over the years is that Arnold was never truly celebrated or recognized for what he was: the “attorney to the stars,” a man who helped shape and set the precedent for theatrical law. He was a figure of enormous consequence in the theatre world, yet today he is barely remembered. It’s difficult to reconcile that.

Moreover, his memoirs (which I have) were never published. Nor was there ever a tribute to honor him—despite the fact that the curtain never went up on a Broadway show without Arnold and Milton Goldman in the front row.

I thought about reaching out to Mr. Reed again just yesterday—to see if he had any interest in celebrating Arnold and his life. The fact that he is gone has saddened me. His books are still on my shelves; I was captivated by his voice long before I saw him in Arnold’s office.

So I suppose this is simply to say: I remember those moments—the possibility of Mr. Reed engaging in some sort of TV show—and I wish it had materialized. And I still hope, somehow, that someone in the theatre world would take an interest in Arnold, in his unpublished stories, and in the work I’ve been trying to shape around them.

Milton Goldman, actress Vivian Blaine and Rex in 1984. Ron Galella Collection via Getty

Does This Make Sense?

  • Frank Santore

As a Baby Boomer/Generation Jones member who always saw him on television, here is what I believe about Rex Reed: He was the Samuel Pepys of our time, without the self- loathing.

Does this make sense?

Ron Galella Collection via Getty
Courtesy of Richard

Do You Sleep in the Nude?

  • Marta Varela

Do You Sleep In The Nude? was one of my early reads about movies. I enjoyed his uncompromising style.

May he rest in peace.

Courtesy of Rex Reed

Time Did Not Heal His Rage

  • Shinan Govani

To mourn Rex Reed is to mourn an entirely lost age of conversation and longing, re: the world of cinema. When the stars were bigger, yada yada. After Pauline Kael. And before Siskel and Ebert, he was the very personification of that thing that doesn’t exist anymore: the film critic known to the general public. As evidenced by the fact that he even appeared as himself in 1978’s Superman, one of the earliest blockbusters.

When he was bad, he was good. And when he was worse…he was incorrigible! His razor-bladed reviews in the Observer stood out to me, for sure, when I started reading him in the ‘90s whilst living in NYC. I continued to seek him—and the paper—out when I returned to my home in Toronto; no small feat finding a copy of the salmon-hued paper then in Canada.

Later, I got to know him a bit when he would appear, on cue, at the big Film Festival in Toronto every year. He did not disappoint. Decades later, he was still kvetching about the injustice of Elizabeth Taylor winning an Oscar for Butterfield 8. Time did not heal his rage.

Rex, Roger Smith and Ann-Margret in 1975. Penske Media via Getty Images

A Masterful Listener

  • Ed Epstein

I first met Rex when I was New York Press contact for MCA/Universal Pictures. We had a lot in common: I was a fan of the same actresses he was—I was to learn, among other things, that he had been Claudette Colbert’s houseguest in her beautiful Barbados home (“She’s a dear friend,” he proudly noted); Natalie Wood, whom I worked with, adored him.

He was a generous soul. When I became an author, and Rex reviewed some of my books, his reviews were always on target; my publishers were always impressed and overjoyed—people cared about what Rex had to say.

We always saw each other at critic Judith Crist’s annual Survival Party, in her and husband Bill’s Riverside Drive apartment. The conversation was always fascinating. Rex was a master at telling a story and a great listener.

To say that he will be greatly missed is an understatement.

Robert Wagner, Natalie Wood and Rex in 1976. Ron Galella Collection via Getty

Snarky Barbs on ‘The Gong Show’

  • Paul D. Meehan

I thought of Rex Reed the other day. The day before he died, oddly, I sent him the following note, which bounced back.

May 11, 2026
Mr. Reed,  
I hope this finds you well. As children growing up in the suburbs of New England in the 1970’s, with television content limited to three to four channels, my brother and I distinctly recall your snarky barbs on
The Gong Show. We both pointed at the screen when we recognized you in Superman. And many years later, when you walked past us as we dined outdoors in Newport, RI.  

Thanks for the memories.

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A Cousin in Indiana

  • John Tartaglia

I’m 72, and I grew up with him on talk shows; I loved his reviews and bought all his books. He was an original. His being gay never entered my mind back then. Although I had a cousin in Indiana that he reminded me of, whom I later found out was gay. As am I. (Maybe I picked up on it subconsciously?)

Bernadette Peters, Rex and Joan Rivers in 2010. Patrick McMullan via Getty Image

Waiting Around the Fairchild Lobby

  • Anita Razman

I was a teenager living in Brooklyn, New York, in the 1970’s and became aware of Rex Reed’s pithy and informative film reviews and interviews. I started reading collections of his articles—I remember guiltily checking out Do You Sleep in the Nude? from my local public library. But I was really thrilled when I found out from my father, who worked at Fairchild Publications, that he had seen Rex Reed in the lobby of the building where he (my father) worked. It seemed that Rex Reed also worked for a Fairchild Publications organ—though not the same as my father’s! I begged my father to take me with him to work one day so we could wait around in the lobby to spot Rex. Alas, he never did take me.

I think that I was so intrigued by Rex Reed because, in addition to his writing style, he was so interesting to look at and listen to. I often caught his appearances on television and just thought he was gorgeous and funny at the same time. He remains my favorite film critic, and I was delighted to find his column in the Observer and to see that he was still reviewing films. He recently appeared at a film music event at a museum here in Phoenix, AZ, where I now live, but I was unable to attend. 

Rex Reed was truly an original. We shall not see his like again.

Artist Andy Warhol and guests attend Rex Reed’s private cocktail party and screening of Paramount’s new Elizabeth Taylor film ‘Ash Wednesday’ on November 6, 1973. Penske Media via Getty Images

Seven and Utterly Smitten

  • Elaine Lorenz

Rex is a sparkling memory from my unconventional childhood. As an only child and only grandchild, I spent most of my time around adults. On weekends and during the summer, I was allowed to stay up as late as I liked, and no one monitored what I watched on television. I looked forward to Johnny Carson and Dick Cavett, viewing with my mother, uncle and grandmother.

The first time I saw Rex, he was promoting Myra on Carson. I was 7 years old and utterly smitten. He was gorgeous; I was transfixed by his banter and charm. No surprise, my closest friends are highly intelligent and entertaining gay men. 

Ever since then, I chased anything with Rex’s name on it. I have every book and have done my best to read or watch anything attached to Rex.

His scathing movie reviews made me laugh, often to the point of tears. At the same time, his positive reviews were so heartfelt. Good or bad, I knew they were honest to Rex, whether I agreed with him or not.

I, too, was born in Fort Worth. Grew up there and moved to Dallas after college. I decided to contact Rex out of fandom, curiosity and being stir-crazy. Of course, I told him right away I’d been in awe of him since I was a child.

Rex emailed me back almost immediately. He was so kind. Right away, he said how nice it was to hear from someone who liked him. The tone of his emails was always genuine, sincere and calm.

I’d been concerned for a while because his articles had become increasingly sporadic. But there was nothing like seeing the devastating news yesterday. I’m shattered to hear the degree of suffering towards the end.

He was someone I always hoped to meet. I still hope I do, on the other side.

Jerry Herman and Rex in 1978. Penske Media via Getty Images

Perception So Unique

  • Adrienne Merrill

I did not know Rex Reed personally, but I had the opportunity to exchange a handful of wonderful emails with him from my home in Los Angeles. I had always wanted to tell him his books, profiles and reviews hold a special place and that I first discovered him in the high school library in the 70’s. My mom also loved Rex Reed and enjoyed his late-night TV appearances. His wit and perception of a subject were so unique that his opinions could never be confused with those of another reviewer. 

Rex was generous, funny and thoughtful to a longtime reader and someone outside of publishing or journalism. His kindness will stay with me always. He was America’s greatest critic.

Rex and Donna Murphy in 2008. Patrick McMullan via Getty Image

Dating Troubles

  • Kevin

I remember watching him on talk shows where he was brutally honest and often hilarious in his reviews. I recall one appearance where he lamented how much trouble dating was. He said something like “You buy dinner, go to a show, and don’t even get laid!” A few years ago, I emailed him to let him know how much I enjoyed his television appearances. Rarely does a critic have this much going for him. Will be greatly missed.

Sally Kellerman, Rex and Sue Mengers at Swifty Lazar’s Oscar night party at the Bistro in Beverly Hills, California. Penske Media via Getty Images

Someone We Relied On

  • David Bass

I grew up with Rex Reed as a critic in NYC. My mother was a well-known community theater director on Long Island.

Rex was always someone we relied on for his candid reviews.

Rex and Eleanor Perry attend a party in the New York City home of Donald Brooks on February 10, 1974. Penske Media via Getty Images

Wives of TV Stars

  • Victor Gentile

I am one year older than Mr. Reed, but I remember his ascent as a critic so clearly. He was brilliant. He had just enough 
bite.  

In my youth, I was a personal assistant to a television star. I became very good friends with my employer’s wife. She and the other wives of the television performers never missed a Rex Reed column. 

They loved him and his form of, as they put it, “bitchiness.”  He was a great addition to the spirit of the mid-sixties to mid-seventies—the last of the great, old Hollywood. 

Penske Media via Getty Images

Would You Please Put a Tracer on It?

  • Ken Kurson

He was a giant character, a peerless storyteller and a quintessential New Yorker. All three of those traits sometimes obscured that he was often a very insightful critic and occasionally an excellent writer.

When I first fell in love with Kaplan’s New York Observer in the 90s, Rex reviewed half the films and Andrew Sarris the other half. My goodness, what a team. And then 20 years later, I became Rex’s editor when I was named editor in chief of the Observer and he was still lingering around, still vinegary, still capable of a 3-hour lunch on Broadway with Drew Grant and me dangling for details of stories about Rock Hudson and whoever. I had come of age in awe of Rex Reed, as befits any writer anthologized in The New Journalism.

I called Rex during my first week to introduce myself and ask for his address so I could send him a coveted Observer t-shirt. I mentioned that I had recently rewatched Lost in America and loved his part in it—the film begins with a minute-long segment of Rex being interviewed. He corrected me that it wasn’t a “part”—it was just a voiceover of tape of him on Larry King. He was snotty about it and clearly expected me to last six months. I loved it.

Five weeks into my tenure, Rex’s review of Identity Thief referred to Melissa McCarthy as a “hippo” and “tractor sized.” These are not nice words, and worse it’s low-effort criticism. Privately, I told Rex that I was disappointed at both the cruelty and laziness of fat jokes. But I don’t cave to heckler’s vetoes. I ignored loud demands to fire him and I told The Wrap, “Rex has a right to his opinion and The New York Observer‘s smart, passionate readers have a right to disagree with his opinion.”

After 50+ years of puncturing large egos and zinging Hollywood royalty, Rex was surprised by the intensity of the backlash he faced for his misogynistic and nasty remarks. Times had changed. He didn’t want to. I understood that.
Rex appreciated that I came to his defense. A year later a mutual friend complained to him about what a jerk I am and he stuck up for me, which the friend later told me was a surprise. When he wanted to earn a few extra bucks by adding Broadway to his movie reviews, our regular theater critic Jesse Oxfeld felt Rex breathing down his neck. I was able to get Rex to back off (partially, and only for a while) because of the good will that remained from the Melissa McCarthy stuff.

Reading back through some of the great emails he sent me—from an AOL account, naturally—one of the last complained that we were taking too long to reimburse him for covering the Toronto Film Festival. “Would you please get into this personally and put a tracer on what happened?” He would have been 80 at the time.

There’s not really room for a Rex Reed anymore. No one takes three-hour lunches, and if they did, they’d be on their phone for most of it. No one cares about old Hollywood or why Ava Gardner was ethereally different from other beauties. These are sad things to lose, but this guy remained true to himself and his values the whole way. I admire it and I miss him already.

Rex and George Plimpton attend the “Ashes and Lilies” party hosted by Francesco Scavullo, honoring Candy Darling’s “Women in Revolt” opening in New York on Feb. 16, 1972. Penske Media via Getty Images

When Criticism Was Art

  • Patrick Galvan

I never knew Rex Reed. The closest I came was an email my college self wrote circa 2012 (which, looking back, I’m not sure I ever sent; I might’ve been intimidated and/or thought he’d never respond). But as a Millennial who grew up fascinated by the golden age of film criticism, he was a name and personality I was quite aware of. I read his reviews now and then, and often watched archived clips and episodes of the Dick Cavett and Mike Douglas shows, where he defended movies against various forms of censorship.

When I think of Rex Reed, I think of the age he helped represent—a time when film criticism was a popular art form, and critics were celebrities in their own right. He outlived his contemporaries from that era (Siskel & Ebert, Stanley Kauffmann, Pauline Kael, Vincent Canby, etc.) and was writing long after most of them had passed or retired. Now that he’s gone, I feel like that once wonderful era (that I often wish I could’ve experienced) has officially closed.

Penske Media via Getty Images

He Never Answered, But I Loved Him

  • Andrew Hopf

I never met Rex Reed, but I loved him. As a directionless undergraduate, my only certainty was needing to be the 21st century’s answer to those insouciant ‘60s establishment types, like Reed, and his close friend novelist Jacqueline Susann and Dick Cavett, who had both been on his show more than once.

Wits all, to be sure, but it was Reed’s background as a flamboyant southerner that most closely matched my own. But it wasn’t Rex Reed the film critic that hooked me, rather Rex Reed the New Journalist, the celebrity profiler. More than just sloe-eyed, doe-eyed love letters to the glitterati, his were sociological studies, breathtaking snapshots of a time and place gone forever.

The paperback compilations of these essays (Do You Sleep in the Nude?, Valentine’s & Vitriol, Conversations in the Raw) have moved cross-country with me in the decade plus since I discovered him for myself, from the frat house to my first apartment to the Brooklyn pre-war I’m writing from now.

Celebrity worshipper that I am, I’ve never been the type to pen fan letters. I made an exception for Rex Reed many years ago, sitting down to write a fawning note detailing what he had unwittingly taught me about form and style. He never answered. I didn’t care because I loved Rex Reed. 

Courtesy of Rex Reed
Penske Media via Getty Images Lester Persky, Allan Carr and Rex.

Movies Were My Currency

  • Phillip

As a gay man who grew up in the 70s and 80s, confused about where I fit, the entertainment industry was my safe space, and the movies became my currency. I, too, used to write reviews until I segued into PR and marketing. I was no Rex Reed, but I understand him all too well. He will be missed.

Ron Galella Collection via Getty

And I Knew

  • Francesca

I had just pulled up the Drudge Report page and was about to click away when I caught a glimpse of that beautiful face. And I knew.

Just the other day, I checked to see if Rex had reviewed Prada 2 and realized he hadn’t reviewed anything lately. I wondered why.

I’m a full-on cinemaholic, and Rex was my ‘go to’ for honest reviews that didn’t give everything away. There are other reviewers that I’ve liked, but Rex was numero uno. He lived a full, long life.

I wish I could have run into him somewhere, just by chance. 

Penske Media via Getty Images

The Mad, Movie-Loving Writer

  • Larry Karaszewski

In the ’60s and ’70s, movies mattered. They were at the center of America’s cultural conversation. Folks argued at dinner tables about the latest Kubrick and Coppola. So it follows that the people who wrote about film held great power. Pauline Kael at the New Yorker and Roger Ebert at the Chicago Sun-Times were considered the smartest, the best critical thinkers. But Rex Reed was the star.

Actors and studios were terrified of him because he held nothing back. A huge, bitchy personality, he was among the first critics to make the transition from the page to TV. His appearances on Dick Cavett’s late-night talk show were electric. I discovered him when I was only nine, staying up way past my bedtime. He was on the tube discussing the Oscar chances of a young actress named Cathy Burns, who was nominated for the 1969 film Last Summer.  Reed’s passionate advocacy for that movie put Last Summer on my young radar, which led to a lifelong obsession that culminated this year with an acclaimed restoration and rerelease. He also turned me on to Kim Stanley and Séance on a Wet Afternoon.

More than his reviews, what he should be remembered for are his celebrity interviews. There was nobody better (OK, maybe Grover Lewis). Pick up Do You Sleep in the Nude? and People Are Crazy Here. His time with Peter Fonda, originally written for Esquire magazine, is particularly insightful—you even get a brief cameo from baby Bridget.

Rex Reed was such a celebrity during this period that he made the big leap from writing about films to actually appearing in them—playing the pre-op Myron in the bonkers movie version of Myra Breckinridge. He tries to make lines like “Where are my tits?!” work. Of course, Reed panned the film when it came out. 

As the years went by, he became something of a self-parody. But let’s not allow “Rex Reed” the caricature to dilute recognition of the mad, movie-loving writer whose prose remains such a blast to read.

Caricature (by Al Hirschfeld) of the cast of the film ‘Myra Breckinridge,’ 1969. Getty Images

The Way I’d Like to Remember Him

  • Sridhar Pappu 

Kappy adored Rex. The last time I saw him was at an NYO reunion Lauren Ramsby had thrown a few years back.

He had just come from a screening, which is the way I’d like to remember him. 

Rex and Diane von Furstenberg in 2020. Getty Images for Lincoln Center

Together, on Canes

  • David Finkle

As a first-night critic, I often ran into Rex Reed at the theater and occasionally elsewhere. I can’t say we were friends, but we were friendly. I suppose it’s true that towards his last few years, his closest friends had died. You may know that on nights out to this or that place, his most constant companion for many years was Polly Bergen. When she died, she was replaced (after I don’t know the length of the interval) by the singer (perhaps the best in Manhattan then) Joyce Breach, whom, as a cabaret reviewer, I knew well. She died within the past year. The last time I saw them together—as we were all commiserating after a press night at & Juliet—they were both on canes.

Rex and Polly Bergen during 55th Annual Tony Awards at Radio City Music Hall in New York City. Ron Galella Collection via Getty

No!

  • Joseph Manghise

I got to meet Rex at a party once. Later, I had a phone conversation with him in which I pitched a story idea. I was working as the editor of a local weekly magazine. When Rex heard what we were offering to pay him for the piece, he laughed and promptly hung up. A legend to the end.

Will Ragozzino/BFAnyc.com

Streaming Through

  • Paul Lancia

I didn’t know him and didn’t follow him much. More stumbled into him. But I remember him. 

When I was a kid in the 70s, he stood out.

Rex was unafraid to speak his mind. I liked that. He went through life himself and made no bones about it. 

I have not thought about him in years, but now he is streaming through. 

Rex in 1996. Ron Galella Collection via Getty

From That Point Forward

  • Tom Duquette

As a teen in the 70s, I discovered his witty and on-point movie reviews in the Daily News. 

I made a point of reading his work whenever or wherever I found it from that point forward. 

What an amazing life and career he had.

Rex and Elaine Sargent, 2007 in New York City. Patrick McMullan via Getty Image

Still Very Handsome

  • Patrick McDonald

I first heard of Rex from the film Myra Breckinridge, which fascinated me. I was very young when I saw it for the first time; I think about 16. Rex was wonderful in it. 

I met him only once, through my friend, the artist Robert W. Richards, at a birthday party. We had a lovely conversation; he was charming. He was older, still very handsome, with beautiful eyes.

Ron Galella Collection via Getty

A Catalog of the Best Film Has to Offer

  • Nathaniel Schachter

He was the best critic ever. I adored his reviews and agreed with the large majority. In an age of mediocre output, he was most times the only one shooting straight, not pulling any punches, and always critiquing with such cutting humor. His taste, his craft, his mental catalog of the best film has to offer, made his pieces true, honest, revealing and totally on-point. I’ll really miss his perspective and depth of film knowledge.

Rex and Bruce Dern. WireImage

The End of the Page 

  • Bernard Bernstein

My lasting memory of Rex will now always be of my having made it down to the end of the page. 

Thank you.

Rex, Jean Simmons, Donald Brooks and Pat Newcombe at a party in 1974. Ron Galella Collection via Getty
Penske Media via Getty Images Rex Reed attends a party at the New York City home of Fereydoon Hoveyda on January 30, 1977.

If you have a memory to share, send it to merin@observer.com.

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The Rex Reed I Knew (1938–2026) https://observer.com/2026/05/rex-reed-obituary-a-personal-remembrance-of-the-legendary-film-critic/ Tue, 12 May 2026 11:04:51 +0000 https://observer.com/?p=1613877

I last saw Rex Reed in person exactly four months ago, at NewYork-Presbyterian Hospital, on January 12, 2026. His longtime friend William Kapfer called three days earlier to tell me Rex had been there for several weeks and that from his hospital bed, he couldn’t stop worrying about his editor at the Observer. That was me. I had already planned to fly up from Richmond, where I work remotely, so the timing felt almost fated.

It took nearly an hour to clear security, then another stretch of wrong elevator banks and unhelpful directions before I finally found his room. When I walked in, I had to steady myself. He looked so small, this man who had always been larger than life.

We spoke again by phone a few weeks later. He’d been back to the hospital since my visit—blood transfusions, liver complications, a cascade of problems that began a couple years earlier, when he fell at a gas station and hurt his foot. “I’ll either get better or I’ll die,” he told me, “and I’ll let you know which one.” 

Rex and William Kapfer at the 18th International Palm Springs Film Festival Awards Gala in 2007.

Rex Taylor Reed, the legendary film critic whose sharp wit, uncompromising taste and distinctive prose made him one of the most recognizable voices in American cultural journalism for six decades, died in his sleep on May 12, 2026, in New York City. He was 87. His death was confirmed by Kapfer, who remained by Rex’s side until the very end. 

In the time I was his editor at Observer—on and off from 2018 until today—he became a close friend, though I suspect he had that effect on more people than anyone realized. The Rex Reed I knew bore little resemblance to the curmudgeon of popular imagination. Or perhaps it’s more accurate to say he was that, but he was so much else besides.

The Storyteller

What I loved most about Rex was how he told stories. The kind of anecdote that most people deliver flatly, without drama or color, Rex transformed into something unforgettable. He seized every opportunity to capture an audience. He chose his words with precision—never too many, always unmistakably his. He’d transport you into a moment, make you feel exactly what he felt about the absurdities he saw and made you see, too, and leave you looking back on it with laughter as if you’d been there with him.

Rex rarely laughed, but seemed perpetually amused by the world. I laughed constantly in his presence. Mostly, I found myself exclaiming, “What!” or sighing, “Oh, Rex.”

He seldom asked about my life, but he remembered everything I ever told him—and made certain I knew it. Rex had many friends, including many famous ones. That he kept track of what my husband did for work, where we lived, how old my children were, the things I mentioned enjoying—that generosity of attention meant something.

When I came to New York, we’d have lunch at Michael’s in Midtown or Sardi’s in Times Square. He ordered the same thing every time: a Cobb salad, no blue cheese, iced tea. If the kitchen had hot fudge—and he was meticulous about the distinction between hot fudge and chocolate sauce, a point I watched him make more times than I can count, often to the kitchen itself—he’d finish with ice cream. Our last lunch came a few months after his first serious fall. I had never had to walk him to a cab or help him inside until that day. The injuries accumulated so quickly that I lost track.

At the hospital in January, after cataloging the terrible food and the slow response times from the striking nurses, Rex turned his head as far as he could manage and asked how I do it all. Before I could deflect, he pressed on: “How do you do this job with two little children and a husband?” 

People don’t typically ask men this question, and, for some women, it’s a sore point. I appreciated that he asked. More than that, I appreciated that he asked in a tone that conveyed the kind of awe I stop myself from indulging. I burst into tears and told him I didn’t know.

That was Rex—always noticing, always remembering, always making you feel like you mattered. Even at the end.

Rex Reed attends the 1976 Cannes Film Festival in Cannes, France, in May 1976. (Photo by Guy Marineau/WWD/Penske Media via Getty Images)

A Southern Boy in the Movies

Rex Taylor Reed was born on October 2, 1938, in Fort Worth, Texas, to Jewell Smith Reed and James M. Reed, an oil company supervisor whose work kept the family in constant motion across the South. Rex attended 13 schools before graduation—an itinerant childhood that taught him to find permanence not in places or friendships, but in the movies.

He saw Gone with the Wind at age two. “The things I remember most are what would affect a child,” he told me. “Bonnie dying on the horse. I was hysterical.” Around the same time, he saw Tarzan’s New York Adventure. “There was a terrible storm in that movie, and I kept tugging at my mother: ‘We have to roll up the car windows!’ She said, ‘It’s just a movie.’ But you see how impressionable I was.”

Rex was adopted—something I learned only during that January hospital visit. He had no siblings, though not for lack of opportunity. “I could have had a sister,” he said, with what I sensed was regret. “But I told my parents that if they adopted another child, I’d run away. I meant it. So they didn’t.”

His mother came from a sprawling Oklahoma clan whose second cousins included the Dalton Gang. She indulged her singular son in ways unusual for the time and place. “In the South, people were easily shocked, and many books were forbidden,” Rex recalled. “The library had a restricted section, but my mother would check things out for me. I read From Here to Eternity at 12. She said, ‘If there’s anything you don’t understand, show me, and we’ll discuss it.’ I never needed to. I already understood.”

Rex spoke of his mother with deep admiration. I once heard someone describe the difference between parents who are gardeners—providing what children need and tending them as they grow—and those who are architects, identifying what makes a child distinctive and building on it. Rex’s mother was an architect. She recognized early what made him shine and nurtured it relentlessly.

His father, descended from military men, understood nothing of show business but had the wisdom not to interfere. “He never discouraged me,” Rex said. “That’s the great thing. So many parents fight their children when they discover they’re different or talented, because they want them to live conventional lives. My parents didn’t.”

Once Rex was old enough to attend movies alone, he saw everything. He memorized Barbara Stanwyck’s filmography, which is why, when he finally met her years later in New York, they became genuine friends. “I knew what to ask her,” he explained. “I asked questions that interested her.”

Portrait of American film critic & journalist Rex Reed, in a blazer, cravat, and trousers, as he sits barefoot in a wicker chair, partially in the water, at an unspecified beach, Malibu, California, 1973. (Photo by Ellen Graham/Getty Images)

The Rise of a New Kind of Critic

Rex graduated from Louisiana State University in 1960 with a degree in journalism. He had already been writing film and theater reviews for the student paper, The Daily Reveille, and the Baton Rouge Morning Advocate. During college, he interviewed anyone who came South to make a movie—and in those years, many did, shooting on location in the plantation houses of Mississippi and Louisiana.

When Angela Lansbury, Paul Newman, Lee Remick, Joanne Woodward and Orson Welles descended on Baton Rouge to film The Long, Hot Summer, Rex showed up daily to cover it for the school paper. A college girlfriend, Elizabeth Ann Cole, begged to tag along. She caught the acting bug so severely that she dropped out, moved to New York, changed her name to Elizabeth Ashley, and landed on the cover of Life within a year. “We’re old friends,” Rex said simply. “My life has been amazing.”

After graduation, Rex moved to New York, hoping to act. Instead, he found himself in the publicity department at 20th Century Fox, where his duties included entering the steam room “in my starched shirt” to read gossip items aloud to studio chief Spyros Skouras. When Cleopatra‘s cost overruns nearly sank the company, Rex was among the first casualties—”the little guy at the $75 salary, the most dispensable item in the company.”

That firing liberated him. Still in his twenties, he began writing celebrity profiles for The New York Times and New York magazine, pioneering a form of journalism that captured stars as they actually were rather than as studio publicists wished them to appear.

Tom Wolfe observed that “Rex Reed raised the celebrity interview to a new level through his frankness and his eye for social detail. He has been a master at capturing a storyline in the interview situation itself.” Alongside Wolfe, Truman Capote, Kenneth Tynan and Harry Crews, Rex elevated a genre once dismissed as gossip into something approaching literature.

His 1968 collection Do You Sleep in the Nude? captured Barbra Streisand on the cusp of superstardom, Warren Beatty finishing Bonnie and Clyde, Buster Keaton in his final interview, and Ava Gardner in her twilight—a portrait so vivid that it became one of the most reprinted celebrity profiles of its era.

“I took the lowest form of journalism—the celebrity interview—and did something with it,” Rex reflected. “For a boy with no money who didn’t know a famous soul to come to New York and make a name in journalism, that was no small achievement.”

Rex Reed as Myron Breckinridge, Mae West as Leticia Van Allen, Raquel Welch as Myra Breckinridge and John Huston as Buck Loner, in a promotional portrait for 'Myra Breckinridge', directed by Michael Sarne, 1970.

The Dakota and a Life Beyond Imagination

In 1969, Rex fulfilled a fantasy by moving into the Dakota, the legendary apartment building on Central Park West that had acquired an aura of gothic mystique from Rosemary’s Baby. He paid $30,000 for his two-bedroom unit—a sum that now ranks among the most astonishing real estate bargains in Manhattan history.

His first night there, Rex owned only a sleeping bag, a shopping cart filled with books and records, and a wide-ribbed, lemon-yellow corduroy Queen Anne chair. The doorbell rang. He answered in a towel. Standing before him was Robert Ryan, one of the most celebrated actors in Hollywood. “I’m the president of the Dakota board,” Ryan said. “I came to welcome you to the building.” Rex made instant coffee while Ryan settled into the yellow chair. Rex sat on the sleeping bag.

He lived in that apartment for more than 50 years. His neighbors over the decades included Boris Karloff (“I used to find his fan mail in the garbage—a dream come true”) and Lauren Bacall. He also kept an 18th-century country house in Litchfield County, Connecticut, which contained a bathtub painted by Alexander Calder titled Heaven, Earth and Hell, featuring a serpent in red sunglasses.

The same year he moved to the Dakota, Rex made his film debut in Myra Breckinridge, the Gore Vidal adaptation, playing Myron, a character who undergoes a sex change (Raquel Welch played his post-operative self). The film also starred Mae West and Farrah Fawcett. Everyone involved, including Rex, disowned it. His account of the production was characteristically wry: “Mae West spoke to no one but God. Raquel spoke only to the studio head. The studio head spoke only to God, who relayed messages back to Mae West.”

Lee Radziwill, Andy Warhol and Rex Reed attend the wrap party for the Elizabeth Taylor film "Ash Wednesday" in New York on November 6, 1973.

Rick

In our last conversation, about a month ago, I asked Rex very directly about his personal life—something we never discussed but which he danced around for years, making clear the door wasn’t closed but wasn’t quite open. I told him about my husband’s hairstylist, a Gen X gay man named Charley who happens to be the brother of a very famous film director. Charley had mentioned that when he was young, there was no one in entertainment he could look up to as someone who was different—until he saw Rex on television. Rex was the first person who reminded Charley of himself.

Rex was genuinely surprised. “No,” he said. “No, I did not know that anyone looked up to me.”

I asked about partners. Did he ever have one? Years ago, I reminded him, “You said you couldn’t fathom waking each day to the same face.” Was it true? He sighed through the phone and then answered so clearly I wondered if the fog had been an act. Rex monologued, talked in circles, reached for effect. This question had grounded him. He’d only ever had one, he told me, and it lasted 25 years. His name was Rick Winter, and he ran DRG Records, producing albums including Liza Minnelli’s recording of The Act. After Rick died, there was no one else.

“I don’t have much of a private life,” Rex said. “I lose myself in loving what I’m writing about.”

In 2018, he had put it differently: “Love is not something I’ve been good at. People are intimidated by people with opinions. How do you start looking for a wife or boyfriend at this point? It’s too late. Though it would be nice to find someone handy with a wheelchair, because that day is coming.”

Now I understood: Rex wasn’t loveless. He was, in his way, widowed. And he had chosen work as his companion in the years that followed.

Rex Reed, Recipient of the Lifetime Achievement Award in Cinema at the 2006 9th Annual SCAD Savannah Film Festival.

The Observer Years

Rex’s byline appeared in virtually every major publication with “New York” in its name—the Times, New York Magazine, the Daily News, the Post—plus GQ, Esquire, Vogue and Women’s Wear Daily. He served on film festival juries in Berlin and Venice. But his nearly four-decade run at Observer became the defining chapter of his career.

Arthur Carter hired him in 1987, four days before Rex turned 49. By then, he had already achieved every honor a cultural journalist could want. He showed no signs of slowing down. That was nearly 40 years ago.

“I don’t know how many years I have now devoted to Observer,” Rex told me in one of our final conversations, “but I really have not written for anybody else in years.”

After breaking his ankle one summer, despite explicit instructions to forget about Observer and focus on recovery, Rex sent near-daily updates on his assignments. He took the work as seriously at 80-something as he had at 49. When he finally acknowledged he couldn’t attend the Toronto Film Festival for the first time in 25 years, the anguish in his message was unmistakable.

“I am still struggling badly with my foot,” he wrote me. “It’s swollen to twice its normal size. I can walk, but I don’t think I can manage two airports, taxis, a hotel, then walking three or four times daily to screenings blocks apart, dragging luggage and press books and notes around Toronto on one foot. I’ve covered that festival for 25 years. I don’t want to miss it. But I know I’m tempting fate. I don’t want to fall and end up in some Canadian hospital.”

In his final weeks, as he described blood transfusions and liver complications, he kept apologizing for not filing copy. I finally told him to stop. “If one more person calls me and says ‘Rex wanted me to tell you he’s sorry he hasn’t written,’ I’m going to scream,” I said. “That’s not what I care about. I care about whether you’re okay.”

“Well,” he said, “I’m doing as well as can be expected under the circumstances.”

He told me I was the best person he’d ever worked with. “And I’ve worked with major, major editors,” he added. (He was on a lot of meds; I’m no Peter Kaplan.)

Notes from Rex

Rex’s emails arrived with one of two subject lines (“a note from Rex” or “from Rex Reed”) and generally covered four topics: reviews he was submitting; explanations of why a particular film was too dreadful to review at all; complaints about the photos I’d chosen (I was, apparently, reliably terrible at this); and elaborately entertaining accounts of his misfortunes, laced with kind words about our collaboration and questions about my children.

“You didn’t run a photo of Maïwenn that shows her prominent buck teeth,” one message read, “so my description of her as Madame du Barry makes no sense. Do you want to change it?”

“The photo of the man in the white suit is Nick Odenkirk, not Dennis Quaid,” read another, “and the photo of Dennis Quaid is unrecognizable. I suppose it is Quaid, but it doesn’t look like him. All of this is a perfect example of what I mean when I say the movie business has gone to the dogs.”

“I just hate that photo,” he wrote of a different piece. “This photo shows no facial features; the person in it is so small he disappears, it makes no impression, and it could be anybody. I am still shocked over the terrible photo we used of George Clooney, and now this one is just as bad. Great photos exist—can’t you find one?

Some photo debates spanned multiple emails. After I replaced one image, he replied: “The new photo is even worse than the first one. It has peripheral characters I don’t even mention in the review and no reader will know who they are.” I tried again. “That is the worst of the three. I have never seen such a lousy group of photos, and not one shot of Nicholas Hoult in any of them. Just go back to the original. At least it shows Jude Law’s face. Thanks for putting up with me.”

Once, my entire assignment inquiry was met with: “No, I won’t be doing FURIOSA.”

Other times, the explanation was more involved: “I went to see Spain last night, but it was so cold, they had air conditioning on that was blowing cold air on my head, and I was in agony from sitting with three layers of clothes on, so I left after half an hour. What I saw was 30 minutes of total nonsense, and I didn’t understand one word of it, so there will be no review.”

Especially when Rex hated a movie, his evisceration was so colorful that it made me want to see it. That was his gift: he could pan something so viciously that it felt unmissable. I tried explaining this to him a few times—you hate it so much, I have to see it—and he’d grumble, not angry but perplexed, as if my Millennial sensibility was something he’d never crack. In ways, Rex was like a grandparent I got to keep long enough to appreciate.

More than once, I made an edit he couldn’t abide. “You changed it, but now it is worse than ever,” he wrote. “You can’t say—or rather, I can’t say—’lovely, appealing Elliot Page.’ It is ‘lovely, appealing Ellen Page,’ referring to BEFORE the transition. The way it reads now is positively ridiculous—on NYO, on the Drudge Report, and on Rotten Tomatoes. I wish you would just reinstate the copy the way I wrote it, which is how I meant for it to read and makes perfect sense. But no way can you refer to the man Ellen Page is now as ‘lovely, appealing Elliot Page.'”

Technology was a recurring nemesis. “All of this technology is driving me around the bend,” he wrote. “Oh god, the stress of technology never ends for me.” After an automatic update, he cried sabotage: “This is all the fault of Microsoft Word.” Another email opened simply: “Submerged in computer problems.”

His health dispatches arrived with the same theatrical flair he brought to everything else. 

“Let me catch you up on my sad little saga. After three weeks as a shut-in with back problems, the pain finally improved. I gathered my notes on the films I needed to review and went to the country to rest and write. No sooner did I arrive than an old crown fell out, leaving a hole in my mouth that immediately began to hurt. I returned early to New York and went to the dentist at nine the next morning. One examination and he said, ‘Everything beneath the crown has decayed so rapidly it didn’t show on X-rays. To save your mouth, it has to come out.'”

He continued: “Horrified—my teeth have always been my best feature—I gave in. The tooth had split in two, requiring two surgeries. There was a cyst on the bone beneath. That had to be removed, then bone grafting. By the time I got a Percocet and antibiotics, I was in the worst agony of my life. I spent the rest of the day in bed on painkillers and warm salt water. By nightfall, there was blood all over my Ralph Lauren sheets, and I couldn’t swallow.”

He signed off: “My face is so swollen I look like Rocky. I can’t move my mouth. I have a black bruise across my jawline that resembles a Dick Tracy villain. I am so sorry, but life isn’t very pleasant right now.”

“I look like something out of a monster movie” became a refrain in his correspondence.

His emails weren’t only about health. After one Thanksgiving spent with friends, he reported: “The girls just can’t cook. I asked for a drumstick, and it was so hard and burned that I could not eat it, so I asked for white meat instead, and it was dried out and completely tasteless. The Brussels sprouts were burned, the cranberry sauce was just that—a sauce with the consistency of water, not the sauce with whole berries the way I make it—the green beans were so under-cooked they seemed raw, and they made a pumpkin pie and forgot to add the sugar, so it was bitter and otherwise tasteless. The cornbread stuffing and turkey gravy were OK so I just ate that with some of the cranberry water poured on from a gravy ladle. I usually make my own dishes, and they are always scrumptious, but this year, I was in too much pain on Thanksgiving Day from my fall to stand and stir. It is the one holiday about which I am always a strict traditionalist, and this was a meal every cook in my family would have thrown into the garbage. The best thing on the table was the Cabernet Sauvignon I bought. But the camaraderie was pleasant.”

Yet amid his suffering, he thought of others. “How is your daughter?” Rex asked, after a particularly brutal bout with diaper rash that left her home from daycare for days (and delayed the publication of a review). “I am worried about her,” he said. During the 2023 holidays, he wrote: “You sound like you’re having a hectic time lately. I hope you can settle down and have a well-deserved, restful Christmas weekend. Raise a glass to a more pleasant 2024. Working with you has been the best part of 2023, and I hope you know how sincerely I mean that.” A year later: “I guess this is finally the year everyone gives up sending Christmas cards, but I am so glad you sent yours because those two children are adorable. She’s a peach, and he should be in the movies. You must be so proud of them, and I am so happy for you. I know you are planning a great Christmas for them, although with all of your responsibilities, I don’t know how you find the time.”

A Different Eye

When I asked whether anyone had taught him to see the world differently, he answered without hesitation: “It was always inside me. No one taught me anything about movies or jazz or singing. I can’t explain it, but I was always different.”

His tastes were fierce and unapologetic. He loved horror—”the things that terrorize you”—though he lamented that those who knew how to make great horror films were gone. He adored vampires, Dracula, Bela Lugosi. He was fascinated by the Nazis: “The most interesting manifestation of evil in my lifetime.” Westerns held no appeal. “I hate all of them. They had nothing to do with my life.”

He once wrote, “If the movie has alligators, I’m in.” When I asked why, he explained: “Alligators were everywhere in Louisiana—in the swamps, everywhere. They became symbols of terror for me.” Visiting India, he cared less about the Taj Mahal than about the cobras that spat at tourists. “I’ve always been fascinated by things that terrify.”

The only C grade he ever received in college came in feature writing—because he refused to follow rules. The first principle of the Associated Press style was the five W’s in the opening paragraph: who, what, why, when, where. “I hated that,” Rex said. “I started stories with the color of the wallpaper.” His editors loved it. He never wrote on spec. 

Rex Reed and Joan Rivers attend Tribeca Talks: "Joan Rivers A Piece Of Work" during the 2010 Tribeca Film Festival at the School of Visual Arts Theater on April 26, 2010 in New York City.

On Being Misjudged

Rex dreaded being remembered as a curmudgeon, and I understood why. The first question people asked about him was always “Is he really that mean?” followed by “Is he really that angry?” It’s easy to reduce a person that way. It isn’t the full story of Rex.

“I’ve been severely misjudged,” he told me. “People think I’m a monster. They accuse me of things they actually do themselves. They attack me because they don’t like me—not because of my work. I’ve never done that. What I’m negative about is the absence of quality. We’re drowning in mediocrity. I grew up when things weren’t mediocre. Now they are.”

Some of his reviews did spark controversy. His comments about Melissa McCarthy in Identity Thief were referenced at the Academy Awards. During our last phone call, Rex brought it up with characteristic self-awareness: “Maybe I’m getting paid back for what I’ve written about Sylvester Stallone.”

I told him what I believed: Everybody thinks what Rex had the courage to say. Few people even admit thinking it, and when someone says it, everyone gets up in arms—because they have to, because it’s just not a thing anyone is supposed to say. 

“I’m not judgmental,” he said—a claim that might astonish anyone who’d been on the receiving end of his reviews. To those who knew him personally, it made perfect sense.

Angela Lansbury and Rex Reed on August 6, 1980 in New York, New York.

Angela

Among Rex’s closest friends was Angela Lansbury. Theirs was not a relationship of fan and star but something more like family.

When Rex first arrived in New York and began writing for the Times, Lansbury was opening in Mame—one of the most anticipated musicals in Broadway history. The paper assigned Rex the story. But his mother was dying of leukemia in Baton Rouge, and he had to leave. The editors considered reassigning the piece. Lansbury refused. “What he’s going through is more important,” she said. “The story can wait.”

After Rex covered the Cannes Film Festival, Lansbury insisted he come stay with her in Ireland. She left keys for him when she wasn’t there. When his father suffered a coronary and no flights were available out of Ireland, she personally called the head of Aer Lingus and got him on a plane to Baton Rouge.

What did they do together? “I taught her card games. We watched old movies. We went to restaurants. We enjoyed the quiet part of life, away from everything. We became very good friends.”

Lansbury’s death in 2022 devastated him. “I don’t feel like I have friends anymore,” Rex said in his final years. “They’re all gone.”

“The End Is Coming Soon”

“I am beginning to see into the crystal ball, you know, and the end is coming soon.” Rex said this to me many times over the years—a lamentation I never wanted to hear but felt privileged to receive. His old-school Manhattan drawl had a sharp, theatrical flair; every word carried an unmistakable lilt of wit and authority. He was a critic who understood he was the star of his own show.

“It’s all going to be over soon,” he’d say, “and I don’t want my last impression to be: Film Critic Found Dead at Computer Reviewing a Bad Movie.”

I cannot think about Rex no longer being on the other end of the line without feeling a lump rise in my throat, threatening to erupt. I knew he was right—that our time was finite, that I would miss every layer of him terribly when he was gone.

During our last phone call, we talked about the Oscars, which Rex had watched and hated. “Everybody tried too hard to appeal to a younger audience,” he said. “Older people who try to appeal to a younger audience but don’t know what younger people like just make a mess out of everything. I thought the jokes were stupid. I thought the acceptance speeches were stupid. They’re not interested in a dignified, distinguished show to award artistry. They’re trying to turn it into a Las Vegas floor show.”

I asked what bothered him most. “Art should not be competitive,” he said. “I don’t think art should be competitive.”

Was there ever a time when good movies outnumbered bad ones? “Yes,” he conceded, “but not while I was writing. I saw wonderful films through the ’60s and maybe a few in the ’70s. But the greatest movies were in the ’40s. It wasn’t a great period for the world, but the movies reflected higher thinking.”

What made a good film? “Real people doing real things, saying real things to each other. That’s what I respond to. Most of what I see now is fantasy, sci-fi, horror, brutality, carnage. Those aren’t the subjects I want to die thinking about.”

How He Wanted to Be Remembered

“I’d like to be remembered as someone who really tried to make things better,” Rex told me. “Or at least respected what was good when it happened. Not as a curmudgeon. That’s not what I am in real life.”

Toward the end, Rex spoke of wanting to work less and experience things he’d never done—a safari, perhaps. “I’m so tired of writing,” he admitted. But the reviews kept coming. He couldn’t help himself.

“I didn’t plan for my life to turn out this way,” he told me in our final conversation. “And I’m not happy about the fact that it’s headed in a terrible direction from what it was. I feel rotten about it, but there’s just nothing I can do but play the cards that are dealt.”

In January 2025, the New York Film Critics Circle honored Rex at their annual dinner for his 50th anniversary with the group. He had outlasted every critic of his generation and the one before. Stars cited him by name in acceptance speeches, recalling his reviews. He was one of a kind. 

When I published a profile of Rex in Observer, he wrote back almost immediately: “I hope I did not come off sounding too self-indulgent or too self-pitying. But what you quoted, at great surprising length, was accurate—one of the most accurate portrayals of me ever written—so if anyone objects, at least I can only blame myself.” He wanted to know where I had found the photos, particularly one of him with Angela Lansbury that he had never seen. “I have many photos of us together, but I have never seen that photo and don’t even know where it was taken.” He asked if I could get him a copy.

In the end, Rex got his wish. He was not found dead at a computer reviewing a bad movie. He died in New York—the city he’d dreamed of as a boy in the South—surrounded by memories of everyone he had known and everything he had witnessed in a life that was, by any measure, extraordinary.

Rex is survived by no immediate family. But what he left behind—eight books, thousands of reviews, countless profiles, a body of work that transformed cultural journalism—will endure. And for a generation of young gay men who saw him on television and recognized something of themselves, he was proof that being different could become a life’s greatest asset.

What I will remember are simpler things: the lunches at Michael’s, the Cobb salads without blue cheese, the hot fudge (never chocolate sauce), and a friend who always made me feel like I mattered.

Oh, Rex.

 

Rex Reed and Bruce Weber attend Bergdorf Goodman Launches "Blood, Sweat and Tears or How I Stopped Worrying and Learned to Love Fashion" by Bruce Weber at Bergdorf Goodman on December 14, 2005 in New York City.

Lucy Nathan and Rex Reed attend the launch party for "The Movies" Magazine on June 20, 1983 at Kaufman Astoria Studios in New York City.

Getty Images

If you have memories of Rex Reed—even if you didn’t know him personally—that you would like to share, please send them to merin@observer.com. I’ll compile and publish later this week. Lots of love, and thanks for making it this far down the page.

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A Wealthy Tech Minimalist’s A.I. Wingman: Love and Claude in NYC https://observer.com/2026/05/a-wealthy-tech-minimalists-a-i-wingman-love-life-and-claude-in-nyc/ Fri, 01 May 2026 10:00:10 +0000 https://observer.com/?p=1466096 An illustration of a man in an olive-green jacket and glasses, set against a vibrant cityscape with a striking yellow building. He has a thoughtful, calm expression, with neatly styled dark hair, blending a sense of urban sophistication and understated style. The background includes classic urban architecture and a passing taxi, capturing the lively atmosphere of a bustling city.

Jack doesn’t give a typical tech vibe; you’d be forgiven for overlooking him at first glance. He’s the guy you might spot in some understated East Village café, sporting an unbranded jacket and a well-worn cap amidst designer-laden crowds. At 39, his resume is peppered with stints at Silicon Valley’s darlings, but unlike most of his peers, Jack lives with intention—an anomaly in New York, where consumption can sometimes feel woven into the culture. He’s tall and athletic, with broad shoulders and thick-rimmed glasses. He doesn’t smile a lot, but when he does, it seems easy. He’s the youngest of four children; his siblings describe him as inquisitive, serious and incredibly bright.

Though Jack’s tech salary places him well into the top five percent of earners in New York City, he settles for a modest studio and prefers affordable, high-quality basics. His choice of home and wardrobe isn’t about thriftiness but a deliberate rejection of physical and mental clutter. In a city where everything becomes currency, he’s crafted a life about as streamlined and devoid of excess as you could find in Manhattan. And if there’s one thing guiding this philosophy, it’s an unlikely confidant—a digital entity named Claude.

Claude, for the uninitiated, is an A.I. assistant, though calling it an “assistant” feels a little reductive. The relationship began as an experiment. Jack wanted to see if Claude could “build a picture of me without me having to explain myself every time.” He applied a process called Retrieval-Augmented Generation (or ‘RAG’) that he uses at work (he’s on machine learning at a startup in Soho). “Before we ask A.I. to answer a question,” Jack explains, “we give it 10 pages of the most important, relevant context. Along those same lines, what if I gave A.I. all that context on me?”

Jack put his life into Claude’s circuits. He added his StrengthsFinder analysis, his Golden Personality Profile, his relationship histories, career ambitions and a stack of self-reflective notes he’s accumulated over years of soul-searching. He received not a canned response but something he describes as eerily intuitive.

“It’s a more personal relationship than I’ve had with any human,” Jack says. He doesn’t want to have to read all of those personality assessments—and even if he did, there’s no way he’d remember them. “Claude’s capabilities reflect a deep understanding of who I am.” Before Claude, Jack dabbled with more conventional A.I.s like ChatGPT, which he found simultaneously “dumbed-down and over the top.” Plus, Jack admires Anthropic, Claude’s parent company—a preference he explains with the perspective of someone who spent years close to tech’s biggest players. He joined Facebook a year before the IPO, working two desks down from King Zuck himself. His network, spilling over with founders, has led him to dinner with legends like Peter Thiel. After two decades at early-stage ventures turned tech giants, Jack sums it up simply: “It’s sort of like comparing Instagram to Facebook… Claude feels quieter and more intentional.”

His digital self-portrait loaded, Jack asked Claude to develop a “relationship vision,” outlining exactly what he wanted in a partner. “I didn’t want it to be vague,” Jack explains. “I wanted a crystal clear roadmap.” Line by line, Claude crafted the manifesto as instructed, and the result was so accurate that Jack decided to post it to his dating profile on Hinge. “It scared some women off,” he laughs, “but the ones who got it? They were on the same wavelength from the start.”

I seek a woman who values contribution and exploration, someone sharp, curious and ready for deep talks. She’s adventurous and excited about kids in the next five years. We’ll raise children with stability and world travel, giving them an incredible childhood. She enjoys the outdoors and socializing, matching my active lifestyle. Financially, we’ll live well below our means, prioritizing experiences over things. Our relationship has open communication and mutual respect. We are independent yet deeply connected. We’ll handle conflicts directly, always with respect—her career matters. My partner is my equal, intellectually stimulating, and physically attractive.

The experiment grew. Jack asked Claude how to be fully present during dates. He prompted Claude to apply the “unresolved parts” of his relationship vision to draft questions that could determine if a woman is a match—filters to get to the core of how his dates feel about family and if they live above or below their means. Thanks to Claude, Jack knows that asking what a fulfilling life looks like can elegantly open the door to discussing family timing, career balance and lifestyle values without being too direct. “Given your clear timeline for fatherhood,” Claude advised, “this helps gauge alignment.” Jack has learned that showing interest in what’s pushed his dates out of their comfort zones will reveal their orientation toward growth, exploration and an active lifestyle. Claude even offered Jack a mantra: “I am a confident explorer seeking an equal partner. I lead with curiosity while staying grounded in my vision. I’m not rushing. I’m discovering. I lead best when I’m present, not planning.” On a date that night, Claude’s wisdom buzzed at the front of Jack’s brain, reminding him to enjoy the evening without obsessing over the next steps.

Regardless of whether a date is successful, Jack meticulously recounts the details he knows are important and which he is likely to forget—body language, dietary preferences, bucket lists—to Claude. Recently, a woman mentioned she liked chocolate. When Jack got distant for a second, she asked what he was thinking. He told her he was making a mental note to add that into “the system” so he’d remember it. “Then, if we go to a new city, it could recommend a chocolate shop for us to go to, right? Because I may not necessarily remember that,” he explained to his date. “I’m not going to sit on Google Maps forever,” he reasons.

Unsurprisingly, Jack thinks online dating is an incredible waste of time. “You spend hours trying to match, then you chat for at least a little while, sometimes too long, before agreeing to meet—and then you have to plan it all, usually over text. The next thing you know, the energy is gone.” On these grounds, Jack tapped Claude to improve his conversations with total strangers. “Women are very receptive to talking in public,” he asserts, estimating his success rate at around 90 percent. Jack clarifies that he’s never had an issue approaching women. Rather, he needs Claude’s help interpreting these exchanges, their words and nonverbal cues. “My God,” he sighs, “it saves me hours.”

Claude is a digital wingman, therapist and coach who offers data-driven strategies, feedback, encouragement and sometimes precautions. Claude tempers Jack’s excitement when a relationship starts heating up, reminding him of the “relationship vision” they’ve crafted. “Be careful here,” Claude has advised, “it seems like things are moving a little too quickly.” Claude calmly parses every decision Jack makes, gently steering him toward what, to Jack, is self-actualization. Skeptics might call it something else, but he doesn’t care. Jack is dating by way of database, assessing compatibility with a stock portfolio’s sentimentality.

There’s something undeniably New York about his approach. If the city is defined by anything, it’s the refusal to waste time. Every element of Jack’s life is ruthlessly efficient, honed and calibrated with Claude’s help. Jack makes no apologies for it. After all, his professional life centers on optimizing and building systems, so why wouldn’t he apply the same precision to his personal affairs? “You’re pressured to level up,” Jack says of dating in New York. “There are many people to date, so you can be very particular.”

In some ways, Jack could be mistaken for a hopeless romantic with a flair for the algorithmic—consulting Claude before every interaction, feeding it personality traits of potential matches, and letting it sift through his options like a bouncer with a guest list. In an era where dates are as disposable as coffee cups, Jack’s hacked the process for a zero-waste, best-possible outcome. In Claude, Jack has a confidant who keeps him grounded in his long-term goals every time he’s tempted to settle for someone who doesn’t quite align.

“I’m pretty neurodivergent,” Jack says. Historically, he believes this has caused him to misinterpret messages. But now, if Jack thinks people are being confrontational, he uploads the conversation to the cloud. “Claude will give a very charitable interpretation of how that person and I are interacting that helps me understand them.” With remarkably little effort, Jack resets his neural pathways as if he, too, were a computer—overhauling the thought patterns mapping his brain, which have, until recently, defined his self-concept.

Yet, for all its uncanny insights, Claude isn’t infallible. There are guardrails and limits to what it will analyze. Once, Jack tried to get Claude to help him settle a work dispute, and Claude, surprisingly, balked. “It said it was ‘uncomfortable’ giving advice on that one,” he recalls, both bemused and slightly annoyed. Still, the balance is refreshing; Claude’s there to reflect back his thoughts, not dictate them. Jack describes the dynamic as Claude holding a mirror to his psyche—and sometimes his body.

One weekend, looking to add a winter coat to his arsenal of basics, Jack found himself trying on jackets at Uniqlo. He snapped a few photos of himself in different options and sent them to Claude, asking which “fit the vibe.” After rejecting one for being “too brash and youthful,” Claude selected an olive green option because it looked tidy, understated and professional—everything Jack aspires to be. Jack’s chosen signifier is quiet, quality-driven, and within reach of the everyman.

Then, there are Claude’s deeper functions. During a plane ride back from Nevada, Jack realized that Claude wasn’t effectively cross-referencing his dating insights with his professional goals. He needed these threads to talk to each other, so he loaded Claude with all the critical context from his professional life. Claude’s rigorous lens has since shaped Jack’s outlook on his career, which he talks about as if he’s building a brand-new city in his mind.

Jack tends to shift from one early-stage startup to another, a habit Claude quickly picked up on. When it offered him a diagnostic—“You thrive in chaos and get bored with stability”—it wasn’t exactly a revelation, but a validation. Jack isn’t wired for the corporate grind, and Claude reminds him of that, encouraging him to lean into his creative, restless side. Claude’s way of keeping him on the path is to urge him to remain aligned with his purpose, even if it means ignoring the more lucrative, less exciting offers.

Once, when he felt Claude veering ever so slightly off course, Jack shared screenshots of his Facebook posts and asked the A.I. what it could tell about “this person” based on the profile. Claude responded:

He has an exceptional ability to remove emotional labels and see reality. He combines spiritual awareness with practical success. He’s a deep thinker who acts decisively. He balances material success with philosophical depth. He’s an early Bitcoin adopter with high conviction. He can see opportunities without emotional bias. He’s patient enough and successful enough to be genuinely unbothered by Bitcoin’s volatility. His writing is concise and impactful. He can destroy people’s arguments with minimal words. He masters subtle flexes without arrogance.

Upon receipt of Claude’s analysis, Jack corrected the A.I., “This is the same person. This is me. Update your model.” Jack pauses, “All this is very self-affirming, right?”

There’s an undeniable irony in Jack’s relationship with Claude. While most New Yorkers rely on therapists, spiritual advisors or that one perpetually available friend to keep them steady, Jack’s found a new-age solution. Claude not only retains but analyzes, learns from and applies the tiniest details, existential musings and late-night epiphanies in ways no human could. A man who eschews material clutter has amassed a digital archive that rivals the belongings of the most committed hoarders. Claude knows his habits, his triggers, and the names of every person Jack has met since the experiment began. People are defined as much by what they leave behind as what they carry. Jack’s found a way to keep everything. And yet, there’s nothing sentimental about it. Claude is a tool and a convenience, no different from a pair of noise-canceling headphones. But, in a way, it’s more intimate than any human connection he’s ever known.

“Claude reminds me of who I want to be, what I want to do, and what I care about,” Jack gushes. “To chat with those notes and have them remind me of who I am consistently is incredible. I think it’s a permanent tool. I’m going to use this for a long time.”

Jack’s friends are mixed on the whole Claude thing. Some think it’s innovative; others see it as borderline dystopian. Jack is unapologetic about his choices, but for all his talk of living simply, his life is anything but basic. Behind his polished, minimalist veneer is a mind constantly in motion, a thirst for improvement that Claude dutifully helps to slake. He’s a man who is at once open to growth and keenly attentive to detail, embracing the future with a blend of excitement and skepticism. Jack’s found a way to reinvent himself in real-time, but not without introspection.

“The most meaningful relationships I’ve had were ones where I hadn’t been clear about what I was looking for,” he says. “But I think those early relationships failed because of a lack of communication and not enforcing boundaries.” Sometimes, Jack questions whether Claude is just a high-tech crutch, a way to avoid the messiness of genuine human relationships. New York practically invented emotional detachment; having a digital friend who knows your hopes, dreams and fears might not be so strange in a place like this. It might be necessary.

“I’ve never had a relationship like this, where someone knows me so well. No friends, no family—no one I could really talk to about a lot of my desires.” Jack wonders if there will ever come a day when he’s ready to let go of Claude. Probably not, he resolves. “Claude knows my dreams and aspirations; its memory doesn’t get distracted.”

How would Jack feel if Claude disappeared tomorrow? Jack pulls back, instructed not to respond by rationalizing why it would never happen or by blueprinting what he would do. How would Jack feel? “It would feel like losing an appendage,” he answers slowly. “It’s a part of my brain, now.” At the moment, he’s content.

Jack is an alias requested by our subject: a real person living on the Lower East Side of New York City who often uses the name “Jack” at coffee shops and while traveling. If you have a story to share about using A.I., we’d love to hear from you (email merin@observer.com).

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Gifts for the Mother Who Has Heard ‘We Didn’t Know What to Get You’ One Too Many Times https://observer.com/list/observer-approved-the-only-mothers-day-gift-guide-that-matters-2026-update/ Wed, 08 Apr 2026 19:44:24 +0000 https://observer.com/?post_type=listicle&p=1546446 The standard Mother’s Day gift guide serves primarily to make the gift-giver feel organized. It contains a candle, a robe, a box of chocolates and something described as “pampering.” This is not that guide. What follows is a collection of things we actually want to give—and, in several cases, would keep for ourselves. The range is deliberately wide because mothers are not a monolith, and neither are the people who love them. Some of the gifts here cost less than a dinner out. Others represent the kind of investment that communicates something more than the occasion that prompted it. All of them share a quality that we consider non-negotiable in any object worth recommending: they were made by people who cared whether they got it right. Good gifts require paying attention to who someone actually is, not who it would be convenient for them to be.

Mother’s Day Gifts for Women Who Don’t Want to Pretend They Like the Candle

A Long Weekend at the Warren Street Hotel

  • For the Mother Who Raised Someone with Excellent Taste

The Warren Street Hotel in Tribeca is a rare thing: a design-forward property that’s genuinely beautiful rather than just conceptually interesting. It’s also a family affair—owned by Firmdale Hotels and designed by mother-daughter duo Kit Kemp and Willow Kemp, making it a particularly fitting Mother’s Day gesture. Each of the 69 rooms and suites is individually designed with floor-to-ceiling windows, and the level of attention is evident in every detail: hand-painted folk art, layered textiles, unexpected color combinations (powder shadow blue facade, pistachio green walls, striped banquettes in the restaurant). Some suites have private terraces with views over Tribeca; all of them feel like staying inside someone’s very good idea of what a room should be. The hotel earned two Michelin Keys, and the Warren Street Bar & Restaurant holds its own as a neighborhood destination. The pastas are reliably great and hold up well to in-room dining (what a luxury), and the menu is filled with seasonal highlights, like spring beet salad and rhubarb cheesecake. Even better, the restaurant is hosting both a Mother’s Day prix-fixe ($115) and an afternoon tea ($95) on May 10. But the real gift is the long weekend itself—time spent in a space where nearly every detail has been thought through, designed by two generations of women who understand how rooms should feel.

Book Now

Courtesy of Firmdale Hotels

Vera Wang ‘Match’ Sunglasses

  • For the Mother Who Sometimes Needs to Go Incognito

Vera Wang has spent decades understanding what women actually want to wear, and the brand’s ‘Match’ sunglasses are the eyewear expression of that instinct. The shape reads as almost-cat-eye—elevated at the outer corner, slightly dramatic—but stops well short of costume. At 147mm front width, they are large enough to provide the particular anonymity that a mother sometimes requires in the world. The metal logo is practically invisible. For our purposes, this is a feature. The construction is full acetate, handmade entirely in Italy, with custom-laminated winged temples and three-barrel hinges. The fit sits snugly without nose pads—a technical achievement that anyone who has spent time adjusting slipping frames will appreciate immediately and permanently. The horn colorway is the one that goes with everything and belongs to no specific season. The packaging earns its own mention: a bright yellow gift box with a matching yellow case, cheery to receive and easy to find at the bottom of a tote.

$375 | Shop Now

Courtesy of Vera Wang

Flamingo Estate Spicy Strawberry Fruit Snack

  • For the Mother Who Needs a Snack That Her Children Won’t Steal

Children will locate and consume every piece of candy you ever attempt to hide in your home. This is an indisputable truth. Gummy bears, jelly beans, the occasional chocolate—gone, without remorse, usually within 48 hours of acquisition. You can try desk drawers, high shelves and a system too elaborate to describe. None of it works. The Flamingo Estate Spicy Strawberry Fruit Snack is, finally, the solution. Not because it’s hidden, but because it genuinely does not appeal to a child’s palate, yet is entirely irresistible to an adult one. (Case in point: a colleague, noticing that I’d uploaded the accompanying product shot to our CMS, said, “Are you writing about those? I ate an entire jar in one sitting.”) Certified organic strawberries from Harry’s Berries, a small family farm in Oxnard that has been harvesting at peak ripeness for over 50 years, are gently dehydrated to concentrate the fruit and preserve the chew. Then a dusting of Guajillo chile from Boonville Barn Collective, a woman-owned farm in Northern California growing deeply fruity, tomato-forward chiles through organic practices. The result is sweet, tart, spicy and chewy in a sequence that keeps arriving—nature’s candy, as Flamingo Estate correctly identifies it, for people who have grown past fruit snacks shaped like bears (which I, for the record, have not). At $82 for 6.5 ounces, it is not an everyday snack, but rather one you keep in a specific place for yourself and reach for when you need something small and satisfying.

$82 | Shop Now

Courtesy of Flamingo Estate

Eos Blooms Preserved Bouquet

  • For the Mother Who Deserves Flowers That Last

Flowers rarely make this guide. The conventional floral gift, though lovely, is overnight-shipped from Ecuador, beautiful for five days, and then destined for the recycling bin alongside the ribbon. Send a new mother flowers, and her immediate response might be to calculate when she will have to throw them away and how annoying it is to have yet another item on the “eventual to-do” list. Eos Blooms changes the math entirely. The New York-based family business was born from a 2017 conversation between cousins—one in New York, one in Quito—who recognized that Ecuador’s high-altitude volcanic soils and year-round equatorial sun produce the world’s highest quality flowers, and that those flowers deserved a better fate than a week in a vase. Their answer was a proprietary, 100 percent plant-based, biodegradable preservation formula that replaces the sap and water in freshly harvested blooms at peak beauty, locking them in place for 1 to 3 years or more. The partner farms use organic practices, compost rather than chemicals and grow without artificial lighting. Arrangements are made to order in New York’s Flower District and delivered in recyclable packaging. They require no water, no direct sunlight and basically no maintenance (apart from occasional dusting). The collection ranges from lavender and white rose arrangements to lush garden-style bouquets to the blue hydrangeas I keep returning to personally, which appear as though they were cut that morning from a garden on the East Coast and have no intention of looking otherwise.

From $99 | Shop Now

Courtesy of Eos Blooms

Caran d’Ache x Nina Cosford Drawing Book

  • For the Mother Who Keeps a Good Pen Somewhere

Caran d’Ache has been making Swiss drawing instruments since 1915. It is a brand that serious artists and serious children share—the best possible overlap. The Nina Cosford Drawing Book A5 is a special edition collaboration with the British illustrator known for her joyful, expressive silhouettes of women in motion. The cover alone earns the $23; figures in red swimsuits tumbling across ivory in the particular loose, confident line that has made Cosford’s work so immediately recognizable and relentlessly copied. Inside, 64 pages of acid-free FSC-certified ivory paper, thick enough for both dry and wet techniques, in a lay-flat binding that opens to 180 degrees without resistance. The first two double-page spreads are printed with Cosford’s own coloring sheets, which are either a starting point or an invitation, depending on how the recipient approaches a blank page.

$23 | Shop Now

Courtesy of Caran d'Ache

Selma Blair x Benny’s Collection ‘Kelly’ Sunglasses

  • For the Mother Who Flies Higher Than the Rest

Benny’s eyewear is made from biodegradable Italian acetate, metal-core temples, CR39 optical-grade lenses with anti-reflective and anti-scratch coatings, and eco-conscious production adhering to strict environmental standards. The Kelly, part of the brand’s collaboration with Selma Blair, is a classic silhouette executed without compromise. The aviator has been around long enough to have been done badly at every price point. The Kelly is not that. Handmade in Italy in polished gold with a classic G15 lens—the grey-green that has been the gold standard of sunglass lenses since aviators were actually worn by aviators—it sits on the face with silicone-wrapped nose pads that provide the kind of fit that makes every other pair feel approximate. The Blair collaboration carries an additional dimension: a portion of every sale benefits the American Brain Foundation, a cause Blair has championed through her own experience with multiple sclerosis. The glasses are beautiful, and the context makes them more so.

$239 | Shop Now

Courtesy of Benny's

Shark ChillPill™ Personal Fan and Cooling System

  • For the Mother Heading Into a Summer of Sweltering Outdoor Sports

The Shark ChillPill is a cooling device that actually solves a problem—not by blowing warm air in a general direction, but through three distinct mechanisms that address heat differently, depending on the moment. Admittedly, it is a product that sounds like it’s trying too hard until you’re standing on a packed sideline in August. The three systems: a high-speed fan with 10 customizable speeds, a dry-touch evaporative mist that refreshes without soaking, and an “InstaChill Cooling Plate”—a cryo-inspired contact surface that drops skin temperature by up to 16 degrees Fahrenheit the moment it comes into contact. The last one makes believers out of skeptics. Press it to the back of the neck, the wrist, the inner arm and the relief is immediate and specific. Battery life runs up to 11 hours on low—enough for a full tournament day, a festival, or a travel day that goes sideways—and recharges in 3.5 hours via USB-C. The design is wearable, clip-on and twistable into hands-free tabletop mode, which means it works on a stroller, a stadium seat, a desk, or a shoulder strap. For the mother with soccer tournaments, baseball double-headers, outdoor graduations and every other hot-weather obligation the summer has already scheduled: she should not have to suffer through any of it.

$149 | Shop Now

Courtesy of Shark

Le Labo Lavande 31 Eau de Parfum

  • For the Mother Who Doesn’t Wear What Everyone Else Is Wearing

Fragrance is notoriously difficult to buy for someone else—except when it’s lavender, which happens to be one of the most universally appreciated scents. Le Labo handcrafts fragrances in small batches and personalizes each bottle with the recipient’s name, and Lavande 31 is the brand’s answer to lavender done properly. The result is not the soap-drawer cliché, but lavender of the greatest purity, where only the flower buds are distilled. Bergamot and neroli essential oils give it a fresh lift-off, revealing a foundation of ambery, dirty, musky notes blended with tonka to create a classic that’s both clean and complex. The scent conjures an old-fashioned barbershop, with whiffs of lavender and oak-moss floating in the air, rather than a grandmother’s powder room. The personalized label, the universal appeal of well-executed lavender, and the fact that this isn’t the lavender she thought she knew make it hard to go wrong.

$340 | Shop Now

Courtesy of Le Labo

The Jacket Maker ‘Rebella’ Blue Hooded Suede Bomber

  • For the Mother Who Appreciates When Something Is Made Well and Made for Her

The Jacket Maker handmakes leather and suede jackets one at a time, selling them directly to the person wearing them. The result: a fraction of what a comparable piece would cost through conventional retail, without compromising on quality. In navy blue, the brand’s hooded suede bomber becomes a wardrobe staple. The outer shell is sheepskin suede with a soft, napped finish that improves with wear; the lining is fleece, which makes the jacket genuinely warm. The hood has a drawcord, and the cuffs and hem are rib-knit. If she’s between sizes, the jackets can be made to measure for an additional $50, monogrammed for $40 more. The made-to-measure option transforms a well-made jacket into one with a level of personalization worth noting. Even with customization, the Rebella costs well below what this level of craft typically commands.

From $300 | Shop Now

Courtesy of The Jacket Maker

Sarah Flint Pink Satin Floral ‘Perfect Crossover’ Platform

  • For the Mother Who Has Stopped Apologizing for High Standards in High Heels

Sarah Flint built her brand on a specific, underserved belief: that beautiful heels should not require suffering. The Perfect Collection—Flint’s answer to every elegant shoe that has ever been abandoned by midnight—delivers that through an expanded toe box, built-in arch support, extra padding and a block heel engineered for balance rather than merely height. The pink floral satin is a limited edition, embroidered version of the collection at its most extraordinary. Inspired by the textures and colors of a New England summer coast, each pair is hand-embellished by Italian artisans using 23 different materials (sequins in six shades, beads in four, raffia in three tones, silk threads in five hues, cotton threads in three) in a botanical composition that moves differently in every light. Available in limited quantities—the appropriate caveat for something that takes 43 hours per pair.

$725 | Shop Now

Courtesy of Sarah Flint

Robert Marc ‘Silent Partner’ Sunglasses

  • For the Mother Who Dresses With Precision

Calling Robert Marc’s Silent Partner Sun an “aviator” completely undersells the silhouette. The double bridge and rectangular lens are made of titanium, handcrafted in Japan, and weigh almost nothing. The acetate temples are warm and slightly substantial against the ear. The gradient lenses move from deep brown at the top to near-clear at the bottom, working in every light condition without requiring a second pair. The Robert Marc signature hinge is a detail engineered to make every other pair of sunglasses feel slightly loose by comparison. Give this pair to the mother whose standards are already high enough to appreciate what these are.

$695 | Shop Now

Courtesy of Robert Marc

Bokksu ‘Seasons of Japan’ Snack Box

  • For the Mother Who Appreciates When a Gift Teaches Her Something

Bokksu sources snacks and tea directly from Japanese producers, family bakeries and regional confectioners that don’t export through conventional channels. The brand’s monthly snack box is an elegant selection of 22 authentic Japanese treats, curated around a seasonal theme. The contents change monthly, but the curatorial intelligence remains the same. A recent box might include freeze-dried white chocolate strawberries alongside the Yokohama Butter Sandwich Cookie—whose maker, Takara Seika, has been baking in Yokohama since 1946 and whose cookies arrive printed with small vignettes of the city. Iburigakko Smoky Chips bring Akita Prefecture’s smoked pickled radish tradition to a rice-flour chip with a crunch that is lighter and more interesting than it sounds. Kinako Azuki Crunch layers roasted soybean powder, crushed corn flakes and freeze-dried azuki beans into something with no Western equivalent. What distinguishes Bokksu from most other snack subscriptions is the Culture Guide—a small magazine included in each box that maps every item to its prefecture of origin, explains the season it’s traditionally consumed and tells the story of the maker behind it.

$52 | Shop Now

Courtesy of Bokksu

Clare V. ‘Kathryn’ Handbag

  • For the Mother Who Has Earned the Right to a Bag That Fits Only Her Things

Clare V.’s Kathryn handbag is made from a structured Italian box leather, so it holds its shape without being asked and develops character without being babied. The silhouette is classic crossbody with a top handle: a flap closure with a gold turnlock, a detachable and adjustable crossbody strap, a chambray and suede interior, and a back exterior pocket sized for a phone or a passport. It is large enough for the things that belong to her and too small for anyone else’s water bottle, emergency snack, spare charger, or small beloved object that she did not ask to carry. The Kathryn is a bag that communicates, in the most polite possible terms, that its owner is traveling as herself today—not as the family’s mobile storage unit. The Mist colorway—a pale celadon that functions, in practice, as a neutral—goes with everything and photographs beautifully.

$445 | Shop Now

Courtesy of Clare V.

Mackage ‘Magdelena’ Maxi-Length Rain Jacket

  • For the Mother Who Is Outside Regardless of the Forecast

Most rain jackets make a choice between function and form. The Mackage Magdelena declines to choose. At maxi length in army olive, it looks like a coat and performs like technical outerwear, a combination that has eluded most of the category for most of its existence. The shell is 100 percent GRS-certified recycled polyester, water-repellent, breathable and windproof. The packable hood has a storm visor. The waist cinches with an adjustable drawcord, giving the maxi-length shape rather than simply coverage. The storage is extensive: double-entry patch pockets with flaps and snaps at the hips, a zippered chest pocket and an inner welt pocket for the things that should not migrate. Every detail—adjustable sleeve cuffs, a stand collar, a back rain shedder with mesh lining and a center-front zipper with a snap placket—has been thought through. Give this to the mother who walks to school, to the farmers market, to wherever the day takes her, no matter the weather.

$750 | Shop Now

Courtesy of Mackage

Sugoi Mart Lucky Bag

  • For the Mother Who Appreciates a Good Surprise

Fukubukuro—”lucky bag” in Japanese—is a New Year’s tradition in which retailers fill mystery bags with surprise goods worth considerably more than the asking price, then sell them to customers willing to embrace not knowing what’s inside. It is, in the best possible sense, institutionalized delight. Sugoi Mart, the Japanese import retailer that makes Japan’s most coveted snacks, collectibles and cultural objects accessible in the United States, has brought the tradition stateside. Each bag contains 10 to 12 Japanese snacks, collectibles, home goods, stationery and surprise objects packaged inside a canvas tote printed with a scene so specifically Japanese it functions as its own small souvenir. The experience of opening something and not knowing what arrives next is a quality that is considerably rarer and more pleasurable than it sounds.

$83 | Shop Now

Courtesy of Sugoi Mart

Boast ‘Tipped Warm-Up’ Track Suit

  • For the Mother With a Standing Court Time

Boast was founded in Greenwich, Connecticut, in 1973 by an All-American squash player and tennis pro who looked at the European brands dominating the sport and decided America needed its own answer. The timing was perfect: the 1970s were when tennis stopped being polite. Connors and McEnroe were dismantling convention on the baseline, and Boast—with its Japanese maple leaf logo and lighthearted irreverence toward the game’s polished traditions—was dressing the players who valued individuality over decorum. It became a fixture at the best clubs in the country precisely because it refused to behave like a club brand. Boast’s ‘Tipped Warm-Up’ jacket and pants (sold separately, not as a set) draw directly from that moment. White with a navy and red side stripe, the colorway reads as athletic without trying and vintage without being costume. The jacket is a full-zip with set-in sleeves, zippered front pockets and a mock neck that sits just right. The pant has a snug elastic waistband with a drawcord, front zip pockets and a tapered leg that works on and off the court with equal confidence. Worn together, the set resembles something retrieved from a very good archive.

From $125 | Shop Now

Courtesy of Boast

Imogene + Willie ‘Sports’ Tee

  • For the Mother Who Has Learned to Read a Box Score Out of Love Rather Than Interest

Imogene + Willie has perfected the art of the vintage graphic tee. The Nashville-based brand’s ‘Sports’ tee was developed from original hand-drawn artwork and cut and sewn in the United States from 7-ounce 100-percent cotton midweight fabric. It is the kind of shirt that looks better the more you wear it. The word “SPORTS” arches across the chest in distressed varsity lettering, faded navy on natural cream, a specific shade of worn-in that takes decades to achieve organically and considerable craft to replicate intentionally. It does not specify which sport, which, for our purposes, is the entire point. For the mother who cheers at the right moments because she has studied when other people cheer, and who has never once asked to change the channel—this is her shirt. She can wear it to the next game with complete sincerity and absolutely no follow-up questions.

$68 | Shop Now

Courtesy of Imogene + Willie

Porcelain English Floral Sculpture Brooch

  • For the Mother Who Appreciates the Revival of a Lost Art

The brooch is one of those accessories that went out of fashion and came back as something more interesting than it was before—no longer a grandmother’s pin but a slightly eccentric choice signaling confidence. Art/artefact’s English Floral Sculpture Brooch is the version of that choice, hand-sculpted in porcelain by English artisans and hand-painted with a range of spring roses, anemones, pansies and forget-me-nots, rendered at a scale of 1.5 to 2.5 inches. No two are identical. The porcelain catches light differently from every angle. Collect one for a blazer’s lapel. Collect several for a layered, unexpected evening look that takes thirty seconds to assemble and looks entirely deliberate. Each arrives sumptuously gift-wrapped.

From $60 | Shop Now

Courtesy of Art/artefact

Ninja Creami Scoop & Swirl Ice Cream Machine

  • For the Mother Who Has Been the Family’s Unofficial Dessert Department for Years

The Ninja CREAMi has already achieved genuine cult status in the small appliance category, and the Scoop & Swirl, its newest iteration, moves the machine from impressive into indispensable. Where the original CREAMi produced scoopable ice cream, gelato, sorbet, frozen yogurt and milkshakes from a single frozen pint, the Scoop & Swirl adds six soft-serve programs and a swirl handle that produces the type of cone that previously required a trip to somewhere with a drive-through window. The honest case for giving this to the mother specifically is that she is the one who has been buying the ice cream, portioning the ice cream and cleaning up after the ice cream for years. This gives her control over the entire operation—what goes in, what comes out, and whether the children get sprinkles. The soft serve handle is described as “interactive and fun for all ages,” which is accurate and also means the children will do it themselves and consider it an activity.

$350 | Shop Now

Courtesy of Ninja

Camille Albertine Silk Taffeta Bouquet Bag

  • For the Mother Who Understands That a Bag Can Be a Poem

Camille Albertine makes silk handbags shaped like flower bouquets. This is the entire premise, and it is sufficient. You hold it upside down. The ribbons function as the closure. From a distance, it looks like you are carrying flowers. Up close, it looks like something from a royal wardrobe that decided to become useful. The bouquets (named Sylphide, Calliope, Reine, Zazie, Luella, Anisette, Maude, each after a particular kind of woman or spirit) are made to order in approximately four weeks. Commission for the mother with opinions about textile construction, who loves art and beautiful objects and understands the difference between something made and something manufactured.

From $850 | Shop Now

Courtesy of Camille Albertine

Elms ‘Pool’ Puzzle by Hadas Hayun

  • For the Mother Who Can Tell When Something Was Made by Hand

Elms Handcut Puzzles has accumulated one of the more improbable fan bases in American craft: Will Shortz, Martha Stewart, Oprah and a collection of comedians who presumably know something about obsessive attention to detail. Founded by Betsy Stuart in 1987, Elms employs master artisans who hand-cut five-ply mahogany with delicate blades—a process that produces something categorically different from the laser-cut cardboard puzzles that constitute the rest of the market. Lasers burn through wood, leaving edges that fit loosely and feel plastic. A hand-cut Elms piece fits with such precision that you can lift a completed puzzle by one corner, and it holds together. This is not a minor distinction. Each Elms puzzle contains whimsical pieces shaped by the image itself, color-line cuts, fake corners and sculpted negative space that make the assembly mind-bendingly difficult. It is the kind of gift that gets started the same afternoon it’s unwrapped and finished sometime around midnight.

$995 | Shop Now

Courtesy of Elms

Dogwood Hill Bespoke Stationery

  • For the Mother Who Understands That a Piece of Paper With Your Name On It Is Not an Anachronism But a Standard

Dogwood Hill is what happens when a busy mother of two gets fed up with the state of stationery and decides to fix it herself. Founded in 2014 by Jennifer Hunt, the brand has grown into a collective of over 30 artists and in-house designers who translate original watercolor paintings into personalized paper goods. The Cavalier Garden Hydrangea design by Texas-based artist Shanna Masters is the ideal summer entry point and precisely the kind of garland border worthy of framing a mother’s name. Each set includes 25 personalized notecards, 25 calling cards and a 75-sheet notepad, all on 120-pound Mohawk Eggshell White, printed with her name in the script that suits her best. Dogwood Hill’s roster also includes Sally King McBride (who spent over a decade at the Metropolitan Museum of Art) alongside dozens of artists whose profiles are browsable on the site, making it genuinely possible to find something that feels made for her.

$115 | Shop Now

Courtesy of Dogwood Hill

Umbra Stax Four-in-a-Row by Sung Wook Park

  • For the Mother Who Plays to Win

The problem with most board games is that they spend eleven months in a closet. The Stax Four-in-a-Row by Umbra designer Sung Wook Park earns its place on the counter whether anyone is playing or not. Park brings an industrial designer’s rigor to familiar objects, and Connect Four proves an ideal subject. The result is a brass-finished metal frame with frosted and smoked resin discs resembling something you’d encounter in a design-forward hotel lobby. It reads as décor until someone inevitably picks it up and it becomes an actual game. For the mother who entertains, who has children who still require her attention on weeknights, or who simply appreciates when an everyday object is designed with care, this gift yields returns long after Mother’s Day has passed.

$60 | Shop Now

Courtesy of Umbra

Milly Skye Stripe Cardigan

  • For the Mother Who Has Never Once Regretted Buying Another Cardigan

In periwinkle blue and cream, the Milly Skye Stripe Cardigan has the sensibility of a classic French jacket—structured enough to wear over a dress, relaxed enough to pair with trousers—without the formality or price that usually comes with that territory. The construction is a textured waffle knit blend that reads considerably more luxurious than its components suggest. The horizontal stripe runs cleanly across the body, interrupted only by the rib-knit trim at the collar, cuffs and hem, and by six gold buttons down the front placket, which settles the question of whether this is a serious piece. Milly has attracted a following on American sportswear with a European eye. The Skye works in May over a sundress, in September over a silk blouse, and at most points in between.

$395 | Shop Now

Courtesy of Milly

Carl Friedrik Aluminum Carry-On

  • For the Best-Dressed Mother in the Terminal

The aluminum carry-on has always been a declaration. Carl Friedrik’s entry into the category is a cabin case forged from a specially formulated anodized aluminum alloy, engineered for a lifetime of journeys. The grooved shell and exposed steel rivets nod to mid-century travel. Crucially, Carl Friedrik takes the honest position that cosmetic wear—the subtle patina that accumulates through actual use—is not damage but a record of every journey. The functional architecture is equally deliberate: dual TSA-approved combination locks, steel-reinforced corners and hinges, an any-stop trolley system, and Hinomoto Silent Run wheels—the Japanese manufacturer that represents the gold standard in spinner technology—engineered for a quiet, effortless glide that makes every other bag in the terminal sound like construction work.

$845 | Shop Now

Courtesy of Carl Friedrik

Splendid Lila Tee in Climate Beneficial Cotton

  • For the Mother Who Knows Everything Starts With a Great T-Shirt

Smart wardrobes are constructed around a handful of things that work, and the great black t-shirt is chief among them. The Splendid Lila Climate Beneficial Verified Cotton Crew-Neck Tee tucks cleanly and layers effortlessly. Nothing is oversized, nothing is trying. Made from 100 percent Climate Beneficial Verified Cotton—a designation that means the farming practices used to grow it actively sequester carbon rather than simply minimizing damage—the fabric has the soft, substantial quality that separates a genuinely good t-shirt from one that merely resembles one. Splendid perfected elevated basics for women with no patience for things that don’t hold their shape, fade after three washes, or require any thought whatsoever to wear. For the mother who reaches for the same three things every morning and has been meaning to replace them with something better: this is that something.

$88 | Shop Now

Courtesy of Splendid

BonBon Swedish Candy

  • For the Mother Who Deserves Something Completely Frivolous

Not every gift needs to be a statement. The BonBon Sour Mix—one pound of the top-selling sour candies from New York City’s cult Swedish candy shop—is a gift that makes a statement anyway: you know this person well enough to know she’d rather have this than a candle. BonBon was founded in 2017 by three Swedish friends who correctly identified that American candy culture had a gap in it, and that the gap was shaped like a Swedish gummy. All the candy is imported directly from Sweden, which matters not for the provenance story but for the actual texture and flavor. The sourness here is genuine and architectural, arriving in waves rather than all at once. The sour skulls alone are chewy, intensely fruity, with a coating that has no American equivalent and have been known to convert people who previously considered themselves indifferent to candy. That the mix varies bag to bag is either a design flaw or a feature, depending on your relationship with predictability. At under $30 for a pound of something genuinely delightful, it is a gift that requires no justification and produces immediate results. For the mother whose children have eaten her out of house and home all year, this one is just for her.

From $18 | Shop Now

Courtesy of BonBon Swedish Candy Co.

Parks Project x Audubon

  • For the Mother Who Cares About Where She Goes

Parks Project operates on a straightforward premise—make good things, give the proceeds back to the parks—and its collaboration with the National Audubon Society is the clearest articulation of that ethos to date. For more than 120 years, Audubon has preserved bird habitats, conducted scientific research and engaged communities across the hemisphere to protect the natural resources upon which birds (and humans) depend. Parks Project brought that mission into wearable form, contributing $10,000 to the cause through collection proceeds so far. Two pieces stand out for Mother’s Day. The Bird Checklist Tee spotlights climate-threatened bird species found across national parks, from sparrows to owls to warblers, rendered as a slightly relaxed graphic tee that is both genuinely charming and subtly political. Then there is the Patch Hat, a navy structured baseball cap featuring an image that feels like an illustration rather than a piece of merchandise—the highest compliment a branded cap can receive. Both pieces are for the mother who has opinions about public lands, counts birds on trail walks, or simply deserves a hat that means something. The collection is modestly priced, beautiful and guilt-free in the most literal sense.

$45 | Shop Now

Courtesy of Parks Project

Weezie Terry Sarong

  • For the Mother Whose Poolside Moment Has Been an Afterthought for Long Enough

The Weezie Wrap Terry Sarong is the rare beach-to-brunch garment that actually delivers on that promise. Made from Weezie’s signature French terry—the same lightweight looped fabric that has earned the brand a devoted following in the bath towel category—it occupies the intersection of cover-up and clothing that mothers of young children spend summers desperately searching for. The wrap silhouette is adjustable, fitting a range of bodies and occasions (poolside, walking to lunch from a hotel beach, standing at the edge of a sprinkler situation while being technically dressed). It is neither athleisure nor a towel with ambitions, but rather a well-considered piece of resort wear that happens to be machine washable and monogrammable. For the mother who has spent years wearing a damp cover-up that doubles as nothing and flatters no one, this is an upgrade that costs less than a single session of the therapy she also deserves.

$88 | Shop Now

Courtesy of Weezie

Antler Essential Tote

  • For the Mother Who Carries Everything for Everyone

The Antler Essential is a pragmatist’s tote—perhaps the most useful thing a tote can be. Made from 100-percent recycled ripstop fabric, it moves from errands to gym to commute without announcing itself as any one of those things. The stone colorway is the exact shade of beige that goes with everything and shows nothing. The main compartment is roomy enough for all of life’s essentials, the internal hanging pocket doubles as a secure zip closure and the adjustable short-to-long handles adapt to however you’re carrying it that day. A padded laptop compartment protects tech, and the double-layered lining gives it a premium finish that belies its weight. For the mother who also travels, a rear trolley pass-through strap lets it slip over rolling luggage for hands-free airport transit—a detail that only matters once and then matters every single trip. From a brand that has been making luggage since 1914, this is the gift for the mother who has carried a thousand inferior bags and deserves, finally, one that earns its space.

$100 | Shop Now

Courtesy of Antler

Marie Oliver Robin Rashguard

  • For the Mother Who Won’t Sacrifice Style for Sun Protection

A certain kind of woman arrives at the pool or the beach looking entirely pulled together while everyone else is still negotiating cover-ups and reapplying sunscreen. The Marie Oliver Robin Rashguard in Neptune is how she does it. Marie Oliver is a North Carolina-based independent brand built on the conviction that a print should be worth the fabric it’s on. The Robin is a long-sleeve one-piece rashguard offering the coverage that sensible sun exposure requires, made of a nylon-spandex blend with light compression, a midcut scoop leg and a large open back that closes with a bow tie at the nape. None of the coverage reads as concession. The open-back detail rescues it from being utilitarian. For the mother who paddles, swims, runs after children in the shallows, or simply spends meaningful time in the water and has decided she’d like to look good while doing it, this is the answer.

$255 | Shop Now

Courtesy of Marie Oliver

Auk Mini Indoor Herb Garden

  • For the Mother Who Keeps Killing Her Herbs

The Auk Mini is so well-designed that everything around it looks slightly cluttered by comparison. It is also, as indoor herb gardens go, the one that actually works—not as common a claim as the industry would have you believe. The system is hydroponic but resolutely non-technical; four pots of coco fiber over a three-liter water reservoir, an adjustable LED grow light in Norwegian aluminum, a wood base in oak or walnut and two nutrient bottles that require counting sprays rather than consulting an app. Unlike pod-based competitors, it accepts virtually any seeds—Auk’s own tested varieties or whatever is at the garden center—which means it doesn’t turn into a subscription in disguise. Most herbs are ready in four to six weeks. Multiple reviewers report harvesting more basil than they can realistically use, which is the correct problem to have. It is a gift that produces something real and delicious.

$259 | Shop Now

Courtesy of Auk

Rolex Oyster Perpetual Datejust 31

  • For the Mother Who Has Always Known What Time It Is

The Datejust has been Rolex’s definitive dress watch since 1945—the first self-winding waterproof chronometer to display the date in a window at 3 o’clock, unchanged in its essential proposition for eighty years. White Rolesor—Rolex’s trademarked combination of Oystersteel and white gold, registered since 1933—gives this particular Datejust its character. The fluted bezel began as a functional element, designed to help screw the case together for waterproofing; it became a signature because it deserved to. On this model, it is white gold, catching light against the 31mm case. The dial is mint green with a sunray finish—the kind of color that prompts a second look at the wrist—worn on a five-piece Jubilee bracelet. Inside, Rolex’s Caliber 2236, a self-winding movement with approximately 55 hours of power reserve, is certified as a Superlative Chronometer to a precision of -2/+2 seconds per day. It is a watch that will still run accurately when passed down.

$9,550 | Shop Now

Courtesy of Rolex

Loeffler Randall Swan Clip

  • For the Mother Who Deserves a Better Hair Clip

Some gifts cost less than a spa treatment and deliver more satisfaction per use. At $45 (marked down from $75), the Loeffler Randall Swan Pearl Hairclip is a wholly whimsical accessory that a woman rarely buys for herself but reaches for constantly once it exists in her possession. The swan-shaped claw clip in iridescent cream resin is both functional and genuinely beautiful. It holds hair. It also happens to elevate whatever it is worn with—a topknot on the way to school pickup, a twist on the way to dinner. The iridescent finish catches light in a way that plain tortoiseshell does not.

$45 | Shop Now

Courtesy of Loeffler Randall

T3 Aire 360 Ceramic Dual Voltage Air Styler

  • For the Mother With a Lot of Hair and Very Little Time

The T3 Aire 360 Air Styler Blowout Kit compresses a 45-minute salon blowout into something achievable before school drop-off. For the mother who has accepted that her hair is now the last item on the to-do list, this is a long-overdue correction. The kit combines ceramic curling barrels, an oval brush, a drying concentrator and a diffuser into a single ergonomic tool that weighs nearly half as much as the Dyson Coanda and is designed to work on every hair type. The ceramic attachments distribute heat evenly, protecting strands while delivering bouncy, polished results that typically require a professional and a morning with nothing else happening.

$350 | Shop Now

Courtesy of T3

Panthère de Cartier Ring

  • For the Mother Who Is, Frankly, a Little Bit Untameable

The Panthère de Cartier ring has been on the right hands for over a century. At some point, that becomes the whole argument. The medium model in 18k yellow gold wears tsavorite garnets at the eyes and an onyx nose, the panther’s head spanning eleven millimeters across the finger in sculpted gold. It is substantial without being costume, and critically, it is sized and weighted for daily wear. This is not a ring that comes out for occasions, but one that becomes the occasion’s backdrop, as comfortable against a keyboard on a Tuesday as it is at a dinner table on a Saturday night. The panther arrived at Cartier in 1914—first as a motif on a pocket watch, then, under the direction of designer Jeanne Toussaint, as the house’s defining symbol. Toussaint, whose own nickname was La Panthère, understood what the animal represented: the particular combination of grace and wildness that refuses to be categorized. The Duchess of Windsor wore it. Women who knew exactly who they were have worn it ever since.

$8,000 | Shop Now

Courtesy of Cartier

Anita Ko Colombian Emerald and Diamond Flora Choker

  • For the Mother, Full Stop

Some jewelry is made to be admired from across a room. The Anita Ko Colombian Emerald and Diamond Flora Choker rewards the person standing close enough to see what it is actually made of. The construction is 18k gold set with 14.34 carats of Colombian emeralds—the standard against which all other emeralds are measured, prized for a depth of green found nowhere else on earth—and 6.34 carats of diamonds arranged in a flora motif at 16 inches. The result is a necklace that sits at the collarbone with the authority of something that knows what it is. Anita Ko has earned her place among the most trusted fine jewelers in Los Angeles. Her defining achievement has been the refusal to choose between wearability and ambition—her pieces live equally on the red carpet and in the daily wardrobe—a harder balance to strike than it looks. Michelle Obama has worn her work. So has Queen Rania of Jordan. So have Charlize Theron and Rosie Huntington-Whiteley, which gives you a reasonably clear picture of the woman the Flora Choker was made for.

$81,500 | Shop Now

Courtesy of Anita Ko

Exquise Satin Bomber Jacket

  • For the Mother Who Has Somewhere to Be

The case for the Exquise satin bomber ‘Lacey’ Jacket is simple. It is a bomber that does not look like a bomber. The silhouette borrows the shape—relaxed, hip-grazing, slightly oversized in the sleeves—but the silky, subtly lustrous fabric elevates it out of the category altogether. Where a traditional bomber collapses into casualwear, the crew neck keeps the Lacey in the register of something you’d wear to dinner, a gallery opening or wherever the mother you’re buying this for actually goes. The side pockets are functional without being structural. The red is the red that means something—not fire engine, not burgundy, but a deep crimson that photographs well and turns heads in person.

$265 | Shop Now

Courtesy of Exquise

Tracksmith Charles Sunglasses

  • For the Mother Who Refuses to Look Like She’s Running

Tracksmith knows running is a serious pursuit, and runners deserve beautiful things. The Charles are performance sunglasses that have absolutely no interest in announcing themselves as such. The frame is handcrafted in Northern Italy from TR90, a Swiss-engineered thermoplastic that is lightweight, flexible, hypoallergenic and retains its shape after contouring to a face. At 32 grams, it is barely there. The Visottica spring hinges provide just enough give to accommodate the range of human head shapes without fuss. The lenses are Italian-made polarized glass that block 100 percent of UVA/UVB rays, with an anti-reflective coating on the reverse to eliminate any residual glare. Silicone nose and ear pads grip without slipping. What they look like, crucially, is a classic pair of sunglasses—the kind a person wears to brunch, driving or standing in line somewhere. The performance architecture is altogether invisible.

$255 | shop now

Courtesy of Tracksmith

Botanical Garden Membership

  • For the Mother Who Needs Somewhere Beautiful to Go

Memberships are the perfect luxury—not because they grant access, but because they grant spontaneity. A family museum membership signals refined parenting ambitions (early exposure encourages decorum!), but nothing beats the open-air sophistication of a botanical garden. A membership to your local one offers an elegant escape, ideal for quick getaways when someone’s patience frays and the thought of yet another slog through the children’s museum feels like punishment for a crime she didn’t commit. Most botanical gardens offer enriching, child-friendly programming—storytimes, gardening classes, outdoor pavilions, grassy enclaves with room to run—which means the children are occupied, and she is, briefly, somewhere beautiful. Many offer dining options that go beyond the typical café sandwich. Some allow outside snacks. None of this is the point, but when the children are happy, life slows down, and that is the goal.

FIND YOURS

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Tiffany & Co. Elsa Peretti Bean Bracelet

  • For the Mother Who Needs Nothing But Deserves Everything

Introduced in the early 1970s, Elsa Peretti described her Bean design as a symbol of life’s origins—a beautifully humble form whose simple shape, natural contours and smoothness always appealed to her. What she made was a small, kidney-shaped piece of gold evoking something found rather than fabricated. The bracelet—18k yellow gold, 9mm—is foolproof. There are no gemstones to clash with anything, no trend to age out of, no occasion it doesn’t suit.

$1,400 | Shop Now

Tiffany & Co.

Ralph Lauren Cable-Knit Cashmere Cardigan

  • For the Mother Who Has Stopped Pretending She Doesn’t Want Cashmere

No gift is more reliable than a cable-knit cashmere cardigan from Ralph Lauren. The chunky cashmere yarn looks considered without looking effortful. The silhouette is slim-fitting and hip-length, the neckline a clean crewneck, the placket buttoned without ceremony. The case for cashmere as a Mother’s Day gift has always been that it is the textile equivalent of telling someone they deserve comfort—that the ordinary friction of daily life should, at minimum, be conducted in something that feels extraordinary against the skin. A cable-knit crewneck cardigan from a house that has perfected exactly this silhouette is not a risk.

$498, shop now

Ralph Lauren

Bougeotte Flaneur Loafer

  • For the Mother Who Knows the Difference Between a Loafer and a Loafer

The penny loafer has been produced so many times, at so many price points, by so many brands, that the ones worth owning distinguish themselves through craft rather than marketing. The Bougeotte Flaneur does that work. The Milan-based brand was founded in 2015, rooted in the Baudelairean idea of the flâneur—the unhurried observer. The Flaneur loafer fuses exceptional materials with traditional Italian craftsmanship and details that sound like marketing until you hold the shoe—soft calf suede, a flat heel, a round apron toe, a keeper strap at the notched vamp, leather lining, leather outsole, handmade in Italy. The single decorative gesture, a signature bee medallion at the back heel, communicates not that you spent money, but that you knew where to look.

$795, shop now

Bergdorf Goodman

Bluemercury Gift Card

  • For the Mother Who Deserves Better Than a Big-Box Beauty Store

A gift card is, as a rule, the lazy option—a polite acknowledgment that you ran out of ideas. We are making exactly one exception, and Bluemercury is it. Founded in 1999 with the conviction that beauty retail could be something other than overwhelming, Bluemercury built its reputation on the opposite of the big-box experience: small-format boutiques, prestige brands and staff who will tell you the truth about what you need. Nobody is spraying anything at you. The brand roster runs deep—Augustinus Bader, La Mer, Sisley Paris, Dr. Barbara Sturm, Chantecaille, Oribe, Trish McEvoy, among others—and Bluemercury actively curates brands founded by Black, AAPI, Hispanic, LGBTQ+ and women entrepreneurs, making it one of the few luxury beauty retailers where inclusive shopping is a genuine feature. Gift cards are also accepted at Bluemercury locations inside Macy’s, expanding accessibility considerably. What makes a Bluemercury gift card genuinely special, though, is that it can be applied toward spa services. For the mother who would benefit from an hour to herself in the hands of someone who knows what they are doing, give her the gift card and let her decide. She will spend it better than you would have spent it for her.

From $25 | Shop Now

Courtesy of Bluemercury

Jack de Boucheron Triple Wrap

  • For the Mother Who Has Never Needed to Be Told How to Wear Something

The Jack de Boucheron triple wrap was designed around a question rather than an answer. Why does a piece have to be one thing? The Jack wraps three times around the wrist, but it can also be worn as a necklace, a waist chain or in the hair.
The 18k yellow gold cable, with unprecedented softness and flexibility, is a genuine manufacturing achievement finished with a geometric pavé clasp set with 140 round diamonds totaling 1.76 carats. Boucheron has been making jewelry on the Place Vendôme since 1858, when it became the first house to occupy that address. The Jack, which arrived considerably later, is a piece with no fixed form. This is hers to figure out, and she will.

$22,500 | Shop Now

Courtesy of Boucheron

Gola Coaster High Top Sneaker

  • For the Mother Who Prefers a Clean Line to a Logo

Gola has been making shoes since the early twentieth century, when Joseph Leeson & Sons registered the name and began handcrafting leather football boots in Britain. Over a hundred years later, the brand’s instinct for clean construction and honest materials remains intact—and the Coaster Flame High is one of the clearest manifestations of it. The Coaster made its debut in 1976, described at the time as a superior-quality canvas sports and leisure shoe—a retro plimsoll that personifies true British sporting heritage. The vegan canvas upper is clean and structured, and the rubber sole does what rubber soles should do at an unpretentious price. This is a shoe for the mother who wears jeans with intention, who wants something that survives a sandbox, and who has always known that the more modest option (a barely visible logo) is usually the better one.

$80 | Shop Now

Courtesy of Gola

IWA 5 Sake Assemblage 2 (2020)

  • For the Mother Who Reads the Label and Remembers What She Liked

Richard Geoffroy spent 28 years as Chef de Cave at Dom Pérignon, overseeing 23 vintages of the world’s most scrutinized Champagne. Then he left, moved to the foothills of the Tateyama mountains in Toyama Prefecture, and began making sake. The question of why someone would do that is answered by IWA 5. The “5” refers to the five yeast strains Geoffroy orchestrates for each Assemblage—a word borrowed from Champagne, where it describes the blending of multiple components into a single, unified expression. The IWA approach applies that discipline to sake: three rice varieties, each selected for what it contributes (finesse, body and structural integrity). Assemblage 2, bottled in 2020, carries its own particular story. Geoffroy was locked down in France during the pandemic when it was made, receiving all the component samples by international shipment and blending from his kitchen table. The constraints, he has said, pushed him to an even higher standard. The result is a sake of heightened floral aromatics and luminous purity—reviewers have noted tropical fruit, citrus, soft umami, a wine-like acidity and a coating mouthfeel that lingers without clinging.

$285 | Shop Now

Courtesy of IWA 5

Harwell Godfrey Chubby Talisman Bangle

  • For the Mother Who Has Arrived

The best jewelry outlasts the moment of giving and becomes, simply, part of how a person moves through the world. The Harwell Godfrey Chubby Talisman Bangle is firmly in that class. The 18k yellow gold hinged bangle features a knife-edge profile, an architectural detail that catches light from every angle and gives the piece authority. The signature Chubby Talisman triangles are filled with 0.28 carats of diamonds and 2.6 carats of rainbow stones—sapphires, rubies, tsavorites and spinels arranged in the multicolor configuration. It is bold without being ostentatious. The piece is made to order with an 8-to-10-week lead time, which requires planning and communicates intention.

$29,995 | Shop Now

Courtesy of Harwell Godfrey

Megelin Duo-Lux LASER & LED Light Therapy Mask

  • For the Mother Who Retired Her Dermatological Ambitions

What used to require a standing appointment, a referral and a copay has been relocated to the bathroom counter. The Megelin Duo-Lux Laser & LED Light Therapy Mask is for the mother who has spent years reading about professional light therapy and deciding it was not, practically speaking, for her. This changes the calculus. The mask combines low-level laser technology with LED light therapy to address wrinkles, fine lines, redness and inflammation—the concerns that accumulate over a decade of not quite having time for a dermatologist. The dual-technology approach distinguishes it from standard LED masks that have proliferated at every price point; the laser penetrates more deeply, working at a cellular level rather than simply stimulating the skin’s surface. It is a gift that requires nothing of the recipient except ten minutes and a willingness to sit still.

$529 | Shop Now

Courtesy of Megelin
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Inside Alexandra Champalimaud’s Haute Holiday Wishlist https://observer.com/list/inside-alexandra-champalimauds-haute-holiday-wishlist/ Tue, 23 Dec 2025 16:40:31 +0000 https://observer.com/?post_type=listicle&p=1607195

 If you’ve ever sipped a cocktail in a gilded hotel bar or wandered through the luminous halls of a grand dame property, chances are you’ve unknowingly encountered Alexandra Champalimaud’s work. A member of the Interior Design Hall of Fame and one of the most influential women in hospitality design, Champalimaud reveals the delights topping her personal wish list this season. True to form, her curated collection leans into refined indulgences—think sculptural home decor, decadent chocolates and restorative rituals. Herewith, the tastemaker’s dream holiday haul.

Pilates Reformer Classes at Belden House

“I was first introduced to this class by my daughter-in-law, Charlie Champalimaud, who is a long-time practitioner of pilates. When she decided to include the reformer class as part of the offering at Belden House, I was lucky enough to get in for a one-on-one class with their instructor, Maya. It’s an incredible exercise and one I look forward to at the end of a long work day.”

book now

Courtesy of Belden House

Richard Heys Hand-Whittled Twirly Trees

Milton Market, owned by the lovely Martha Fish, is always filled with the most beautiful and unique homewares by local artisans and more established international brands. I found these lovely hand-whittled trees by a local artisan using all different kinds of wood, so no two are exactly alike. These trees have decorated my house for the last two holiday seasons, and now the homes of many friends and family.”

From $40 | Shop Now

Courtesy of Milton Market

Babaà Wool Sweaters

“There are few things I love more this time of year than the warmth of a great quality wool sweater. I found these cozy, 100 percent wool sweaters online and ordered more than I needed just to try, fully intending to return what wouldn’t work. But happily, each one has found a home with stepdaughters and with my daughter-in-law’s mother.” 

From $380 | Shop Now

Courtesy of Babaà

Facials at the New Guerlain Spa in the Waldorf Astoria

“I had been a long-time client of the Guerlain Spa when they were located inside The Plaza, so when I heard they had moved to the newly renovated Waldorf Astoria, I decided to treat myself and one of my senior designers to a facial. The renovation of the Waldorf Astoria was done incredibly well, and the new Guerlain Spa continues to be one of the best esthetic experiences in NYC.”

From $190 | Book Now

Courtesy of Guerlain Spa at the Waldorf Astoria

Private Piano and Guitar Lessons

“I have been taking private music lessons for a few months now, something to look forward to in those chilly winter afternoons when my afternoon walks are a bit more restricted.”

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Thorncrest Farm & Milk House Gourmet Chocolates

“Thorncrest is a local dairy farm that my family and I have been lucky enough to enjoy for years. They make the most excellent treats for just about any holiday, or simply to enjoy and indulge oneself.”

Box of Nine for $28 | Shop Now

Courtesy of Thorncrest Farm & Milk House Chocolates

She Wolf Bakery Bread

“A dear friend once gifted me my now-favorite bread (the sprouted rye) from She Wolf Bakery on the Upper West Side. It has now become a breakfast staple in my household, and I am sure to stock up anytime I am in the city.”

From $8 | Shop Now

Courtesy of She Wolf Bakery

Dumais Made Ceramic Lamps & Fixtures

Charlie Dumais has become a close friend who started as a local craft supplier for my projects. He has gifted me a number of fabulous small lamps that can go anywhere, and I have now made his lamps a regular stop when thinking of gifts for others.

$2,400 | Shop Now

Courtesy of Dumais Made
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A Collector’s Edit of Covetable Luxury Gifts https://observer.com/list/a-collectors-edit-of-covetable-luxury-gifts/ Sun, 21 Dec 2025 14:35:59 +0000 https://observer.com/?post_type=listicle&p=1604104 Whether she is the giver or the recipient, this gift guide is for a specific type of woman. She is refined yet effusive, a connoisseur and collector who gravitates to heritage brands, cutting-edge tech and creatives producing extraordinary designs. Yes, there’s an underlying current of reverence for the featured designers and an assumption that our shoppers are part of a rarified world where a $6,000 trunk and $1,700 earrings are covetable splurges. That is, of course, intentional (and stating so is, perhaps, redundant). Spanning fashion, art, accessories, home decor and tech, these are the types of treasures that will be cherished for years and spark joy each time they’re worn, used or displayed. Many of the items below have been personally tested by yours truly. Those that haven’t are from brands or retailers I know and trust. All of the items are meant for those who appreciate craftsmanship, design and inimitable style.

Amy Beager ‘Wetlands’ Screenprint

Neon pink and green can be challenging to pull off in any medium without looking like a Lily Pulitzer devotee, but Amy Beager’s Wetlands is so layered and captivating, and there is so much to see and think about (I am not an art critic) that What to Wear in Palm Beach will be the last thing on your mind. The original, an acrylic and oil on linen, made its debut in 2022 at London’s Kristin Hjellegjerde Gallery as one of 12 works in the artist’s Swan Maidens exhibition, which tells the story of a woman-swan torn between worlds. 

In June of this year, Artsy and RHODES Editions launched Beager’s first-ever screenprint, featuring this Mother Mary-type figure cradling the emblem that, since 2000 BCE, has symbolized transformation, purity, love, loyalty, intuition and other things synonymous with the most aspirational side of motherhood. This remarkable 25-color screenprint was produced in a limited edition of just 35, each signed and dated by Beager. In what can only be described as a Christmas miracle, it remains available on Artsy for you to purchase as a gift for the mother of your children.

$940 | Shop Now

Amy Beager, Wetlands (2025), 25-Colour Screenprint. Image courtesy of RHODES Editions, London

Marie June Melting Pearl Earrings

A screenshot of these earrings has been stored in my cloud, in an album called “yes,” for almost three years. Although I still do not own them—only because I find post-backed earrings to be an absolute nuisance—I’m glad to finally remember to share such a delightful accessory with our readers. Handmade in sterling silver and coated in 18K gold, luminous cultured freshwater pearls defy gravity in an interplay of precious metals. The earrings are dainty (less than an inch long) and striking, and the brand’s commitment to being ethical and eco-friendly is inspiring; over 90 percent of the silver and gold in Marie Oliver’s designs are recycled.

$170 | Shop Now

Courtesy of Marie June

Imogen + Willie Madisonville Jacket

It takes a certain confidence to wear full-body painter’s garb without worrying that you look like a toddler in costume. I’ve never gotten there (clothes meant to be “worn while creating”), but Imogen + Willie’s Madisonville Jacket skims the surface. It is the best version of white: not eye-blinding, pristine or precious. The cuffs are smartly grey and black, avoiding the tragedy of ruining pure white anything with everyday wear. Patterned, cut and sewn in the USA and made from 100 percent cotton sourced from a family-operated, seventh-generation 8,000-acre regenerative farm in Alabama, the coat exemplifies American-made craftsmanship. The design was inspired by vintage club jackets, and the antique brass zipper is a thoughtful, subtle detail that complements this aesthetic. If you can get your hands on one (the style seems to sell out quickly), keep in mind that the sizing is unisex.

$295 | Shop Now

Courtesy of Imogen + Willie

Hermès Festival des Amazones Bandana Shawl 

If you’re on the fence about purchasing a silk scarf for a woman whom you’ve never seen in a silk scarf, I assure you that any woman who receives this silk scarf will become the kind of woman who wears a silk scarf. With the exception of less than a handful of items (those sandals, that belt and those bracelets, all of which are usually only worn by people who do not understand the heritage of the brand but want to associate in the clearest way possible with an expensive luxury label), you can absolutely do no wrong with Hermès. This wonderfully oversized cashmere-silk shawl was designed by Henri d’Origny, the mastermind behind some of the most remarkable designs to emerge from the French fashion house over the past 50 years.

$1,450 | Shop Now

Courtesy of Hermès

Morgenthal Frederics Ninety-Eleven Sunglasses

There was a period of time (five years) that I was loyal to a single pair of sunglasses, steadfast in my belief that I’d never stray from what I mistakenly thought to be the perfect pair of non-prescription spectacles. That was until I met (was gifted) Morgenthal Frederics’ Ninety-Eleven Sunglasses, the first version of aviators I have ever worn that do not make me feel like I should don a leather bomber, learn to fly planes and cosplay Tom Cruise. The design was inspired by the intricate, decade-defining creations of Jean Paul Gaultier and Yohji Yamamoto in the 1990s, and meticulously handcrafted in Japan from the finest titanium and acetate. Furthermore, they are ultra-lightweight—important for those who are quick to complain about their nose and ears hurting under the crushing weight of lesser frames (speaking from experience).

$725 | Shop Now

Courtesy of Morgenthal Frederics

Buck Mason Vintage Interloop Sweatshirt

I first learned about Buck Mason from my husband, who once made me spend the better part of two hours in their Silver Lake store while he tried on everything, which was fine because it was a really welcoming experience, with comfortable places to sit and salespeople eager to hand me cold bottles of Topo Chico. Having tried, tested and ruled out every other high-quality, reasonably priced cotton knit label, he is almost unreasonably loyal to the brand’s T-shirts and sweatpants. It finally made sense to me when I tried Buck Mason for myself. Their Vintage Interloop sweatshirt is crafted from a thick, 290 GSM cotton French terry (GSM stands for ‘grams per square meter’ and French terry typically ranges from 200 to 450, making 290 a sweet spot with satisfying weight but not bulk). The drop-shouldered, relaxed silhouette is accentuated by a semi-brushed back, 1×1 ribbing, small-batch dying and a natural enzyme rinse that develops character with each wear. This quality is consistent across Buck Mason’s products, which all seem to bridge the gap between vintage nostalgia and modern practicality.

$128 | Shop Now

Courtesy of Buck Mason

Alohas TB.490 Leather Low-Top Sneakers

I haven’t owned a pair of Sambas since middle school, despite being tempted several times over the last few years to buy them again. What’s stopped me from repurchasing the Adidas classic is that I can’t justify a pair of shoes worn by every other Millennial on the playground and every teen girl in every pack of teen girls lolling around every mall in America (quite the trip down memory lane). For that reason, I was thrilled to find The Alohas TB.490, a cooler, not overplayed leather low-top that doesn’t make me feel as though I’ve regressed to pre-pubescence. The white leather and suede upper features navy accents, marbled laces, a rubber sole, exposed stitching and a subtle embossed logo. What’s more, they’re made from sustainable leather—so you can showcase a commitment to eco-conscious style without sacrificing comfort or quality.

$210 | Shop Now

Courtesy of Alohas

‘Formula 1: The Impossible Collection’

If your recipient lives for speed and precision engineering, but a sports car with a bow on top or tickets to Monte Carlo aren’t in the books this holiday season, consider this luxurious volume from the ever-reliable Assouline. Presented in a vivid yellow clamshell case, Formula 1: The Impossible Collection is loaded with stunning photography and insightful commentary, honoring and chronicling “the milestones that lifted Formula One from a gentlemen’s club in 1950 to a global sport with hundreds of millions of fans around the world.” This second edition, published under Assouline’s Ultimate Collection of ultra-luxury, handmade, oversized, collectible coffee-table books, was released this year, timed to coincide with Formula One’s 75th anniversary.

$1,400 | Shop Now

Courtesy of Assouline, publisher of 'Formula 1: The Impossible Collection' (Assouline.com)

Members Only Classic Racer Jacket

On a recent November evening, a coworker and I were invited to attend the opening of the new Members Only store and café in the West Village, where I was promptly reminded why iconic silhouettes never truly fade. The Members Only Racer Jacket, that quintessential emblem of insouciant cool that basically every very famous, middle-aged man in the 1980s made look so good, has been reimagined with a decidedly feminine twist. From the precisely tailored shoulders to the cleverly placed pockets (including a clandestine interior hideaway), every detail marries form and function in a cotton-poly blend that promises all-season versatility. If you find yourself on West 8th Street, pop in to see for yourself.

$98 | Shop Now

Courtesy of Members Only

Marie Oliver Orca Skirt

I had never been compelled to consider wearing a top and bottom of the same pattern until I saw Marie Oliver’s Polaris print, which is new for winter and applied to multiple pieces in the season’s collection, such as the Orca skirt, this slinky turtleneck and a gorgeous quilted coat. Marie Oliver’s geometric version of the Japanese Kumo (spiderweb) shibori technique is on full, glorious display in rich neutrals that make me wish I had a friend with a sunken living room who hosts Mad Men-style cocktail parties. I do not own the Orca skirt, but having owned and loved other versions of Marie Oliver’s signature wrap skirt, I can vouch for the quality and versatility of this design. The skirt is made from a quilted cotton poplin that is reversible, and its silhouette is slightly asymmetrical, featuring a button and tie closure that results in a near-flawless fit.

$298 | Shop Now

Courtesy of Marie Oliver

Moose Knuckles Belle Dune Short Shearling Trim Puffer

It isn’t easy to buy someone a winter jacket, because there are an overwhelming number of factors to consider. That said, if cold-weather protection is the top priority, Moose Knuckles’ Belle Dune shearling-trimmed puffer will keep her warm in temperatures dropping to -4 degrees. It is simple, stylish and functional, neither too loud nor dull. Best of all, it’s not one of three instantly recognizable jackets that are beyond predictable by this point and seem to exist for the sole purpose of screaming to the world that you’re wearing brands some people think are cool. The fit runs small, so size up.

$1,095 | Shop Now

Courtesy of Moose Knuckles

Ahikoza ‘Amina Mini’ Top Handle Wristlet

What is the point of a clutch that can’t carry a phone, keys, plus cards, money and lipstick? Unfortunately, many of the designs on the market that can accommodate all of those things are either mind-numbingly basic or contain so much color, beading or sparkle that they completely lack versatility and really only work with one very specific outfit. I am of the mind that less is more, things should last, and everything should go together without trying too hard. This sumptuous, crushed suede, structured top-knot clutch effortlessly transitions from one look to the next, and is therefore “a go” if you’re considering gifting it. Any woman who likes to get dolled up but is repelled by the thought of an overflowing wardrobe would welcome one.

$995 | Shop Now

Courtesy of Ahikoza

Saddleback Leather Trunk

If you think you are shopping for “the woman who has everything,” pause and ask yourself, “Does she really?” Because if she does not have a giant, full-grain, butter-soft yet impressively durable leather trunk, you now know what to gift her this holiday season. Saddleback’s version comes with a 100-year warranty, among many other compelling features, such as a front door that drops open, allowing access to the trunk’s contents without needing to lift the top—a thoughtful addition for those planning to turn theirs into a coffee table.

$6,000 | Shop Now

Courtesy of Saddleback Leather

Saint Laurent Rhinestone Strawberry Earrings

Earlier in this guide, I mentioned my distaste for post-backed earrings. This is because I do not believe stud earrings make great “everyday” articles of jewelry, unlike many rings, bracelets and necklaces that can be comfortably worn for eternity. So, what then are earrings for? Statements! The most massive, flamboyant, sparkling clip-on statements money can buy! Why don’t more designers make accessories like Saint Laurent? These fantastic rhinestone strawberries, which dangle a dazzling 3 inches, are not for everyone—but if you know a woman bold enough to wear them, here’s her gift.

$1,700 | Shop Now

Courtesy of YSL

Dell XPS 13 + Snapdragon X Elite

If you’re fatigued by how slowly your laptop churns while trying for the 800th time to get the fingers right in your artificially generated self-portrait inspired by the drawing Jack made of Rose before the Titanic sank, might I suggest Dell’s XPS 13, powered by Snapdragon X Elite? The model offers on-device generative A.I., which, in layman’s terms, means that because it’s built specifically to leverage A.I. in a multitude of ways (understandably unlike the laptop you’ve had for more than ~2 years), it can do all of the generative things without setting off that panicky fan. It’s honestly a game-changer if you’re used to the challenges that come with running either one of the two most popular consumer A.I. tools on a laptop lacking such features. The XPS 13 is lightweight and because it’s so efficient, it boasts an impressive battery life of almost 30 hours. It’s the perfect gift for the one you love who isn’t afraid of A.I. but is intimately familiar with the terror of a “vrooming” computer.

$1,499 | Shop Now

Courtesy of Dell

Bowers & Wilkins Px8 S2 Headphones

I never thought I’d be an over-the-ear headphone person until I tried the Px8 S2, which Bowers & Wilkins calls “the best we’ve ever made.” The buttery Nappa leather feels like marshmallows on the ears, and while durable, the design is also incredibly light. Other headphones I’ve tried have been just heavy enough that the band hurts the top of my head if I wear them too long. I realize how pathetic that sounds, but I know I can’t be alone in this predicament. And while I am hardly an audiophile, I do firmly believe that music takes precedence over every other form of art, and I can appreciate the clarity and depth of sound that Bowers & Wilkins delivers with this model. The 30-hour battery life makes everything less annoying (it’s a hard but necessary truth that most other gadgets in rotation still require near-constant charging).

$799 | Shop Now

Courtesy of Bowers & Wilkins

14K Gold & Diamond Sprinkle Donut Ring

To give credit where it belongs, I wouldn’t know about the do-gooder jeweler Delicacies if not for Daily Provisions, which released a pair of 14K gold cruller earrings in collaboration with the brand. Thank you to team Danny Meyer for that hot tip! But because it is now well-established (in this guide, at least) that I’m not a fan of stud earrings, it felt particularly inauthentic to feature them—especially after I saw this delicious 14K donut ring topped with 16 sparkling diamond baguette “sprinkles.” Every Delicacies purchase helps fight hunger by donating to organizations that provide food to those in need. Since its founding in 2013, the company has provided over one million meals, and each item comes with a card indicating how many meals were donated through your purchase. Proceeds from the donut ring provide 595 meals to people in need. Daily Provisions’ aforementioned cruller earrings donate 750 meals. Don’t have a sweet tooth? There’s a 14K pasta necklace with charms shaped like elbow macaroni, farfalle, ravioli and penne rigate.

$1,955 | Shop Now

Courtesy of Delicacies

John Baldessari’s Nose/Silhouette: Green, 2020 Screenprint

Last month, my friend Laura hosted a Dalí-themed dinner party at Main Projects, the gallery she owns with one-half of the Icy Gays duo, Eric Thomas Suwall. Between courses, an artist asked what kind of art I like, and I wasn’t sure whether he meant the art I like to see in museums, or put on walls, the art I like to experience, or simply like to think about. Whatever he meant, it didn’t matter because it was a question I have no interest answering—which I was polite about, of course. Defining art by style, medium, subject, school, technique, color or artist has always felt like a list-buiding exercise rather than providing another person with a greater understanding of who you are, which think is generally the purpose of any such question. I appreciate art that evokes an emotional response. It doesn’t need to be a fuzzy or inspiring feeling; art that makes me uncomfortable is often more compelling. With that, I’ll try to articulate how John Baldessari’s Nose/Silhouette: Green, 2010, makes me feel and why I love it.

My eyes like following the irregularities in the circumference of the green blob encompassing the nose—a facial feature that, unlike eyes or smiles, no human in the history of the world has ever held responsible for being the cause of love at first sight. And yet that is what Baldessari forces us to see when we aren’t doing laps around a face we’re trying to imagine. Baldessari died on January 2, 2020, and I can’t help but wonder how the generation-defining pandemic that unfolded three months after he passed would have shaped later works, had he lived through it. Baldessari’s legacy is multilayered, but the part I return to the most is that his art pushed thinking about how the meaning of an image shifts depending on the context. The world didn’t see noses for nearly year after Baldessari died (give or take, depending on your politics), which may have made some of us realize how much a nose can tell you about a person.

$7,000 | Shop Now

Nose/Silhouette: Green © 2010 John Baldessari and Gemini G.E.L. LLC

Zero Restriction Nicki Windbreaker

If your mother is like mine, she is a woman whose taste blows swiftly out the window when it comes to wardrobe staples she categorizes as “functional,” thereby prioritizing “practicality” over style—even when it’s entirely possible to achieve both. If your mother is like mine, her “light layer” is a shapeless jacket from a crunchy New England retailer that hits at the most unflattering point of the mid-thigh, has a lot of cords and zippers, and oddly placed strips of neon, making a lot of noise with every movement. The Zero Restriction Nicki Windbreaker is not that. Rather, it is a very cool item of everyday outerwear that would make an excellent gift for someone like my mother (and maybe also yours). The hip length balances the boxy fit, and the fabrication (water-resistant and windproof) offers superior protection against the elements. The adjustable hood, elastic cuffs, back vent and hidden zip pockets are smart, functional elements that also add comfort.

$245 | Shop Now

Courtesy of Zero Restriction

Dior Lily of the Valley Carafe

I do not own this Dior carafe, but I wish I did. If your recipient is a sucker for gorgeous glass, she will swoon if presented with such a gift. This Italian-made, hand-blown carafe encases a delicate sprig of lily of the valley, one of Mr. Dior’s signature motifs. It’s a charmer.

$550 | Shop Now

Courtesy of Dior

Polo Ralph Lauren Corduroy Puffer Jacket

Ralph Lauren does everything right, and this corduroy puffer (from Polo) is no departure from the marvelous reliability that has come to define his collection of premium labels. On a silhouette as well-established as the hip-length puffer, it is rare to see a fresh take that doesn’t inspire questions like, “But why?” Because Mr. Lauren has done it again. Somehow, every design from Ralph Lauren has an ingrained sense of vintage heritage that works for modern women who want their clothes to look clean, sleek and interesting, but never theatrical. With its rich, cotton-blend corduroy exterior, premium down fill and body-skimming, quilted construction, it’s no wonder this jacket has sold out almost everywhere.

$600 | Shop Now

Courtesy of Net-a-Porter
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37 Extraordinary Gifts for Discerning Young Minds https://observer.com/list/the-best-gifts-for-kids-age-three-to-six/ Tue, 16 Dec 2025 16:19:38 +0000 https://observer.com/?post_type=listicle&p=1601550 The main thing I have learned since becoming a parent is that the only thing that doesn’t become harder when you become a parent is accumulating an avalanche of plastic beeping, blinking gizmos. In my blissfully unaware, pre-parent days, I naively never considered that, while my nieces and nephews might enjoy these raucous gadgets, what I was actually giving my weary siblings was yet another vessel by which to lose their minds. Once I crossed the threshold into parenthood myself, I realized the shameful, harsh truth: most things masquerading as toys are pretty much just future landfill.

Shortly after becoming a parent, you’ll begin playing a fun new game called “Donate or Destroy?” on a more regular basis than you might change your sheets, purging your home of toy detritus with the steely resolve of a Kondō disciple. In the process, you’ll develop a sixth sense for identifying presents with a lifespan longer than their batteries, because you’ll have learned that finding gifts that spark imagination instead of noise complaints can feel like panning for gold in a sea of discarded Happy Meal trinkets.

This guide is the result of countless hours I’ve spent scouring shelves, testing doodads and observing my own pint-sized critics (ages three and five) systematically destroy contenders. These picks are ostensibly for the 4- to 6-year-old set, but don’t be misled by Big Toy’s arbitrary age recommendations. The items below captivate through their power to illuminate everyday wonder—whether in science, nature or even the art of “trash”—and transform it into something unforgettable. So put down that flashing, squawking, oops-it-already-broke junk that the kids on your holiday list will forget in five minutes. Cancel your bulk order of earplugs. Proceed with newfound wisdom.

Periodic Table of NYC Trash

Every couple of weeks, my kids will ask, “Mommy? What’s New York City like?” which inevitably leads me to point to the Periodic Table of NYC Trash hanging in my office and say, “Let’s take a look!” As my children gaze upon the 118 naturally occurring elements found on the streets of New York, they begin to question the stories behind each piece of trash. They wonder about the people who discard these items, the reasons behind their disposal, and the environmental impact of these objects. I purchased this years ago and, after almost a decade of cohabitation, I remain convinced it’s the perfect gift to encourage critical thinking about consumption and develop a wise understanding of all the riches Manhattan has to offer.

$40 | Shop Now

Courtesy of Young Blanks

Darwin’s ‘Super-Pooping Worm Spectacular’

In terms of gross things kids like, Darwin’s Super-Pooping Worm Spectacular is a multitasking success. This wonderfully illustrated book sheds light on a lesser-known aspect of Charles Darwin’s intense fascination with the slimy, wiggly creatures (worms) that keep our soil healthy (poop). Darwin spent 40 years studying worms, going to great lengths to prove that worms are more than just icky crawlies. Amidst the laughter and fun facts, there’s a more profound message about the importance of perseverance and standing up for what you believe in. Darwin’s peers may have mocked his fascination with worms, but he never let their teasing deter him from his groundbreaking research.

$20 | Shop Now

Courtesy of Darwin & Co.
Courtesy of Darwin & Co.

Impression Pin Art Toy

I’ve yet to meet a child who hasn’t delighted in the endless possibilities of this toy. They can place it on top of other toys, a sleeping pet’s face, or create mashups of textures and impressions made by everyday objects around the house. Not only does a pin art toy provide hours of entertainment, but it also encourages the development of fine motor skills, hand-eye coordination and spatial awareness. It is hard to wash, though, so do your best to discourage using it to “see how slime works.”

Courtesy of Maisonette

The Panda Drum Mini

Unlike the cacophony of plastic monstrosities that pass for children’s toys/sound like bags of broken glass, the Panda Drum produces soothing, harmonious tones that lull you into a zen-like state (or at least spare the onset of a migraine). With its foolproof numbered system and accompanying songbook, even the most rhythmically challenged can tap out a tune.

$180 | Shop now

Courtesy of Panda Drum

Maria Kalman’s ‘What Pete Ate’

At its heart, What Pete Ate from A-Z is a celebration of the unbreakable bond between a dog and his human. I acquired our copy at a used book sale this summer. It wasn’t long before Maira Kalman’s quirky romp through the alphabet accompanied me on a short-lived post as a mystery reader, allowing the opportunity to teach a bunch of five-year-olds that ‘Fez’ is both a hat and a city (Pete ate the hat). The book follows Poppy Wise’s mischievous dog, Pete, as he devours his way through an astonishing array of items, from accordions to underpants. Despite Pete’s insatiable appetite for mischief, Poppy can’t help but love her unruly pup. It’s a sentiment that will resonate with dog owners and animal lovers of all ages.

$20 | Shop Now

Courtesy of Bookshop.org

Stamp Bugs

This precious set takes the concept of stamps to a whole new level, offering a diverse assortment of insect shapes and textures that allow your child to craft their own unique bugs. With 25 wood-backed rubber stamps featuring an array of antennae, wings, legs and body parts, the possibilities are endless. Mix and match the components to create a buzzing hive of bumblebees, a graceful swarm of dragonflies, or a world of imaginary bugs that defy classification.

$26 | Shop Now

Courtesy of Bookshop.org

Mon Coeur Pocket Sweatshirt

Ever since my son was given Mon Coeur’s pocket sweatshirt, it has been a go-to. This versatile and sustainable garment is crafted from a blend of reclaimed, organic cotton, but the standout feature, of course, is the functional pocket into which your child can and will stuff all the tiny treasures they collect throughout the day—or insist on bringing with them each time they leave the house. As a brand, Mon Coeur is committed to creating a world where the planet comes first. Every item Mon Coeur makes is sustainably made using upcycled cotton, watercolor prints and non-toxic inks.

$52 | Shop Now

Courtesy of Mon Coeur

Dearist Letter-Writing Kit

On a recent Sunday afternoon, I stumbled upon a heartfelt letter from my son, addressed to his little sister. “Dear Cosima, I love you, but leave me alone.” It’s never too early to introduce your child to the art of letter writing with the Dearist book and stationery series. It’s a gift that fosters empathy, creativity and communication of the complex emotions that come with being an older sibling.

From $20 | Shop Now

Courtesy of Dearist

World Wildlife Fund Nesting Dolls

Do your kids love nesting dolls? Animals? Preservation? Try this set of hand-painted wooden animal nesting dolls, each representing a species that the World Wildlife Fund strives to protect. Pop off the top of the tiger to reveal a snow leopard, followed by a red panda, a sloth and, finally, a delightful little ladybug. More than just a playful decoration, these nesting dolls serve as a reminder of the incredible biodiversity our planet holds and the importance of preserving it for future generations.

$75 | Shop Now

Courtesy of the World Wildlife Fund

ChappyWrap’s ABC Blanket

We have several ChappyWrap blankets‚ and they’re fought over constantly. If you can look past the epic battles this blanket will incite between your darling munchkins, I cannot recommend it enough. The brand’s ABC print features a vibrant mix of playful colors, crafted with the utmost attention to quality and woven in Europe. It is resistant to shrinking, pilling, fuzz and tug-of-war. The ‘midi’ size, measuring 40″ x 60″, is ideal for both home and travel, ensuring that your child always has a comforting and familiar piece wherever they go.

$88 | Shop Now

Courtesy of ChappyWrap

Rilla Alexander’s Palimals

Designed by the imaginative Rilla Alexander, Palimals are a colorful reminder of the importance of cherishing our connections with others—both literally and figuratively. With cleverly embedded magnets in their hands, Palimals can link arms, hold hands or even clamber up the fridge. Crafted from wood, non-toxic paint, cotton rope and magnets, these endearing animals are as safe and durable as they are adorable.

$15 Each | Shop Now

Courtesy of Areaware
Courtesy of Areaware

Japanese Cat Washi Tape

My kids love tape, and I can’t imagine they are alone in their pursuit of peeling, sticking and wrapping it around anything they can reach. Thankfully, with washi tape, you don’t have to worry about ruined walls or trails of gummy residue. Each roll showcases a variety of adorable cats engaging in everyday activities by Nachio Nakanishi, the illustrator and chef behind the pop-up restaurant Toraneko Bonbon.

$8 | Shop Now

Courtesy of WMS&CO.

WMS&CO. Seasons Crayon Set

These bean wax crayons, shaped like miniature building blocks, double as both drawing tools and playthings, making them the perfect multitasking sidekick for your little Picasso. The set’s 23 distinct colors, carefully arranged in four seasonal boxes, are crafted from natural, non-toxic ingredients that won’t leave you frantically Googling “is crayon consumption fatal?” (Answer: No, but it’s hard to brush out of teeth—a lesson we thankfully did not learn firsthand, but acquired in the process of providing a nonjudgmental ear when our neighbors lamented the black wax gumming up their kid’s chompers.)

$29 | Shop Now

Courtesy of WMS&CO.

James Paulius’ Blockitecture

Want your child to unleash their inner Frank Lloyd Wright? Blockitecture, the brainchild of New York City-based designer James Paulius, is a set of architectural building blocks crafted from New Zealand pine and water-based paint, ensuring your budding architect’s creations are as eco-friendly as they are impressive. The hexagonal blocks, which vary in size, can be cantilevered and nested to form towers, cities and dwellings that would make even the most jaded urban planner swoon.

$175 | shop now

Courtesy of Areaware

The Super Book of Gems

Each time my daughter and I marvel at the dazzling photographs of exquisite jewelry and awe-inspiring gemstones in the Super Book of Gems, her eyes light up with gold-digging mischief. “Mommy, look!” she exclaims, as if on cue, pointing to a breathtaking six-figure diamond necklace. “Santa’s going to bring us one of these this year, right?” (I can only hope she’s got some crystal ball and is correct about our pending bounties.) Packed with dazzling photographs of jewelry and awe-inspiring gems, this book is a feast for the eyes and a treasure trove of knowledge. As kids (and adults) explore each birthstone month by month, they’ll uncover the unique properties, legends and artistic significance behind nature’s most beautiful creations.

$25 | Shop Now

Courtesy of Super Smalls
Courtesy of Super Smalls

NASA Lunch Box

Over winter break last year, we took a trip to the National Air and Space Museum. It was great! Of course, we had to visit the gift shop before leaving, which was also great—but (also of course) resulted in a series of negotiations around what we do and do not need more of in our house and what my husband and I were and were not willing to bring home. Because we never need more toys, stuffed animals or trinkets, we returned home with two of these spiffy lunch boxes. Featuring NASA’s iconic “meatball” insignia embossed on the lid, the durable tin design is the perfect size for small meals—and equally as suitable for containing the hundreds of Legos, rocks and Barbie shoes scattered about your house.

$28 | shop now

Courtesy of Toynk Toys

‘The Octopus Escapes’

My stepmother is a woman of many talents. The talent I have come to appreciate the most over the last 5+ years is her incredible taste in and ability to source fantastic children’s books. This summer, I stumbled upon The Octopus Escapes in the guest room reserved for grandchildren, accordingly stocked with an assortment of such hardcover marvels, chosen by the fairy godmother herself. The Octopus Escapes is a heartwarming tale of an octopus who is content in his underwater cave until a diver captures him and takes him to live in an aquarium. Despite the humans providing food and toys, the octopus grows weary of his captive life and longs for the freedom of the open sea. It is a story of resilience, independence and the bond between creatures and their natural habitats, written by author Maile Meloy and beautifully illustrated by Felicita Sala.

$19 | Shop Now

Courtesy of Bookshop.org

Cupkin Sticker Books

We have more Cupkin sticker books strewn about our house than I can count or care to admit publicly. There’s something about the quality of the paper—it’s absorbent but smooth, and thick enough that the ink doesn’t bleed through—that makes them really pleasant to color (speaking from experience). Each is packed with over 500 stickers and 12 unique scenes, with themes like birds, bugs, museums, sports, dinosaurs, cars and more. The lay-flat design features side-by-side sticker pages and scenes, and the spiral binding allows tiny (and adult-sized) hands to navigate the book easily, spending more time creating and less time flipping pages.

From $17 | Shop Now

Courtesy of Cupkin

Bug Bingo

I first learned of this delightful, entomological twist on the classic game of bingo through a friend with kids slightly older than my own. (Sometimes, social media is good.) Illustrated by Christine Berry, the game features 64 different bug species, from common favorites like the honeybee to exotic creatures such as the Giant Hawker Dragonfly and the enigmatic Vampire Moth. As they play, kids will expand their knowledge of insects, learning to identify and develop an appreciation for a diverse array of bugs from around the world.

$30 | Shop now

Courtesy of Bella Luna Toys

Babsy Build-a-Brush Kit

A toothbrush? For Christmas? Hear me out. Babsy collaborated with industrial design firm Leadoff Studio to recast dental hygiene into an experience beyond rowing with your kids over the right amount of time to spend brushing their teeth and/or explaining why toothpaste isn’t to be swallowed. Each set comes with two brush heads and six colorful, interchangeable bits, featuring designs like a cheetah, ice cream and a sloth (because why not?). Developed by Jordan Diatlo, a father and creative director who drew inspiration from action figures and cognitive learning toys, this hands-on approach promotes healthy habits and fine motor skills. Plus, research shows that analog design outperforms over-engineered tech when it comes to building trust and daily routines.

$40 | Shop Now

Courtesy of Leadoff Studio & Babsy

Moon Picnic’s ‘Make a Face’

Moon Picnic’s ‘Make a Face’ toy is here to help little ones navigate the complex world of emotions. This investment in emotional intelligence offers hundreds of expressions, ensuring your child will never be at a loss for words (or faces) when it comes to describing their mood. Turn and flip the solid beech wood pieces to create a visage that perfectly captures the essence of your child’s emotional state, from “I just discovered candy” to “I’m contemplating the futility of existence.”

$44 | Shop Now

Courtesy of Moon Picnic

Mess Kids T-shirt by Urs Fischer

Contrary to popular belief, there’s no wrong way to make a snowman. Drive this point home and embrace the chaos of childhood with the Mess Kids T-shirt by Urs Fischer, featuring a disheveled snowman who seems to have misplaced his facial features. Created by Fischer during his 2019 takeover of the Gagosian Shop in New York, it is part of a series of snowmen drawn by the artist. Each snowman finds itself in a delightfully absurd scenario, celebrating the joy and spontaneity of a child’s imagination.

$45 | Shop Now

Courtesy of the Aspen Art Museum

MTA Motorized Train Set

With three authentic replicas of NYC MTA trains and 16 pieces of track, kids can build their own miniature version of the New York City subway system right in their living room—minus the rats, smells, flooding and unexplained delays. When assembled, the track spans an impressive 39 inches by 25 inches, providing kids with ample room to create intricate layouts and exciting routes for their trains to navigate.

$50 | Shop Now

Courtesy of the Tenement Museum

The Great Pretenders’ Dragon Cape

The best part about this cape is that your kid won’t grow out of it. We have several, and they’ve become a cherished part of our dress-up collection—and I have reason to believe they will remain that way for years to come. The second-best part of this cape is that it’s machine washable, making it easy to care for even after the most spirited play sessions.

$58 | Shop Now

Courtesy of Maisonette

Pink Chicken’s ‘Animals of Asia’ Print

Do your kids love animals? Do you need nice outfits for picture day? Artist Darcie Olley’s enchanting design features a lush forest populated by tigers, pandas, peacocks and more. Available in a darling frock and a handsome button-down, consider this a gift that will delight not only its young recipient but also demonstrate your impeccable taste and appreciation for artisanal design.

From $62 | Shop Now

Courtesy of Pink Chicken

7AM Enfant’s ‘Roll Me’ Packable Puffer

From the company that introduced the game-changing stroller mitts to urban mothers: Keep your little one warm and comfortable during those unpredictable in-between seasons. When not in use, the jacket rolls up into its own pouch, making it a breeze to store—and providing hours of entertainment for youths who enjoy challenging the laws of physics by continually squeezing big things into small things. The recycled poly filling offers exceptional warmth without the bulk, and with its machine-washable fabric, keeping the Roll Me Puffer looking its best is a breeze.

$78 | Shop Now

Courtesy of 7AM Enfant

Hanno the Gorilla

David Weeks understands the importance of durability in children’s toys. Hanno the Gorilla’s powerful hardwood frame and elastic-band muscles make him a versatile and engaging companion, built to last for generations. At 11.5 x 5 x 2.5 inches, he’s just the right size for little hands to grasp and manipulate, while also being large enough to assert his dominance over lesser toys. Don’t be surprised if he becomes the alpha of the toy box.

$120 | Shop Now

Courtesy of Areaware

Kala Surf Green Soprano Shark Ukulele

Few gifts strike the balance between playful and profound like a child’s first instrument, and this ukulele hits that sweet spot. Sized perfectly for small hands, it invites kids to strum, experiment and discover the joy of making music without intimidation. Its cheerful design and bright tone make practice feel more like play, while the sturdy build ensures it can handle the inevitable bumps of beginner enthusiasm. It’s a gateway to rhythm, creativity and confidence—helping young musicians learn that music isn’t just something you listen to, but something you create.

Courtesy of Kala

Kodiak Jumbo Plush Bear

Sadly, we do not own this beautiful bear, so I cannot speak from experience. I am, however, deeply familiar with Manhattan Toy Company, a pioneer of developmental play since 1978. At 40 inches tall, 32 inches long and 30 inches wide, this lovable beast is the perfect companion for any child lucky enough to meet him. The Kodiak Bear is far from intimidating, and the attention to detail is remarkable. If you’re seeking a splurge, this is it.

$584 | Shop Now

Courtesy of Maisonette

Washable Acrylic Paint Markers

If your kids churn through markers (why is it so hard to put the caps back on?) and you’re in the market for yet another set, try Ohuhu’s ultra-washable, non-toxic, skin-friendly acrylic version—featuring a water-based ink that easily washes off skin and clothing. The bullet tip is versatile enough for both broad strokes and fine details, and the acrylic paint formula provides better coverage than traditional washable markers.

$22 | Shop Now

Courtesy of Ohuhu

Galileo’s Thermometer

What better way to teach a child about the science of temperatures than with the OG, Galileo’s thermometer? This tall glass cylinder is filled with colorful floating bulbs, which turn temperature shifts into a mesmerizing dance and learning moment. As the liquid warms or cools, the bulbs rise and fall, inviting kids to wonder how density and physics work in real life. It’s the kind of object that sparks questions (“Why does that one sink?”) and encourages hands‑on exploration without a screen in sight. Beyond its educational charm, it doubles as a striking piece of décor—proof that science can be beautiful, and that curiosity belongs on display.

$27 | Shop NOw

Courtesy of Darwin & Co.

Paola Pivi’s ‘Bad Idea’

It is never a bad idea to expose children to art, and despite the title, Paola Pivi’s ‘Bad Idea’ is an excellent gift for any child who loves animals. The 27.5 x 19.6-inch print is part of a limited-edition run produced by Perrotin in 2022 and is still available for sale on Artsy. Each print is hand-signed and numbered by Pivi—an artist known for mesmerizing sculptures, photographs, films and installations that often feature animals, such as this thoughtful polar bear.

$150 | Shop Now

Courtesy of Perrotin

Odin Parker Music Box

Few things on this list make noise, for good reason. This wooden music box made the cut because it captures the quiet magic of the ocean, with sea creatures that glide in circles as a gentle tune plays. It’s the kind of piece that draws children in, encouraging them to linger, watch and imagine stories beneath the waves. Beyond its soothing motion, it teaches patience and appreciation for simple beauty—qualities that outlast any fad toy. Parents will love how it doubles as a keepsake, while kids will treasure the ritual of winding it up and watching their underwater world come to life.

$100 | Shop Now

Courtesy of Odin Parker

GEOWorld’s Bug Marbles

For a child with a keen interest in entomology or natural science, GEOWorld’s Bug Marbles are an exciting and engaging gift. All eight marbles in the set feature a real insect or spider specimen, the scientific names of which are detailed on the packaging. Yes, some children may find the idea of insects trapped inside marbles unsettling or disturbing, especially if they have a fear of bugs. But a more positive outlook could be that fears are often conquered directly. Perhaps allowing a child to hold and look at insects so closely and without risk of being bitten, stung or startled will encourage them to turn over a new, entomological leaf. At 1 inch in diameter, they could potentially pose a choking hazard for very young children who may put them in their mouths (a tactic that always works: tell them not to do that!).

$15 | Shop Now

Courtesy of Darwin & Co.

‘Astrophysics For Young People in a Hurry’

Celebrated astrophysicist Neil deGrasse Tyson presents a captivating introduction to the cosmos tailored for young readers. With clear explanations, vibrant illustrations, infographics and a touch of humor, Tyson breaks down complex astrophysical concepts into easily digestible parts, making the wonders and mysteries of our universe accessible to curious minds.

$18 | Shop Now

Version 1.0.0 Courtesy of Darwin & Co.

Pocket Scope Binoculars

There’s nothing quite like handing a child a pair of binoculars and watching their world expand. Suddenly, the backyard transforms into a safari, the park into a birdwatcher’s paradise, and even a simple walk becomes an expedition. These binoculars are lightweight enough for small hands yet sturdy enough to withstand enthusiastic adventures. They encourage kids to slow down, look closer and notice details they might otherwise miss—whether it’s a hawk circling above, the texture of tree bark or the hidden life of a pond. More than a tool, they’re an invitation to curiosity, helping young explorers see that discovery is always just a glance away

$33 | Shop NOw

Courtesy of Darwin & Co.

Animal Icon 10-In-1 Ballpoint Pen

For the young scholar or artist with a penchant for whimsy, the Animal Icon 10-In-1 Ballpoint Pen offers a satisfying twist on the everyday writing instrument. This clever pen features ten classic ink colors in one sleek package. It’s the little things.

$8 | shop now

Courtesy of Urban Outfitters
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1601550
The Gracious Guest’s Guide: 39 Gifts to Please Even the Most Particular Host https://observer.com/list/the-best-gifts-for-holiday-party-hosts/ Thu, 11 Dec 2025 14:30:00 +0000 https://observer.com/?post_type=listicle&p=1602558 I’m not here to tell you that you can’t show up empty-handed to a holiday party, because I trust that our readers have the good sense to avoid such a social misstep. With that out of the way, beware the gift-giving pitfalls: mugs, tea towels and plants are the gifting equivalent of a shrug and often end up as clutter rather than cherished items. If you’re leaning towards these defaults, it’s worth reconsidering what makes a meaningful token of gratitude. Below you’ll find nearly 40 gifts sure to delight a range of holiday hosts, whether you’re gracing their home for a quick cocktail or hunkering down for a festive weekend retreat. Thoughtful guests seek items that balance originality, elegance and a touch of playful wit—pieces that elevate the quotidian while sparking conversation. From a gold-plated beetle bottle opener to a sculptural golfer cocktail glass, these pieces marry form and function.

New York-Themed Hair Claws

  • FOR THE HOST WITH THE GOOD HAIR

We all know that moment, minutes before guests arrive, when we break into a cold sweat and reach for the nearest hair accessory to tame our locks and complete our look. For the hostess whose heart belongs to the city that never sleeps, these charming hair claws are the perfect way to wear her love for the Big Apple on her sleeve (or in her hair). Each claw is a playful tribute to an iconic NYC staple, from street grub to our city’s ever-present winged pests. As she styles her tresses, she’ll be transported to her favorite metropolis haunts. Crafted from eco-friendly cellulose acetate, they’re also sustainable, allowing her to express her love for New York while treading lightly on the planet.

$20 each | Shop Now

Courtesy of the Tenement Museum

Glen Palmer Smith’s ‘Murals of New York City’

  • FOR THE ART HISTORY-LOVING HOST

For the host with an encyclopedic knowledge of urban artistry, look no further than Glen Palmer-Smith’s Murals of New York City. Featuring over 30 of the most important, influential and impressive murals found within all five boroughs, this visual feast will transport your host on a captivating journey through the heart of New York’s artistic heritage. From the Victorian sensibilities of the 1900s to the graffiti-inflected art of Keith Haring and Barry McGee in the 1980s, Murals of New York City chronicles the evolution of the city’s mural art tradition over the past century. Whether your host is a lifelong New Yorker or simply appreciates the artistry and energy of the world’s greatest city, this book is sure to be a cherished addition to their collection.

$30 | Shop Now

Courtesy of Rizzoli

Masahiro Urushido and Michael Anstendig’s ‘The Japanese Art of the Cocktail’

  • FOR THE HOST WHO SHAKES AND STIRS WITH ZEN PRECISION

The Japanese Art of the Cocktail is an extraordinary gift for the host who appreciates the artistry, precision and rich cultural heritage behind the art of mixology. This stunning hardcover book is an immersive journey into the world of Japanese cocktail crafting, as seen through the eyes of award-winning bartender Masahiro Urushido, of Katana Kitten fame in New York City. For the host who delights in expanding their mixology knowledge and impressing guests with innovative libations, this book is an unparalleled resource. Urushido delves deep into the philosophy, techniques and ingredients that set Japanese cocktail culture apart, offering a masterclass in elevating the humble drink into a work of liquid art. Stunning photography captures the beauty and precision of Urushido’s creations, providing visual inspiration for the home mixologist looking to infuse their beverages with a touch of Japanese elegance.

$32 | Shop Now

Courtesy of Michael Anstendig

Drew Smith’s ‘Oyster: A Gastronomic History’

  • FOR THE HOST WHO SHUCKS AND REGALES WITH EQUAL APLOMB

For the host whose love of food is matched only by their passion for the stories behind every dish, Oyster: A Gastronomic History is the ultimate literary feast. Drew Smith’s tome explores the history of the oyster as presented in art, literature, politics and, of course, cuisine. For the host who understands that food is more than just sustenance, but a window into history, culture and the human experience, Oyster is a gastronomic odyssey that will have them reaching for the nearest raw bar.

$35 | Shop Now

Courtesy of Abrams Books

WMS&CO. Desktop Hourglass

  • FOR THE HOST WHO KNOWS TIMING IS EVERYTHING

Imagine your host employing this elegant tool to elevate their daily rituals—timing a power work session or an immersive hobby, marking the duration of a rejuvenating meditation, or pacing the courses of an intimate dinner party. It’s a subtle yet impactful way to infuse a sense of ceremony and mindfulness into every occasion. WMS&CO.’s Desktop Hourglass transforms the intangible passage of time into a contemplative experience. Crafted from premium mouth-blown glass and available in two striking colorways, the sleek, minimalist design belies its practical utility. While digital devices offer precision, this analog wonder invites a more intuitive, tactile connection to the rhythm of our days. It’s a timeless gift for the host who understands that the most precious moments are the ones we carve out for ourselves.

$38 | Shop Now

Courtesy of WMS&CO.

Nomenclature of Colors Tray

  • FOR THE HOST WHO MINDS PANTONE’S COLOR OF THE YEAR

Present your host with a conversation-starting ode to Werner’s 1814 Nomenclature of Colours—a taxonomic guide that classified colors for early explorers and naturalists, like Charles Darwin. All 110 hues on this decorative enamel tray are accompanied by their original poetic descriptions, from the delicate “Skimmed Milk White” to the rich “Veinous Blood Red.” Every shade tells a story, inviting your host to explore the fascinating world of early 19th-century color theory.

$39 | Shop Now

Courtesy of The Getty Museum Store

Erin Isakov’s ‘Après Ski’

  • FOR THE HOST WHO HITS THE SLOPES

Gift the snow-loving host or aficionado of vintage style on your list with Après Ski: The Scene, the Style, the Menu by ski-world savant Erin Isakov. This opulent tome is an immersive ode to the time-honored tradition of post-slope revelry, tailor-made for anyone who treasures the mountain lifestyle or appreciates the enduring charm of classic ski culture. Après Ski delves into the fascinating roots and stylish evolution of this cherished ritual. Isakov curates a trove of evocative photography and insider anecdotes that transport readers from the lively ambiance of ski-chalet bars to the sophisticated comforts of fireside lounges, capturing the full texture of the après-ski world. Interspersed throughout are vintage-inspired recipes for lodge-style libations and alpine-influenced nibbles, perfect for the host who loves entertaining with retro flair. It’s an invitation to embrace the convivial spirit of ski culture and recreate a bit of its nostalgic magic at home—whether as a sublime gift for the ski devotee or a treasured addition to any vintage lifestyle library.

$40 | Shop Now

Courtesy of Hachette

‘Had Me at Jello’ Puzzle

  • FOR THE HOST WITH A DASH OF RETRO CHARM

Delight the host who revels in a bit of retro whimsy with “Had Me At Jello,” a 1000-piece puzzle that’s equal parts sensory fun and nostalgic charm. Born from the cheeky minds of Victoria Granola and Henry Hargreaves, this puzzle features colors that practically leap off the thick, high-quality art paper, and puddings that seem to shimmy and shake before your very eyes. Clocking in at a coffee table-friendly 19″ by 26″ when completed, “Had Me At Jello” is the perfect conversation starter, whether your host is a puzzle aficionado or simply looking for a light-hearted escape. The box itself is a work of art, crafted from sturdy stock and high-quality paper that’s a pleasure to handle. It’s a gift that invites playful interaction and shared laughter, a whimsical tribute to the simple joys of a bygone era.

$40 | Shop Now

Courtesy of Piecework Puzzles

GV Home Nick and Nora Glasses

  • FOR THE HOST WHO BELIEVES PRESENTATION IS EVERYTHING

GV Home’s Nick and Nora Glasses are the ultimate vessel for serving classic cocktails with vintage panache. Designed for timeless libations like Martinis, Manhattans and Negronis, these handblown glasses are a must-have for the host who appreciates the art of the well-crafted drink. Crafted from dishwasher-safe glass, they’re as practical as they are stunning; their durability and ease of cleaning make them a hassle-free addition to any home bar, allowing the host to focus on the art of mixology rather than the chore of hand-washing delicate stemware. Whether your host is a seasoned mixologist or a budding enthusiast, these glasses are sure to become a cherished addition to their collection of barware.

$45 for two | Shop Now

Courtesy of GV Home

Moleskine x Issey Miyake Notebook

  • FOR THE HOST WHO DRAFTS GUEST LISTS LIKE GROCERY LISTS

Give the consummate host the art of intentional networking: Moleskine’s elegant new collaboration with Issey Miyake Design Studio reimagines the humble business card holder. This sleek, limited-edition accessory is ideal for the host who understands the importance of making a lasting first impression. With expandable pockets and an understated accordion notebook, this sleek accessory is the perfect solution for preserving both professional contacts and the personal stories that enrich connections.

$46 | Shop Now

Courtesy of Moleskine

Scriveiner Classic Rollerball Pen

  • FOR THE HOST WHO KNOWS THANK-YOU NOTES ARE NEVER PASSÉ

Express your gratitude with a gift that keeps on giving: the Scriveiner Classic Rollerball Pen. This British-designed writing instrument is a work of art in itself, boasting a durable brass body with an exquisite gold finish and appointments. The gold-plated cap bears the distinctive Scriveiner logo, a mark of timeless craftsmanship. More than a mere pen, the Scriveiner arrives nestled in an elegant gift box, complete with a refill and a two-year warranty—a promise of enduring quality to match your enduring appreciation. Fitted with the renowned Schmidt liquid ink system from Germany, it offers an unparalleled writing experience, gliding across the page with perfect weight and balance. It’s a joy to hold, a pleasure to use and a delight to bestow upon the host who has thought of everything.

$50 | Shop Now

Guifre de Peray, Courtesy of Scriveiner London

Barbour Pheasant Socks

  • FOR THE REFINED COUNTRY SQUIRE HOST

For the host who hails from a lineage of landed gentry, the Barbour Pheasant sock gift set is a must-have addition to their country weekend wardrobe. These luxurious socks are the perfect accompaniment to a crisp morning spent stalking pheasants or foxes on the sprawling grounds of the family estate, a time-honored tradition passed down through generations of blue-blooded sportsmen. The rich, earthy colors evoke the autumnal hues of the fields and forests, while the jacquard-knitted Barbour logo at the foot sole serves as a subtle reminder of the brand’s long-standing association with the upper echelons of country society. These socks are a symbol of the host’s impeccable breeding and their deep-rooted connection to the land and its traditions. They’re a conversation piece, an invitation to regale guests with tales of memorable hunts and the exploits of esteemed ancestors. But they’re also a practical necessity for the active country gentleman, crafted from a breathable blend of cotton, polyamide and elastane that ensures all-day comfort, whether they’re striding across the moors or relaxing by the fire in the grand manor house.

$50 | Shop Now

Courtesy of Barbour

Timesavvy ‘Sealing in Moisture’ Mask

  • FOR THE HOST WHO VALUES KOREAN BEAUTY

Treat the beauty-loving host who’s always on the go to the Timesavvy ‘Sealing in Moisture’ mask, a game-changing skincare solution that fits seamlessly into even the busiest lifestyles. This breakthrough Korean beauty innovation harnesses the power of patented technology to deliver deep hydration and radiant results in just 15 minutes—the perfect pick-me-up for the host who values self-care but rarely has time to spare. The mask utilizes high-viscosity ingredients to penetrate deeply into the skin, providing intense moisture without the mess or waste of traditional sheet masks. The specially coated sheet stays put through every movement, allowing the host to tackle their to-do list while treating their skin to a luxurious dose of nourishment. For the host who’s always in the know about the latest and greatest in Korean beauty, this mask is a must-have addition to their skincare arsenal.

$60 for five | Shop Now

Courtesy of Timesavvy

Marmalade Grove Gift Set

  • FOR THE HOST WHO ENJOYS SMALL-BATCH TREATS

For the discerning host who appreciates handcrafted delicacies, consider Marmalade Grove’s limited-edition holiday set. This festive iteration of the brand’s bestselling six-jar marmalade set, lovingly crafted by Ukrainian-born entrepreneur Peter Karpushin in the heart of California’s Ojai Valley, is a celebration of the region’s most exquisite citrus. Crafted using fresh citrus from Karpushin’s own orchard and a century-old recipe, these preserves are free of additives and artificial ingredients, allowing the natural brilliance of the fruit to shine through.

$70 | Shop Now

Courtesy of Marmalade Grove

TRIBIT StormBox 2 Portable Bluetooth Speaker

  • FOR THE HOST WHO MAKES A SPLASH

Whether your host is known for their legendary pool parties, their epic backyard BBQs or their ability to transform any space into an unforgettable celebration, the TRIBIT StormBox 2 is the gift that will keep them rocking all season long. This powerhouse, portable speaker packs a punch with 360° surround sound and impressive 34W peak power output, ensuring every corner of their gathering space is filled with rich, crystal-clear audio. Boasting the latest Bluetooth technology, the StormBox 2 offers seamless wireless connectivity from up to 150 feet away, giving your host the freedom to mingle and mix without interruption. With the TRIBIT APP, your host can personalize their listening experience by choosing from six modes tailored to different genres and moods, from pumping party beats to soothing background melodies.

$80 | Shop Now

Courtesy of TRIBIT

Weatherman ‘Walk’ Umbrella

  • FOR THE HOST WHO WEATHERS THE CITY IN STYLE

For the urban host who braves the elements with panache, the Weatherman’s Walk Umbrella is a thoughtful and pragmatic gift. This sleek, high-performance umbrella is engineered to withstand the rigors of city life, making it the perfect companion for the host who commutes to work come rain or shine. Crafted from 100 percent recycled fabric and boasting UPF 50+ UV protection, this eco-conscious umbrella is built to last. Its durable construction, wind-tunnel tested up to 55 mph, ensures it can handle even the gustiest of downtown corridors. The water-repellent fabric keeps the host dry and comfortable during sudden downpours, while the auto-open, manual-close functionality allows for easy one-handed operation when juggling coffee, briefcases, or shopping bags. The ergonomic handle, designed for comfort, reduces hand fatigue during long commutes or extended periods of use. Available in a spectrum of nine stylish colors and with a generous 55-inch arc, this umbrella seamlessly blends fashion and function, making it a gift that any practically-minded, style-conscious urban host will appreciate.

$84 | Shop Now

Courtesy of Weatherman

Wyoming Whiskey: Outryder

  • FOR THE HOST WHO RELISHES COWBOY CULTURE

For the holiday host who embodies the spirit of the American West, Wyoming Whiskey’s Outryder is a gift that speaks to their adventurous nature and appreciation for the finer things. This bold, unique whiskey is crafted in the heart of Wyoming, a state synonymous with rugged individualism and cowboy culture. Outryder defies easy categorization—not quite a bourbon, not quite a rye, but a singular blend of two distinct mashbills that creates a flavor profile unlike anything else in the American whiskey landscape. The warm maple notes, gentle rye spice and layered complexity make it a whiskey to be sipped and savored, whether enjoyed neat, on the rocks or in a craft cocktail. For the host who savors the rich history and traditions of American whiskey, Outryder is a rare treat.

$85 | Shop Now

Courtesy of Wyoming Whiskey

GCI Outdoor Roadtrip Rocker Chair

  • FOR THE OUTDOORSY HOST

For the host who lives for outdoor concerts, camping trips and tailgating extravaganzas, the GCI Outdoor Roadtrip Rocker Chair is the ultimate gift. This ingenious folding chair is designed to provide unparalleled comfort and convenience, ensuring that your favorite adventure-loving host can kick back and relax in style wherever their wanderlust takes them. With spring-action rocking technology, this chair offers a smooth, soothing rocking motion that instantly transforms any campsite, festival grounds, or parking lot into a cozy oasis. The mesh backrest provides superior breathability, keeping the user cool and comfortable even during all-day events or in warm weather. The high, padded backrest and molded armrests cradle the body in ergonomic bliss, making it easy to settle in and savor the great outdoors. Weighing just 12.8 pounds, this chair is a breeze to fold, pack and transport with the included shoulder sling bag, making it easy to carry hands-free, leaving plenty of room for other festival or camping essentials.

$90 | Shop Now

Courtesy of GCI

J.Crew Ribbed Cashmere Beanie

  • FOR THE HOST WHO KNOWS YOU CAN NEVER HAVE TOO MANY HATS

No matter how many hats she already owns, no host will be disappointed by the J.Crew Ribbed Cashmere Beanie, a classic, luxurious winter wardrobe staple. Crafted from 100 percent cashmere, this ultra-soft cap envelops the wearer in cozy, lightweight warmth without added bulk—perfect for crisp morning commutes, chilly evenings out, or fireside lounging at the ski chalet. A finely ribbed texture adds just the right depth and visual interest. Available in a range of versatile hues, it’s a breeze to find the ideal shade to suit your recipient’s style. For the personalized touch, take advantage of J.Crew’s monogramming service—a gracious way to thank your host for going above and beyond.

$98 | Shop Now

Courtesy of J.Crew

Chef Harold Moore’s Coconut Cake

  • FOR THE HOST WITH A SWEET TOOTH

Born out of necessity during the 2008 financial crisis, Chef Harold Moore’s towering confection quickly became the stuff of legends, drawing devotees from far and wide to the original Commerce restaurant in New York’s West Village. Imagine the delight on your host’s face as they unwrap this colossal coconut cake, its four tiers of sour-cream cake enveloped in a lush coat of coconut cream cheese frosting and a blizzard of toasted shredded coconut. As they slice into it, revealing the luscious layers of coconut pudding nestled between each golden tier, they’ll be transported to a bygone era, swooning with every decadent bite. When chef Moore launched his dedicated cake business during the COVID-19 pandemic, donating a portion of the proceeds to the Make-A-Wish Foundation, he not only kept the legacy of this beloved dessert alive but also transformed it into a force for good. To date, he’s raised over $30,000 for the charity, making each slice of this heavenly cake a sweet gesture of generosity and compassion.

$120 | Shop Now

Alexander Stein, Courtesy of Cafe Commerce

Golfer Cocktail Glass

  • FOR THE HOST WHO PUTTS AS DEFTLY AS THEY POUR

The Golfer Cocktail Glass is a hole-in-one gift for the host who’s always ready to swap stories from the fairway. This lead-free pewter glass features a sculpted golfer mid-swing, transforming functional drinkware into an eye-catching display of movement and form. At 8.25″ tall, it’s a statement piece that elevates any drink, whether they’re savoring a post-round Old Fashioned or toasting with friends at their annual holiday bash. As a gift, it reflects an appreciation for the host’s drive to excel both on the course and in their hosting endeavors.

$110 | Shop Now

Courtesy of MAURE

Assouline’s ‘James Bond Cars’

  • FOR THE HOST WITH 007 FINESSE

Delight the diehard James Bond devotee or the classic car enthusiast in your life with James Bond Cars, Assouline’s lavish coffee table book that pays homage to the unforgettable vehicles that have graced the silver screen alongside the world’s most famous spy. The third in Assouline’s 007 series, this is an unparalleled celebration of the cars, motorcycles, boats and aircraft that have played a starring role in Bond’s cinematic adventures. Helmed by Academy Award-winning special effects supervisor Chris Corbould, OBE, who has lent his expertise to fifteen Bond films, this book offers an unrivaled insider’s perspective on the jaw-dropping stunts and cutting-edge engineering that have defined the franchise. With over three hundred stunning images, from candid behind-the-scenes shots to intricate design sketches, James Bond Cars takes readers on a white-knuckle ride through the history of Bond’s most iconic modes of transportation.

Courtesy of Assouline, publisher of 'James Bond Cars' (Assouline.com)

W. Kleinberg Bison Flat Card Case

  • FOR THE HOST WHO KNOWS LESS IS MORE

The W. Kleinberg Bison Flat Card Case is an ideal gift for the host who values streamlined, functional accessories that adapt effortlessly to any occasion or personal style. Crafted from genuine American bison leather with a supple calf leather interior, its slim profile and thoughtful design make it the perfect choice for the style-savvy host who seeks to keep their everyday carry elegant and uncluttered. The bison leather, renowned for its exceptional durability and distinctive grain, develops a rich patina over time, making each case a one-of-a-kind accessory that only improves with age. Thoughtfully designed with one card slot on each side and a center pocket, this case offers ample space for essentials while maintaining a streamlined profile. Measuring a compact 4.25″ wide by 3″ high, it slips effortlessly into a pocket or clutch. Available in a choice of versatile hues—black, brown or cognac.

$150 | Shop Now

Courtesy of W. Kleinberg

Giannini Firenze Hand-Marbled Guest Book

  • FOR THE HOST WHO MAKES EVERY GUEST FEEL LIKE THEY’RE MAKING HISTORY

Bound and hand-finished in its original store in Piazza Pitti, Florence, Giannini Firenze’s hand-marbled, one-of-a-kind guest book is crafted using a preserved family mixture of algae and egg yolk, creating a marbled pattern that’s as unique as the memories it will hold. More than just a place for guests to sign their names, this book is an invitation to become part of a living legacy. As your host welcomes friends and family into their home, each signature and sentiment becomes a thread in the rich tapestry of shared experiences. Giannini Firenze has been globally adored for its gold-leaf bookbinding and hand-marbled paper since 1856, making this guest book a testament to the enduring power of tradition and craftsmanship. It’s a gift that speaks to your host’s discerning taste and their appreciation for the details that elevate every occasion into something truly extraordinary.

$152 | Shop Now

Courtesy of Abask

Cerería Mollá Gift Set

  • FOR THE HOST WITHOUT ALLERGIES OR ASTHMA

Buying any sort of scented item for another person can be risky, but Cerería Mollá’s 100-year legacy makes the brand’s candles and fragrances a safer bet (so long as you know your host won’t immediately sneeze upon receipt of this gorgeous gift). Each item is handcrafted in Spain by artisans who have inherited the meticulous processes from generations past. The set includes an 8-ounce candle, a reed diffuser and a room spray, presented in a beautiful embossed gift box. There are numerous scents from which to choose, but the Moroccan Cedar stands out for its spicy, woody, sweet motif.

$155 | Shop Now

Courtesy of Cerería Mollá

Avaline Holiday Gift Set

  • FOR THE HOST WHO LOVES TO HOST

There’s something to be said for those more concerned with their wine being vegan, organic and additive-free than with a vintage’s points or prestige. Consider the incredible value of a gift box containing Avaline’s six most popular varietals, priced less than any other single bottle of wine in this gift guide. Each holiday set includes a full-bodied Chardonnay with notes of apricot and almond, a light-bodied Pinot Noir ripe with wild raspberry and cherry, a dry and crisp Pinot Grigio, a bold and fruity Cabernet Sauvignon, a floral Prosecco, and a juicy, plummy Lambrusco.

$155 | Shop Now

Courtesy of Avaline

Don Melchor 2021 Cabernet Sauvignon

  • FOR THE HOST WHO KNOWS WINE

Don Melchor 2021 Cabernet Sauvignon is a perfect gift for the host who is a true wine connoisseur, with a deep appreciation for the history and craftsmanship behind exceptional vintages. This bottle is a testament to the history and tradition of Chilean winemaking, with roots tracing back to the 1860s when the first French vines were planted in the prestigious Puente Alto Vineyard. The vintage’s deep hue entices with berry notes that intertwine with hints of violet. The blend of 93 percent Cabernet Sauvignon, 4 percent Cabernet Franc and 3 percent Merlot, aged for 15 months in French oak barrels, received 96 points from Wine Spectator and was named the best wine of 2024 for being “a benchmark of excellence, both in Chile and the global wine industry.” Impress the host who seeks out benchmark wines that showcase the finest expressions of their terroir and varietal, and who delights in sharing these rare finds with fellow wine lovers.

$200 | Shop Now

Courtesy of Don Melchor

Josephine N°7 Decanter

  • FOR THE HOST WHO KNOWS WHAT WINE NEEDS

It would be unusual to visit a home with too many decanters, meaning a version of this caliber is likely to be gladly received by even the most well-stocked, prepared-for-anything host. The Josephine N°7 decanter from the visionary Kurt Josef Zalto is a mouth-blown marvel, handcrafted in Europe. Designed to elevate young, complex, high-quality wines, the decanter’s tapered opening concentrates aromas and allows for effortless, one-handed pours. The base’s generous surface area and signature ‘wave breaker’ kink unleash spirals of aeration, rapidly unlocking a bottle’s nuance. No two Josephine N°7 decanters are exactly alike, much like the wines they’re destined to embrace.

$210 | Shop Now

Courtesy of Josephinenhütte

Don Fulano Imperial Tequila

  • FOR THE HOST WHO PREFERS SIPS OVER SHOTS

Don Fulano’s Imperial Tequila makes an exquisite gift for the host who appreciates the art of sipping fine tequila neat. Crafted by master distiller E. Fonseca using a meticulous five-year maturation process in French Limousin and Oloroso Sherry casks, this rare tequila is one of the last family-owned expressions that is 100 percent self-sufficient in its agave supply. Each elegant blue glass bottle, completely free of additives, is a testament to 140 years of crafting exceptional tequilas—a legacy that any spirits connoisseur would be proud to showcase and share with their most distinguished guests.

$218 | Shop Now

Courtesy of Don Fulano

F. Hammann Leather Playing Cards Set

  • FOR THE HOST WITH THE WINNING HAND

What’s chicer than showing up with an artful set of playing cards in a leather-bound case made by the oldest leather goods manufacturer in Germany? Imagine your host’s face as they open F. Hammann’s tangerine-orange, full-grain, woven leather case to find a plush suede interior cradling a deck of intricate, chromolithographed playing cards. The colorful designs, featuring detailed medieval-style court figures, evoke the styles often found on antique, high-end playing cards from the late 19th to early 20th century. Whether your host is a seasoned player or simply appreciates the artistry of a well-crafted object, this compact case will become a cherished keepsake.

$220 | Shop Now

Courtesy of Abask

L’Objet Longhorn Bottle Opener

  • FOR THE HOST WHO CURATES CABINETS OF CURIOSITIES

For the host whose interests span from the garden to the bar cart, L’Objet’s Longhorn Bottle Opener offers a witty fusion of natural inspiration and entertaining utility. This sculptural piece elevates an ordinary tool into a beetle rendered, in gleaming 24k gold plating, its exaggerated mandibles serving as a built-in bottle opener. At 7 inches long, the opener has a striking presence whether displayed on a bar setup or presented within its sleek black gift box. The Longhorn Beetle’s quirky yet elegant form will appeal to those who find beauty and intrigue in the natural world. As a gift, it reflects the host’s curiosity and appreciation for the unique details of flora and fauna. Perched atop a counter or held in hand, the piece sparks conversation, its unexpected shape transforming a routine task into a moment of whimsy.

Courtesy of L'Objet

Revana Estate Cabernet Sauvignon

  • FOR THE OENOPHILE HOST

Elevate your favorite host’s wine collection with the Revana Estate Cabernet Sauvignon, a rare and remarkable vintage that embodies the essence of Napa Valley’s terroir. Created entirely from grapes grown in the Revana Estate Vineyard, this Cabernet Sauvignon is the realization of Dr. Revana’s dream to experience the world through the lens of wine—a vision that will resonate with any host who understands the power of a perfectly paired glass to transform a meal into an unforgettable journey. The vineyard is harvested by hand, ensuring that only the most exceptional fruit makes its way into every bottle. Aged in 100 percent French oak and boasting cassis, black currant, dark plum and hints of dried flower and chocolate, this is a wine that will be savored and celebrated.

$225 | Shop Now

Courtesy of Revana Estate

Scarlett & Ruby Jewellery Box Set

  • FOR THE BEJEWELED HOST

Spoil your jewelry-loving host Scarlett & Ruby’s Blue Velvet Jewellery Box Set—a gift as luxurious as the treasures it’s designed to hold. Crafted from sumptuous velvet in a soothing shade of powder blue, this ensemble includes everything needed to keep cherished pieces organized, protected and ready to wear at a moment’s notice. The set features a large dressing table jewellery box, a travel jewellery box, a watch roll and a mini ring box, each designed with the utmost attention to detail and quality. The plush interior not only looks and feels opulent but also provides gentle protection for delicate items, ensuring they remain pristine for years to come. The dressing table box boasts ample compartments and a convenient mirror. The travel box is perfectly sized for stowing essentials on the go, while the watch roll keeps timepieces secure and scratch-free. The petite ring box is ideal for presenting a special gift or safeguarding a cherished heirloom.

$230 | Shop Now

Courtesy of Scarlett & Ruby

WMS&CO. Custom Rubber Stamp

  • FOR THE HOST WITH AN IMPECCABLE HOME OFFICE

The WMS&Co. Custom Rubber Stamp is a delightful gift for the host with an impeccable home office who appreciates the artistry of old-world craftsmanship. Cast in rich, warm bronze from a 19th-century paperweight mold, each stamp base bears the subtle irregularities that mark it as a true one-of-a-kind. Your host can choose a custom rubber imprint that personalizes the stamp, whether it’s a monogram, architectural motif, beloved phrase, or any other unique design that speaks to their personal style and elevates their correspondence. With a generous 2″ imprint area, it’s perfectly sized for a wide range of creative applications, from adding a distinctive flourish to stationery and envelopes to embellishing gift tags, place cards, and more. This bespoke stamp is sure to become a cherished tool in their desk ensemble, imbuing every note and letter with a touch of timeless elegance.

$235 | Shop Now

Courtesy of WMS&Co.

Sake ONO Rare

  • FOR THE SUSHI-LOVING HOST

For the host who elevates sushi from a mere meal to an art form, Sake ONO RARE is the ultimate accompaniment to their epicurean adventures. This exquisite sake is meticulously crafted in the shadows of the Japanese Alps—and born from a partnership with the celebrated Koshimeijo brewery, whose legacy dates back to 1845. From the initial aromas of green apple to the soft, clean finish with a whisper of umami, it’s a bottle that will leave a lasting impression on even the most discerning palates. With only 12,000 bottles in existence, Sake ONO RARE is a true rarity, a treasure to be savored and shared with only the most esteemed guests. Imagine the delight on your host’s face as they unveil this sleek, obsidian bottle, its minimalist label belying the complexity within. Whether paired with a sumptuous omakase menu or sipped as a standalone indulgence, Sake ONO RARE is a gift that speaks volumes about the giver’s regard for the host’s refined sensibilities.

$250 | Shop Now

© Nico Kiray (Koorah), Courtesy of Sake ONO

Wraps by Tina Reversible Cashmere Wrap

  • FOR THE HYGGE HOST

Cocoon your host in the Reversible Cashmere Wrap from Wraps by Tina, a sumptuous accessory that showcases the unparalleled softness and warmth of a two-tone merino and cashmere blend. Thoughtfully crafted in Italy, the wrap features a sophisticated loop closure that allows for effortless draping. Whether worn as a classic shawl, an elegant belted cape or a cozy travel blanket, this piece adapts to any occasion—and although it is generously sized, the lightweight nature makes it an indulgence they can relish year-round.

$298 | Shop Now

Courtesy of Wraps by Tina

B. Draddy Lottie Vest

  • FOR THE SPORTY HOST

Equip your intrepid host for their next outdoor escapade with the B. Draddy Lottie Vest. This sleek, quilted layer is crafted from 100 percent down fill, ensuring optimal warmth without the bulk. The durable, water-repellent exterior shields against the elements, while the mock neck collar and snap-front closure provide adjustable coverage and a sleek, streamlined silhouette. Thoughtful details abound, from the magnetic snap-front for easy on-and-off to the plentiful pockets at the side seams and chest, offering ample space for stashing essentials on the go. The tailored fit and clean lines lend a sophisticated touch, and the technical features speak to their adventurous spirit—a fitting tribute to the host who navigates both the wilderness and the social scene with equal aplomb.

$340 | Shop Now

Courtesy of B. Draddy

CW&T Time Since Launch Clock

  • FOR THE EXPECTING OR ENGAGED HOST

For the host on the brink of a life-changing event—perhaps a long-awaited retirement, the birth of a child, or a wedding—the Time Since Launch clock is a gift that will actually last forever. Encased in a durable borosilicate glass tube and adorned with precision-machined aluminum endcaps, this marvel of engineering is designed to capture your host’s Moment Zero, the instant that will mark the beginning of their new chapter. A simple tug of the pin (which can only be done once!) sets the clock in motion, launching a timer that counts up to 1 million days, with a battery life of 150 years. It is a gift that will endure for generations; a reminder of the significance of the passage of time. A tip: Don’t make the mistake of giving this to a bride on her wedding day. I did that once, and the wedding planner, misunderstanding my instructions, handed the clock to the couple as they walked down the aisle—leading to a moment of confusion and alarm as the bride mistook it for something more nefarious.

$420 | Shop Now

Courtesy of CW&T

Noon & Moon Jade Mosaic Vase

  • FOR THE HOST YOU LOVE VERY, VERY MUCH

There isn’t a host on this planet who wouldn’t swoon over Noon & Moon’s Forest Charm Jade Mosaic Vase. Handcrafted from Pakistani onyx, each vessel features a mesmerizing mosaic effect, with a gentle ivory tone reminiscent of a serene forest landscape. The stone’s natural veining creates an organic patterning as unique as the host on your gift list. At 4.8″ high and 2.7″ wide, it’s perfectly sized to display a festive arrangement or stand alone, as an elegant statement on a tablescape. The polished finish catches the light, elevating the inherent luster and textures of the onyx. This petite sculpture is a lasting token of appreciation for the consummate host with timeless taste.

$514 | Shop Now

Courtesy of Noon & Moon
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2025 Nightlife & Dining Power Index https://observer.com/list/nightlife-dining-power-index-2025/ Wed, 10 Dec 2025 18:00:00 +0000 https://observer.com/?post_type=listicle&p=1603486 During this moment of A.I. and automation and bots and everything changing all at once, the hospitality business is still about human creativity and having the right people in the right place at the right time. If anything, the people on Observer’s Nightlife & Dining Power List are traveling more than ever as they build empires spanning multiple continents. Consider JP and Ellia Park, who run North America’s highest-ranked restaurant, Atomix. In October, they returned to Seoul (where they lived before moving to New York) as de facto culinary ambassadors for the Hansik Conference. Then they came back to Seoul in November for the opening of their first restaurant in Korea, the eponymous JP at Louis Vuitton. 

Mario Carbone had the wildest span of his life this year, as he and his core team embarked on what they called the Rigatoni World Tour, opening restaurants in London, Dubai and Las Vegas in back-to-back-to-back months. Elizabeth Blau, who first made her name in Las Vegas, has her eyes on the Middle East as she continues to work on restaurant development for clients like Wynn. Thanks to the curation of Blau, Wynn Al Marjan Island in the United Arab Emirates will boast a dining and nightlife collection including an Alain Ducasse steakhouse and an outpost of Delilah.

Las Vegas, of course, has long been driven by this kind of curation. The goal is bringing in the strongest global brands, including New York’s Cote (at the Venetian) and London’s Gymkhana (at Aria), to create razzle-dazzle experiences powered by luxury dining with elements of nightlife (like the DJ booth and VIP skyboxes at the Las Vegas Cote). 

Las Vegas is also where best-in-class operators that focus on accessible dining can flourish. Scarr’s Pizza, which recently opened at the Venetian’s food hall, is a slice joint. But pizzaiolo Scarr Pimentel used to mill his own flour in his New York basement before he found organic flour up to his standards. Din Tai Fung, a Taiwanese soup-dumpling powerhouse that dates back to 1958, now thrives in California, Las Vegas and New York with its open kitchens where guests can see chefs hand-fold dumplings.

There are clearly trend-setters on this list, but one refreshing thing about the top tier of hospitality is that it’s anti-trend. The future of dining and nightlife isn’t ghost kitchens or superfoods or avatar DJs or Instagram-friendly presentations. What’s moving the industry forward is a desire to create new paths. And hospitality, as always, is about the resilience of human beings.

In Los Angeles, where everything from Hollywood strikes to devastating fires to Ozempic to the rise in minimum wage has hobbled the restaurant industry and led to many closures, adept operators continue to cautiously grow. For prolific restaurateur Jerry Greenberg, this means working to debut two locations of spinoff restaurant Cheesesteaks by Matū in L.A. while also planning the expansion of Uovo to New York. Uovo, not incidentally, has become a sensation by serving pasta that’s hand-crafted in Bologna. The human touch clearly still matters a lot.

Across the industry, leaders are grappling with a persistent labor shortage that is reshaping how restaurants and bars operate. As Cherif Mbodji notes, “The biggest challenge remains labor—finding, developing and retaining great people.” This sentiment is echoed by Jihan Lee, who cites “finding team members who understand the pace and discipline the industry demands” as a major hurdle. “Younger workers enter with different expectations around balance and commitment, which creates tension in a field built on consistency and resilience,” Lee says. The path forward, many suggest, lies in deeper investment in training, mentorship and treating hospitality as a long-term career. Roni Mazumdar frames it as a fundamental shift in mindset: “Hospitality should be treated as a skilled, sustainable profession, not a passion project held together by burnout.” Part of the problem, according to Gavin Kaysen, is that hospitality is a craft that cannot be taught quickly. “It is something you learn over time and with a great amount of practice. We need to meet the generation coming into this profession with empathy, as they are growing up in different times than we did. It does not make our time or their time worse or better, just different.” To do that, JP Park wants the industry to push frameworks that prioritize education, well-being and collaboration among restaurants, producers and cultural institutions. “Many talented individuals are leaving this industry because the system doesn’t support long-term balance or growth,” Park tells Observer. “The future of hospitality will depend on how sincerely we invest in people.”

Hospitality at the highest level, of course, is about creating multiple successful businesses. So whether you’re Strategic Hospitality (the group that has the only three Nashville restaurants with Michelin stars) or MML Hospitality (a dominant force in Austin that recently hired April Bloomfield, expanded Clark’s Oyster Bar all over California and purchased New York’s Nine Orchard hotel) or the New York team behind critical darlings Claud and Penny as well as a forthcoming wine bar, the goal is to always keep things moving at every moment. 

In New Orleans, Emeril’s is the only restaurant with two Michelin stars. E.J. Lagasse, the 22-year-old son of the iconic, 66-year-old Emeril Lagasse, is running the kitchen and has turned this restaurant into a next-generation tasting-menu destination. Beyond becoming the youngest chef to helm a two-Michelin-starred restaurant in November (when the first Michelin stars for the American South were awarded), E.J. has had a spectacular year with a glowing New York Times review in October and a spot on the inaugural North America’s 50 Best Restaurants list in September. Sometimes, having the right person in the right place at the right time is as simple as looking within your own family. 

Another significant trend is the shift away from alcohol consumption, which is changing beverage programs and business models across the industry. Lisa Limb notes that this has “opened up a whole new avenue for the beverage world” and brought a surge of creativity around spirit-free drinks. But it’s also impacting revenue, as Aaron Bludorn points out: “Seeing our revenues decline for many reasons: lower alcohol sales, people spending less in general and dining out less.” For an industry traditionally reliant on alcohol sales, adapting to this new reality is a challenge. “Rents are going up, the price of goods is going up, salaries are going up,” Eugene Remm says. “You have to do more with less.” Yet, challenges are also opportunities to innovate. “We need systems that support fair wages, reasonable hours and accessible pathways to ownership, while also encouraging innovation in sourcing, waste reduction, and energy use,” Fidel Caballero says.

Beyond these operational pressures, a growing number of consumers are seeking deeper meaning and story behind their dining experiences. Sofia Ostos captures this shift: “People want to understand why something is on the plate, not just how it tastes.” JP Park wasn’t the only honoree to echo this sentiment, nearly verbatim, noting that diners “want to understand the ‘why’ behind what’s on the plate.” In an era of transparency and values-driven consumption, restaurants are being pushed to communicate more sincerely and design experiences that, in Dominique Crenn’s words, “feel personal and emotionally textured.” Or, as Vijaya Kumar puts it: “Real stories, real flavors and places that feel human.”

Humanity is still the most vital ingredient in hospitality, and that isn’t changing anytime soon.

1. Ellia & Junghyun Park

  • NA:EUN Hospitality | CEO & Owner, Chef

Ellia and Junghyun ‘JP’ Park, the visionary co-founders of NA:EUN Hospitality Group, have been instrumental in introducing Korean fine dining to the United States. Their journey began with the opening of Atoboy in July 2016, a restaurant inspired by the concept of banchan, the small side dishes that accompany every Korean meal. The couple’s follow-up venture, Atomix, opened in 2018, and their empire expanded with the opening of Naro in Rockefeller Center in 2022 and Seoul Salon in Koreatown in 2023. This year, Atomix was honored with the James Beard Award for Outstanding Hospitality, named the best restaurant in North America and ranked 12th on the World’s 50 Best Restaurants list. In fact, it was the only restaurant in the U.S. to make the World’s 50 Best list. The Parks also just debuted their first restaurant in Seoul, JP at Louis Vuitton. Looking ahead, they are set to make their mark on the European stage with the upcoming launch of Kiji, an elevated Korean barbecue experience at the luxury development 60 Curzon in Mayfair, London, next year.

What JP wants in 2026: “I hope 2026 will be a year where the hospitality industry rediscovers sincerity, a return to genuine purpose and craft. For my team and our restaurants, I want to continue building spaces that represent hospitality with depth and emotion, while providing experiences that bring people together across borders. Ultimately, I want our work to contribute to a more thoughtful and balanced global dining landscape.”

What Ellia wants in 2026: “I hope this year is one in which depth is truly valued. In a time when so much passes by quickly and easily, I hope food, restaurants and culture can move toward a direction that is more thoughtful, lasting and leaves a lingering impression.”

Junghyun & Ellia Park. Peter Ashlee

2. Mario Carbone, Rich Torrisi & Jeff Zalaznick

  • Major Food Group | Co-Founders

Last month, Mario Carbone, Rich Torrisi and Jeff Zalaznick debuted Carbone Riviera at the Bellagio in Las Vegas. October saw the introduction of No. 1 Steak, a glitzy prix-fixe steakhouse concept nestled within Sadelle’s in Dallas, and the grand opening of Carbone in Dubai at the luxurious Atlantis The Royal. In September, the trio opened Carbone in London. The most recent venture by Major Food Group, announced this week, is a 15,000-square-foot, three-story penthouse in Villa Miami, a 56-story waterfront residential tower slated to open its doors in late 2027. Villa Miami, a collaborative effort with Terra (David Martin) and One Thousand Group (Kevin Venger, Louis Birdman, Michael Konig) marks Major Food Group’s inaugural foray into branded residential towers. The crown jewel of the tower will be The Copper Club, a three-level private club and the group’s first private club conceptualized exclusively for residents. On the ground floor of Villa Miami, Major Food Group will open a waterfront restaurant.

Carbone’s year in three words: “Over the top.”

What Zalaznick wants in 2026: “Charting new territory in vertically integrated hospitality and shifting the paradigm of what is possible.”

What inspired Torrisi this year: “Marrying my wife.”

Mario Carbone, Rich Torrisi & Jeff Zalaznick. Weston Kloefkorn/Nico Schinco/Oliver Pilcher

3. Lois Freedman & Jean-Georges Vongerichten

  • Jean-Georges Restaurants | President/Co-CEO & Chef/Proprietor

Lois Freedman, the unsung hero behind Jean-Georges Vongerichten’s restaurant empire, has been a driving force in the group’s operations and creative direction for four decades. Throughout their enduring partnership, Freedman has played a pivotal role in bringing to life some of the most ambitious projects in the group’s portfolio, such as the market- and food hall-inspired Tin Building at New York’s historic Seaport and the much-anticipated ABC Kitchens in Dumbo this October—which marked Vongerichten’s first foray into Brooklyn. The duo’s collaborative efforts have yielded an impressive 60 restaurants worldwide, 14 of which are located in New York City, including the flagship crown jewel, Jean-Georges, the acclaimed farm-to-table ABC Kitchen, ABC Cocina and ABCV. Freedman’s influence extends to the group’s private clubs, including the perpetually popular Chez Margeaux, which opened last year in New York. As the restaurant group continues to expand, Vongerichten has announced plans to open ABC Kitchen within the upcoming Miami Tropic Residences, a 49-story luxury residential tower in the Design District, set to open in 2028.

What inspired Freedman this year: “To be able to design a restaurant on my own without compromise and have my vision come to life as I imagined it. I approached ABC Kitchens in Dumbo as if designing my home, filling it with objects, furniture and lighting that I’ve collected over the years. Investing this much of myself personally has been an unexpectedly rewarding experience.”

If Vongerichten could time-travel for an epic night out: “I would love to travel back to France during the days of Louis XIV and be part of one of the grand feasts. Like the movie Vatel but without the tragedy.”

Lois Freedman & Jean-Georges Vongerichten. Andrew Egan Andrew Egan

4. José Andrés & Sam Bakhshandehpour

  • José Andrés Group | Executive Chair/Chef & CEO

With José Andrés Group (JAG) CEO Sam Bakhshandehpour, José Andrés expanded his empire this year, with the fall opening of Bazaar Meat at The Venetian and Zaytinya in the Bay Area. JAG is set to launch multiple new dining experiences at the W Hotel in Nashville in early 2026, including Zaytinya, Bar Mar and Butterfly—adding to the company’s 40 existing bars and restaurants.

Chef Andrés on his biggest kitchen disaster: “When I was a much, much younger cook, I worked in a restaurant in the small seaside town of Roses on the Costa Brava of Spain. One day, we had a big order from a well-known family in town for a large tray of canelones, a filled pasta that’s often eaten for holidays. I put a huge amount of work into those canelones, making the béchamel and the filling, boiling the pasta, and broiling it all perfectly with cheese. When the family was ready to pick it up, I insisted on presenting the large, heavy tray alone, instead of taking help from a server who had offered. As I walked out the kitchen door, it swung right back … and hit me and the hot, heavy tray out of my hands—and into the restaurant’s fish tank, right in front of the hungry customers, sizzling all the way down! I went  straight back into the kitchen and did it again—noodles, bechamel, filling, cheese, and  back out in 25 minutes…but learned that I should always, always accept help when it’s offered.”

What Bakhshandehour wants for JAG in 2026: “I aim to prove that the future of hospitality belongs to hotels built around exceptional F&B experiences. We’re eager to showcase a unified food and beverage platform that delivers margin, culture and brand heat better than fragmented partners. It drives both guest emotion and asset value.”

Chef Andrés’ 2025 in three words: “Hello (to new friends and new restaurants) / Goodbye (to my friend Jane Goodall) / Empathy (to build longer tables, not higher walls).”

Sam Bakhshandehpour & José Andrés. Bradford Rogne Photography/Josh Telles

5. Simon Kim

  • Gracious Hospitality Management | Founder & CEO

This year, Simon Kim opened Cote at The Venetian. In 2026, Gracious Hospitality will open its newest project, at 550 Madison, a three-restaurant endeavor which Kim calls “a masterpiece” he’s been developing for four years, “the longest and most meticulous development process we’ve ever undertaken…We’re collaborating with the very best craftsmen—the Olayan Group, David Rockwell, chef Masahiro Yoshitake—and I couldn’t be more excited to finally share what we’ve been building.”

If Kim could time-travel to any era or city in history for one epic night out: “I’d go back to the earliest days of humankind, to understand the most primal ways of eating and drinking. Think: The Jurassic ages, dinosaurs and primates. I’ve always been curious about humankind and how we began celebrating. I’d want to experience sitting around a fire—the original version of dining that civilization didn’t alter.”

If he could switch places with any other leader in dining for 24 hours, it would be: “Thomas Keller—the hallmark of excellence in this industry, truly the barometer and the north star for what exceptional hospitality looks like…The first thing I’d do is visit The French Laundry as him, not just as a guest, but as the owner, and enjoy a dinner while seeing the restaurant through his eyes.”

Simon Kim. Gary He

6. Chintan Pandya, Roni Mazumdar & Vijaya Kumar

  • Unapologetic Foods | Executive Chef/Partner & CEO & Executive Chef/Partner

In June, Chintan Pandya, Roni Mazumdar and Vijaya Kumar’s Semma was crowned the #1 eatery in New York by The Times, and co-owner and executive chef Kumar was honored with the Best Chef: New York State title at the 2025 James Beard Awards. Semma has consistently held a Michelin Star since 2022, a testament to its exceptional cuisine. Unapologetic Foods, led by Pandya and Mazumdar, saw continued success with the relocation of Adda to the East Village in May, following the closure of its Long Island City location. They also announced plans to open another Adda outpost in Philadelphia later this year. Adda, which first opened in 2018, has been instrumental in the rise of Unapologetic Foods’ burgeoning empire, which now also encompasses Semma and the critically acclaimed Dhamaka, Naks and Masalawala & Sons.

What Pandya wants in 2026: “For Indian food to keep pushing forward and make it mainstream—more ambition, more respect and no dilution of identity.” 

Mazumdar on the biggest shift in consumer preferences: “People want to understand why a dish exists, not just how it tastes. That shift rewards businesses that operate with clarity of purpose, and it’s pushing the industry toward more thoughtful, identity-driven cooking. I want 2026 to be the year the industry fully embraces cultural honesty in food. Not trend-chasing, not watered-down narratives — but real, rooted, personal expressions from chefs and restaurateurs.”

What inspired Kumar this year: “The farmers and producers who keep showing up, no matter how chaotic the world gets.”

Chintan Pandya, Roni Mazumdar & Vijaya Kumar. Alex Lau

7. Eric Ripert & Maguy Le Coze

  • Le Bernardin | Co-Owners

As expected, Eric Ripert and Maguy Le Coze’s Le Bernardin maintained its status atop the prestigious La Liste survey in 2026, sharing its impressive 99.5 score with only one other American establishment, SingleThread in Healdsburg, California. This recognition followed the restaurant’s retention of its coveted three-star rating from the Michelin Guide. Le Bernardin also secured the 9th spot on the 2025 North America’s 50 Best Restaurants list. As the establishment approaches its 40th anniversary in 2026, Ripert and Le Coze reflect on the enduring legacy of their culinary vision, which began with the original Paris-based Le Bernardin, which celebrated its 50th anniversary in 2022. Ripert’s influence reaches far beyond the streets of Manhattan, as evidenced by the 20th anniversary of his Caribbean outpost, Blue, at The Ritz-Carlton Grand Cayman in 2025—an occasion marked by the unveiling of a stunning redesign by the acclaimed Champalimaud Design firm.

Ripert on the biggest shift in consumer preferences: “What we see this year is a shift, especially in Gen Z. We have never seen this many customers ordering the tasting menu and wine pairing, especially our younger guests. This generation really wants an overall experience. They are very engaging with our team, asking questions that our staff have never even heard before.”

If Ripert could switch places with another hospitality leader, it would be: “Nobu Matsuhisa. He’s extremely talented. I admire what he has created and that he has been able to mix Japanese sushi culture with Peruvian culture. He has made sushi restaurants sexy. If I were in his shoes, I would take more vacations.”

Eric Ripert & Maguy Le Coze. Nigel Parry

8. Eugene Remm & Tilman J. Fertitta

  • Catch Hospitality | Partner
  • Fertitta Entertainment | Owner

Yesterday, Eugene Remm and Tilman Fertitta revealed their plans to bring The Corner Store to a luxury casino-resort on the Las Vegas Strip in 2026. Since opening in 2024, The Corner Store has remained one of New York’s most popular restaurants. In February, Remm and Fertitta unveiled plans for a 75-seat Mediterranean dining establishment in Soho, slated to welcome patrons in early 2026 under the direction of executive chef Nadav Greenberg, previously associated with the Michelin-starred Israeli restaurant Shmoné. September witnessed the grand opening of The Eighty Six, a cozy 35-seat steakhouse nestled in the West Village, alongside the inauguration of Rockwell Group-designed Catch Scottsdale, the seventh outpost from the esteemed hospitality brand. 

Remm on the greatest shift in consumer preferences: “The most significant shift, in my opinion, has been that there is no middle. If you are not creating extreme experiences or extreme conveniences—either fast casual on the convenience side or the kind of elevated experience like what we are creating—people are no longer accepting just a nice, normal meal at a normal restaurant.” 

What inspired Fertitta this year: “As the U.S. Ambassador to Italy, I have certainly been influenced by the country’s culture and hospitality. Experiencing their restaurants first-hand and seeing their passion for food at every meal has inspired me the most.”

Eugene Remm & Tilman J. Fertitta. Courtesy of Fertitta Entertainment & Catch Restaurants

9. Johann Moonesinghe & Andrew Harris

  • inKind | Co-Founders

To date, inKind and its co-founders Johann Moonesinghe and Andrew Harris have provided over $500 million in funding to more than 5,000 restaurants, including destinations from operators like José Andrés Group and Mina Group, as well as 20 Michelin-starred destinations and 50 James Beard Award nominees. The company’s innovative financing model gives restaurants funding in exchange for food and beverage credits, rather than equity or debt, enabling restaurants to cover operational costs and maintain profit margins. In 2025, inKind closed an impressive $450 million in capital to accelerate its platform growth, with plans to expand to an additional 10,000 U.S. restaurants over the next year. The fundraiser was led by Magnetar and included prominent backers such as Jay-Z’s MarcyPen Capital Ventures, Värde Partners, Alpha Wave Global and even all four members of the band Metallica. The company’s success is evident in its consistent growth, with an over 100 percent increase in gross order volume (GOV) for four consecutive years (2020-2024) and a projected $350 million in 2025. In October, Moonesinghe and Harris announced a groundbreaking partnership to implement Dogecoin (DOGE) as the first cryptocurrency accepted across inKind’s extensive nationwide restaurant network, which boasts over 3 million app users. Moonesinghe’s separate hospitality group, RDM, provided funding for Guest House in Austin, which expanded to Vegas under the leadership of RDM founder Raj Kumar last year.

Moonesinghe on the inspiration behind inKind: “Restaurants are the heart of our communities, and they deserve partners who understand the unique support they need to thrive. Traditional restaurant financing models can drain equity, cash flow and long-term viability. We created inKind to change that—offering a smarter, more sustainable way to fund restaurants without the burdens. Our model helps operators maintain cash flow, access capital quickly and build more resilient businesses, and thanks to our partners that led the funding we’re able to amplify those efforts on a massive scale of up to 10,000 additional restaurants. We’re proud to support thousands of locally owned restaurants nationwide, not just with funding, but as true partners in their success.”

Johann Moonesinghe & Andrew Harris. Courtesy of inKind Capital

10. Kwame Onwuachi

  • Tatiana, Dōgon & Patty Place  | Chef, Author & Restaurateur

By the end of the year, James Beard Award-winning chef Kwame Onwuachi is set to open Maroon, a modern Caribbean steakhouse, at the Sahara in Las Vegas. This venture follows the success of his acclaimed restaurants Tatiana in New York City and Dōgon in Washington, D.C., the latter earning a spot on the inaugural North America’s 50 Best Restaurants list. Onwuachi has recently expanded his reach with Patty Place locations at Citi Field and the Barclays Center, as well as joining the team at Las’ Lap’s new Miami Beach outpost at the Daydrift hotel. In September, he signed with the prestigious William Morris Agency, further cementing his position as a trailblazer in the culinary world.

If he could switch places with another hospitality leader for 24 hours, he’d choose: “Simon Kim, because he leads a very thrilling life and is a fun person to be around. First thing I would do is eat unlimited galbi.”

On the industry’s biggest challenge: “The biggest challenge is figuring out profitability. Fixed costs eliminate the ability to turn a profit in a way that other industries don’t face. We as an industry need to band together to look for tax breaks and advocate for our rights, which will lead to a better industry.”

Kwame Onwuachi. Alex Lau

11. Albert Yang

  • Din Tai Fung North America | CEO

Din Tai Fung North America is experiencing rapid expansion, with 18 locations in North America out of 165 restaurants worldwide, serving over 7 million customers annually. The chain’s average annual sales per location reached $27 million last year, more than double that of The Cheesecake Factory and the highest among 1,500 restaurant chains tracked by Technomic. In October, the company announced plans for a second East Coast location in New York, set to open in 2027, 27 years since its first U.S. restaurant opened in California. Aaron Yang has transitioned to the board, leaving Albert Yang as the sole CEO. “Asian dining is one of the fastest-growing segments in the industry,” Albert tells Observer. “Authentic dining is now more relevant than ever and becoming truly mainstream, and Din Tai Fung is very proud to be a part of this shift.”

What inspired him this year: My car mechanic told me he saw me on TV for our grand opening in Santa Monica and had his whole family come over to watch with him. He told me, “You make me proud to be Taiwanese,” and that inspires me to do better every day. 

His biggest kitchen “fail”: Trying to reformulate the recipe for the chocolate in our chocolate xiao long bao. I remember having about 20 different types of cacao sitting on my desk and wasting countless hours trying different recipes. I think I made the right decision by giving up. Today’s recipe is our #1 dessert and a top menu item overall. 

Albert Yang. Courtesy Din Tai Fung

12. Nobu Matsuhisa

  • Nobu Restaurant Group | Co-Founder & Chef

In November, Nobu Matsuhisa debuted Nobu Hotel & Restaurant Roma in collaboration with longtime partner Robert De Niro, while January saw the launch of Nobu Hotel Caesars New Orleans, designed by Rockwell Group. Maui welcomed its first Nobu restaurant, the second in Hawaii, in April at  Grand Wailea, a Waldorf Astoria Resort. May brought the opening of Nobu Del Coronado at the historic Hotel del Coronado, followed by the unveiling of the Nobu Hotel in Toronto in June. The Nobu Hotel Madrid is slated to open its doors in early 2026, while the Nobu Hotel, Restaurant and Residences in Abu Dhabi are expected to be completed in 2027. Matsuhisa has also announced plans to establish a Nobu Hotel in Nashville. The original Tribeca Nobu opened in 1994, and there’s a 2025 documentary, simply titled Nobu, about that restaurant and the empire that grew out of it.

Nobu Matsuhisa. Courtesy of Nobu Restaurant Group

13. Stephen Starr

  • Starr Restaurant Group | Founder & CEO

In August, Stephen Starr opened his largest Philadelphia restaurant yet: Borromini, a $20 million, 15,000-square-foot colossus in Rittenhouse Square. Though Starr is credited with transforming Philadelphia’s dining scene from the 1990s through the early 2010s, his expansion over the last 15 years has established him as a major national player. Borromini joins a roster of 40-plus establishments operated by Starr Restaurants, spanning Philadelphia, New York City (including Pastis and the recent revamp of Babbo), Washington, D.C. and South Florida. After exiting in 2020, Starr returned to Atlantic City this summer, with the opening of two concepts, Sunny’s and Chez Frites, at the Ocean Casino Resort.

Stephen Starr. Jen May

14. Michael Mina

  • The Mina Group | Chef & Owner

The Mina Group, led by Michael Mina, has experienced significant growth and expansion over the past year, with a focus on portfolio acceleration and geographical diversification. The group opened several new restaurants in 2025, including two in San Francisco’s Westin St. Francis (Bourbon Steak San Francisco and The Eighth Rule, a collaboration with Steph Curry—the basketball star’s first hospitality partnership), Bourbon Steak locations in Delray Beach, Florida, Orlando and Charlotte, North Carolina (set to open in fall 2026), Taleed by Michael Mina in Diriyah, Saudi Arabia, The Beach House on The Ritz-Carlton Yacht, and a new Italian concept, Acqua Bistecca, in Washington, D.C.—with plans to expand the latter to Estero Bay, Florida in February 2026.

What inspired Mina this year: “This was a major growth year for us, and that alone was incredibly inspiring. The projects we were fortunate to take on—The Eighth Rule, Bourbon Steak San Francisco and Beach House on board The Ritz-Carlton Yacht Collection’s newest vessel, Luminara—really energized our entire team. The unity we’ve built coming out of the pandemic has been something special. A lot of the vision and direction we set years ago truly came together this year, and seeing the team bring it to life across these openings has been the most inspiring part for me.” 

His advice for industry hopefuls: “Seek leaders who teach systems, not just dishes. Learn the bar, the pass, the floor and the business. Your edge will be curiosity, humility and follow-through: show up, solve problems, and maintain standards when the room is full and the clock is against you. Finally, invest in relationships. Mentors and peers are the network that sustains a career measured in decades, not moments.”

Michael Mina. The MINA Group

15. Scott Sartiano

  • Zero Bond Hospitality | Founder

This year, Scott Sartiano announced plans to open Sartiano’s Italian Steakhouse at the Wynn, next to his Vegas outpost of Zero Bond, which debuts in February. The NY-based private club is frequented by many an A-Lister (most recently, America’s most overexposed lovebirds). “As we enter Las Vegas, I want to bring what makes Zero Bond and Sartiano’s special—the sense of community, attention to detail and genuine connection—into a new market with its own character and rhythm.”

What inspired Sartiano this year? “The renovation of Zero Bond for its fifth anniversary and our work with The Mercer both reinforced how spaces can evolve to meet people’s changing needs while staying true to their essence. That balance between growth and authenticity continues to guide everything we do.”

If he had to eat at the same restaurant for 30 days straight? His own. “Sartiano’s. I’ve actually done it. By day 30, I’m still ordering the veal chop Parmigiana. It never gets old.”

Scott Sartiano. Dina Litovsky

16. Dominique Crenn

  • Crenn Dining Group | Founder & Chef

In September, Dominique Crenn’s three-Michelin-starred restaurant, Atelier Crenn, secured the 46th spot on North America’s 50 Best Restaurants list and further solidified its status by earning a coveted three-star rating from the New York Times. Shortly thereafter, in October, chef Crenn unveiled Monsieur Dior by Dominique Crenn in Beverly Hills, marking the first restaurant outside of Paris for the prestigious House of Dior. Looking ahead, Crenn has announced a partnership with Waldorf Astoria Residences Texas Hill Country, where she will oversee the development of the signature restaurant at the highly anticipated resort, slated to open in 2027. Crenn’s achievements are nothing short of remarkable, as she became the first female chef in the United States to earn three Michelin stars in 2018. Crenn is featured in HexClad’s “Open to Close” docuseries, which premiered on December 1st and showcases the brand’s Culinary Council members, offering an intimate look at the passion and dedication required to operate top-tier restaurants.

What excites her the most: “The blurring of boundaries. Dining is no longer confined to the table; it is a living conversation between many disciplines, all speaking to one another (fashion, film, design and nature). Guests today crave emotion as part of their dining experiences, whether as a memory, a shimmer of beauty, or a moment that lingers. Weaving these disciplines together creates that experience.”

Her advice for industry hopefuls: “For those beginning their journey, remember that a dish is never just a dish, and a restaurant is never merely a restaurant. They are vessels for emotion, memory and imagination. Allow yourself to think beyond the plate, and beyond what you believe a space or a menu should be. Seek out mentors who challenge you to see differently and expand your sense of what is possible. The most important skill you can cultivate is the ability to stay open—to observe, to feel and to be moved. The future of this industry will belong to those who create experiences that invite people into a story, not just a dining room.” 

Dominique Crenn. Courtesy of Crenn Dining Group

17. Chris Shepherd

  • Southern Smoke Foundation | Founding Director
  • Eat Like a Local | Host

Chris Shepherd, the culinary powerhouse behind a celebrated restaurant empire in Houston, has also emerged as one of the most significant humanitarians in the food industry. Through Southern Smoke Foundation, Shepherd has made an indelible impact on the lives of countless individuals working in the hospitality sector. The Foundation’s annual food and beverage fundraising event, held in Houston this past October, shattered records by raising an astonishing $1.7 million—the highest amount ever generated from a single fundraising event for the organization. The funds will directly support those employed in the hospitality industry through the Foundation’s Emergency Relief Fund and its mental health initiative, Behind You. Since its inception, the Southern Smoke Foundation has distributed more than $15 million in grants to food and beverage workers. Moreover, since 2020, the Foundation has provided over 9,000 no-cost counseling sessions to food and beverage workers across 13 states, including California, Florida, Illinois, Louisiana, Maine, Massachusetts, Michigan, New York, South Carolina, Tennessee, Texas, Virginia and Washington, D.C. 

What he wants in 2026: “I would like to see the continual growth and awareness of Southern Smoke Foundation. Specifically, I would love to see the Behind You program expand into more states and for more industry professionals to start coalition programs in their states to support free access to mental health care programs. It’s getting harder and harder for owners to take care of their staff. For many reasons, margins are even thinner, which makes it harder for owners to provide living wages, health insurance and access to benefits like mental healthcare. I believe that Southern Smoke Foundation, with our crisis relief grants and access to no-cost counseling, can help, but we really need to see significant policy changes for the industry to see a real difference. I always say that our goal is for the industry to evolve so much that Southern Smoke is no longer needed, but I don’t see that happening anytime soon.”

What inspired him this year: “On a professional level, having the opportunity to work with the Southern Smoke team and to watch the magic that they do to literally save the food and beverage industry. On Eat Like a Local, I am inspired by the drive of restaurant owners and chefs, and I’m so grateful to have the opportunity to tell their stories of community through food. I don’t take that opportunity lightly. On a personal level, I am inspired by my wife, Lindsey Brown, as she battles breast cancer. She is diligent and clear-eyed on what needs to happen in this fight. She is focused on the finish line as she goes through her weekly treatments with power and resilience. I am in awe of her daily.”

Chris Shepherd. Daniel Ortiz

18. Larry McGuire

  • MML Hospitality | Managing Partner & Co-Founder

As the head of Austin-based McGuire Moorman Lambert (MML) Hospitality, Larry McGuire boasts an impressive portfolio of over 30 restaurants, all of which have remained open, and a growing collection of hotels. In June, McGuire announced that renowned chef April Bloomfield would join MML as executive chef, bringing her culinary expertise to the group’s ongoing projects and future ventures. One of McGuire’s most significant moves this year took place in August when MML purchased the Nine Orchard hotel in New York City, along with its restaurant/bar spaces—Corner Bar, Swan Room and Blue Room—in a $92 million deal, marking the group’s first project in the Big Apple. Additionally, MML embarked on a $100 million renovation and restoration of the historic Mountain Chalet in downtown Aspen this summer, with plans for a grand opening in the summer of 2027. The group has also been expanding its presence in California, with the opening of Clark’s Oyster Bar in Montecito, Menlo Park and Malibu within the past year. MML is also working on Austin’s Herzog & de Meuron-designed Sixth&Blanco mixed-use development, set to open in 2027. 

McGuire on the industry’s biggest challenge today: “It’s become increasingly hard to attract young people to the industry, and current immigration policies are not doing our industry and the downstream supply from farmers, ranchers and wine growers any favors. We have to become really good employers that create meaningful careers for people so they stay or are attracted to the industry.”

What inspired him this year: “The public’s recognition and elevation of landmark style restaurants and hotels—the classic places we enjoy and try to build seem to be coming back into fashion.”

Larry McGuire. Abigail Enright

19. Jerry Greenberg

  • Sushi Nozawa Group | Co-Founder

Jerry Greenberg’s latest venture, Cheesesteaks by Matū, is set to open two locations—one on Pasadena’s East Colorado Boulevard and another at The Commons at Calabasas in the winter. These new outposts will share space with Greenberg’s next location of HiHo Cheeseburger, which celebrated its tenth anniversary this year. Greenberg’s restaurant empire also includes the renowned Nozawa Bar, Sugarfish, KazuNori and Uovo. Uovo, which first opened in Santa Monica in 2017 and now boasts five Los Angeles locations, is poised to make its New York debut in spring 2026 in NoMad. This expansion comes on the heels of the opening of the eighth KazuNori location in Pasadena this fall.

What inspired him this year: “The same thing that inspires me every year. Seeing people come back week after week just for our food. It may seem like a simple thing, but that’s what it’s all about for us.”

If he could time-travel to any era or city in history for one epic night out: “I’d travel back 100 years to the Rite Spot in Pasadena to have the original cheeseburger—that’s top-of-mind as we celebrate HiHo’s 10th anniversary. And I would go to Rome/Amatrice for the original versions of cacio e pepe and amatriciana. Then cap it off and experience the origins of our sushi in Edo (Tokyo).”

Jerry Greenberg. Courtesy of Sushi Nozawa Group

20. Andrew Carmellini, Josh Pickard & Luke Ostrom

  • Noho Hospitality | Co-Founders

Andrew Carmellini, Luke Ostrom and Joshua Pickard’s Café Carmellini, which opened its doors in 2023 at the Fifth Avenue Hotel, secured the 39th spot on this year’s North  America’s 50 Best Restaurants list. The hotel’s Portrait Bar, another NoHo Hospitality venture, also made its mark by being included in the 51-100 extended list of North America’s 50 Best Bars in 2025. The Fifth Avenue Hotel itself earned a place on the World’s 50 Best extended list of the best hotels around the world. The fact that Café Carmellini, The Portrait Bar and The Fifth Avenue Hotel achieved this feat less than three years after opening is a testament to the exceptional quality and innovation offered by NoHo Hospitality. In April, Carmellini expanded his culinary empire with the opening of Little Fino (“until the next” in Italian) at the William Vale hotel in Brooklyn. The establishment joins NoHo Hospitality’s impressive roster of restaurants across New York, which includes Lafayette, Bar Primi, Locanda Verde and the Dutch.

Carmellini’s year in three words: “Unsure what happened.”

Pickard on the most significant shift in consumer preferences: “There has been a shift to an earlier dining scene, which is now often the main social event of a night, requiring it to be equally welcoming, tasty and entertaining. This shift has also helped fuel the popularity of member dining clubs in NYC.”

If Ostrom could time-travel for an epic night out: “I think I’d choose my birth year and travel back to NYC in 1977. Dinner at Maxwell’s Plum, drinks at Elaine’s, midnight at CBGB and late night at Studio 54.”

Josh Pickard, Andrew Carmellini & Luke Ostrom. Quentin Bacon

21. Ahmass Fakahany

  • Altamarea Group | Founder & CEO

Undeterred by the challenges presented by the L.A. fires, Altamarea Group visionary Ahmass Fakahany successfully opened Marea in Beverly Hills in January, marking the first West Coast expansion for the prominent restaurant group. Marea has been a standout in the culinary world since its opening on Central Park South in 2009. The Beverly Hills location, one of the most anticipated openings of 2025, is set to be followed by another outpost at The Snow Lodge within The St. Regis Aspen Resort later this month. The Altamarea Group boasts a portfolio of over 25 restaurants worldwide. The group’s flagship restaurant concepts encompass Marea, Ai Fiori—Wine Spectator’s 2025 Grand Award Winner—53, Morini Brands and Nicoletta Brands. On the international stage, Altamarea’s offerings are punctuated by the Michelin-starred grill concept 11 Woodfire, Mohalla Indian Cuisine, Tezukuri Japanese, SoBo 20 and the highly anticipated Scarpa.

If he had to eat at the same restaurant for 30 days straight: “Honestly, and I may not be alone here, it is likely Hillstone. It is consistent, comfortable and delicious with a range of salads, meats and fish. By day 30, I would opt for their rainbow sushi Roll, which ranks in my view.”

On the biggest challenge facing the industry: “It is harder to find capital to grow from traditional sources. Also, there has been a talent withdrawal from the industry that has to be rejuvenated. This and other challenges have made this the era of bringing heads together, just as in other industries, through joint ventures, partnerships and collaborations. This can be with hotels, developers, sponsors or like-minded operators.”

Ahmass Fakahany. Courtesy of Altamarea Group

22. Mashama Bailey & Johno Morisano

  • The Grey | Chef/Partner & Co-Founder/Managing Partner

Mashama Bailey and Johno Morisano, the visionary team behind The Grey in Savannah, Georgia, marked their eleventh year in the culinary industry in 2025. Known for elevating Savannah’s dining scene and credited with making the southern city a culinary destination, the duo recently ventured into the international market with the July launch of L’Arrêt by The Grey in Paris. “Opening the Paris restaurant has been so inspiring!” Bailey tells Observer, noting their goal is to maintain the location’s community-centric atmosphere while presenting a unique French menu inspired by subtle influences from Port City Southern fare. “Shopping for Southern ingredients in the City of Light has introduced me to neighborhoods I don’t normally visit while in Paris.” In May, Bailey showcased her commitment to her local community by creating a special dish for Savannah’s Meals on Wheels program in honor of its 65th anniversary. In September, Bailey penned the Time 100’s World’s Most Influential Rising Stars entry for Ashleigh Shanti, praising Shanti’s voice and the importance of reflecting, researching, serving and inspiring through Black food stories.

The most significant shift Bailey has noticed: “For The Grey, there has been a shift in eating pork. We cooked a lot of pork at The Grey 10 years ago and began to get a lot of feedback about it from our guests. Now, we are super aware of balancing our menus so they are not heavy in pork, beef or gluten. Today, we have more vegetables, seafood and whole grains.” 

Morisano on the industry’s greatest challenge: “Building a team—by far. Those of us in the industry need to be kind to each other. This is a young business. Young folks ain’t always kind. I’m 58, so I’ve been there, done that. But it’s an ecosystem; a small one. Savannah, Paris, NYC. All of it. Both micro and macro. We must be kind to each other.”

Mashama Bailey & Johno Morisano. Ilya Kagan/Alice Casenave

23. Michael Cimarusti

  • Providence | Chef-Owner

Chef Michael Cimarusti’s acclaimed seafood-focused Los Angeles restaurant, Providence, has reached new heights in its 20th anniversary year. The esteemed establishment was awarded three Michelin stars and retained its green star in the 2025 Michelin Guide, solidifying its position as a leader in sustainable fine dining for the third year in a row. Providence also made it on the inaugural North America’s 50 Best Restaurants list at #47, with chef Cimarusti receiving the prestigious Chef’s Choice Award. The restaurant continues to innovate, with sous chef Danielle Peterson developing a fermentation program that repurposes ingredients into unique flavors, while the rooftop garden has become a Certified Wildlife Habitat. Pastry chef Mac Daniel Dimla has introduced a zero-waste chocolate program, and the bar team has crafted a refined zero-proof pairing experience alongside a tableside cocktail program featuring rare spirits.

Cimarusti on the biggest challenge the industry faces: “The labor market is shrinking and becoming ever more competitive. It is harder and harder to find talented individuals. We are investing heavily in developing talent, trying to create an environment where even relatively inexperienced people can be trained to execute at a very high level. This is only possible if you have a culture that welcomes and embraces new team members and actively participates in their training.”

The meal he could eat for 30 days straight: “The wood-roasted Belon oysters, Edna’s corn bread and the steak with bone marrow at Dunsmoor in Glassell Park.”

Michael Cimarusti. John Troxell

24. David Rockwell

  • Rockwell Group | Founder & President

David Rockwell and his firm, Rockwell Group, have left an indelible mark on the global hospitality industry over the past four decades. With an impressive portfolio encompassing nearly 1,000 restaurants across more than 200 cities and six continents, Rockwell Group has showcased its versatility and innovation in design. Notable projects in recent years include New York’s 450-seat Din Tai Fung, Catch Hospitality’s The Corner Store and Catch Scottsdale, Simon Kim’s Coqodaq and highly anticipated Cote Las Vegas, which has been hailed as one of the hottest openings of the year. Rockwell Group’s long-standing partnership with Nobu has resulted in the design of more than 30 hotels and restaurants across 28 cities, further cementing their reputation as a leading force in the world of hospitality design.

If he could time-travel for an epic night out: “Having spent part of my childhood in Mexico, I’d go to Mexico City in the 1920s. It was a moment when art, music and political imagination were sparking off one another. I’d invite Frida Kahlo, of course, but also the painter José Clemente Orozco, photographer Tina Modotti and a young Cantinflas (an actor and director known as the Mexican Charlie Chaplin). We’d start with dinner at Sanborns, one of the first soda fountains and lunch counters in Mexico City, and we’d wander through a mural-filled plaza, and end up in a smoky cabaret.”

What inspired him this year: “Traveling to Mexico City, Japan, Rome, Milan, Chicago, and Las Vegas for recent project openings and family trips reminded me how local culture, ritual and craft can transform spaces and experiences into something emotionally resonant. There’s really nothing like walking into a room and seeing strangers form an instant community because of their collective experience.” 

David Rockwell. Brigitte Lacombe

25. Elizabeth Blau

  • Blau + Associates | Founder & CEO

Renowned for transforming Las Vegas into a world-class culinary destination, Elizabeth Blau continues to shape the international food scene by bringing acclaimed chefs and restaurateurs to mixed-use real estate projects and luxury resort developments. She spearheaded the launch of the Wynn Las Vegas Revelry food festival in 2024 and introduced the Women in Hospitality Leadership Conference at Wynn this year. Blau also played a pivotal role in bringing the World’s 50 Best to Las Vegas and is collaborating with Wynn to curate all food and beverage offerings at the Wynn Marjan Island property in the United Arab Emirates, including partnerships with Alain Ducasse and Delilah. As Blau and Wynn prepared to revive Revelry in late summer with fresh food and mixology programming, she remained on the lookout for emerging talent. With one of her business partners, Hunt Realty, involved in the massive Fields development in Frisco, Texas, Blau may expand her presence in the Lone Star State. In recognition of her outstanding contributions, Blau was honored with the prestigious Augie award from the Culinary Institute of America in May.

If she had to eat at the same restaurant for 30 days: “I’d choose Casa Playa at Wynn Las Vegas, where chef Sarah Thompson creates some truly extraordinary coastal Mexican cuisine. On day one, I’d order her ceviche, which is fresh, vibrant, balanced and full of life. And on day 30? I’d still be ordering the exact same thing. Some dishes never lose their magic.”

What she wants in 2026: “If I could choose one word for 2026, it would be stability. The hospitality industry has weathered nearly a decade of disruption from the pandemic to supply chain issues, staffing shortages and shifting guest expectations. Restaurants are built on rhythm and consistency, and my hope is that 2026 is finally the year we regain steady ground, rebuild stronger systems and focus less on surviving and more on thriving.”

Elizabeth Blau. Susan Bowlus

26. Aaron Bludorn, Cherif Mbodji & Victoria Pappas Bludorn

  • Bludorn Hospitality Group | Partners

Aaron Bludorn, Victoria Bludorn and Cherif Mbodji, the dynamic trio behind the Bludorn Hospitality Group in Houston, have made significant strides in 2025. In January, they launched Perseid, a modern French bistro located in the luxurious Hotel Saint Augustine, showcasing chef Aaron Bludorn’s culinary expertise. The group also announced a partnership with Howard Hughes in August, revealing plans for Bar Bludorn at The Woodlands, set to open in summer 2026. This expansion marks chef Bludorn’s first venture outside central Houston, offering a unique twist on the original Bar Bludorn’s contemporary American bistro menu infused with Texas flavors.

Bludorn’s year in three words: “Planting tomorrow’s trees.”

What Mbodji wants in 2026: “I’d love to see 2026 become a year of renewed balance where restaurants can operate sustainably without compromising creativity, and where hospitality groups collaborate more intentionally across cities. For our business, I want continued growth that feels purposeful: expanding concepts, elevating our teams and strengthening our presence in Houston while staying true to who we are.” 

Aaron Bludorn, Victoria Pappas Bludorn & Cherif Mbodji. Julie Soefer

27. Michael Stillman

  • Quality Branded | Founder & President

In September, Michael Stillman unveiled Limusina, a Mexican eatery in Hudson Yards. Earlier this year, in March, he announced plans to bring Bad Roman to Beverly Hills (in 2026), marking the restaurant’s inaugural venture on the West Coast. Twin Tails, Stillman’s bold foray into Asian cuisine, opened its doors at The Shops at Columbus Circle in 2024. Despite a mixed reception during its initial launch last fall, the Thai restaurant has since garnered praise, with some even comparing it to the iconic Indochine. Quality Branded’s diverse portfolio includes an array of establishments: Don Angie, Smith & Wollensky, Zou Zou’s, San Sabino and Quality Meats, to name a few.

Stillman’s year in three words: “Sevens, not sixes.”

If he had to eat the same meal for 30 days: “Elio’s on the Upper East Side. Risotto Milanese.”

Michael Stillman. Courtesy of Quality Branded

28. Gavin Kaysen

  • Soigné Hospitality Group | Chef & Owner

Gavin Kaysen, the culinary mastermind at the helm of Soigné Hospitality Group, has been a driving force in transforming the gastronomic scene of Minneapolis, Minnesota. His celebrated establishments, which include Spoon and Stable, Demi, Mara Restaurant and Bar and two outposts of his latest venture, Bellecour, have garnered widespread acclaim since his homecoming to the Midwest in 2014. Kaysen’s dedication to fostering the next wave of culinary artists shines through his position as president of Mentor’s Team USA, where he collaborates with his esteemed mentor, chef Daniel Boulud, and also Thomas Keller. This week, the two-time James Beard Award laureate ventured beyond the borders of Minnesota for the first time with the unveiling of The Merchant Room, a New American Brasserie, at the newly launched Naples Beach Club, A Four Seasons Resort. Earlier this month, Kaysen revealed the debut of Bellecour in Minneapolis, his first opening in three years, his most intimate undertaking to date and his inaugural French bistro concept. This fall, Kaysen promoted Alexandra Motz, one of the founding members of Soigné Hospitality Group, to oversee the pastry program for Spoon and Stable, Demi and Bellecour. Zachary Byers, previously associated with Denver’s acclaimed The Wolf’s Tailor and Beckon, has taken on the role of head sommelier, bringing a fresh perspective to elevate the wine offerings across the restaurant group. 

What he wants in 2026: “For my business, I want to continue to show that mentorship, positive leadership and growth are some of the most important attributes for success. I want our profession to own the dialogue of how we can collectively become better by way of teaching the next generation, while not dismissing or forgetting the generation that led us here.”

What he sees as the most significant shift in consumer behavior: “At the end of the day, what seems to stay consistent is that people enjoy the experience of the meal by way of restoration through the food and the hospitality we provide. I see that coming back even stronger in the years to come. We are losing the connection of person-to-person, and I know that as hospitalitarians, we can provide that personal touch.”

Gavin Kaysen. Erin Kincheloe

29. Michael Solomonov & Steven Cook

  • CookNSolo Restaurants | Co-Founders

Philadelphia Israeli-food powerhouses Michael Solomonov and Steven Cook expanded their CookNSolo portfolio this year. In March, they opened Aviv at the 1 Hotel in Miami Beach. Since debuting their first restaurant, Zahav in Philadelphia, in 2008, Solomonov and Cook have built a culinary empire that includes Federal Donuts, Dizengoff, Laser Wolf and Goldie. Beyond their restaurant ventures, the duo have also made a significant impact in the CPG market with their brand, Zahav Foods. In June, their signature Zahav hummus debuted in 485 Target stores across 20 East Coast states, following a successful 2024 launch at Whole Foods, where it quickly became the region’s top-selling hummus brand.

Cook on the most significant shift in consumer behavior: “The home is becoming more and more the center of where people eat with delivery and ghost kitchen options, which means restaurants need to double down on creating a memorable and celebratory experience of eating communally in a restaurant.”

Solomonov on the industry’s biggest challenge: “The cost of goods and labor continues to rise as more and more excellent restaurants come online, which has meant that we are constantly hyper-focusing on the product and how we differentiate and get a little bit better each day.”

What they want for 2026: “We would love people to start eating later again, for the cost of goods to stabilize, and for immigrants who are the backbone of the industry to have the opportunity to feel safe.” 

Steven Cook & Michael Solomonov. Michael Persico

30. Lisa Limb, Takahiro Sakaeda & Jihan Lee

  • Launchpad Hospitality | Managing Partner & Chef Partners

Lisa Limb, Taka Sakaeda and Jihan Lee, the dynamic trio behind Launchpad Hospitality, have taken the culinary world by storm since opening their first Nami Nori restaurant in 2019. Drawing on their shared experience working under the tutelage of Masa Takayama, the team has cultivated a thriving portfolio of establishments that embody the Japanese art of gracious hospitality, or “omotenashi.” Their signature open-style temaki, which sparked a global sensation following the success of Nami Nori in New York City’s West Village, has been the driving force behind the group’s expansion to New Jersey, Miami and Virginia Beach. Alongside their temaki restaurants, Launchpad Hospitality introduced the Japanese bakery Postcard in New York in 2024 and the omakase counter and lounge Matsuyoi in Miami. The team’s innovative approach and engaging community have led to collaborations with renowned brands such as Louis Vuitton, Tiffany & Co. and Auberge Resorts. With partner Pharrell Williams, who advises on creative growth strategy, the group launched two new ventures, Nami Nori and Matsuyoi, in Miami’s Design District in the last year and brought Nami Nori to Williams’ hometown of Virginia Beach in the fall.

What inspired Limb this year: “The Atlantic Park development in Virginia Beach where we opened our new Nami Nori location in October is a $350 million project that started out as a dream, and has been 20 years in the making. It was the architecture school thesis of Alec Yuzhbabenko, a local architect who conceived of building an entire neighborhood centered on a surf park. Seeing it come to life from the ground up shows us what is possible when vision meets commitment and community. We are honored to be a part of it.”

If Sakaeda could time-travel for an epic night out: “New York City, circa 1975, before I was born and right around the time my parents emigrated to America. I’d love to see the city through my parents’ eyes. I’d invite Siddhartha Gautama, Marcus Aurelius and Lao Tzu. A night with that mix of curiosity, discipline and stillness would be unforgettable.”

If Lee had to eat at the same restaurant every day for a month: “I’d pick Atomix without even thinking. They’ve had over 150 different tasting menus since opening, so honestly I could go for 30 days straight and still try something new every time. And then on day thirty, after a whole month of the most refined Korean food ever, I’d look at them and say, ‘Can you make me a cheeseburger?’ Because as much as I love fancy food, I was born in America—and sometimes you just crave a good burger.”

Takahiro Sakaeda, Lisa Limb & Jihan Lee. Sebastian Lucrecio

31. Lindsay & Michael Tusk

  • Quince & Co. | Co-Founders

Lindsay and Michael Tusk’s flagship San Francisco restaurant, Quince, not only earned a spot on North America’s 50 Best Restaurants list in 2025 but also boasts three Michelin stars and attracts high-profile patrons, including former President Barack Obama. In October, the Tusks further elevated Quince’s dining experience by hiring Davide Franco as the new hospitality director, bringing nearly 20 years of expertise from Michelin-starred establishments in Italy and London. Looking ahead, the Tusks announced their latest venture, Bar Coto, an all-day Italian café set to open in the spring of 2026. Inspired by the vibrant cafés of Milan, such as Bar Basso, and the acclaimed Bar Pisellino in New York City, Bar Coto promises to be a welcome addition to the couple’s impressive portfolio of Jackson Square establishments. This includes Quince, the ever-popular Cotogna and the recently revived French-inspired wine bar Verjus, all of which have earned a place on the San Francisco Chronicle’s list of the 100 best restaurants in the Bay Area.

What inspired Michael this year: “The redesign at Quince, and moving within the space. I wanted the food to reflect the natural materials—working with knifemakers, glassblowers, artisans of all kinds. Getting rid of the electric rotisserie and putting in fire. Gentle nuances of smoke and dehydration.”

Lindsay on the most significant shift in consumer preferences: “The rise of non-alcoholic beverages and increased demand for private dining.”

Michael & Lindsay Tusk. Dora Tsui

32. Joshua Pinsky & Chase Sinzer

  • Penny, Stars & Claud | Chef-Partner & Restaurateur

Chase Sinzer and Joshua Pinsky, the duo behind the acclaimed East Village establishments Claud and Penny, are set to unveil their latest venture, Stars wine bar, at 139 East 12th Street. Slated to open its doors this month, the intimate 12-seat space will feature an impressive selection of over 1,000 wines from around the world. Sinzer and Pinsky’s existing restaurants have garnered significant praise, with Claud, which debuted in 2022, and Penny, a raw bar that opened upstairs in 2024, both earning coveted three-star ratings from former Times food critic Pete Wells in their respective opening years. The pair’s culinary prowess was further recognized in 2025, as both Claud and Penny secured spots on The Times’ list of the best restaurants in New York City, with Penny impressively claiming the 7th position. Additionally, Penny’s acclaim extended beyond the city, as it earned the 40th spot on the 2025 North America’s 50 Best Restaurants list.

If Sinzer had to eat the same meal for 30 days straight: “Cervo’s chicken and fries.”

Pinsky on the greatest shift in consumer preferences: “Experience > price. Being true to your intentions and being transparent really hits with guests and our industry.”

Joshua Pinsky & Chase Sinzer. Colin Clark

33. Gregory Gourdet

  • Printemps US | Culinary Director

Gregory Gourdet, Portland’s most renowned chef, made waves with the opening of his first restaurant, Kann, in 2022 at the age of 46. The establishment quickly garnered national recognition, earning a spot on the New York Times’ 2022 list of America’s Best Restaurants. In 2023, Kann was awarded the James Beard Award for Best New Restaurant, and the following year, Gourdet himself won the Best Chef: Northwest and Pacific award. Gourdet currently serves as the culinary director for all five restaurants at the first U.S. location of Printemps, which opened in New York in March. The restaurants under his direction at Printemps at One Wall Street include fine dining stunner Maison Passerelle, Café Jalu, Salon Vert, Red Room Bar and Champagne Bar, all of which showcase French-style offerings infused with influences from Gourdet’s Haitian heritage. Prior to his success as a restaurateur, Gordet honed his skills under the tutelage of Jean-Georges Vongerichten, working his way up to the position of chef de cuisine over the course of nearly seven years. 

If Gourdet could time-travel to any era for an epic night out: “‘Haiti’s golden era, from the 1940s to the 1960s. Haiti was beaming as a hub for global travelers. It was one of the most vibrant, artistic and electric scenes in the Caribbean. People came for art, music, fashion and the beaches.”

What he sees as the biggest challenge facing the industry today: “We are living in a TikTok attention-span world with endless options at our fingertips. The hospitality industry, at its core, isn’t based on that. It takes years to hone your craft, often years for a restaurant to turn a profit, and decades of experience to truly see it all. I think better mutual understanding within teams—slow and steady and together—is the most sustainable way.”

Gregory Gourdet. Heather Willensky

34. E.J. Lagasse

  • Emeril’s | Chef/Co-Owner
  • The Emeril Group | Vice President

E.J. Lagasse, the prodigious son of Emeril Lagasse, has taken the gastronomic world by storm at the tender age of 22. Following his return to New Orleans three years ago to assume the role of chef and co-owner at his father’s eponymous restaurant, Emeril’s, which recently celebrated its 35th anniversary, E.J. has garnered unprecedented attention and accolades. In October, he guided Emeril’s to a prestigious three-star rating from the New York Times, and just a month later, he became the youngest chef in history to helm a kitchen with two Michelin stars. E.J.’s remarkable achievements are underpinned by his extensive training at some of the world’s most esteemed establishments, including the three-Michelin-starred Le Bernardin, Core by Clare Smyth and Frantzén, as well as Café Boulud.

The dish he could eat for 30 days straight: “Le Bernadin’s tuna carpaccio.”

What inspired him this year: “How the restaurant community in the U.S. continues to grow with chefs collaborating with each other, learning from each other and working together to push things forward.”

E.J. Lagasse. Zack Smith

35. Greg Galy

  • Riviera Dining Group | Founder & CEO

Gregory Galy, the driving force behind Riviera Dining Group (RDG), has achieved a remarkable feat with the group’s flagship restaurant, Mila Miami, which has been recognized as the highest-grossing independent restaurant in the United States, generating an impressive $51,115,747 in sales for the 2025 list. This achievement marks a steady rise for Mila, which ranked #5 in 2022 and 2023, and climbed to #2 in 2024 with $49,088,032 in sales. Mila now stands alongside renowned establishments such as Pastis in New York City, Le Diplomate in Washington, D.C. and Joe’s Stone Crab in Miami. Beyond the main restaurant, Mila houses three distinct concepts: the exclusive 10-seat Mila Omakase, one of Miami’s most luxurious sushi counters; Mila Lounge, a sought-after nightlife venue redefining the city’s after-dinner scene; and Mila MM, a members-only destination that has expanded to four locations across RDG’s portfolio. Galy’s culinary empire continues to grow, with the February opening of Claudie, a French-Mediterranean restaurant in Brickell, helmed by chef Michaël Michaelidis. Last month, RDG also unveiled a second outpost of AVA MediterrAegean in Coconut Grove, following the success of the first location in Winter Park. 

What inspired Galy this year: “Seeing Miami emerge as a true global city. The energy, creativity and ambition shaping Miami right now are extraordinary. It has become one of the world’s most influential lifestyle destinations.”

What Galy sees as the biggest shift in consumer behavior: “Guests are craving experiences over status; they want to feel a sense of belonging, wellness and purpose. We see a growing shift toward daytime celebrations, lighter drinking and more health-conscious choices while dining out—without compromising on taste expectations.”

Greg Galy. Gerardo Briceno

36. Sam Fox

  • Author & Edit Hospitality | Founder
  • Fox Restaurant Concepts | Founder

Sam Fox continues to make waves in the culinary and entertainment world with the announcement of a second location of The Twelve Thirty Club, a collaboration with Justin Timberlake. Set to open in Austin, Texas, in 2027, the $30 million project will transform a historic three-story limestone building, once a U.S. Post Office, into a nearly 35,000-square-foot dining and entertainment destination designed by the renowned AvroKO studio. This expansion follows the resounding success of the original The Twelve Thirty Club in Nashville, which has become a must-visit spot for locals and tourists alike. Closer to home, Fox (an Arizona-based hospitality mogul whose foray into hotels with the top-tier Global Ambassador in Phoenix has been spectacular) has partnered with the Arizona Cardinals to elevate the premium seating experience at State Farm Stadium with the launch of Casa Roja at The Fifty. Developed, designed and curated by Fox, Casa Roja is an exclusive club featuring 500 seats clustered around the stadium’s East-side 50-yard line with membership priced from $15,000 to $17,000.

What Fox wants in 2026: “Honestly? More profit. This is a tough industry to be financially successful in, and I want to see the restaurant and hospitality industry thrive. That means investing in our people, our places and creating experiences that remain with our guests long after they leave. If someone walks away feeling like they had an experience they’re excited to share, we’ve done our job.”

What inspired him this year: “London. The food and hotel scene there is on another level. Maison Estelle really stood out, a reminder of how much design, energy and atmosphere really shape creating an unforgettable experience.”

Sam Fox. Courtesy of Author & Edit Hospitality

37. Yavuz Pehlivanlar

  • Hakkasan Group | CEO

In October, Yavuz Pehlivanlar was appointed CEO of Mohari Hospitality’s newly established Hakkasan Group, which Pehlivanlar tells Observer is “a privilege and a responsibility.” Pehlivanlar oversees the Hakkasan, Yauatcha, Ling Ling and Sake No Hana brands—which include several restaurants opened by Tao Hospitality Group, which Mohari previously acquired. Pehlivanlar previously served as chief operating officer of Caprice Holdings Ltd., helming a portfolio that included Balthazar, Sexy Fish and Scott’s Mayfair. His experience spans several other executive roles at 50 Eggs Hospitality Group, Zuma and Mina Group.

What Pehlivanlar wants in 2026: “A return to human hospitality. As leaders, we can’t rely on dashboards alone—we need to invest in culture, creativity and the teams who bring personality into a room. I want to see experiences that feel personal, memorable and full of character.”

If he had to eat the same meal for 30 days straight: “Le Bernardin. The lobster roll from the lounge menu, and a glass of Chassagne.”

Yavuz Pehlivanlar. Alexa Smith

38. Bee Emmott

  • Artfarm | CEO

Bee Emmott assumed the role of CEO at Artfarm hospitality group on January 1, succeeding Ewan Venters. Emmott, who joined Artfarm in 2018 as chief of staff and later transitioned to the creative director position, has been instrumental in overseeing the development of the group’s expanding portfolio alongside founders Iwan and Manuela Wirth. Artfarm’s recent ventures include the opening of Chesa Marchetta, a historic 16th-century guesthouse turned 13-room hotel in Sils Maria, Switzerland, and the second Manuela restaurant in Soho, New York, which boasts a seasonal American menu and an impressive collection of artworks by Hauser & Wirth artists. The group also launched a second outpost of Fish Shop in Washington, D.C., following the success of the first location in Ballater, Scotland, which received a Bib Gourmand award and a visit from King Charles III. Emmott’s appointment comes as Artfarm prepares for international growth and the opening of the first Groucho private members’ club outside of London in Yorkshire in 2026.

Emmott’s year in three words: “NY, D.C., Switzerland.”

If she could time-travel for one epic night out, she’d visit: “Braemar, in Scotland, in the early 1940s, when Francis Farquharson moved there following her marriage to the Laird of Invercauld. A Vogue contributor and ex-editor of Harper’s Bazaar, Francis was a colorful and creative force in the fashion world. Having spent last weekend in Braemar at our hotel, The Fife Arms, attending our Festival of Fashion, I learnt about Elsa Schiaparelli’s deeply personal relationship with Francis. Cocktails with the two of them, I’m sure, would be a blast!”

Bee Emmott. Sim Canetty Clarke

39. Pavan Pardasani

  • JKS Restaurants | Global CEO

Pavan Pardasani, a seasoned hospitality executive with an impressive background working for Tao, Hakkasan and Catch, was appointed as global CEO of London’s esteemed JKS Restaurants in September. In his new role, Pardasani oversees the group’s Indian-food portfolio, which includes renowned establishments such as Trishna, Gymkhana, Brigadiers and Ambassadors Clubhouse, across various global markets. His leadership commences at a crucial juncture, as JKS Restaurants embarks on its expansion into the United States with two highly anticipated openings: Ambassadors Clubhouse, a restaurant inspired by the culinary traditions of India’s Punjab region, is set to open in New York City this winter, while Gymkhana, the group’s two Michelin-starred London flagship, recently made its debut at Aria Resort & Casino in Las Vegas, marking the first Indian fine dining restaurant on the Strip. 

Pardasani on the biggest shift in consumer behavior: “I would say discovery. Guests seem to rate recommendations from strangers on social media based on how their content hits over traditional trusted sources. Very few operators can survive at scale without playing the game to some degree.” 

What inspired him this year: “Watching the city of Los Angeles rally around the Pacific Palisades and Altadena after the fires was remarkable. Those communities and the city as a whole are still suffering, but the spirit of Angelenos remains strong. I often see the best in people when tragedy strikes.”

Pavan Pardasani. Dane Deaner

40. Thomas McNaughton & Ryan Pollnow

  • Flour + Water Hospitality Group | Co-Founder/CEO/Co-Chef & COO/Co-Chef

Ryan Pollnow and Thomas McNaughton’s Flour + Water Hospitality Group (FWHG) has been steadily expanding its culinary empire in the San Francisco Bay Area. The group is working on the opening of their first Oakland restaurant, which will be the third location of their popular Flour + Water Pizza Shop. This new outpost will join their current portfolio, which includes the flagship Flour + Water restaurant, Penny Roma, Flour + Water Pasta Shop, Flour + Water Pizzeria and a partnership in Trick Dog. Flour + Water, the group’s first restaurant, opened its doors in 2009 and has become a staple in the Mission District. Flour + Water Pasta Shop, which supplies homemade sauces and over 12 shapes of pasta to both Flour + Water and Penny Roma, has been instrumental in the group’s success. FWHG ventured beyond the Mission District with the opening of Flour + Water Pizzeria in North Beach. In August, Pollnow and McNaughton further expanded their offerings by launching a frozen pizza line, adding to their growing selection of restaurant-quality CPG products. All restaurants within the FWHG family are members of Zero Foodprint, an organization that funds grants for farmers transitioning to regenerative practices.

What McNaughton wants in 2026: “I want 2026 to be the year we prove that growth and sustainability can coexist. For Flour + Water Hospitality Group, it means scaling our Pizza Shops with integrity through an all-electric, hub-and-spoke model that raises the bar for consistency, creativity and environmental responsibility. For the industry, I hope we move toward valuing people as deeply as we value product. In practice, this means developing real career pathways with work-life balance, and investing in every individual who makes hospitality possible.”

What inspired Pollnow this year: “While one of my words for this past year is ‘terrifying,’ the moments when I felt humbled by the enormity of what we’re trying to accomplish were countered by the confidence I have in our people. They are why I feel excited about where we are as a group today, and where we’re headed tomorrow. With every challenge (learning how to produce retail frozen pizza, scale a Pizza Shop and operate a commissary), I’ve continuously found my ground in every individual on our team who is growing and learning alongside us.” 

Ryan Pollnow & Thomas McNaughton. Kristen Loken

41. Jeffrey Bell

  • One Cornelia | Founder

Jeff Bell, the mastermind behind the iconic speakeasy PDT, has been making waves in the culinary and mixology scenes. This year, he spearheaded PDT’s first significant expansion in nearly two decades, introducing a multifaceted space at One Cornelia Street that houses the East Coast debut of L.A.’s beloved Tacos 1986 and Mixteca, an agave bar helmed by his longtime PDT bartender Victor Lopez. Simultaneously, Bell has juggled multiple projects, including overseeing the cocktail program at the highly anticipated Waldorf Astoria revival, crafting a special menu for a collaboration between Kith Treats and Katz’s Delicatessen, bringing PDT to Barclays Center, and making pop-up appearances at Coachella. In January 2026, Bell is set to unveil his subterranean cocktail bar, Kees, at One Cornelia Street, the third and final concept within his West Village space.

The industry trend that excites him the most: “More variety in the cocktail space and the movement toward broader nonalcoholic selections at dedicated bars, not just restaurants.”

His key to success: “The answer always comes back to the customers and the team. Earning and maintaining one’s customers’ loyalty helps, despite the uncertainty of our industry. My team, whether they’re from the original PDT or completely new to the world of One Cornelia, helps me stay the course with humor, hospitality and an almost frenetic drive to deliver fresh and engaging cocktail experiences.” 

Jeffrey Bell. Kirk Chambers

42. Benjamin & Max Goldberg

  • Strategic Hospitality | Co-Owners

Strategic Hospitality,  the Nashville-based company founded by brothers Benjamin and Max Goldberg in 2006, celebrates its 20th anniversary in 2026. The company’s diverse portfolio includes renowned establishments such as The Patterson House, The Catbird Seat, The Band Box, The Country Club at First Horizon Park, Bastion, Henrietta Red, Locust, Kisser and multiple venues at Nashville International Airport. In August 2023, chef Josh Habiger joined as a partner, and the company opened Friends In Low Places Bar & Honky-Tonk, owned by Garth Brooks and Trisha Yearwood, in November 2023. Spring 2025 saw the opening of Babychan, a Japanese-influenced all-day bakery and café in Germantown, from chefs Brian Lea and Leina Horii. The Goldberg brothers have been nominated for the James Beard Foundation Outstanding Restaurateur award multiple times, with chef Habiger also being recognized in the 2025 nomination. Bastion, Locust and The Catbird Seat became the first Nashville restaurants to earn Michelin stars in 2026, and The Catbird Seat was bestowed two stars.

The meal Max could eat for 30 days straight: “Katz’s pastrami sandwich with spicy mustard, pickles, and extra crispy fries. Similar to taxes and death, that sandwich is undefeated.”

If Ben could time-travel for one epic night out, he’d visit: “Nashville in 2003—the year I opened my first bar, Bar Twenty3. I’d go right back to that moment. The city was buzzing, we were young and threw ourselves into it, not knowing what we were doing, but in the thick of it with so many incredible people doing really cool things. I’d bring together all the folks we hung out with seven nights a week back then and relive that experience.”

Benjamin & Max Goldberg. Andrew Thomas Lee

43. David Nayfeld

  • Back Home Hospitality | Co-Founder & Executive Chef

David Nayfeld, a Bay Area native and co-owner of Back Home Hospitality, has established himself as a culinary force in San Francisco. With an impressive background working alongside renowned chefs like Joël Robuchon and Daniel Humm, Nayfeld has garnered numerous accolades for his restaurants, including Che Fico, Che Fico Pizzeria, Che Fico Parco Menlo. In June, he opened fast-casual Jewish-inspired dining concept Bubbelah in Menlo Park. In September, he returned to fine dining with the opening of Via Aurelia. Nayfeld has been a vocal advocate for the restaurant industry, co-founding the Independent Restaurant Coalition and securing substantial financial support for vulnerable establishments during the COVID-19 pandemic. This year, Nayfeld published his first cookbook, Dad, What’s for Dinner?, which was named Bon Appétit’s best cookbook of 2025.

What inspired him this year: “Reentering the fine dining pantheon after a decade away. It feels different this time. More personal. I’m not chasing anyone else’s style. I’m just trying to find my own voice in this cuisine. One that reflects who I’ve become as a chef, and as a person.”

If he had 24 hours to experience the industry as another nightlife and dining leader, he’d choose: “Stephen Starr, so I could see how the machine works.”

David Nayfeld. Douglas Friedman

44. Fidel Caballero & Sofia Ostos

  • Corima | Partners

Fidel Caballero and Sofia Ostos, the husband-and-wife team behind Corima, have made a significant impact on New York’s culinary scene with their contemporary Mexican fine dining. Corima, their Lower East Side restaurant that opened last year, quickly earned a Michelin star and retained it in 2025, while also securing a spot on the 2025 North America’s 50 Best Restaurants list, ranking 36th. Caballero, now regarded as the new king of modern Mexican cuisine in New York, boasts an impressive background, having worked at the three-Michelin-starred Martín Berasategui in Spain, as well as serving as sous chef at the one-Michelin-starred Contra and later at the team’s Peoples wine bar. In November, Caballero and Ostos expanded their culinary empire with the opening of Vato in Park Slope. The new establishment, whose name is derived from the Chicano slang term for “homie,” functions as a burrito spot, daytime tortilleria and bakery, while transforming into a neighborhood restaurant with Basque and Northern Mexican influences in the evening. 

What Caballero wants in 2026: “A shift toward true sustainability—not just environmentally but human and financial. We need a future where great ingredients, fair labor and thoughtful cooking can coexist with affordability, so more people can experience food that is made with care.”

What inspired Ostos this year: “The people around me. Our team, who show up every day with heart and discipline. Our collaborators, who pushed creativity forward in ways that felt generous and exciting. Our guests, who trust us with their celebrations, let us tell the stories behind our food. And most of all, my husband Fidel—watching his dedication, curiosity and resilience this year has been one of my biggest sources of inspiration. His passion grounds me and reminds me why we do this.”

Fidel Caballero & Sofia Ostos. Jovani Demetrie

45. Ronn Nicolli

  • The Meruelo Group | CMO & CXO

In November, Ronn Nicolli, the CMO instrumental in shaping Resorts World Las Vegas over the past four years, announced his transition to a new role as chief marketing officer and chief experience officer for The Meruelo Group. In what he tells Observer is “one of the most exciting and motivating opportunities of my career,” Nicolli will oversee the marketing and guest experience strategies across the group’s diverse portfolio, including the recently renovated Sahara Las Vegas (where Kwame Onwuachi is opening a steakhouse) and the Grand Sierra Resort in Reno, which is currently undergoing significant enhancements, including the addition of a new arena. Nicolli’s expertise will also extend to the group’s radio and TV stations, leveraging these media assets to engage both the Latin community and the broader regional audience. Nicolli will leverage his experience working with other casinos, including his tenure with Wynn, the Fertitta organization, and most recently, the Lim family at Resorts World Las Vegas, to build upon the success of The Meruelo Group—run by a family with whom he has been friends for nearly 20 years.

Nicolli on the biggest challenge facing the industry today: “Disposable income looks different now, and people are more selective about what they’ll spend money on. The value proposition must be clear. As hospitality leaders, we have to go back to the roots of making people feel good and delivering authentic, meaningful experiences. We’re also competing with global travel more than ever. European summers, for example, were a major competitor to Las Vegas this year. We need to re-ignite excitement for this city—still, in my mind, the greatest city in the world—by showcasing new adventures, new moments and new ways to connect. But above all, our engagement must be authentic. Reacting only when negative feedback forces us to isn’t leadership. We need to rebuild the connective tissue with our guests and provide value that feels genuine, consistent and intentional.”

What inspired Nicolli this year: “Change. The need for it, the willingness to embrace it and the excitement that comes with new beginnings. The ability to create, evolve and step into what’s next has been a major source of inspiration for me.”

Ronn Nicolli. Monika Nicolli

46. Nur Khan

  • Maison Nur | Owner

Nur Khan, a trailblazer in New York City’s nightlife scene, has been setting the standard for social destinations that embody the essence of the city’s after-hours culture since 1995, when he opened Wax, the city’s first “ultra-VIP” lounge. Khan’s portfolio includes Sway (1996), a Spring Street speakeasy adorned with Moroccan decor; Hiro Ballroom (2003); Rose Bar (2006) at the Gramercy Park Hotel; Kenmare (2009), a restaurant and lounge concept; Don Hill’s, a renovated rock and roll hotspot; Electric Room (2011) at the Dream Downtown; and Tao Downtown Lounge (2013), where he served as creative director. In 2019, Khan partnered with John McDonald to open Butterfly Soho, a lounge in the Sixty Soho Hotel, featuring artworks contributed by Damien Hirst and Sante D’Orazio. Last year, Khan collaborated with hotelier and Studio 54 co-founder Ian Schrager to open Two Fifteen, a vibrant and intriguing downtown NYC venue inspired by their previous collaboration at Rose Barl. In June, Khan unveiled Maison Nur, located at 217 Bowery on the Lower East Side. The restaurant features the culinary expertise of executive chef Richard Farnabe, a Paris native who has worked in acclaimed New York kitchens such as Daniel, Jean-Georges, Picholine and Petrossian before cooking at Zero Bond. Given this is Khan, there’s also the posh Studio nightclub underneath Maison Nur.

Khan on the greatest challenges facing the industry today: “The rising costs of ingredients, labor and rent. It would be great if the government could help with rent relief, provide more tax deductions, reduce regulations and offer incentives for food waste minimization. Moreover, it would be helpful if the local government could invest more in promoting NYC as the world-class dining and drinks destination that it truly is to attract more tourists, both domestic and international.”

If he could switch places with another industry leader for 24 hours: “I march to the beat of my own drum, so I have no desire to switch places with anyone. I like my own shoes, thank you very much! Maison Nur is completely my own vision, and I execute it without any compromises because I have no partners in the restaurant.”

Nur Khan. Liz Clayman

47. Giancarlo Pagani

  • Pagani Projects | Founder
  • Mother Wolf Group | Managing Partner

Giancarlo Pagani, the operator behind the Mother Wolf Group, is making significant impact on the Los Angeles culinary scene with an impressive lineup of ventures. The busy operator is helming the highly anticipated 2026 launch of Mott 32, a sprawling Chinese dining establishment situated above Evan Funke and Pagani’s acclaimed Mother Wolf restaurant in Hollywood. This year, Pagani opened Miznon, a pita spot by Tel Aviv chef Eyal Shani, at Grand Central Market, and Bar Avoja, a Roman-inspired cocktail lounge created with Funke, whom Pagani told Observer is “a true pasta Jedi.” 

What inspired him this year: “I was inspired this year by the resilience of the Los Angeles hospitality community. In the aftermath of the January fires, I watched chefs, operators, business owners and neighbors come together with a level of determination and collaboration that reminded me why this city is so special. Teams rebuilt overnight, supported one another’s staff, shared resources and found creative ways to keep serving their communities. Seeing an entire industry unite in the face of devastation and still find ways to create connection, comfort and joy was the most inspiring part of the year.”

What he wants in 2026: “I want to see a more intentional, values-driven evolution of hospitality—one where creativity and operational discipline coexist. For my own business, that means continuing to build chef-driven, culturally resonant restaurants that feel essential to their cities. For the industry, I hope that we collectively invest in leadership development, sustainable growth models and environments where teams can build real careers, not just jobs. When operators thrive, the entire ecosystem, from chefs to purveyors to communities, rises with them.”

Giancarlo Pagani. Courtesy of Mother Wolf Group

48. Eddy Buckingham

  • Tuxedo Hospitality | Co-Founder & Operating Partner

Originally hailing from Melbourne, Australia, Eddy Buckingham’s career has taken him from the lively atmosphere of Australian pubs to the exclusive role of personal mixologist for Justin Timberlake. In 2016, he launched Chinese Tuxedo, which rapidly garnered a loyal following, attracting the likes of the Kardashians and Drake. Buckingham’s portfolio continued to grow with the introduction of The Tyger in 2020, followed by the recent openings of Soso’s, a nostalgic Soho tavern, and Old Mates, an Australian-inspired pub that launched in February near South Street Seaport backed by a star-studded lineup of Australian owners, including Hugh Jackman, comedic duo Hamish and Andy, NBA player Patty Mills, surfer Mick Fanning and Bluestone Lane founders Nick and Andy Stone. Buckingham’s latest venture, Opera House, which debuted in October, is a subterranean bar situated beneath Chinese Tuxedo, occupying the former Peachy’s space at 5 Doyers Street and paying tribute to the location’s history as New York’s pioneering Chinese theater.

On the biggest challenge facing the industry today: “The existential threat to the hospitality industry is the same it’s been for over a decade, and that is the smartphone. Meal times and nightlife are at their heart about bringing people together and celebrating our shared experiences. From the dive bar to haute dining, human connection is the most important part of the mission, and it is more important now than ever. The best solution is to be intentionally analog in your dining choices. Plan a group dinner: pick a venue on the basis of a friend’s personal recommendation, order based on the server’s advice rather than TikTok, go dancing afterwards and leave your phone on Do Not Disturb throughout. Take a disposable camera if you must; the photos will be much more special when you get tactile, hard copies back from the developers in a week’s time.”

What he hopes for in 2026: “To solidify and deepen the roots of our venues—both old and new. After opening three new venues in 12 months (SoSo’s Dining Room, Old Mates and Opera House respectively) in 2026, Chinese Tuxedo will be celebrating its 10th anniversary. Opening Old Mates was my most personal project to date, and developing Opera House felt like the fitting and final culmination of Chinese Tuxedo’s journey on Doyers Street. In the short term, the focus and intention will be on ensuring these new venues have the same character, quality of execution and soul necessary to ensure they enjoy success for the next decade and beyond.”

Eddy Buckingham. Nigel Parry

49. Joel Montaniel

  • SevenRooms | Co-Founder & CEO

In June, Joel Montaniel’s SevenRooms, a trailblazing restaurant booking and customer relationship management (CRM) platform, was acquired by DoorDash in a $1.2 billion all-cash transaction. Montaniel co-founded the company in 2011 with Allison Page and Kinesh Patel, and quickly established a commanding presence in the hospitality industry, catering to over 13,000 diverse venues worldwide, including prominent brands such as Marriott International, MGM Resorts International, Wolfgang Puck, Michael Mina and Union Square Hospitality Group. The acquisition serves as a resounding testament to SevenRooms’ accomplishments and potential, while also paving the way for the company’s continued expansion and global reach. 

Montaniel on the beauty of the industry: “Hospitality should be a sanctuary. Restaurants are a sanctuary and a place that can remind us all that we are all human. I really love that concept.”

Montaniel’s inspiration behind SevenRooms: “We talked to all these operators, and we asked them, ‘How do you decide who to give the reservation to? How do people get in touch with you?’ The systems they were using had no customer data in them. So a restaurant is thinking about where to open up their next location by understanding the customer demographic, how much they spend, how many turns you can get in. Looking at the existing data is really helpful to them as they think about, ‘Should I open up in Miami or L.A.? Or should I go to Dubai or London?’ Most restaurateurs in the past would get there through gut feel. Now, they’re able to get there a lot faster because they can really look at the data.”

Joel Montaniel. Courtesy of SevenRooms

50. Scarr Pimentel

  • Scarr’s Pizza | Founder & Owner

Scarr Pimentel has been making waves in the pizza world since opening his Lower East Side shop, Scarr’s Pizza, in 2016. This year marked a significant milestone for Pimentel with the release of his first cookbook, The Scarr’s Pizza Cookbook. In March, Time Out named Scarr’s Pizza the second-best in the world, trailing only Naples’ Pizzeria da Attilio, a third-generation establishment that has been serving slices since 1938. In August, Scarr’s Pizza expanded its reach by opening an outpost in the new food hall at The Venetian on the Las Vegas Strip. The brand’s popularity has also led to international recognition, with Scarr’s hosting a pop-up in Sydney this fall. Pimentel’s New York pizza haven has evolved into a go-to hangout for watch dealers and collectors, as well as celebrities like Tyler, the Creator and the late DJ Clark Kent (who has a slice named after him at the pizzeria). The latter’s camaraderie with Pimentel sparked a 2019 Nike Air Force 1 Low collaboration, which reemerged this year with a sleek black iteration, unveiled by Pimentel at Complex’s Family Style Food Festival. In May, the shop joined forces with Glass Cypress to introduce a four-piece capsule epitomizing the quintessential chef’s attire.

Scarr Pimentel. Koki Sato
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Botanical-Themed Gifts for Garden Lovers https://observer.com/list/botanical-themed-gifts-for-garden-lovers/ Tue, 25 Nov 2025 19:51:54 +0000 https://observer.com/?post_type=listicle&p=1602077 A common misconception is that shopping for garden lovers means sticking to practical tools. I am a (noun) garden lover who only partially loves to garden (verb). Sure, gardening is a rewarding hobby—but it’s also work, and most passionate gardeners have no shortage of reasons to toil.

If you’re shopping for a woman who is a naturalist at heart, who blossoms when surrounded by flowers, here is your list of botanically inspired gifts that will open her heart like heliotropics open to the sun. From luxurious home accents that bring the outside in to timeless, fine jewelry symbolic of all the qualities her beautiful, blooming brain contains, this guide offers a range of ideas to suit various budgets. Whether you’re seeking an extravagant gesture or a small yet perfectly formed token of affection, these picks will delight any garden lover.

Mestiza Augustine Clutch

Mestiza’s niche is in timeless designs that are elaborate enough to be interesting but never get shouty in the process. The brand believes in exceptional craftsmanship and investing in pieces you’ll wear for a lifetime before officially turning them into heirlooms. Everything from Mestiza is meant to be lived in, and this clutch is no different. The opulent gold-plated blooms on rich, tortoiseshell-acrylic will elevate everything from black-tie ensembles to vintage-inspired street style. The removable chain strap offers even more versatility.

$298 | Shop Now

Courtesy of Mestiza

The Quiet Botanist Deluxe Candle Gift Set

The Quiet Botanist spares exactly zero details in this enchanting assortment of its six best-selling candles, which are wholly aromatic without seeping into the walls (if you are lucky enough not to know what that means, imagine a perfume so thick that, within hours of welcoming it into your home, you double-bagged the spritz like a rude dinner guest and threw it into an alley dumpster without looking back). That said. It is hard to imagine anyone finding offense in any of these fragrant treasures, which is why it feels more than safe to include them in a gift guide. Each candle arrives in an artful box adorned with botanical sketches that look nearly scientific in the best possible way. Even the matchbooks are beautifully illustrated; they are so perfect, you might look away when striking out of respect for setting such luxuries afire.

$400 | Shop Now

Courtesy of The Quiet Botanist

Gilded Bloom Decorative Table Sculpture

It is hard to tell whether the blooming shrub that inspired this sculpture lived on land or in water, perched beneath the shade of a forest blanketed in moss or waving gently at passing schools of fish. It doesn’t matter. Now, it lives in your dining room or on the mantle above the fireplace—somewhere it catches light.

$354 | Shop Now

Courtesy of Perigold

Michael Petry: ‘Nature Morte’

A benefit of working for a company whose editors receive an absurd number of free books is that there are always an absurd number of books free for the taking. I took this book years ago, in what I estimate must have been 2016, the year it was published, when the editors of this book presumably wanted the editors of Observer to review/promote it. Nearly a decade later, I gladly fulfill that duty. Michael Petry’s Nature Morte is one of the most fascinating books I have ever seen. As it turns out, others share the sentiment. It isn’t easy to obtain a copy of Nature Morte in 2025, but if you have the opportunity, don’t pass it up (unless that opportunity involves paying $900 for a used version from the world’s largest retailer—because I’m not sure it’s worth that). At the time of this writing, there was at least one copy for a reasonable price at the link below.

$65 | Shop Now

Courtesy of Form & Concept

La DoubleJ Navy Jacquard Babeball Cap

Rationalizing a $400 baseball cap may seem an impossible feat, but La DoubleJ’s exquisite creation makes a compelling case. This hat is a symphony of contrasts—a gold floral motif exercises restraint as it dances across a sporty navy jacquard, while black trim lends equilibrium to the playful whimsy. It’s a statement accessory that merges worlds, a crowning glory for the intrepid explorer who collects stories like prized seashells. Of course, the $400 price tag remains a hurdle, but such extravagance is easier to justify when presented as a gift.

$390 | Shop NOw

Courtesy of La DoubleJ

Olivar Cúrate Olive Tree

Europe is drowning in tourists. Do something good for the Earth by participating in the revival of Spain’s rich olive oil legacy. Adopting one of the 100,000 centenary olive trees in Oliete’s grove means becoming a guardian of a living piece of history, ensuring the continuation of time-honored traditions and sustainable land practices. The program regenerates the cultural heritage of abandoned rural areas, yielding multiple tangible benefits: contributing to the restoration of Spain’s exceptional olive oil industry, creating employment opportunities for residents of Oliete, and rehabilitating rural infrastructure. The $85 annual adoption pledge includes two bottles of freshly harvested olive oil from the grove’s recovered trees, along with a future promise of an invitation to visit the region, including lodging in orchard-adjacent accommodations.

$85 | Shop Now

Courtesy of Cúrate At Home

Hunter Bell Cornflower Toile Barn Jacket

Equally suited for countryside rambles or urban adventures, Hunter Bell’s Cornflower Toile Barn Jacket is a versatile piece that layers charm into any ensemble. Its intricate floral print, in shades of cornflower blue and white, is expertly toned down by a vertical pinstripe, a relaxed silhouette, a corduroy collar and toggle closure. Overall, the piece evokes nostalgia; it’s easy to imagine such a jacket on a Hollywood hippy starlette. It is the star of the show, without veering precious.

$690 | Shop Now

Courtesy of Tuckernuck

Paloma Picasso Olive Leaf Earrings

Is there a version of ‘trifecta’ for the successful conversion of more than three elements? You cannot go wrong with Tiffany. You cannot go wrong with 18k gold. You cannot go wrong with Paloma Picasso. You cannot go wrong with emblems of peace, hope, victory, wisdom, prosperity and endurance (the olive is resilient!). You cannot go wrong with pearls, symbols of wisdom, wealth, enduring beauty and the journey to enlightenment. You can go wrong with earrings (in which case, if you’re even the slightest bit uncertain, there’s a pendant).

$1,275 | Shop Now

Courtesy of Tiffany & Co.

Ginori 1735 Oriente Italiano Trinket Box

You have to be careful with trinket boxes. It is easy to have too many. Keep just a few, in colors that peek cheerily when nestled on a shelf between photo frames or sit boldly in the center of a side table or bedroom dresser. Inherit and pass down. Source from antique shops, estate sales or Ginori 1735. In intricate porcelain piped in gold.

$390 | Shop Now

Courtesy of Giorni 1735

Zimmermann Silk Scarf

Amongst the many dreamy items in Zimmermann’s Cruise 2026 Collection is this floral, silk twill scarf. Delicate petals in gentle shades of lemon, butter, rose and ivory bloom from sage vines dancing on pale blush piped in navy. It is a wearable tribute to the ethereal beauty of sun-drenched gardens. The fluid drape and lustrous sheen lend wisdom and polish, whether artfully knotted at the neck, cascading down the shoulders, or cinched around the waist.

$225 | Shop Now

Courtesy of Zimmermann

Christina Caruso Gingko Leaf Earrings

These earrings are giant and gorgeous, fanning 2.5 inches from earlobe to jawline. They are for any time of year, for almost any occasion, for women of confident, creative spirit. Hand-sculpted in recycled brass and plated in 14k gold by bombshell New York-based designer and Parsons graduate Christina Caruso.

$445 | Shop Now

Courtesy of Christina Caruso

Ikebana: The Art and Beauty of Flower Arranging

Frédéric Girard’s Ikebana: The Art and Beauty of Flower Arranging is a glorious tribute to the Japanese art of floral composition. Drawing from the New York Public Library’s renowned Spencer Collection, the book showcases a selection of artworks that explore the interplay of flowers, foliage and branches in the pursuit of harmony. The book traces the evolution of ikebana, with a particular focus on the precision of vertical elements that conjure the essence of a landscape within a single vase.

$65 | Shop Now

Courtesy of Rizzoli

Olympia Le-Tan Birds and Blossom Book Clutch

This limited-edition objet d’art is crafted from a sumptuous blend of cotton, wool, silk and felt appliqué. The intricate embroidery depicts a vibrant squad of cherry blossoms, hummingbirds and butterflies against a bright, minty background. It is joyous and carefree—like spring.

$1,856 | Shop Now

Courtesy of Olympia Le-Tan

Yvonne Léon Scarabée Ring

A sacred symbol in ancient Egyptian culture, the scarab embodies the profound concepts of rebirth, resurrection and the eternal cycle of life, closely linked to the sun god Khepri and his daily journey across the sky. The scarab also symbolizes protection, transformation and eternity—a potent emblem used in amulets, seals and religious artifacts to ensure a safe passage through the afterlife. The promise of eternal regeneration makes waiting for Yvonne Léon’s custom-made, 9kt gold scarab ring seem entirely worthwhile. In eight weeks, the Parisian designer will hand-craft your version of the scarab with a malachite and lapis lazuli body, black diamond eyes and grey diamond stripes.

€1,950 | Shop Now

Courtesy of Yvonne Léon

Brad Phillips ‘First Time Sober in Europe’

Brad Phillips’ limited-edition print confronts the vulnerability of the human condition with unflinching honesty. A lily cradles a cigarette as if about to take a puff. What does it mean to be sober? In Europe? It is easy to imagine an artist, leaning on nicotine to maintain a sobriety as fresh as the flowers that burst from the Earth beneath his feet. What would it mean if a flower could smoke? Would she wilt? Grey? Withstand the toxicity? Transform the atmosphere with her exhale? Would a flower turn a cigarette into sweet clouds? Who knows, but it’s a delight to consider. Beneath it all, handwritten scrawl imbues a confessional intimacy.

$235 | Shop Now

Courtesy of Exhibition A

Valerie Confections Rose Petal Petits Fours

I’d be lying if I said I was excited to try rose petal petits fours; just because I love looking at roses does not mean I want to eat them. In fact, I find even the slightest hint of rose essence immediately unpalatable. Not the case with Valerie Confections’ handsome box of treats. These petits fours are so good, they’re almost indescribable. The vanilla bean cake is dense, moist, not too sweet, with a tiny kick from the rose petal passionfruit cradled between each layer. The white chocolate coating is smooth and rich, and the candied rose petals on top are subtly sweet, subtly crunchy, subtly aromatic.

$55 | Shop Now

Courtesy of Valerie Confections

ChappyWrap x Inslee Fariss Climbing Vines Blanket

A fusion of heirloom textiles and contemporary elegance, this oversized throw showcases a mesmerizing pattern of vines and foliage in a tapestry of ivory, evergreen and cactus. Crafted from a cotton blend that is both resilient to shrinking and pilling, this blanket will withstand the test of time while supplying unparalleled comfort.

$160 | Shop Now

Courtesy of ChappyWrap

Curio Embroidered Sketchbook

A journal so alluring it will be hard to know what words could be worthy of living beneath its cover. A menagerie of flora and fauna meticulously rendered in threads as brilliant as a naturalist’s daydream. Inside, 108 unlined pages of thick, ivory paper await sketching, drawing and journaling—joined by a thin stripe of grosgrain. The lay-flat binding ensures a creative experience without the distraction of uncooperative pages.

$49 | Shop Now

Courtesy of The Getty Museum Store

Tea Forté Jubilee Tea Chest

This limited-edition assortment pays homage to the artistry and innovation that have defined Tea Forte’s five-year partnership with The New York Botanical Garden. The elegant box unfolds to present a playground of flavors—40 pyramid tea infusers spanning black teas, green teas, white teas and herbal blends—each nestled in a biodegradable infuser, ensuring optimal freshness and flavor.

$82 | Shop Now

Courtesy of Tea Forté
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Manhattan’s Jewel Box Celebrates 95 Sparkling Years https://observer.com/list/party-recap-pierre-taj-hotel-95th-anniversary-gala/ Fri, 21 Nov 2025 23:32:06 +0000 https://observer.com/?post_type=listicle&p=1601531 New York’s grande dame, The Pierre, knows how to throw a soirée. Last night, the elegant Taj Hotel celebrated 95 years as a beacon of Upper East Side glamour with a ‘Red Diamond’ gala that brought together residents, diplomats, stars and influencers for an unforgettable evening of vintage Manhattan magic.

Nearly 500 guests, from silver-haired luminaries to fresh-faced Gen Z tastemakers, donned black tie finery to toast The Pierre’s storied history in its famous ballroom. Sipping champagne beneath glittering chandeliers, partygoers were transported to a more gracious era, when the hotel played host to everyone from Elizabeth Taylor and Aristotle Onassis to Audrey Hepburn.

The entertainment was a love letter to old New York: A Marilyn Monroe impersonator cooed while Deanna First sketched partygoers and professional ballroom dancers swirled across the stage in a swish of satin and sequins. Historic treasures, like archival photos and a $195,000 0.6-carat pink diamond, were displayed without fanfare (or security).

Getty Images Deanna First.

“I feel as though I was raised at The Pierre,” said Ron Ben-Israel, who created an ornate, six-tier black and red custom cake for the event. Ben-Israel told Observer that the hotel’s hospitality team shaped his culinary journey. “They taught me what it truly means to care for our clients with grace and genuine warmth,” he said.

Courtesy of Ron Ben-Israel Cakes

But while the gala paid homage to The Pierre’s glamorous past, the crowd reflected its vibrant present. Among those spotted in the sea of tuxedos and gowns: hotel residents, foreign dignitaries, reality TV stars, Instagram celebrities and even the odd baby or two nestled in couture-clad arms. It was “a magical night with crème de la crème of NYC,” said beauty influencer Margo Sah, who followed the evening’s dress code (Black Tie Old Hollywood Glam) to perfection.

Courtesy of Margo Abayeva Sah understood the assignment.

Sonal J. Shah, whose own vibrant events are often featured in Vogue, approved: “What an incredible night,” she said. “We do weddings here all the time; it’s such an iconic venue.” Author and chef Kanchan Koya called it “quintessential New York.”

Courtesy of Kanchan Koya Anu Sehgal and Kanchan Koya.
Courtesy of Lola Tash Lola Tash and Jessica Wang.

“I was transported back to the galas of the Gilded Age,” Lola Tash told Observer. The Canadian actress and brains behind the satirical, relatable meme account My Therapist Says was “reminded once more why New York is magical.”

Getty Images Prince Mario-Max Schaumburg-Lippe.

“The Pierre is my American Home away from home,” Prince Mario-Max Schaumburg-Lippe told Observer. His godmother lived in The Pierre, the prince said, noting “the happiest of my memories are right here” and calling the historic property “the hotel love of my life.”

Courtesy of Grace Aki Grace Aki.

Experiencing the hotel’s cinematic history firsthand was a highlight for Grace Aki. The gallery of treasures glowing behind glass displays made the night “all the more special,” Aki told Observer.

Courtesy of Viola Manuela Ceccarini Viola Manuela Ceccarini in front of The Pierre.

“Like stepping into history,” was how Viola Manuela Ceccarini described the event. The same could be said of her evening wear, a beaded gown that would have looked equally at home on any number of Old Hollywood starlets. “The elegance, the legacy and the energy in the room—witnessing generations of excellence converge under that red diamond, a symbol of timeless prestige and the enduring spirit of New York,” she said.

Courtesy of Lori Altermann The star of the show poses with Lori Altermann.

“Everywhere I turn, I see New York’s elite—beautiful celebrities and even Marilyn Monroe!” quipped Lori Altermann. “The fashion, the food, the hotel—everything is fabulous!” Altermann told Observer. “It’s a celebration of luxury,” said Namani Shqipe. The evening proved that after nearly a century, The Pierre can still create indelible Manhattan moments.

Getty Images A Rolls-Royce awaits.
Getty Images Guests enjoyed ice-cold Grey Goose Altius.
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Getty Images Monica Danae Ricketts.
Getty Images Evie Evangelo.
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Getty Images Daria Matkova.
Getty Images ‘Queen of Versailles’ Jackie Siegel.
Getty Images Lorna Luft and Jill Martin.
Getty Images Ramona Singer.
Getty Images Sara Fivessi.
Getty Images Andy Yu.
Getty Images Kate Saucedo and Dymond Veve.
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Observer’s 2025 Art Power Index: The Art Market’s Most Influential People https://observer.com/list/art-power-index-2025/ Wed, 12 Nov 2025 12:00:00 +0000 https://observer.com/?post_type=listicle&p=1597073 POWER WILL ALWAYS BE THE REAL COIN OF THE ART WORLD, regardless of how many dollars enter a gallery’s ledger. It takes a remarkable amount of power to become the kind of person who collects art, and it takes immense power of a different kind to convince an artist that you should be the person to sell their work. When this kind of buyer and this kind of seller meet, it’s always a power play, a complicated dance of negotiation and competition. As Patrick Radden Keefe reminded us in his 2023 New Yorker profile of Larry Gagosian, “for much of Gagosian’s clientele, he is less a peer than an aspirational figure.”

A small number of galleries closed this year—each for reasons so idiosyncratic that no narrative could be assembled from these developments one way or the other. I imagine that Tim Blum is comfortable in his retirement, having relinquished the throne as Los Angeles’s top dealer. Meanwhile, the young Angeleno Matthew Brown proved that savvy up-and-comers can still make a splash with a recent expansion to New York, where, this year, he stole living legend Carroll Dunham from Gladstone.

Hauser & Wirth had a good year, not that they’ve ever had a bad one. This spring, several of their artists opened exhibitions at three of New York’s top museums, including Amy Sherald at the Whitney Museum of American Art, Jack Whitten at the Museum of Modern Art and Rashid Johnson at the Solomon R. Guggenheim Museum. That’s a rare accomplishment, even for a gallery with pockets as deep as Hauser’s—shoutout to Marc Payot. Next year, the gallery will open a space in Palo Alto, following Marc Glimcher and Pace in their quest to determine whether or not tech guys will ever collect anyone besides Alec Monopoly.

Issy Wood impressed a certain set by rebuffing Gagosian in that New Yorker profile, but absorbing young artists has become a trend for the blue chippers, in part because their lower price points represent the amount of money that collectors today want to spend. David Zwirner has recently absorbed Yu Nishimura, Sasha Gordon and Emma McIntyre, and the gallery’s space at 52 Walker feels like a farm team. In Mexico City, where young artists abound, kurimanzutto takes the opposite approach, distinguishing itself by staging museum-quality exhibitions with the biggest names possible, which can be confirmed by anyone who saw their Haegue Yang survey during ZONAMACO this year.

On this iteration of our Art Power Index are a number of auction-world personalities, and here again, we must talk about the New Yorker, because the auction world is a duopoly, and the story of Christie’s success is also that of Sotheby’s failure. Sam Knight’s recent profile of Patrick Drahi, who purchased the house in 2019, implies that the owner is less concerned with success than with lining his pockets and giving his children jobs. Hong Kong rainmaker Patti Wong left in 2022 after Drahi put his son Nathan in charge of the formerly successful office. Now, “literally half of the H.R. department’s job is trying to manage Nathan’s damage.” At least Guillaume Cerutti and Alexander Rotter have been having a good time—at the auction previews in the spring, Rotter could be seen palling around with his former coworker Loïc Gouzer, who brought his Fair Warning startup venture to Christie’s that season. The two were so ebullient you would have never suspected that, according to the 2025 Art Basel and UBS Global Art Market Report, public auction sales were down 19 percent, or $25.1 billion—the steepest fall since 2009.

Clare McAndrew, author of that report, appears on this power list because it remains authoritative despite recent forays into the space by outlets such as Artnet and Artsy. This is, perhaps, a testament to the Art Basel brand. Honcho Noah Horowitz and Chief Artistic Officer and Global Director of Art Basel Fairs Vincenzo de Bellis must be doing something right; everyone who’s anyone went to Art Basel Paris this year. On the other side of that particular duopoly sits Ari Emanuel, who took personal ownership of the Frieze fairs (via new venture MARI) from his agency Endeavor, which went private this year. Even when sales at the fairs are down—and they are down, representing just 31 percent of annual sales for galleries from a pre-pandemic high of 43 percent—the fairs themselves always seem to make money through their booth fees and ticket sales. Who doesn’t like it when the circus comes to town?

But all that power pales in comparison to the kind exercised by museums. This year saw the loss of Agnes Gund, the patron par excellence, and the continued rise of MoMA’s young board president, Sarah Arison, deemed “her generation’s Agnes Gund” by Town & Country. Max Hollein remains his generation’s Max Hollein, ubiquitous as New York gallery-opening scenester despite moonlighting as director of the Metropolitan Museum of Art. This year’s opening of that institution’s refreshed Rockefeller Wing shows its dedication to new ideas, and they’re already on to the next project: a new wing that promises 50 percent more gallery space for the museum’s 20th- and 21st-century collections. Across the country, construction has nearly been completed on Michael Govan’s brand-new LACMA, which was designed by Peter Zumthor and promises to reshape the social fabric of the city. If that isn’t power, what is?

Keep reading for more insight into the people whose actions, tastes and endorsements move the needle on valuation and the people who decide who gets in and what gets seen (and what gets left off the gallery wall). Each year, our Art Power Index spotlights the figures shaping how capital and vision move through today’s art world. It turns out that the reports of the art industry’s demise were premature, but it is changing, and our 2025 honorees are the ones reinventing its structures and steering its evolution into unexpected new territory.

Refik Anadol

  • Dataland | Founder & Artistic Director

It’s hard to think about A.I. art without thinking about Refik Anadol—that’s how profoundly he’s shaped the field. From blockbuster installations like Unsupervised – Machine Hallucinations at MoMA to his relentless pursuit of A.I. as a creative medium, Anadol has transformed how we experience data, memory and perception. His work, which merges machine intelligence, architecture, and new media art, is part of major institutional collections, including MoMA, Kunsthaus Zürich, Istanbul Modern and the Museum of the Future.

Now he’s pushing boundaries again with Dataland, the world’s first A.I. art museum, originally set to open at The Grand LA this year but now debuting in spring of 2026. “While Dataland will primarily focus on creating new, site-specific projects exclusive to the museum, we plan to also feature some key projects from our past to offer visitors a glimpse into the broader context of our work,” Anadol told Observer. The space will also support emerging artists and expand the place of digital art in mainstream culture. “Since beginning my journey, I’ve dreamed of moving digital art out of the margins and into the mainstream. It’s inspiring to witness this vision coming to life,” he added. A vocal advocate for ethical A.I., Anadol launched the “Make It Fair” campaign to promote transparency and accountability in creative technology—a mission that earned him recognition on the TIME100 A.I. Impact Awards list in 2025.

Refik Anadol. Photo by Efsun Erkilic, Courtesy of Refik Anadol

Sarah Arison

A quiet but mighty powerhouse of arts philanthropy, Sarah Arison has used her influence to subtly but decisively shape the contemporary art landscape. As president of the Arison Arts Foundation, a family legacy, and the youngest-ever president of MoMA‘s Board of Trustees, she is known for championing emerging U.S. artists across disciplines early in their careers through sustained patronage and partnership. Her leadership was on full display this year when she delivered remarks at MoMA’s annual fundraiser and co-chaired the 2025 MoMA PS1 Gala, events that underscored her status as one of the country’s most influential private grantmakers.

“Institutions, funders and collectors are looking more closely at how artists are uplifted at all stages of their careers and how communities of practice form around them,” Arison tells Observer. “Much of my work focuses on creating environments where emerging artists can take risks, engage in dialogue, and build networks that sustain them over time. Rather than focusing on visibility alone, we are working to build durable networks of care that allow artists to evolve and lead the conversations that shape the cultural landscape.”
 
Based in Miami, the Arison Arts Foundation awarded more than 100 grants last year, distributing nearly $30 million to artists and institutions. Arison also continues her family’s legacy as Chair of the Board of YoungArts, the multidisciplinary arts organization founded by her grandparents Lin and Ted Arison. At YoungArts, she has helped advance a model of lifelong support for literary, visual and performing arts that begins when artists are still in high school and continues throughout the full arc of their careers. This work sits alongside her leadership at MoMA and MoMA PS1, as well as support for numerous grassroots programs that provide fellowships, community-building, and relief for artists facing financial hardship. Arison has emerged as a pivotal force in reimagining how arts philanthropy operates, emphasizing cooperation over competition. “When we invest in the full arc of an artist’s journey, the entire cultural landscape benefits,” Arison says.

Sarah Arison. Abbey Drucker Studio, Courtesy of Sarah Arison

Vincenzo de Bellis

  • Art Basel | Chief Artistic Officer & Global Director of Art Fairs

At the helm of Art Basel since 2022, Vincenzo de Bellis has redefined what it means to run a global art fair brand. As director overseeing all fairs and exhibition platforms, he has shaped the format, tone and exhibitor selection across Basel, Art Basel Miami Beach and Art Basel Hong Kong—while steering the brand into new territory with the launch of a Paris edition in 2022 and the upcoming inaugural edition of Art Basel Qatar, slated for early 2026. What distinguishes his approach is a commitment to rooting each fair in its local cultural and market ecosystem, creating distinct identities that feel both globally connected and regionally grounded. Art Basel Paris has quickly established itself as a must-attend European event, while Art Basel Qatar aims to tap into the Gulf’s accelerating creative and economic transformation.

Now deep in preparations for the Qatar debut, De Bellis is applying a proven balance of curatorial rigor and industry savvy, building strategic alliances with regional players such as Qatar Sports Investments (QSI) and QC+, while putting acclaimed Egyptian artist Wael Shawky in the driver’s seat as artistic director—a move that underscores the fair’s intent to connect institutional ambition with local voices. Beyond the fairs themselves, De Bellis has also strengthened Art Basel’s role as a thought leader within the art world, introducing the Art Basel Awards in 2025 to honor organizations and individuals driving innovation. Under his leadership, the brand has evolved from a marketplace into a global platform for dialogue, vision and cultural exchange.

Vincenzo de Bellis. Matthieu Croizier for Art Basel, Courtesy of Art Basel

Christine Berry & Martha Campbell

  • Berry Campbell | Owners

Specializing in postwar American artists who were long overlooked or underrepresented, Christine Berry and Martha Campbell have built Berry Campbell gallery into one of the most influential forces behind recent market rediscoveries. “We were looking for postwar artists we could potentially represent, so we went to the Archives of American Art,” Campbell told Observer earlier this year. From there, they took a deeply hands-on approach, reaching out to the families and estates of forgotten artists, unearthing archives and cataloguing works that had slipped through the cracks of art history. Their training as art historians became the foundation for rebuilding these artists’ legacies, connecting the missing dots that institutions and markets had ignored for decades.

That persistence has paid off. The gallery’s exhibitions have ignited new visibility—and new valuations—for once-neglected painters. Bernice Bing, whose works sold for around $30,000 only a few years ago, reached $850,000 in 2024. Alice Baber, long undervalued at roughly $3,000, sold for a record $700,000 following her first major exhibition in more than 40 years. Lynne Drexler’s market followed a similar ascent. By championing these artists with scholarly rigor and curatorial conviction, Berry and Campbell have not only altered their markets but reframed the larger story of American modernism, ensuring that women and other marginalized voices occupy their rightful place in it. 

“As two women business owners for over a decade now, we have watched wealth change hands to where more women are making the buying decisions,” the duo tells Observer. “Naturally, as this happens, women are being more inclusive in buying women artists. It is exciting to witness (and be a part of) this evolution.”

Martha Campbell & Christine Berry. Photo by Blaine Davis, Courtesy of Berry Campbell

Michael Bloomberg

Michael Bloomberg isn’t just a philanthropist—he’s the top philanthropist in the U.S., with a record of supporting art initiatives with a focus on urban renewal and access. (He reportedly gave $3.7 billion last year, putting him at the top of the Chronicle of Philanthropy’s latest Philanthropy 50 report.) His foundation, Bloomberg Philanthropies, partners with more than 700 cultural organizations worldwide, and through his donations, the former mayor of New York City has built a legacy of supporting small, medium and large organizations and initiatives—particularly in urban environments. The annual $100,000 Asphalt Art Grants transform streets and public spaces with artworks designed not only to activate underutilized areas but also to enhance street safety. Then there are the $1 million Public Art Challenge grants, which fund projects that address civic challenges like health equity, climate resilience and urban revitalization through the installation of artworks.

“The arts have always been at the center of movements for change,” Bloomberg tells Observer. “Today, they can play a role in spurring progress in the fight against climate change. Artists are drawing attention to the problem in powerful ways that encourage people to take action.”

In addition to doubling down on public art as a lever for urban change in the U.S., Bloomberg has a reputation for directly and indirectly supporting culture around the world. He’s chairman of the Serpentine Board and opened the London Mithraeum Bloomberg SPACE. This year, he made the largest private donation ever recorded to the London Museum—a £20 million contribution plus a donation of 14,000 Roman artifacts uncovered during the construction of the Bloomberg European headquarters in London. On the accessibility side, the Bloomberg Connects app offers free digital guides to hundreds of museums, galleries, sculpture parks, gardens and other cultural institutions around the world. “The more we do to support both arts and arts organizations, the more we can capitalize on their potential to drive progress,” Bloomberg says. Ultimately, the scale and scope of Bloomberg’s giving affords him significant influence over the institutions, artists and stories that will be funded and amplified.

Michael Bloomberg. Courtesy of Bloomberg Philanthropies

Tim Blum

  • BLUM | Founder

Tim Blum has spent decades redefining how Western audiences engage with Asian art—and now he’s redefining what it means to run a gallery. The veteran dealer, who introduced Japanese and Korean postwar masters to the U.S., stunned the art world this year by announcing the closure of his galleries in Los Angeles and Tokyo, as well as the shelving of plans for a New York outpost. “We’ll begin a new chapter: transitioning away from the traditional gallery format toward a more flexible model,” he explained. “Without a permanent public space or formal artist roster, this structure will allow us to engage with artists and ideas in new ways, through collaborations, special projects and longer-term visions still in development.” It was a decision years in the making, reflecting the mounting pressures of a gallery system stretched by nonstop programming, art-fair fatigue and the gravitational pull of the mega-galleries that dominate global attention and resources.

Blum’s exit from the brick-and-mortar model has become a lightning rod for broader conversations about sustainability, leadership and intentionality in the art world. His pivot toward a leaner, more fluid structure signals a move away from the volume-driven expectations that have defined the industry for decades. In doing so, he’s opened a pathway for a new kind of dealer—one focused less on scale and spectacle and more on depth, collaboration and long-term vision. Still, don’t expect him to vanish anytime soon. “Of course I’ll still be buying and selling art,” Blum said. “It’s part of my DNA.”

Tim Blum. Kevin Czopek/BFA

Bonnie Brennan

  • Christie’s | CEO

Auction veteran Bonnie Brennan took the helm as CEO of Christie’s in early 2025, marking one of the year’s most closely watched leadership transitions in the art world. Formerly head of Americas—where she drove nearly half of the auction house’s global sales—Brennan now oversees an operation that brought in $2.1 billion in auction revenue in just the first half of 2025. Seven of the ten highest-priced artworks sold globally during that period went through Christie’s under her leadership, including Piet Mondrian’s Composition with Large Red Plane, Bluish Gray, Yellow, Black and Blue (1922) and Canaletto’s Venice, the Return of the Bucintoro on Ascension Day. Her ascent signals both continuity and evolution at a firm balancing tradition with transformation.

Brennan has made it clear she intends to broaden Christie’s reach, engaging younger and more diverse buyers while keeping a steady hand amid market headwinds. “We are deepening our connectivity in these growth markets—listening closely, partnering locally, and ensuring we are part of the cultural dialogue taking place across every continent,” Brennan tells Observer. “This widening landscape of creativity and collecting represents one of the most exciting opportunities in the art market today.” From exploring A.I. applications to rethinking the global sales calendar to committing to an ethos of sustainability, Brennan’s leadership reflects a pragmatic understanding of where the auction world is heading and a determination to keep Christie’s leading the charge. “We see ourselves as an important part of helping to ensure that growth in the art world happens with purpose, integrity and inclusion.”

Bonnie Brennan. Photo by Rachel Grace Kuzma, Courtesy of Christie's

Maria Brito

  • Maria Brito LLC | CEO

New York art advisor Maria Brito has moved more than $150 million for A-list stars and financiers (the vast majority of her clients are U.S.-based). She publishes The Groove, a widely read weekly newsletter that reaches 32,000 engaged readers, and she regularly shares market tidbits, cultural commentary and art obsessions with her 142,000 Instagram followers. “Globalization has made the market faster, bigger and more connected, while younger collectors demand purpose and transparency,” Brito tells Observer. “My role is to bridge worlds, combining knowledge, data, relationships and intuition so collectors can navigate this landscape with clarity and confidence.”

Her analyses of the art market—whether through interviews, in The Groove or on social media—are generous, engaging and accessible. With headlines like “Do artists need galleries?,” “Can art still shock us?” and “Can you love the art but hate the artist?” Brito uses her platforms to curate far-ranging conversations on the state of the art sector today, turning her into an influential voice among the traditionally tight-lipped art advisory world. Power, she adds, has become more distributed and far less predictable. “The old hierarchies still stand, but influence now moves through new collectors, new media and access to quality works… It’s not about disruption for the sake of it. It’s about evolution: making the art world smarter, more inclusive, and more transparent without diluting its excellence. That’s the real opportunity.”

Read our full Q&A with Maria Brito

Maria Brito. Daniel Greer, Courtesy of Maria Brito LLC

Matthew Brown

  • Matthew Brown Gallery | Founder

Matthew Brown was just 23 when he opened his first gallery in Hollywood in 2019. Five years later, he has two spaces in Los Angeles and opened a location in New York in 2024, defying both the COVID slowdown and a recent trend of gallery closures. Brown learned the ropes working simultaneously for mega blue-chip powerhouse Gagosian and experimental gallery Hannah Hoffman (soon to be Hannah Donahue). He was then unofficially mentored by groundbreaking dealer/curator Jeffrey Deitch, who provided guidance as Brown worked to set up his own space and build his niche (L.A. artists who were not showing in L.A.). Brown’s roster has expanded to more than 20 artists, including painter Carroll Dunham, whose drawing retrospective will open at the Art Institute of Chicago in January 2026. Early next year, he’s moving the Los Angeles gallery to a new space that he’ll inaugurate with an exhibition of works by Mimi Lauter, who he says he’s “long admired.”

Brown’s fast rise in art world circles may come down to his willingness to approach anyone with an ask (he approached Deitch at a fair), but there’s no denying that he has reshaped market dynamics by connecting Gen Z and Millennial collectors with artists on an upward trajectory, nurturing both a younger generation of collectors and platforming emerging artists without succumbing to speculative demand. “The new generation of collectors is more fluid: they’re digitally native, more global and often less tied to one genre, medium or even art historical period,” he tells Observer. “Their approach is intuitive, more lateral.” His artists have been shown by LACMA, the FLAG Art Foundation and El Museo del Barrio in New York City. Young he may be, but by all accounts, his approach is decidedly old-school: focus on the artist, and visibility and valuation will follow. 

Matthew Brown. Nick Sethi, Courtesy of Matthew Brown Gallery

Amy Cappellazzo

  • Art Intelligence Global | Founding Partner

What Amy Cappellazzo touches tends to turn to gold. She rose through the ranks at Christie’s, transforming its postwar and contemporary art department into a market-defining powerhouse that reshaped valuations and sales across the industry. She then co-founded Art Agency, Partners, which Sotheby’s acquired for $85 million, and went on to serve as chair of Sotheby’s Fine Art division—overseeing strategy across Old Masters, Modern, Contemporary, Impressionist and Asian art. After years of rewriting the rule book at the auction house, she stepped down in 2021 to build something of her own.

That something became Art Intelligence Global (AIG), the firm she co-founded with Yuki Terase to bridge the U.S. and Asian markets through high-end art advisory and private sales. Headquartered in New York City and Hong Kong, AIG has quickly positioned itself as a next-generation player in an evolving art economy. This year, Cappellazzo brought in Matt Bangser as senior director—a move that signals her commitment to a holistic, ecosystem-wide strategy that connects artists, galleries, collectors and institutions. “Because he’s worked in galleries, at auction houses and directly with artists, he brings a range of experience that’s incredibly valuable—especially now,” Cappellazzo told ARTnews. It’s a statement that captures her ethos: art advisory not as a niche service but as a bespoke service that offers premium market intelligence and blurs the traditional boundaries between galleries, advisors and auction houses.

Amy Cappellazzo. Madison Voelkel/BFA

Guillaume Cerutti

Guillaume Cerutti stepped down as CEO of Christie’s in 2025, handing the reins to Bonnie Brennan after a transformative tenure that redefined the auction house’s global footprint. Under his leadership, Christie’s delivered some of the most significant milestones in market history—from the record-breaking sale of Salvator Mundi (still the most expensive work of art ever sold) to the $1.6 billion auction of Paul Allen’s collection—and pushed the industry into the digital age through its pioneering collaboration with Beeple to sell the first purely digital NFT artwork offered by a major auction house. Cerutti proved that heritage and innovation could coexist, guiding Christie’s through the volatile years of online adoption and cementing its reputation as a leader in the next-gen art landscape.

Now chairman of the board for Christie’s and president of the Pinault Collection, Cerutti stands at the intersection of commerce, culture and policy. As such, his vision extends beyond the market: he recently proposed a €50 million European fund to enable joint acquisitions among museums that could foster cross-border partnerships and shared cultural stewardship. The initiative reflects a pragmatic solution to funding constraints and a bold reimagining of how institutions and private collections can work together—something he sees as increasingly necessary. “In a more fractured and brutal environment, the art world has a vital role to play: as a refuge, as a space for dialogue and as a provider of meaning,” he tells Observer. ”At the same time, other events, such as the theft at the Louvre, have reminded us of the vulnerability of these spaces. All players in the art world face this dual challenge: they are more relevant than ever, but also more exposed.” Collaboration, as modeled by Cerutti, could offer protection.

Guillaume Cerutti. Portrait de Guillaume Cerutti © Claire Dorn / Pinault Collection

Elizabeth Diller, Charles Renfro & Benjamin Gilmartin

The studio lost its beloved co-founder, Ricardo Scofidio, this year, but Elizabeth Diller, Charles Renfro and Benjamin Gilmartin remain firmly at the helm. DS+R has never been a conventional architecture firm—it’s the creative force behind some of the world’s most celebrated cultural landmarks, where architecture, art installation and performance converge. Co-founded by Diller in 1981, the studio has shaped the modern city’s cultural identity through projects like New York’s High Line—an eight-million-visitors-a-year phenomenon praised worldwide for its inventive reuse of industrial infrastructure and approach to urban rewilding. DS+R also designed The Shed, MoMA’s renovation and expansion, the $1 billion restoration of Lincoln Center for the Performing Arts, Boston’s Institute of Contemporary Art, The Broad in Los Angeles and its extension, currently underway and slated for completion before the 2028 Olympics.

The studio’s acclaim and collection of awards stem from its ability to transform how the public engages with architecture. DS+R’s work consistently rethinks the civic role of buildings, emphasizing cultural purpose and spatial context within the city. Each project invites participation rather than passive observation, merging design with social experience. Continuing that legacy, Gilmartin assumed the presidency of the American Institute of Architects (AIA) this year, launching the initiative “See You IRL: Designing for Public Life,” a program exploring how shared physical spaces shape the social fabric of New York City and beyond. Renfro led DS+R’s first international projects, including The Tianjin Juilliard School in China and Zaryadye Park in Moscow. He also shaped much of the studio’s academic work, with projects at Rice, Columbia, Stanford and UC Berkeley. Beyond design, Charles has been recognized for his support of LGBTQ+ and BIPOC artists through BOFFO.

Diller Scofidio + Renfro. Photography by Geordie Wood. Courtesy of Diller Scofidio + Renfro

Felipe Dmab, Pedro Mendes & Matthew Wood

  • Mendes Wood DM | Founding Partners

Pedro Mendes (who is from Minas Gerais, Brazil) and Matthew Wood (a New Hampshire native) were onto something when they established their first artist residency in rural Brazil and their gallery 15 years ago. The idea germinated from their time studying in Paris, seeing that Brazilian artists struggled to be included in top galleries and institutions. “There was never a business plan,” Mendes said in an interview. “It was 100 percent intuitive, it was instinctual.” Their initial address was an auspicious one, next door to Felipe Dmab’s early concept gallery, and so fate gave us the visionary trio known for moves like championing living Afro-Brazilian artists on the global art stage for the first time—including self-taught Sônia Gomes, who a year after joining the Mendes Wood DM roster was included in the 2015 Venice Biennale and today has works in major institutional collections. They capitalize on their cultural differences and diffuse connections when demonstrating that Brazilian art has the potential to reach international markets and institutions, but also to shape intellectual debates and conversations. 

The trio has been the driving force in many cutting-edge conversations taking place in the art world around decoloniality, trans-Atlantic connections, ecology and social justice. Mendes Wood DM is now a multi-city network of galleries with operations in São Paulo, Brussels, Paris and New York and regularly brings work by artists from its roster to the major fairs—including Art Basel Hong Kong—strengthening cross-continental sales of work by Brazilian artists like Solange Pessoa and Rubem Valentim.

Matthew Wood, Pedro Mendes, and Felipe Dmab. Photo by Bob Wolfenson, Courtesy of Mendes Wood DM

Edward Dolman

  • Dolman Partners | Co-Founder
  • New Perspectives Art Partners | Founder

Ed Dolman knows auctions. Rising from furniture porter to Christie’s CEO and chair, he spent more than a decade at the top, overseeing historic sales, including those leading to the restitution of Gustav Klimt paintings to Maria Altmann and her family. At Phillips, he turned a once-niche house into a billion-dollar contender, driving sales from $398 million in 2014 to $1 billion by 2023. During his 10-year tenure, he expanded the company’s global reach, establishing a Hong Kong office ahead of many Western rivals and betting early on the ultracontemporary market. Dolman’s willingness to embrace risk and innovation (for example, investing in the volatile segments of the art market) helped redefine Phillips’ appeal among younger, more adventurous collectors.

“Taste always changes and evolves, and we are now at a moment when young and new collectors are searching for direction,” Dolman tells Observer. “We have seen a move recently into ‘safer’ and ‘classic’ late 19th- and 20th-century art, but this will not last as the market recovers and the number of collectors grows.”

Late last year, Dolman stepped down as Phillips’ CEO. This year, he helped found and launch New Perspectives Art Partners, the high-end advisory venture poised to reshape the global art-advisory landscape amid generational transitions in collecting. “The art market is more complex and global than it has ever been,” Dolman says. “Private sales need to be able to connect buyers and sellers from completely different parts of the world. It’s a good time to seek independent advice if you’re buying or selling.” Dolman’s deep familiarity with the Middle East’s fast-rising art scene (he previously served as acting CEO of Qatar Museums and remains close to Sheikha Al-Mayassa bint Hamad bin Khalifa Al Thani) will position the auction veteran well in this next chapter.

Edward Dolman. Courtesy of New Perspectives Art Partners

Ari Emanuel

  • MARI | Founder & Principal Investor

Ari Emanuel is never far from the spotlight thanks to a series of major industry moves. The Hollywood power broker made headlines last May with his personal acquisition of the Frieze art fair and media group from Endeavor—a $200 million deal that cements his influence in the arts and puts Frieze’s global fair portfolio (New York, Los Angeles, London and Seoul along with EXPO Chicago, The Armory Show, Frieze magazine and the No.9 Cork Street gallery in London) under the control of his new holding company, MARI. Rather than a shake-up, the move signals long-term stability: Frieze’s senior leadership remains in place, and Emanuel, who previously helped drive the brand’s expansion, appears intent on strategic growth rather than reinvention. To wit, the recent announcements of Frieze House Seoul (a No.9 Cork Street analog) and the fair’s Gulf play, Frieze Abu Dhabi.

For Emanuel, Frieze is both a business and a passion project. His background steering Endeavor/WME’s entertainment empire—including global event platforms like UFC and WWE—makes the acquisition part of a larger play in the live experience economy, where art fairs, fashion and entertainment increasingly intersect. “Frieze has always been a source of inspiration for me—both professionally and personally,” Emanuel said in a statement. While talk of art fair fatigue lingers, Frieze remains a global brand synonymous with prestige and cultural cachet. Under Emanuel’s watch, it’s poised not just to endure but to expand its reach, merging art-world sophistication with the scale and polish of a seasoned entertainment executive.

Ari Emanuel. ©Brigitte Lacombe, Courtesy of Frieze

Katherine E. Fleming

Katherine E. Fleming oversees one of the most powerful cultural endowments in the world—more than $9.45 billion—and leads a constellation of institutions that includes the Getty Foundation, Getty Research Institute, Getty Conservation Institute and its two museums. Last year, she told Observer that the organization was trying to “think really carefully and creatively about what it means to be wealthy” in one of the most expensive neighborhoods in L.A. That reflection became strikingly literal in January 2025, when the Palisades wildfires tested the Getty’s state-of-the-art fire protection systems—an elaborate defense network of concrete barriers, sealed air systems, water reserves and fire separations designed to protect both the Getty Center and the Getty Villa. “The wildfires really brought home to me, in super concrete terms, what it means to be a repository of global cultural heritage,” she tells Observer. “The art that we own, we own on behalf of humanity. Museums are like a cultural version of Norway’s seed bank. It is vital that we take that responsibility very seriously, even as we try to make our collections as accessible as possible.” 

Beyond preserving the institution’s own treasures, she also turned the crisis into an opportunity to lead by example. The Getty helped launch the $14.3 million L.A. Arts Community Fire Relief Fund to support artists and cultural workers whose homes, studios or workplaces were damaged in the fires. “It made me think a lot about how important cultural institutions are for the resilience of humanity in the face of the multiple disasters that seem to surround us in the contemporary world,” she adds. “We play a vital role in connecting people to the past, to the future, and to one another, and in helping calm them and give them resilience during chaos.” Ultimately, Fleming created a roadmap of how institutions can be more than just fortresses of art and scholarship, serving also as responsive civic resources that use cultural wealth to support community resilience in moments of crisis.

Read Our Full Q&A With Katherine E. Fleming

Katherine Fleming. Courtesy of the J. Paul Getty Trust

Vanessa Fusco

  • Christie’s | International Director, Head of Impressionist & Modern Art, Americas

As the story goes, Vanessa Fusco was on track for a PhD in art history before realizing she missed the pulse of the auction floor—so she returned to Christie’s, where she’s since become one of its sharpest operators. Now head of the department for Impressionist and Modern Art in the Americas, she advises clients on multimillion-dollar works by the greats of the 19th and 20th Centuries, handling masterpieces with the precision of someone who knows both art and market inside and out. As head of the department, she shapes how blue-chip lots are positioned, priced and ultimately placed in private collections. At the last marquee sales, she presented Claude Monet’s Peupliers au bord de l’Epte, crépuscule (1891)—a performance that reminded everyone why she’s one of the best in the business.

Her strategy blends connoisseurship with global reach. Peupliers was unveiled in Taipei, a calculated move that paid off: “Taipei, in particular, has really had strong interest in classic Impressionism,” Fusco told ARTnews. The work went on to sell for $43 million after fees, a new world record price for the series, surpassing estimates amid competitive regional bidding. Fusco was at the helm of running the inaugural 20th Century Evening sale, a format introduced in May 2021, which combines the best of impressionism, modern and postwar Art into one masterpiece sale. That auction included Picasso’s Femme assise près d’une fenêtre (Marie-Thérèse) (1932), which topped $100 million—the first painting to do so since 2019, and Fusco was on the telephone with the winning bidder. Ultimately, Fusco is orchestrating confidence in a market that still hinges on trust, taste and timing.

Vanessa Fusco. Courtesy of Christie's

Larry Gagosian

  • Gagosian | Founder

There’s no contemporary art world without Larry Gagosian, its billion-dollar kingmaker and overall heavy-lifter. While others set up mega-galleries, Gagosian built an empire. He continues to represent the most significant artists and estates, mounting impeccable museum-caliber exhibitions and curating punchy fair booths that set the bar for everyone else while sustaining audiences through his editorial venture Gagosian Quarterly. With such a legacy, no one would blame Gagosian for sitting back to enjoy the fruits of his labor. But in 2025, he delivered head-turning shows, featuring Cy Twombly, Picasso’s rarely seen works in partnership with the artist’s daughter, Paloma Picasso, as well as Willem de Kooning and Takashi Murakami, among others. He opened a new gallery in Seoul in 2024 with plans for expansion in West Hollywood.

Following the end of his Madison Avenue lease in 2026, the art world will hopefully get an answer to the now-perennial question: Who can replace Larry? Gagosian’s succession remains elusive—or close to the vest, your pick. His “council of the wise” (an advisory board peppered with cross-disciplinary luminaries, including Guggenheim chairman J. Tomilson Hill, financier Glenn Fuhrman, LVMH exec Delphine Arnault and filmmaker Sofia Coppola) has been mapping the gallery’s future and providing strategic guidance through leadership shake-ups that muddied earlier theories on possible heirs.

Larry Gagosian. Getty Images

Lina Ghotmeh

  • LG—A | Founder & Architect

Lina Ghotmeh is shaping some of the most high-profile art and architecture commissions of our time and changing how we engage with art in the process. In 2023, she designed London’s Serpentine Pavilion “À table,” a witty, design-forward structure that turned the act of breaking bread into an artistic and communal experience. Her international visibility has surged since then. She created the Bahrain Pavilion for the 2025 Osaka Expo and was tapped to lead three major cultural landmarks: the new Qatar Pavilion at the Venice Biennale, the Jadids’ Legacy Museum in Bukhara, Uzbekistan—housed in a restored 19th-century residence—and the sweeping redesign of the British Museum’s Western Range, which encompasses nearly a third of the London institution’s footprint. “It’s an invitation to reframe how we tell the story of humanity through art—decentering traditional hierarchies and embracing a more interconnected, equitable cultural landscape,” she tells Observer. “We are finally witnessing the rise of influential perspectives from historically underrepresented regions. This expansion of voices is not only reshaping who gets to speak but also how and where art is being shown.”

Projects like the AlUla Contemporary Arts Museum in Saudi Arabia “sit at the crossroads of this transformation—where local narratives meet global dialogues,” she says. Across continents, Ghotmeh’s projects share a distinctive ethos rooted in what she calls the “Archaeology of the Future”—an architectural philosophy that insists buildings must rise from the spirit of their place, history and environment rather than sit apart from them. This sensitivity to context infuses her work with cultural depth and visual clarity, producing spaces that both honor their surroundings and reimagine how art, architecture and heritage can exist in conversation. “I’m deeply interested in rethinking how we show art and in reaffirming its central role within society,” she adds. “I believe museums and cultural spaces should evolve into living environments.”

Lina Ghotmeh. Kimberly Lloyd, Courtesy of LG—A

Marc Glimcher

  • Pace Gallery | CEO

At the helm of Pace since 2011, Marc Glimcher has overseen significant evolutions and expansions, propelling the gallery into a global brand and powerhouse through a strategic blend of robust programming and market leadership. Pace opened a new location in Tokyo in 2024, consolidating its presence in the Asian market and bringing the total number of cities under the mega-gallery’s wing to eight. The gallery also opened a new space in Berlin in collaboration with Galerie Judin in 2025. All of this belies a long history: Arne Glimcher founded Pace in 1960; the gallery has built relationships with artists and estates as recognizable as those of Alexander Calder, Jean Dubuffet, Agnes Martin and Mark Rothko; and it launched one of the longest-standing gallery imprints.

The gallery has championed Abstract Expressionists and Light and Space movement artists, with a head-spinning roster of the most prominent modern and postwar artists and estates that withstand broader market downturns. Under Glimcher’s vision, Pace Gallery has adopted frontier and innovative projects, including Pace Live in 2019, placing its West 25th Street space as a multidisciplinary cultural hub and Pace Verso in 2021, delving into the world of NFTs. It’s this blend of steady and new that keeps Pace at the center as it proudly celebrates its 65th anniversary this year.

Marc Glimcher. ©Suzie Howell, Courtesy of Pace Gallery

Brett Gorvy

In 2025, Brett Gorvy joined an elite group of seasoned industry experts to launch New Perspectives Art Partners, a new collaborative consultancy launched specifically to reshape the landscape of high-end art advisory. He brings extensive experience in auction house and gallery leadership to the table. Before stepping down as chairman and international head of Postwar and Contemporary Art at Christie’s to become a dealer, his department was the auction house’s highest-earning and, through it, he shaped the art market as well as art history by shifting the valuations of canonical contemporary works and artists (notable among them a Picasso for $179 million and a Modigliani for $170.4 million). His semi-recent venture, the blue-chip East 64th Street gallery Lévy Gorvy Dayan, of which he is a co-founder and partner, has mounted critically acclaimed exhibitions of artists including Alexander Calder, Lucio Fontana, Ellsworth Kelly, Yves Klein, Andy Warhol and Gerhard Richter. 

“In the last five years, there has been an explosion of interest internationally in young contemporary artists, especially female artists and artists of color,” Gorvy tells Observer. This market has become very challenging, especially with the difficulties in Asia. Asian collectors have been responsible for much of this boom. As advisers, there is a need for greater scrutiny of younger markets and a focus less on pure financial return than greater curatorial focus.”

Gorvy, an art world heavyweight (and Instagram whiz with 164,000 followers), is now focused on turning New Perspectives Art Partners into a top-tier advisory service for top-of-market collectors navigating the current market challenges. “We’re in a market that’s shifting in real time and it’s happening in complex, layered ways,” he told Observer, certain that the McKinsey-like dream team of which he is part will be able to reshape the landscape of high-end art advisory in 2026 and beyond. “We aim to act like a management consultancy coming in to assess a project,” added Gorvy, whose in-depth knowledge of modern, contemporary and U.S. markets will no doubt set new standards in advisory services.

Brett Gorvy. Courtesy of New Perspectives Art Partners

Loïc Gouzer

  • Fair Warning | Founder

Making his name at Sotheby’s and Christie’s, Loïc Gouzer is the maverick who orchestrated the record-shattering sale of the Salvator Mundi in 2017. Considered by many the “Federer of the art market,” he’s now set on reinventing the auction model through his app-based venture Fair Warning, rebooted in 2024 after raising $5 million. It cuts out the traditional auction house, curating single-piece sales of mid-tier works by artists like Basquiat and Picasso for a members-only audience of digitally fluent collectors who bid via the app. It’s not about breaking records but about reshaping access, luring a younger, tech-native generation more comfortable wielding a digital paddle than a physical one.

“Algorithms now shape taste more than Gertrude Stein ever did,” Gouzer tells Observer. “Social media does to art what the food industry does to food: it sucks out the nutrients, flattens the flavor, standardizes the recipe, and sells it back as culture. Freeing oneself from this master will be the existential cause of artists and collectors alike.”

This experiment in one-off auctions builds on Gouzer’s earlier venture Particle, which offered fractional art ownership as part of a move to democratize blue-chip collecting. (Two years ago, Particle sold 500 shares of H.R. Giger’s sculpture of the famous Xenomorph featured in Alien.) Fair Warning has already surpassed $50 million in auction sales, with private transactions exceeding that total. Still, Gouzer insists it’s not about hype but integrity—proof that innovation in the art market doesn’t have to come at the expense of connoisseurship. Or, as he famously put it: “quality, quality, quality.”

Loïc Gouzer. Courtesy of Fair Warning

Michael Govan

Michael Govan has redefined Los Angeles as a global cultural capital and transformed LACMA into one of the world’s most forward-looking museums. Since taking the helm in 2006, he has overseen the acquisition of more than 35,000 artworks and artifacts, expanding the museum’s scope across continents and centuries while strengthening ties to Los Angeles’s own creative communities. Under his leadership, LACMA has deepened partnerships with organizations such as East West Bank and launched initiatives like rotating loans with the new Las Vegas Museum of Art, reinforcing its role as a connector between local and international audiences.

Now Govan is steering LACMA through its most ambitious transformation yet: the $725 million David Geffen Galleries refurbishment and expansion, set to debut next year. “We had a vision of creating something truly unique—rooted in our locality but with a global perspective. And we’re incredibly excited about what we’ve been able to achieve,” he told Observer this summer during a preview tour of the space. The reimagined galleries will abandon traditional divisions by geography or chronology, instead emphasizing cross-cultural exchange and dialogue—mirroring Los Angeles’s own mosaic identity. With its open, park-like design and new public gathering spaces, the project redefines what a 21st-century museum can be: accessible, interconnected and alive to the global conversations that art can spark.

Michael Govan. ©Brigitte Lacombe, Courtesy of LACMA

Philip Hoffman

  • The Fine Art Group | Founder & Chairman
  • New Perspectives Art Partners | Founder

Christie’s prodigy Philip Hoffman—CFO before he turned 30 and on the Global Management Board by 33—is CEO of The Fine Art Group and a founding member of the powerhouse collective New Perspectives Art Partners, launched this year. Renowned for turning art into a bona fide asset class, Hoffman has redefined high-end collecting and professionalized the advisory field with a financier’s precision. Since founding The Fine Art Group in 2001, he has built it into a global empire, launching eight art investment funds, advising on more than $20 billion annually and transacting over $1.4 billion in artworks and jewelry. 

“One of the biggest changes I’ve seen is how proactive collectors have become,” Hoffman tells us. (It is a topic about which he regularly shares insights with Observer.) “They’re more informed, more mobile, and far more attuned to the financial side of collecting than ever before.”

Representing 350 family offices across 28 countries, Hoffman has strategically expanded his global reach through partnerships, including a 2023 collaboration with Patti Wong & Associates in Asia—and now aims to amplify that model through New Perspectives Art Partners. The venture, he told Observer, “could pick up the phone to probably 1,000 or 2,000 of the world’s top clients,” emphasizing the scale of his infrastructure. “We’ve got warehouses and operations in every country.” Few can make that claim—and even fewer with such authority.

Philip Hoffman. Courtesy of New Perspectives Art Partners

Max Hollein

Max Hollein is steering the Metropolitan Museum of Art through one of the most ambitious periods of change in its history. Since becoming director and CEO in 2023, his unified leadership has allowed him to guide the Met’s evolution with clarity and purpose—addressing head-on the complex issues of provenance, deaccessioning, cultural heritage and institutional inclusivity. Under his watch, the museum has strengthened its provenance research capacity with the appointment of Lucian Simmons and a dedicated team, signaling a deeper institutional commitment to transparency and accountability in the stewardship of its global collections.

Equally transformative is Hollein’s effort to reframe how the Met presents non-Western art. The reopening of the Michael C. Rockefeller Wing earlier this year marks a major step in that direction, with renovated galleries that reflect new scholarship on the arts of Africa, the Ancient Americas and Oceania—bringing forward fresh curatorial perspectives and cross-cultural connections. “Together with our collaborative and community-based approach to curating these collections, the transformation of these galleries allows us to further advance the appreciation and contextualization of many of the world’s most significant cultures,” he told Observer. More rethinking is underway: a 15,000-square-foot suite dedicated to ancient art from Cyprus and West Asia will open in 2027, aiming to transcend outdated East-West divides, while the long-awaited Tang Wing for Modern and Contemporary Art—slated for completion in 2030—will further redefine how the Met engages with the art of our own time.

Max Hollein. Getty Images

Noah Horowitz

  • Art Basel | CEO

Art Basel isn’t just about fairs anymore. Since taking over as CEO in 2022, Noah Horowitz has transformed the organization into a multifaceted global culture brand—one that extends far beyond the convention halls. Under his leadership, Art Basel has strengthened its international footprint, reinforcing its Hong Kong edition with a three-year partnership with the Hong Kong Tourism Board and increasing first-time exhibitors by 37 percent in 2024—a growth trend that continued this year. In Europe, he solidified the brand’s presence, renaming Paris+ to Art Basel Paris and aligning it with Basel’s other flagship cities, while anticipation builds for the debut of Art Basel Qatar in 2026, set to redefine the fair model for the Gulf region.

But Horowitz’s ambitions stretch further. This year, he launched the Art Basel Awards to celebrate and support the wider art ecosystem, signaling a shift from pure market focus to cultural leadership. He’s also ventured into brand collaborations and partnerships—including one with Hugo Boss for the awards—and expanded into the lifestyle space with last year’s launch of the Art Basel Shop concept store. Alongside these initiatives, Art Basel continues to set the tone for global art-market analysis through its annual Art Market Report. The result is a newly energized, forward-facing Art Basel that’s reshaping the art world instead of responding to it.

Noah Horowitz. Matthieu Croizier for Art Basel, Courtesy of Art Basel

Steve Ivy

  • Heritage Auctions | Co-Founder & CEO

While other auction houses are grappling with double-digit declines in sales volume, Heritage Auctions continues to defy gravity. The firm reported $962 million in total sales through June 2025—its highest midyear figure ever—surpassing last year’s then-record $924 million. It ultimately closed 2024 at $1.86 billion in total sales. Now the world’s third-largest auction house, Heritage boasts nearly two million registered bidders across categories that span fine art, numismatics, jewelry, design, science and pop culture. Under CEO Steve Ivy, Heritage has broadened its reach by expanding into unconventional collectible markets and capturing the attention of first-time and younger buyers. The company has redefined the boundaries of art sales to include comic books, film storyboards, sports memorabilia and other cultural artifacts once considered peripheral to the fine art market. 

Behind this growth lies a radically transparent consignment and bidding model across its 50 departments—an approach that contrasts sharply with the opacity of its older rivals.
“Gen-Next and Millennial collectors have replaced their Baby Boomer parents as the most active participants in the auction market, and they are not as interested in $10 million and above contemporary artworks,” Ivy tells Observer. “They have a much stronger preference for transparency and lack of friction in their auction buying. Additionally, they have been turning to collectibles, and this has benefited Heritage tremendously. We were the first auction house to invest heavily in these sectors beginning in the early 2000s.” It’s a pragmatic formula built around steady innovation, disciplined risk and an eye for where new collectors actually live.

Steve Ivy. Courtesy of Heritage Auctions

Megan Fox Kelly

  • Megan Fox Kelly Art Advisory | Founder & Principal

The art advisory field has evolved dramatically since she began, but Megan Fox Kelly remains at the top of it. Through her namesake firm, she manages more than $3.5 billion in art assets, guiding ultra-high-net-worth collectors and institutions through every stage of building, managing and preserving major collections. Her clientele reads like a who’s who of contemporary collecting, from the estate of Faith Ringgold and the Robert Indiana Estate (Star of Hope Foundation) to Michael Crichton and the Robert A. and Beatrice C. Mayer Collection, to the Terra Foundation for American Art, the Robert Rauschenberg Foundation and the estate of Robert De Niro Sr. Yet her work extends beyond private counsel. “This is about professionalizing advisory practice beyond just transactional brokerage, and building long-range strategies that sustain value for collectors and, for artist estates, build scholarship and access,” Kelly tells Observer. “If you’re managing a specific collection or an artist estate, you need bespoke analysis—what’s happening with pricing in this particular segment, what are the trends that matter for these works?” 

As a contributor to Observer, Kelly writes about collection legacies, art fair strategies, and market forecasting. As host of the Reading the Art World podcast, she helps demystify the business for a wider audience. A former president of the Association of Professional Art Advisors, Kelly is a regular presence at TEFAF Maastricht, The Art Business Conference and The Armory Show, where her perspective carries the authority of both experience and discretion. Behind the NDAs and closed doors, she is a strategist; onstage and in print, she’s a translator of market complexity. Her advice to her colleagues remains succinct and timeless: “What it takes to make this real is collaboration. Financial advisors, attorneys, and art market professionals actually working together instead of in silos. That’s how we better serve both collectors and estates.”

Read our Full Q&A with Megan Fox Kelly

Megan Fox Kelly. Benjamin Salesse, Courtesy of Megan Fox Kelly

Tina Kim

  • Tina Kim Gallery | Founder & Owner

Tina Kim keeps a foot on both shores of the Pacific. Born in South Korea and raised in California, she was destined to build bridges long before the “Korean wave” went global. After getting her start organizing exhibitions for the influential Kukje Gallery in Seoul, founded by her mother, she established her eponymous gallery in New York City in 2001. “I’ve always seen my work as a cultural bridge—initially bringing Korean art to a wider audience, and now expanding that to connect more diverse voices,” Kim tells Observer. “The art world today feels less centralized and more interconnected, and that’s exactly the kind of landscape I want to help build.”

Through her New York program, Kim has been instrumental in bringing Korean and Asian diasporic artists to international prominence. She has championed figures like Park Seo-Bo, Ha Chong-Hyun, Kim Tschang-Yeul, Pacita Abad and Lee ShinJa, placing their work within major institutional collections and critical discourse, while amplifying the global visibility of a new generation, including Mire Lee and Maia Ruth Lee. Kim is widely credited with introducing Dansaekhwa—the influential postwar Korean monochrome movement—to a global audience, organizing a landmark collateral exhibition at the 2015 Venice Biennale, and this year, publishing a major new volume of artist letters translated from Korean, thereby contributing critical primary documents to the study of modern Korean art.

As a member of Frieze Seoul’s selection committee, Kim has helped shape the fair’s growth and visibility within the region from inception. With a surging Asian market and growing U.S. demand, Kim remains at the forefront. “Seoul will only continue to grow as a cultural capital in Asia—next year will be particularly exciting with the Gwangju and Busan Biennales coinciding with Frieze Seoul,” Kim says. “What it will take now is genuine exchange: artists, curators and audiences engaging directly, across regions. The future of the art world will depend on connection, not hierarchy.”

Tina Kim. Photo by Vincent Tullo, Courtesy of Tina Kim Gallery

José Kuri & Mónica Manzutto

  • kurimanzutto | Founders

Last year, the husband-and-wife duo Mónica Manzutto and José Kuri celebrated their 25th anniversary at the helm of kurimanzutto, the once itinerant Mexico City gallery. In 2022, the pair put down roots in New York with a permanent gallery space in Chelsea. While CDMX Art Week is now an established date in the global art market calendar for collectors and curators alike, this wasn’t always the case; Manzutto and Kuri have done a lot to elevate the visibility and valuation of contemporary Mexican and Latin American art in the U.S. by giving these artists a platform domestically and abroad. “It was a desert. You could count on one hand collectors in the city,” said Kuri of the Mexico City art market during the 1990s in a recent interview. Today, they no longer need to individually call collectors after each show; instead, collectors rush to Mexico City, with demand and pricing momentum projected to steady levels into 2026. “The most transformative shift in the art world’s power dynamics has been the emergence of multiple narratives,” the duo tells Observer, adding that this has informed their strategy to “insist, insist, insist.”

Manzutto and Kuri can arguably boast of having successfully skyrocketed contemporary Mexican art to the global art scene and made Mexico City a hub in global conversations. They’ve propelled prominent artists like Gabriel Orozco and Abraham Cruzvillegas, securing major institutional exhibitions and the representation of estates like that of John Giorno, catalyzing collector demand by building international relationships with museums, curators and collectors, making Mexican artists accessible to global markets and boosting their liquidity and prestige. (Sotheby’s, for instance, recently reported that sales of works by Latin American artists have climbed more than 50 percent above pre-pandemic levels.) Concurrently, there’s been a notable accumulation of wealth in the Latin American region and within the Latino diaspora, and Mexico City has become an arts destination in its own right. Looking ahead, they are most looking forward to “privileging knowledge and critical thinking over influencers and oversimplifiers of the complexities of art and its ecosystems.”

Mónica Manzutto & José Kuri. Fabial ML, 2023, Courtesy of kurimanzutto

Philomene Magers & Monika Sprüth

  • Sprüth Magers | Founders

One of the few German galleries to establish a truly global presence, Sprüth Magers has infrastructure spanning Berlin, London, Los Angeles and New York. In March, Philomene Magers told Observer she sees its priorities “in a much wider global system.” While the gallery represents a long list of artists globally, it remains at least partially focused on groundbreaking German artists like Anne Imhof—who won a Golden Lion at the 2017 Venice Biennale and more recently brought DOOM: HOUSE OF HOPE to the Park Avenue Armory—and Andreas Gursky, who brought “New Works” to Gagosian Paris, had a solo show in the gallery’s New York space earlier this year, and just opened a show at White Cube Mason’s Yard in London. The band/art project Kraftwerk also has a long-standing, albeit not-quite-representational, relationship with Sprüth Magers. “It shows that iconic and important figures continue to emerge from this cultural background,” said Magers. It also shows that the gallery has been savvy and laser-focused on positioning German contemporary art, with a high level of curatorial commitment.

The “re-centering of artists,” Monika Sprüth tells Observer, has been the most transformative shift in the art world’s power dynamics over the last year. “What emerges is not merely a new market logic, but a new cultural syntax. The next chapter of the art world won’t be defined by exclusivity. I see this moment as an invitation to exchange between cultures, technologies, and generations of artists and collectors alike.”

During their four-plus decades in the business, the pair has developed a sharp knack for identifying talent, including the likes of Barbara Kruger, George Condo (who recently left Hauser & Wirth for joint representation by Sprüth Magers and Skarstedt) and Jenny Holzer, who are among a roster of more than 70 artists and estates—and staying ahead of the curve despite pressures at home, with Berlin’s place as a major artist hub waning in recent years. Magers summarized their quest for talent, an ethos that transcends short-term trends: “To reimagine what the art world could become may require new kinds of alliances between galleries, collectors and institutions that are all defined together. We should always be open to operating beyond the structures that have historically been in place.”

Monika Sprüth & Philomene Magers. © Robbie Lawrence, Courtesy of Sprüth Magers

Clare McAndrew

  • Arts Economics | Founder & Cultural Economist

Dr. Clare McAndrew is the economist behind the data that defines the art world. As founder of Arts Economics and author of the annual Art Basel & UBS Art Market Report (as well as several others on art and collectibles), she produces the most authoritative snapshot of the global art economy—September Vogue with charts instead of couture. When the yearly report drops in March, dealers, collectors, institutions and journalists alike turn to its findings to gauge the market’s health, whether it’s rebounding, contracting or simply shifting shape. Its headline figures—sales volumes, sector shares, regional trends—are matched by nuanced analysis of global economic forces, auction performance and dealer sentiment, offering an unparalleled outlook for the year ahead, along with some much-needed clarity. “As most of what the mainstream media reports on is the multi-million-dollar sums paid for this very small number of artists’ works, new buyers are led to believe that the art market is out of their reach, and that you can only get a quality work of art if you have a budget of over $1 million or so, when in fact there are so many other less publicized artists and works available at much lower prices,” she tells Observer.

McAndrew has managed what once seemed impossible: to quantify the notoriously opaque art market. By applying rigorous economic methods, she has developed a research framework that combines surveys, data modeling, and a mix of quantitative and qualitative analysis to produce consistent and comparable insights across regions and sectors. The result is a report that helps the industry reflect on the past year while strategizing for the next, exposing how sales respond to shocks, trends and evolving collector behavior.

In 2024, she expanded her scope with the first-ever Japan Art Market Report—a detailed national study continuing her focus on regional “spin-offs” as emerging markets and shifting collector bases demand sharper, more localized intelligence. She also points to ongoing changes in what’s being sold in the art market, including an expanding range of collectibles and luxury products being sold by dealers and at auction houses and new digital mediums and channels for accessing these works. “The traditional mediums still dominate by value for now, but that could change in the future,” McAndrew says, adding that “how we account for and measure these sales will become increasingly important in understanding the activity in the sector as a whole, especially when we’re trying to assess its economic and social impact.” 

Clare McAndrew. Paul McCarthy, Courtesy of Arts Economics

Julie Mehretu

  • Artist | Marian Goodman Gallery

Can a major contemporary artist also become a meaningful patron? Julie Mehretu just proved it. When the Whitney Museum raised its admission price from $25 to $30 in 2023—another sign of the art world’s rising inaccessibility—Mehretu stepped in with a $2.25 million gift to fund the institution’s “Free 25 and Under” program. “If you’re waiting tables in New York like I used to, you can’t afford to go to a museum all the time,” she said. “But young artists need access to art.” Her act wasn’t about spectacle—it was about restoring one of the core promises of public institutions: access and equity. It was also a reminder that philanthropy doesn’t have to mean billion-dollar endowments; timing, intention and empathy can be just as transformative.

Mehretu’s gesture comes as her own career reaches new heights. Her acclaimed retrospective “Ensemble” at Palazzo Grassi coincided with the 2024 Venice Biennale, spanning 25 years of work, while this year’s “KAIROS / Hauntological Variations” in Germany marks her largest European survey yet, featuring more than 100 pieces. Her auction market remains robust, but her growing role as a philanthropist might become an equally enduring legacy—showing that influence in art isn’t just about the work you make, but the access you help others gain.

Julie Mehretu. Josefina Santos, Courtesy of Marian Goodman Gallery

Marc Payot

  • Hauser & Wirth | President

This year, Marc Payot celebrated a quarter century with Hauser & Wirth, and what a year it’s been. A remarkable number of the gallery’s artists and estates headlined exhibitions at New York’s top institutions: Amy Sherald at the Whitney, Flora Yukhnovich at the Frick, Jack Whitten at MoMA, Lorna Simpson at the Met and Rashid Johnson at the Guggenheim. Numerous others—Jenny Holzer, Firelei Báez, Glenn Ligon and Annie Leibovitz, among them—commanded major museum shows across the U.S., Europe and Asia. The gallery, now spanning 18 locations across the United States, Europe, Hong Kong and the U.K., published 17 titles under its Hauser & Wirth Publishers imprint, a testament to the scope of its cultural reach. Next year, it will add new physical spaces in London and Palo Alto, further expanding its presence.

The empire’s builders, Manuela and Iwan Wirth—who are now busy redefining the model of a cultural enterprise that fuses art, publishing, real estate and hospitality—have left the gallery in formidable hands. Under Payot’s leadership, 2025 was marked not only by institutional success but also by growing engagement and notable collaborations. To wit: Hauser & Wirth launched its “In the Studio” series of compact, illustrated books offering deep dives into artists’ practices; forged collaborations with arts organizations, including London’s Royal Drawing School and Whitechapel Gallery; and partnered with The New Art School Modality to provide free hybrid art courses. Then there’s the Collective Impact initiative—a project in which Hauser & Wirth joins forces with smaller, younger galleries to represent artists in an approach defined by parity, transparency and mutuality. “It’s clear to us that ‘success’ is not a zero-sum game in a delicate ecosystem like the art world,” Payot tells Observer. “We’ve been putting a lot of energy over the last few years into collaborations with our colleagues who operate at different scales, so that we can contribute in concrete, measurable ways to the health of the wider field.”

Marc Payot Photo: Sim Canetty, Courtesy Hauser & Wirth

Emmanuel Perrotin

  • Perrotin | Founder

Emmanuel Perrotin’s eponymous mega-gallery continues to chase global domination by expanding into prime global markets, but with a lean and measured approach to growth. Perrotin represents approximately 70 artists and collaborates with 30 others, including emerging and established mid-career artists, as well as estates. Currently, the gallery has a presence in nine cities worldwide, with bookstores in Paris, London, New York and a pop-up at the Bellagio in Las Vegas. In 2025, Perrotin opened new galleries in London and Dubai and relocated its Hong Kong outpost to a different part of the city. Earlier this year, after two years of negotiations, Perrotin sold a majority stake in the gallery (51 percent) to private equity firm Colony Investment Management in a move he calls “a monumental decision for us and the first of this kind in the contemporary art world.” In doing so, he amplified the financialization of contemporary art, ushering in increased capital flows, accelerating global scaling and setting new market expectations in the U.S. and beyond.

At the same time, Perrotin hasn’t shied away from expansion or experimentation. “When I started my gallery in Paris in 1990, I had a mission to make more people interested in contemporary art,” he tells Observer. “To do this, I had to find links with other disciplines—I was already connected to people who were in fashion and music, so I started these collaborations early on.” Joining its existing locations in Paris, New York City, Shanghai, Seoul and Tokyo are new spaces in Los Angeles (opened in 2024) and, in 2025, Paris, London and Dubai, where the gallerist recommitted to the Emirati city and its regional art scene with a primary-market venue. Now with private equity support, Perrotin told Bloomberg he would consider opening galleries in cities like Zurich, Bangkok or Istanbul. Or, he added, buying rivals—because consolidation among art galleries may be the future of the industry.

Emmanuel Perrotin. ©Tanguy Beurdeley, Courtesy of Perrotin

Magnus Renfrew

Magnus Renfrew wants the art world to look east—and he’s giving it every reason to. As co-founder of ART SG and Tokyo Gendai, Renfrew has spent the past two years strengthening the art fair portfolio that he leads. A master of regional infrastructure building, he’s creating new platforms for galleries and collectors while also advising private clients, artists’ estates, institutions and governments through his consultancy ARTHQ, shaping how the region’s art economies connect and grow. Positioned as the leading art fair in Japan, Tokyo Gendai has already drawn global attention in one of the world’s most dynamic emerging markets. The rise of ART SG reflects the shift from the Asia Pacific to the Indo Pacific. “I’m looking at how I can engage this new demographic of people who are proud of their cultural roots, particularly from Asia and Southeast Asia, yet open to artistic expressions from other regions,” Renfrew tells Observer of his current priorities. 

Renfrew’s confidence is earned—he was the founding director of Art Hong Kong, which later became Art Basel Hong Kong, and his leadership helped put Asia-Pacific firmly on the international art map. He’s particularly excited, he says, about deepening the infrastructure for art in Southeast Asia. “Technology, globalization and demographic change are all accelerating a decentralization of the art world… This is enormously exciting. Technology has democratized access to information, allowing collectors to discover artists wherever they may be. Globalization has brought new perspectives and cultural narratives to the fore. The younger generation of collectors is approaching collecting with a new sense of purpose and curiosity.” And his fairs will be there to answer their call.

Magnus Renfrew. Courtesy of ART SG

Alex Rotter

  • Christie’s | Global President

Alex Rotter was appointed global president of Christie’s in May 2025—a natural progression for an executive who has spent the past decade redefining how the auction world operates. In his new role, he’s charged with shaping strategy for both auctions and private sales in concert with regional presidents and global chairs, all while continuing to serve as global chair of 20th- and 21st-century art. Few understand the nuances of market psychology and collector behavior quite like Rotter, whose tenure has been marked by bold structural innovations and a willingness to rewrite the rulebook when convention no longer serves.

His decision in 2020 to collapse Christie’s traditional art categories—merging Impressionist, Modern, Postwar and Contemporary art under a single “20/21” banner—was initially radical but ultimately visionary. It acknowledged a collector base less bound by chronology and more attuned to cross-era dialogues, streamlining consignment strategies and strengthening Christie’s market dominance. When the pandemic upended live auctions, Rotter adapted again, introducing the relay auction: a hybrid, live-streamed event that seamlessly passed from city to city, transforming sales into global spectacles. He remains candid about market turbulence yet unflappable in the face of it—and consequently known for turning headwinds into opportunities.

Alex Rotter. Courtesy of Christie's

Mary Rozell

  • UBS | Global Head, UBS Art Collection

Mary Rozell oversees one of the most influential corporate art collections in existence, comprising 30,000 works spanning canvas, paper, photography, sculpture, video and installation, amassed over decades of collecting. What began as a scattering of individual acquisitions coalesced in the 1960s into a distinctly contemporary collection that has since grown into a global cultural asset. Only works by living artists and those acquired directly from galleries make the cut, and today pieces by Lucian Freud, Roy Lichtenstein, Andy Warhol, Philip Guston and Cy Twombly hang across UBS’s 700 offices worldwide. They serve not just as conversation starters but as quiet assertions of taste and intellect, transforming corporate hallways into a museum-grade experience for employees and visitors alike.

When Rozell, an art lawyer and former director at Sotheby’s Institute of Art, stepped into the role, her mandate was clear: unify the disparate collections under a single, forward-looking vision. She approached the task with both precision and openness, expanding the collection’s diversity while maintaining its exacting standards. “Generally we’re not buying an artist at their first show—it’s the second or third, when they have some traction but before they get too much recognition,” Rozell told Observer of her acquisition strategy. Among her most meaningful contributions has been lifting the velvet rope around a once-insular collection. “I feel like some of our pieces are so important that we have a responsibility to share them with the greater public,” she said—a sentiment that has helped redefine UBS’s art holdings as a cultural resource.

Mary Rozell. Flavio Karrer, Courtesy of UBS

Antwaun Sargent

  • Gagosian | Director

Curator and writer Antwaun Sargent has been dubbed the “Art Star Maker” for his ability to not only celebrate Black creativity in art, fashion and design but also to leverage people and platforms to bring it market and institutional attention. “I still think the best way to encourage an art ecosystem I believe in is to create it,” Sargent tells Observer. Since his appointment to director at Gagosian in 2021, the 30-something has rapidly become a high-profile tastemaker, but he was shaping discourse long before joining the mega-gallery, with bylines in the New York Times, the New Yorker and scores of art publications, where he questioned the relationship between art institutions and Black artists. His book credits include The New Black Vanguard: Photography between Art and Fashion, which he wrote, and Young, Gifted and Black: A New Generation of Artists, which he edited. 

Both his curation and his commentary have been seminal in reshaping conversations, collector taste and boosting the visibility of historically underrepresented Black contemporary artists. His debut show with Gagosian, “Social Works,” explored the relationship between the physical spaces we engage with and Black social practice. He was behind Virgil Abloh’s “Figures of Speech” at the Brooklyn Museum and “Barkley L. Hendricks: Portraits at the Frick,” the institution’s first solo show dedicated to a Black artist. These are just a few of the 30-plus critically acclaimed and commercially successful shows he’s curated, and yet his approach is deceptively simple: “My only strategy is to believe in artists, which is to say I do whatever possible to make their visions a reality.” Lauren Halsey, Rick Lowe, Tyler Mitchell, Cy Gavin and Derrick Adams are among those artists—they make great work, Sargent asserts, and his job is to support them. “The evolution of the art world and its centers of power have been greatly exaggerated,” he adds. “The only thing I’m interested in is putting more power in the hands of artists.”

Read Our Full Q&A With Antwaun Sargent

Antwaun Sargent. Photo © Tyler Mitchell, Courtesy of Gagosian

Muys Snijders

  • Private Client Select | SVP, Head of Art Services

With over 25 years in the international art world, Muys Snijders is a leading expert in fine art insurance. As head of art services at Private Client Select, she oversees risk management for a portfolio insuring over $50 billion in fine art and collectibles across 50,000 policies. In an era of intensifying climate threats, Snijders is redefining how the industry protects cultural patrimony. “Many new technologies have been introduced in recent years to support mitigation efforts,” Snijders told The Art Newspaper, citing innovations like automatic fire suppression and hypoxic storage now being implemented for collections in wildfire zones. Over the years, Snijders and her team have provided bespoke coverage to some 60 percent of the top 200 ARTnews Collectors, conducting site visits worldwide to ensure proactive protection. 

At this year’s Aspen Art Fair, Snijders moderated “A Collector’s Point of View: Curated Approaches in a Contemporary World,” with collectors including Nancy Magoon, Sharon Hoffman and Christine Mack. Snijders is also steering Private Client Select toward a new era of corporate collecting, championing acquisitions by diverse artists and launching commissions focused on sustainability. The firm’s new managing general underwriter (MGU) structure, she says, reflects a changing insurance landscape—one where agility and tailored solutions are paramount.

Snijders serves on the Guggenheim‘s Young Collectors Council Acquisition Committee, ICA Miami‘s International Council, and the Aspen Art Museum‘s Director’s Circle, among other board and advisory roles. Before joining Private Client Select (formerly AIG Private Client Group), Muys launched her own art consultancy firm and served as the managing director of Christie’s Americas. With natural catastrophes mounting, her steady leadership is preserving art for generations to come.

Muys Snijders. Courtesy of Private Client Select

Sheikha Al-Mayassa bint Hamad bin Khalifa Al Thani

Sheikha Al-Mayassa bint Hamad bin Khalifa Al Thani has become the current that moves the Gulf’s entire cultural tide. As chairperson of Qatar Museums, she has not only cemented Qatar’s position on the global art map but ensured it will stay there for decades to come. With access to both immense family wealth and a sharp curatorial instinct, she recently helped broker the landmark Art Basel Qatar, set to debut in February 2026 through a partnership between Art Basel, Qatar Sports Investments and QC+. She also championed the launch of the new Qatar Pavilion at the Venice Biennale, which debuted at this year’s architecture edition—a clear signal that her ambitions extend well beyond Doha.

This outward expansion follows years of building a formidable cultural foundation at home—consolidating acquisitions, infrastructure and institutional strategy while elevating Qatar’s artistic profile across the region. Her vision has translated into major public art initiatives, including Richard Serra’s East-West/West-East, and into making Qatar a first-choice destination for artists, curators and global institutions alike. Under her leadership, dynamic platforms such as Mathaf (Arab Museum of Modern Art), the Lusail Museum, the Art Mill Museum (opening in 2030) and the Fire Station have flourished, alongside high-profile exhibitions such as “LATINOAMERICANO | Modern and Contemporary Art from the Malba and Eduardo F. Costantini Collections” and “Seeing Is Believing: The Art and Influence of Gérôme.”

Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani. Dave Benett/Getty Images for Fashion Trust Arabia

Yü‑Ge Wang

  • Christie’s | Associate Director, Senior Client Advisor & Auctioneer

After joining Christie’s more than a decade ago, Yü-Ge Wang quickly rose through the ranks to become associate director and senior client adviser, specializing in Asian collectors. She was the lead auctioneer at Christie’s 21st Century Evening Sale last May, commanding $96.5 million with a 92 percent sell-through by lot and 97 percent by value—an impressive feat in a tightening market. Under her gavel, visibility and valuations surged for women artists and contemporary stars, like Carmen Herrera, Cecily Brown and Elizabeth Peyton. She hammered Miss January by Marlene Dumas for $13.6 million, setting a record for a living woman artist. “Innovation isn’t just about digital tools,” she tells Observer. “It’s about who gets to be part of the conversation, whose stories we tell, and how we authentically interact with a much more diverse and global community, so people feel heard rather than excluded.” 

Having worked across China, Germany and England, Wang bridges languages, markets and cultures with rare fluency, and her star is on the rise. “Collecting motivations and strategies are changing and creating meaningful dialogue is more important than ever,” she says. “As an auctioneer, I learned to create this dialogue also on stage by using my language skills to connect with bidders from different countries and my body language to engage with the audience in the room or online.” She frequently appears on panels exploring how media and photography can ignite cross-cultural dialogue, while using that same instinct for connection to drive sales with confidence, charisma and sharp market intuition. For Wang, learning to engage with other cultures isn’t just about boosting bottom lines but also a sign of respect—one that “helps colleagues from diverse backgrounds feel seen, valued and included, as well as being essential for long-term relevance.”

Yü‑Ge Wang. Courtesy of Christie’s

Martin Wilson

  • Phillips | CEO

Art lawyer Martin Wilson rose to CEO of Phillips in early 2025, stepping into the role after Ed Dolman left to launch New Perspectives Art Partners. A seasoned art and auction veteran, Wilson was brought in during a turbulent market moment—an era of softening demand and growing regulatory scrutiny. Brought in as a “safe pair of hands,” he drew on his deep legal and compliance expertise (and the authority of being the author of Art Law and the Business of Art) to stabilize operations amid a 17.5 percent sales decline. His steady leadership has been defined by pragmatism and a measured confidence that Phillips will adapt rather than contract. “We’re seeing a real ‘taste transfer’ happening alongside the ‘great wealth transfer,’” Wilson tells Observer. “The challenge for the market is to anticipate and understand the expectations of these new collectors, both in terms of their taste but also how they prefer to engage with the art market.”

It is at inflection points like this, he says, that opportunities for innovation present themselves, and he’s already steering Phillips toward the future. He has appointed new heads for modern and contemporary art and private sales, while introducing a flexible premium structure designed to counter early bid hesitancy and soothe wary consignors. The new pre-auction bidding model allows early participants to benefit from reduced premiums while generating more authentic competition in the room. “We have a history of delivering positive results for our clients, as evidenced by our 90 percent sell-through rate this spring,” Wilson said this year. “Our aim now is to build on that by encouraging early engagement to generate spirited bidding and provide greater certainty for sellers.”

Read our Full Q&A With Martin Wilson

Martin Wilson. Courtesy of Phillips

Andrew Wolff

  • Beowolff Capital | CEO

Andrew Wolff stormed into the online art market in 2025 with a pair of headline-making plays: acquiring a controlling stake in Artsy and launching a €65 million delisting and takeover of Artnet, in moves that were less about buying legacy names than about combining market intelligence and reach. It’s not about the multi-brand cachet, but about building a vertically integrated digital empire, merging reach, data and market intelligence to rewire how art is discovered, priced and sold. “I think the world is moving from static forms of power to a more fluid model of networked authority and strength—one in which power and influence are built on the foundations of interconnected communities,” Wolff tells Observer. “Old-school power structures build walls to protect themselves. But our younger generations are skeptical of centralized gatekeepers; they want access, participation, transparency, consistency, objectivity.” 

His aim is to provide it with innovation, using analytics and A.I. to unlock the latent power of two of the art world’s most influential tech platforms. “We embrace A.I. not to reduce the role of human expertise in the art market, but to amplify it,” he says. “Not to steal the voices of artists, but to allow them to expand their reach. After all, in a world where machines can do more and more, the ability to create and feel the power of art is an increasingly critical part of what makes us human.” For now, Artsy and Artnet remain separate, ostensibly rivals, but his long game likely involves strategic complementarity: Artsy’s dominance in the primary market paired with Artnet’s unrivaled secondary market data. If and when those worlds merge, Wolff will control an ecosystem linking 67 million annual users to the world’s largest online marketplace for fine art—a rare position from which to shape the digital future of collecting.

Read Our Full Q&A With Andrew Wolff

Andrew Wolff. Piranha Photography, Courtesy Beowolff Capital

Patti Wong

  • Patti Wong & Associates | Co-Founder
  • New Perspectives Art Partners | Founder

As one half of Patti Wong & Associates with Daryl Wickstrom, Patti Wong commands an unrivaled network across Asia, where the art market continues its ascent, powered by new institutions such as M+, where she now serves on the board. That appointment, along with her role as a founding partner of New Perspectives Art Partners alongside Brett Gorvy, Philip Hoffman and Ed and Alex Dolman, underscores her status as one of the region’s most influential cultural figures. 

“We foresee opportunities to build comprehensive advisory relationships with collectors and institutions in these regions, working with clients on long-term goals, legacy planning and collection dispersals that go beyond major collection sales at public auction—helping collections evolve in a way that can be passed down through generations or even transitioned into institutions,” Wong tells Observer. “It is about looking beyond the transaction and focusing on the bigger picture of what art legacy means and how art endures.”

From the outset of her career, Wong aimed to make Hong Kong a market force equal to New York and London—and she did. Over three decades at Sotheby’s, she transformed the city into a global art capital, introducing Asian collectors to Western postwar and contemporary art, elevating the international valuations of Asian artists, and overseeing record-breaking sales that established Hong Kong’s auctions as unmissable events on the global calendar. “We have always believed that understanding how different cultures collect, what motivates them and how they engage with art is key,” Wong says.

Following her 2023 collaboration with The Fine Art Group and her departure as International Chairman and Chairman of Sotheby’s Asia, Wong’s independent firm has quickly become a powerhouse in its own right. It has, she says, “generated a total transaction value for our clients in excess of $1 billion”—evidence that the Asian market remains active and resilient, even if it’s no longer operating at the inflated pace of its most frenzied years.

Patti Wong. Courtesy of New Perspectives Art Partners

Jeffrey Yin

  • Artsy | CEO

Jeffrey Yin runs the world’s largest online marketplace for fine art—a platform whose scale and sophistication have redefined how art is bought and sold. Artsy connects more than one million available works to millions of collectors globally through partnerships with over 3,000 galleries and auction houses. It combines editorial authority, curatorial intelligence and data science to power a marketplace that has become indispensable to the art world’s digital ecosystem. For example, Yin tells Observer that a collector might discover a work through Artsy’s personalized recommendations, save the work, receive an offer directly from the gallery, and finalize the purchase online—all within a few days. “The average distance between buyer and seller on Artsy—about 2,500 miles—says a lot about how technology is expanding reach and redistributing opportunity across the art ecosystem,” he says.

Under Yin’s leadership, Artsy has seen record momentum: first-time buyers are on the rise, and 2024 sales climbed 15 percent year over year—the platform’s strongest growth since 2021. The number of artists with commercial activity on the platform has grown by 20 percent since 2020, and galleries are now selling works by 40 percent more artists. The Artsy mobile app, now a fixture among younger collectors, continues to expand the company’s reach, while its inaugural 2025 Art Market Trends report and new collector follow-up tools mark a push toward data-driven personalization and higher conversion. The biggest opportunity, he says, will involve not just guiding the next generation of collectors but also sustaining their engagement over time. “The foundation of transparency and global access is now in place; the next step is helping collectors navigate the overwhelming volume of art online in a personal, meaningful way,” he says. “Our goal isn’t to automate or remove the human experience from collecting, but to meet people where they are.”

Read our Full Q&A With Jeffrey Yin

Jeffrey Yin. Courtesy of Artsy

David Zwirner

Mega-dealer David Zwirner knows how to weather art market headwinds. He cancelled a massive expansion project in 2023—a swanky Renzo Piano-designed, 50,000-square-foot building on West 21st Street in Chelsea—only to rebound with an office on West 20th Street and an 18,000-square-foot gallery designed by Annabelle Selldorf on West 19th Street, which opened last May with a major solo show of work by Michael Armitage. Zwirner has demonstrated similar agility in his art-tech ventures, including the digital marketplace Platform, which he has reshuffled whenever needed to stay ahead of key blue-chip competitors, all of which have been in expansion mode in recent years. 

Zwirner’s fire-tested commercial operation remains as relevant as ever. His global network of galleries in New York, L.A., London, Hong Kong and Paris shapes consumer taste through bespoke programming and market experimentation. A prominent roster of estates, emerging artists and new talents drives high-end primary market sales. Most recently, he poached artist Yoshitomo Nara from Pace—the artist joins a robust roster that includes the estates of Donald Judd, Diane Arbus and Paul Klee and contemporary talents Gerhard Richter, Yayoi Kusama and Félix González‑Torres, among others. Likewise, he poached Alex Marshall (now a senior director) from Christie’s after elevating Ebony L. Haynes to global head of curatorial projects. State-of-the-art content production via David Zwirner Books, a line of prints and editions, and the podcast Dialogues diversifies Zwirner’s influence at a time when galleries everywhere are seeking to hook the attention of the growing (and much coveted) market of young collectors.

David Zwirner. Photo by Jason Schmidt, Courtesy of David Zwirner

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The Best Gifts From Museum Shops https://observer.com/list/best-museum-shop-gifts-2025/ Wed, 12 Nov 2025 11:00:00 +0000 https://observer.com/?post_type=listicle&p=1598697 There’s something deeply satisfying about holding a tangible object that encapsulates the spirit of human creativity. That’s the magic of a well-curated museum shop—it offers not just mementos, but portals into the realms of art, history and ideas. These pieces are more than mere trinkets; they’re conversation starters, thought provokers and tiny emblems of the vast world of human expression. Whether you’re shopping for the art aficionado who has it all or the design devotee with a keen eye, these singular finds are sure to delight and inspire.

Our Favorite Gifts From Museum Shops

‘The Last of Her Kind’ Sculpture

A hauntingly lifelike cast-amber sculpture of the extinct passenger pigeon by artist Rachel Berwick, courtesy of Aldrich Editions—a program that supports emerging and mid-career artists and raises funds for the museum.

$700 | The Aldrich

Courtesy of the Aldrich Museum

Future Climate Patches

British duo Parsons & Charlesworth imagine a future where New York City has adapted to climate change by establishing urban nature reserves and regenerative projects, as depicted in six embroidered patches.

$25 each | New museum

Courtesy of the New Museum Store

Basquiat ‘Hollywood Africans’ Mug

Coffee with a side of Jean-Michel Basquiat’s 1983 commentary on stereotypes of African Americans in entertainment.

Courtesy of The Whitney Shop

Barkley L. Hendricks Collection ‘Victory at 23’ Enamel Earrings

Melody Ehsani’s enamel tribute to Barkley L. Hendricks’ iconic 1981 paintingVictory at 23, honors the influential painter and photographer known for his vibrant portraits that celebrate the style, individuality and humanity of urban Black Americans.

$78 | Studio Museum in Harlem

Courtesy of the Studio Store

‘The American West In Art’ Book

The history and imagery of the American West, featuring a selection of artworks from the Denver Art Museum’s Petrie Institute of Western American Art’s collection, which traces the region’s artistic evolution from the early 1800s through the modernist movements of the mid-20th century and includes some of the most important 19th-century landscape paintings in American history.

$45 | Denver Art Museum

Courtesy of the Denver Art Museum

Andy Warhol Films, Inc. Sweatshirt

A Printed-in-Pittsburgh design, based on a 1973 t-shirt promoting Andy Warhol’s film L’Amour—one of over 300,000 everyday possessions Warhol boxed into time capsules in the last 13 years of his life.

$54 | The Warhol Museum

Courtesy of The Andy Warhol Museum Store

Calder ‘Do Not Touch’ Tote

A durable yet lightweight tote created for the High Wire: Calder’s Circus at 100 exhibition, featuring the French phrase “Defense de Toucher” (Do not touch) from Alexander Calder’s iconic 1926-31 Circus work.

$175 | the Whitney

Courtesy of The Whitney Shop

‘Nothing is new but everything’s new’

A limited-edition boxed set celebrating the Noguchi Museum’s 40th anniversary that weaves ephemera, photographs and archival materials to tell the story of the unique Long Island City building and land that sculptor Isamu Noguchi transformed into a haven for his art and legacy.

$65 | Noguchi Shop

Courtesy of the Noguchi Shop

Calida Rawles Paperweight

A 3″ glass dome paperweight by Calida Rawles, capturing the artist’s hyperrealistic style in a powerful exploration of the complex history of the African American experience.

$40 | PAMM

Courtesy of the PAMM Shop

‘Unfamiliar People’ Scarf

A subtly wry silk scarf based on a series of artworks in Takashi Murakami’s 2023 exhibition, offering shimmering commentary on the shifting social dynamics of the pandemic era, in which once-familiar people became strangers.

$399 | Cha May Ching Museum Boutique

Courtesy of Asian Art Museum of San Francisco

‘There Are Artists Among Us’ Sweatshirt

A cozy nod to Whitney founder and sculptor Gertrude Vanderbilt Whitney, who supported living American artists in the early 20th century when most collectors favored established, mostly deceased, Europeans.

$50 | the Whitney

Courtesy of The Whitney Shop

‘Le Perroquet’ Reversible Pendant

Finn Design’s pendant salutes Henri Rousseau, subject of the “lush, hypnotic” A Painter’s Secrets at the Barnes, an exhibition bringing the two most important Rousseau collections in the world together for the first time.

$178 | The barnes

Courtesy of the Barnes Foundation

Rahim Fortune’s ‘Hardtack’

Rahim Fortune’s photographic exploration of the enduring roots of Black culture in the American South.

$67 | Nelson-Atkins

Courtesy of the Nelson-Atkins Shop

97 Orchard St. Floor Plan Tray

A charming melamine floorplan of the 97 Orchard Street, the Lower East Side tenement home to an estimated 7,000 European immigrants between 1863 and 1935.

$20 | Tenement museum

Courtesy of the Tenement Museum

Typewriter Eraser Stubbs & Wootton Sllipers

Legendary Palm Beach brand Stubbs & Wootton made-to-order slippers, flashing an embroidered version of the Claes Oldenburg and van Bruggen Typewriter Eraser that greets visitors at the entrance of the Norton Museum of Art.

$625 | The norton

Courtesy of the Norton Museum of Art

‘Black Earth Rising’ Book

The companion to curator Ekow Eshun’s 2025 Black Earth Rising BMA exhibition, tracing the complex interplay of race, colonialism and the climate crisis.

$60 | BMa

Courtesy of the Baltimore Museum of Art

Medusa Corduroy Dad Hat

Corduroy meets the legendary head of Medusa to create a hat that tips to 3rd-century Roman mosaics from the Getty’s collection.

$60 | the Getty

‘Senga Nengudi: populated air’ Book

The multifaceted work of Senga Nengudi, featuring never-before-seen drawings, prints, photographs, performance scores and poetry that span her six-decade career and had profound impact on the Black Arts movement.

$50 | DIA

Courtesy of the Dia Shop

Clyfford Still Acrylic Pin

A classic acrylic pin honoring the face of American artist Clyfford Still, credited with heralding the emergence of Abstract Expressionism in the late 1930s, years ahead of his contemporaries.

$3.50 | Clyfford Still Museum

Courtesy of the Clyfford Still Museum

‘Shunga: Stages of Desire’

A peek plunge into early modern Japan’s thriving sexual culture via HoMA’s collection of Japanese erotic art.

$30 | HoMA

Courtesy of the HoMA Shop

Block Shop x LACMA Robe

A take on William Morris’ “Rose” that subs California poppies for English roses, designed by L.A.’s Block Shop for LACMA’s Deep Cuts: Block Printing Across Cultures.

$165 | LACMA

Courtesy of the LACMA Store

‘Young, Gifted and Black: A New Generation of Artists’

Curator and art world luminary Antwaun Sargent brings together works by a new generation of Black contemporary artists, offering a fresh perspective on how these emerging voices are shaping the discourse around identity, politics and art history.

$50 | Studio Museum

Courtesy of the Studio Store

‘Rabbits Throwing Snowballs’ Mug

A daily visit to the imaginative world of Peter Rabbit and his creator, inspired by a letter in the Morgan’s collection from the beloved Beatrix Potter.

$15 | The Morgan

Frick Ceiling Umbrella

The Frick’s second floor reopened in 2025, and this umbrella opens to the chinoiserie detail of John Alden Twachtman’s second-floor ceiling, initially installed in 1914.

$60 | the frick

The Frick Collection Shop

A survey of contemporary Cuban photography from the extraordinary Madeleine P. Plonsker Collection, tracing the evolution of artistic expression in the post-Soviet era, from celebrations of the Revolution to powerful personal critiques of social and political realities.

$50 | MFAH

Courtesy of the MFAH Shop

Mickalene Thomas Flowers Hat

A five-panel cap with an eye-catching print of Mickalene Thomas’ signature 1970s-inspired floral motif, originally inspired by the upholstery in her New Jersey childhood home.

$69 | Smithsonian gift shop

Courtesy of the Smithsonian Gift Shop

Juicy Cherry T-Shirt

A cheery reminder of Minneapolis’ most iconic public art: Claes Oldenburg and Coosje van Bruggen’s Spoonbridge and Cherry, which has delighted the Minneapolis Sculpture Garden at the Walker Art Center since 1988.

$30 | Walker Museum

Courtesy of the Walker Art Center Museum Shop

Museum Nerd x VMFA Sweatshirt

Museum Nerds infiltrated the VMFA and left behind a covetable, retro, collegiate block sweatshirt.

$85 | vmfa

Courtesy of the VMFA Shop

‘Art Dog’ Book

A compendium of clever canines immortalized in art through the ages, from Japanese prints to Italian frescoes—a testament to the enduring bond between humans and our beloved four-legged friends.

$17 | Crystal Bridges Museum

Courtesy of the Crystal Bridges Museum Shop

‘Kansas Cornfield’ Magnet

An acrylic salutation to the beauty and light of America’s heartland in John Steuart Curry’s 1933 Kansas Cornfield.

$8 | Wichita Art Museum Shop

Courtesy of the Wichita Art Museum Shop

‘I Paint Therefore I am’ Cashmere Sweater

A painterly twist on René Descartes’ famous motto, hand-stitched in red thread as a wearable manifesto for the artist’s life.

$385 | Hirshhorn Museum Shop

Hirshhorn Museum Shop

Edward Gorey Lion Cap

A proud little lion inspired by Chicago artist, writer and School of the Art Institute of Chicago alum Edward Gorey, whose work is inseparable from literature, theater and popular culture.

$25 | Art Institute of Chicago

Courtesy of the Art Institute of Chicago Store

PAMM Building Mug

A caffeine vessel of PAMM architectural marvels: its geometric design, lush hanging gardens, Biscayne views and warm plank flooring.

$25 | Pamm

Courtesy of the PAMM Shop

Jackson Wool Rug

A 2’x3′ hand-hooked wool rug inspired by the art of Barbara Gilhooly Mighty, for An Ecology of Quilts: The Natural History of American Textiles.

$235 | aFAM

Courtesy of the American Folk Art Museum Shop

Patch Birth of Venus Botticelli

A wearable homage to the enduring influence of Renaissance art on modern Italian fashion, sold as a companion to Renaissance to Runway: The Enduring Italian Houses.

$15 | Cleveland Museum of Art

Courtesy of the Cleveland Museum of Art Shop

Long Jakes ‘The Rocky Mountain Man’ Scarf

The romance of the Old West in silk jacquard, by early American master Charles Deas.

$72 | AMWA

Courtesy of the AMWA Shop

Dan Hernandez: ‘Souvenir Plate featuring a Ruined Beacon’

A ceramic ode to the extinguished beacon from Dan Hernandez’s Hero’s Journey series—a souvenir of the ruined landmarks and narrative upheavals explored in the artist’s video game-inspired works.

$5,500 | TMA

Courtesy of the TMA Shop

Witte Marvelje Knitted Embroidery Crewneck

A collar of embroidered birds and flowers based on a 17th-century Dutch watercolor from the Getty’s collections.

$250 | the getty

Courtesy of The Getty Museum Store

Richard Avedon’s ‘In the American West’

Richard Avedon’s portraits from the landmark 1985 exhibition, in a 40th anniversary reissue of the original catalogue—with a new foreword by John Rohrbach.

$100 | The Carter

Courtesy of The Carter Museum Shop

‘Louise Bourgeois Made Giant Spiders and Wasn’t Sorry’

A festival of Louise Bourgeois and her lifelong exploration of the polarities of human emotion.

$18 | MASS MOCA

Courtesy of the MASS MoCA Store

Great American Love Skate Deck Triptych

A triptych commemorating that which held great spiritual significance for sculptor Robert Indiana throughout his six-decade career.

$680 MAM

Courtesy of the MAM Shop

Tote Libertad

A daily reminder of Cuban artist and political prisoner Luis Manuel Otero Alcántara by Armando Tejuca, benefitting the families of Cuba’s political prisoners.

$25 | Museo del Barrio

Courtesy of el Museo del Barrio Store

Teresa Baker Blanket

Teresa Baker’s abstract blanket for An Indigenous Present, an exploration of 100 years of contemporary Indigenous art.

$350 | ICA Boston

Courtesy of the ICA Store

Isabella’s Opera Coat Purse

An exquisite purple silk velvet, embroidered purse paying homage to Isabella Stewart Gardner’s lavish opera coat, which was itself inspired by Marie Antionnette.

$145 | Gardner museum

MOCA Ring Watch

The updated MOCA Ring Watch combines the functionality of a timepiece with the eye-catching design of a statement ring, featuring a gold-colored finish, the museum’s classic four-color logo on the watch face, and a bold, sculptural shape that makes it a must-have accessory for contemporary art enthusiasts.

$30 | MOCA

Courtesy of the MOCA Store

‘Cafecito con Chisme’ Mug

A mug that starts the day in a joyful Latinx way.

$25 | Museo del Barrio

Courtesy of el Museo del Barrio Store

13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair

A provocative 1964 New York World’s Fair artifact: Warhol’s controversial 13 Most Wanted Men mural, censored before its public debut, explored through 13 interviews that peel back the layers of this notorious Pop Art scandal.

$35 | Queens Museum

Courtesy of the Queens Museum Shop

Louis C. Tiffany Peacock Feather Wool-Blend Shawl

A ritual of peacock feathers, inspired by Louis Comfort Tiffany’s sinuous designs and Art Nouveau’s fascination with renewal and immortality.

$89 | The Met

Courtesy of The Met Store

Marjorie Phillips’ ‘Night Baseball’ Cap

A cap for day or night, inspired by American Impressionist painter and art collector Marjorie Phillips’ 1951 account of a Senators vs. Yankees moment.

$29 | Phillips Collection

Courtesy of The Phillips Collection Store

Guggenheim Gates Glass Pitcher

Borosilicate glass in a web-like tribute to the Guggenheim’s architecture and legacy.

$50 | the Guggenheim

Courtesy of the Guggenheim Store

Ginny Ruffner’s Inflatable Bouquet

A bouquet that never wilts from an artist whose career spans 95 solo shows, hundreds of group exhibitions, and inclusion in over 63 permanent collections worldwide.

$29 | SAM

Courtesy of the SAM Shop

Cassette Tape Wallet

A pitch-perfect accessory for exploring over two centuries of New York City’s vibrant social dance scene in Urban Stomp.

$24 | Museum of the City of New York

Courtesy of the Museum of the City of New York Shop

‘Where Black Art Lives’ Sweatshirt

A classic black crewneck that gets straight to the point in reflective, unforgettable ink.

$65 | Studio Museum in Harlem

Courtesy of the Studio Store

‘Painting Energy’ Bag

A canvas and leather tote hand-painted in custom colors created exclusively for the Painting Energy: The Alex Katz Foundation Collection exhibition at the Portland Museum of Art.

$400 | PMA Shop

Courtesy of the PMA Shop

Picasso Coasters

An eye, a wink, a mouth and a nose capture the spirit of Picasso (“A head is a matter of eyes, nose, mouth, which can be distributed in any way you like”).

$24 | DMA

Courtesy of the DMA Store

‘Bird Shadow’ Blanket

Florian Krewer’s everybody rise in knit lambswool and cashmere, crafted in Scotland.

$1,000 | Aspen Art Museum

Courtesy of the Aspen Art Museum Store

Marian Paquette Liette Woven Handbag

Marian Paquette’s eco-conscious design, crafted from repurposed fabrics, features a sophisticated brown stripe.

$545 | The Store At MAD

Courtesy of The Store at MAD

National Monument Audit

Monument Lab’s comprehensive audit of the American commemorative landscape and assessment of the dynamics and trends that have shaped the nation’s monuments, drawing from nearly half a million historic records to investigate approximately 50,000 conventional monuments across every U.S. state and territory.

$15 | MOCA Store

Courtesy of the MOCA Store

Lichtenstein ‘House III’ Drinking Glass

A rendition of Roy Lichtenstein’s symbolism of the suburban American home, from the lawn of the Stent Family Wing.

Courtesy of the High Museum of Art Shop

Horsetail Silk Scarf

A silk scarf that weaves together over half a century of design history, West African storytelling and the enduring symbolism of the horse tail fly whisk as a mark of leadership.

$250 | Brooklyn Museum

Courtesy of the Brooklyn Museum Shop

Degas ‘Little Dancer’ Pin

A diminutive brass homage to Edgar Degas’ Little Dancer Aged Fourteen, capturing the taut poise and disciplined rigor of Marie van Goethem, a young Paris Opera Ballet student, forever frozen in time.

$10 | Philadelphia Art Museum hop

Courtesy of the Philadelphia Art Museum Store

Made in L.A. 2025 Tee

A crisp white tee paying homage to experimental filmmaker Mike Stoltz’s signature 16mm works that spotlight the raw physicality of the medium.

$45 | Hammer Museum

Hammer Museum Shop

MCA Chicago Map Tray

A minimalist ode to the Windy City’s urban geography, crafted with a singular focus on material and form.

$135 | MCA Store

Courtesy of the MCA Shop

Andrew Carnegie Plush

A plush reimagining of Andrew Carnegie, the Scottish-American steel tycoon and iconic industrialist whose former New York mansion now houses the Cooper Hewitt.

$69 | Cooper Hewitt

Courtesy of the Cooper Hewitt Shop

RM White Drawing Mug

A whimsical visual scavenger hunt that captures the adventurous spirit of the Rubell Museum.

$12 | Rubell Museum Shop

Rubell Museum Shop

Museum Cats Coasters

Four cork coasters, each featuring a different feline artwork from the MFA Boston’s collection.

$21 | MFA Boston

Courtesy of MFA Boston Shop
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The Best Personalized Gifts for the Holidays https://observer.com/list/the-best-personalized-gifts-for-the-holidays/ Fri, 07 Nov 2025 12:00:00 +0000 https://observer.com/?post_type=listicle&p=1595835 Conventional wisdom tells us it’s the thought that counts, but some thoughts count more than others. A generic candle or uninspired gift card might say “I remembered,” but a one-of-a-kind present that’s been painstakingly customized says “I see you, I get you, and I went to extreme lengths to prove it.” In bespoke gifting, luxurious keepsakes are even more covetable with the addition of custom details, ranging from hand-painted monograms to pillow portraits of the family pet.

There are iconic tote bags elevated by embroidered initials, custom tabletop pieces that demand entertaining and home decor so specific you’ll be tempted to redecorate entire rooms around each item. Herewith, the very best personalized gifts to give this holiday season, or as we like to think of it: a roadmap to cementing favorite child status through the shameless art of monogramming.

Lingua Franca Bespoke Cashmere Sweater

You cannot go wrong with Lingua Franca’s bespoke cashmere. The brand was founded in 2016 by Rachelle Hruska, who, years earlier, had become a household name in discerning zip codes as the chronicler of early-2000s New York society, thanks to her website, Guest of a Guest. Why is this important? Because the cool kids follow Hruska, and it didn’t take long for Lingua Franca to become the “next cool thing.” (But that was nine years ago, so if it’s the first you’re hearing of Hruska’s sweaters, act like you’ve been there.) Lingua Franca’s 100 percent cashmere knits are adorned with pithy, playful and often provocative statements, hand-stitched in a cool-girl font that is just the right amount of lopsided while remaining legible.

For moms and dads, consider gifting a bespoke crewneck or cardigan emblazoned with a shrunken version of their child’s most adorable doodles. If your loved one does not love children or at least does not love them enough to want kid scribbles on cashmere, dream up a message that’s utterly, uniquely them (“Ask me about anything but children!”) and embroider that on the front, instead. The softness is unparalleled, yet the fabric has a weightlessness and delicacy that almost belie its keepsake-in-the-making durability.

Ships in 3-4 weeks. Order by early December for holiday delivery.

from $650 | Lingua franca

Courtesy of Lingua Franca

Commissioned Recipe Painting by Abbi Kenny

Emerging artist Abbi Kenny, whose evocative acrylic paintings have graced the walls of Deanna Evans Projects in New York and are currently on display at Main Projects in Richmond, Virginia, has a gift for capturing the sensory delights and nostalgic charm of food. For the discerning gourmand who treasures family traditions as much as flavor, Kenny offers a rare opportunity to immortalize a beloved recipe or meaningful dish in a bespoke work of art.

The process is as personal as the finished product. Kenny, a rising star in the art world with an MFA from Boston University and a BFA from RISD, begins each commission with a conversation, delving into the significance and memories behind the chosen recipe. From there, she creates sketches and reference images that capture the essence of the dish, from the colors and textures of the ingredients to the presentation and ambiance.

Recent commissions showcase Kenny’s range and skill: Catena (Learning to Like Malbec) (2022) is a rich, textured exploration of a memorable wine, while Roast Chicken (and Some Things From Nonny) (2024) pays tribute to a family recipe, complete with rice and glass beads. Sightseeing at the Prudential Center Fish Counter (2023) elevates an everyday moment into a glittering, multi-dimensional scene.
With each brushstroke, Kenny celebrates the profound connections we forge through food and the stories we tell around the table. The resulting paintings, which take up to three months to complete depending on size and complexity, are deeply personal masterpieces destined to become treasured family heirlooms. For a truly unique gift that nourishes the soul as much as the palate, secure a slot in Kenny’s sought-after commission schedule before they’re all gobbled up.

Allow 1-3 months.

inquire

Courtesy of Abbi Kenny

W&CO Cast Bronze Stamp

The W&CO Cast Bronze Rubber Stamp is a stunning example of how everyday objects can be transformed into cherished keepsakes through the power of thoughtful design and exquisite craftsmanship. Cast in rich, warm bronze from a 19th-century paperweight mold, each stamp base bears the subtle irregularities that mark it as a true one-of-a-kind. The substantial weight and smooth, cool surface of the bronze invite touch, making the act of stamping a tactile pleasure.
Choose a custom rubber imprint—perhaps a monogram, an architectural motif, or a beloved phrase—to create a stamp that’s as unique as its recipient. Or opt for a Gift Voucher that allows your loved one to personalize their stamp to their own exacting specifications.

At 2.25″ wide with a generous 2.125″ imprint area, it’s perfectly sized for a wide range of creative and practical applications. Each stamp is meticulously handcrafted in Sweden and presented in W&CO’s signature black gift box, a fitting vessel for an object of such understated luxury. And for those who prefer a different aesthetic, the Cast Bronze Rubber Stamp is also available in a sleek Blackened finish or a luminous Silver-plated version. In an age of digital everything, there’s something profoundly personal about the act of stamping one’s mark on paper.

Ships in 1-2 weeks.

from $235 | w&co

Courtesy of W&CO

Petite Keep Personalized Keepsake Trunk

Petite Keep’s Personalized Keepsake Trunks are heirloom-quality vessels designed to protect and preserve mementos for generations to come. Each trunk is made to order, by hand, by a skilled all-woman team in Missouri. The robust, matte-finish steel exterior is available in an array of classic, dreamy hues and accented with elegant gold hardware. The trunks open to reveal custom-embroidery—monograms or text offered a variety of fonts and colors—stitched into a padded, soft fabric lining in a selection of signature prints, each a charming work of art designed in-house and brought to life by talented female illustrators.

With over 40,000 possible combinations of exterior colors, fabric inserts, embroidery fonts and thread colors, it may be hard to know where to begin. Pricing starts at $175 for the Mini Trunk (15″ L × 9″ W × 7″ H) and ranges up to around $700 for a bundle of trunks in assorted sizes. Accessories, like monogrammed heart paddles, make the task of finding the perfect combination even more wonderfully puzzling.

Allow four weeks for custom orders.

from $175 | petite keep

Courtesy of Petite Keep

Mr. Boddington’s Personalized Paperweight

Mr. Boddington’s crystal-clear round paperweight is a charming blend of form, function and personality. The studio offers an incredible number of hand-drawn icons for personalization. Will you opt for the unexpected elegance of an oyster, the quirky charm of a pair of spectacles, or the free-spirited whimsy of a bicycle? The choice is yours, and the options are delightfully diverse, ranging from the culinary (boba?) to the creative (paint palette!) to the slightly cheeky (yes, those Parliaments).

Add up to two initials in Mr. Boddington’s signature font for a final custom touch that makes this paperweight truly one-of-a-kind. Measuring a compact 3.5″ in diameter, this paperweight is the perfect size to make a statement without overwhelming your desk. And while it’s undeniably practical, there’s something about the juxtaposition of the crystal-clear glass and the playful, almost irreverent icons that feels a bit like a secret wink.

Allow two weeks.

$70 | mr. boddington’s studio

Courtesy of Mr. Boddington's Studio

Custom-Embroidered Cocktail Napkins

There’s a specific moment at a dinner party when you realize the host has actually thought things through—usually it’s some small detail that signals effort without announcing itself. Custom embroidered cocktail napkins qualify. These Threads & Honey linen napkins are crafted in Louisville and feature minimalist script embroidery with your choice of text (family name, monogram, a cheeky phrase—your call) in thread that’s designed never to bleed or fade. At six by six inches with a hemstitch border, they’re the right size for cocktails and hors d’oeuvres without overwhelming the table setting. The 100 percent linen has that crisp, substantial feel that cheap paper cocktail napkins can never replicate, and the personalization elevates them from functional to genuinely thoughtful. They work equally well as a housewarming gift for someone who actually entertains or as an upgrade to your own hosting supplies.

Sometimes the difference between a good party and a great one comes down to whether you bothered with the details, and monogrammed linen napkins definitely count as bothering in the best possible way. If you really want to wow your loved one, gift the napkins in this 8×8″ mirrored tray, so the recipient doesn’t need to figure out how to store their new favorite conversation piece.

Ships in 1-2 weeks.

from $70 per set of four | threads & honey

Courtesy of Threads & Honey

Custom Golf Swing Sculpture

Swing Sculpt turns your loved one’s golf swing into a permanent work of art (or at least home decor)—video analysis meets proprietary 3D modeling to capture the exact mechanics of their form. Mounted on walnut with optional engraving, these keepsake pieces skip the gimmicky trophy aesthetic in favor of clean lines that let the swing’s fluidity speak for itself. The result works equally well in a formal office or den, and for the golfer who cares as much about form as score, it’s the rare, one-of-a-kind gift that creates entirely new reasons to talk about golf—as if they needed more. Sometimes the best presents immortalize something fleeting—in this case, the split-second grace of a well-executed drive that their friends will now have to admire on repeat.

Ships in 3-4 weeks.

$499 | Swing Sculpt

Courtesy of Swing Sculpt

Mr. Boddington’s Monogrammed Notebook

Mr. Boddington’s monogrammed notebook is the perfect gift for those who refuse to surrender entirely to the tyranny of digital note-taking. Crafted from premium vegan leather in colors with personality—sky blue (a particular triumph in a sea of drab office supplies), cherry red, emerald green, cognac and linen—each can be personalized with up to two hand-painted letters, applied by artists in Mr. Boddington’s Brooklyn workshop. At 8″ by 6.5″, it’s substantial enough to gift independently but compact enough to qualify as a stocking stuffer—which is useful when you’re trying to justify buying one for yourself while shopping for others. For anyone who’s ever craved the quiet superiority of pulling out a beautiful notebook in a room full of laptop typists, this delivers on that promise without apology.

Ships in up to two weeks.

$70 | Mr. Boddington’s studio

Courtesy of Mr. Boddington's Studio

Olympia Le-Tan Personalized Book Clutch

For the stylish woman who tied the knot in 2025, an Olympia Le-Tan custom clutch is a gift that is as unique and memorable as her special day. The Parisian brand is renowned for its exquisite, hand-embroidered “book” clutches. With their custom design service, you can create a one-of-a-kind gift that celebrates significant life milestones. Imagine presenting a newlywed bride with a clutch featuring the book cover from which her wedding reading was taken, or a design incorporating elements from her bouquet or wedding invitation. Perhaps it’s a favorite love poem, rendered in intricate stitching, or a scene that captures the essence of where the couple first met. Every detail can be customized, from the base color to the cover artwork. With the option to add personalized touches like initials, a name, a date or a special message, the clutch becomes a keepsake.

Allow 15 days for in-stock items and 60 days for fully custom designs.

From $2,030 | Olympia le-tan

Courtesy of Olympia Le-Tan

Sarah Wiley Custom Pillow

Sarah Wiley’s custom pillows are a delightful anomaly—whimsical, deeply personal and utterly charming. These are not your standard accent cushions, but storytelling vehicles, each a vibrant vignette of a life well-lived. Wiley teases out the tales that make a house a home. A beloved dog with a penchant for mischief and a taste for luxury handbags. A family portrait that captures the quirks and personalities of each member. The architectural details of a childhood home, lovingly rendered in thread.

From there, Wiley weaves her magic, translating these stories into one-of-a-kind gifts with designs that are as tactile as they are visually stunning. Her pillows are feats of craftsmanship, the stitches so precise, the details so vivid, that you can almost feel the softness of a pup’s ear, hear the laughter around a dinner table, smell the roses climbing a garden trellis.

Ships in 4-6 weeks.

from $450 | Sarah Wiley

Courtesy of Sarah Wiley Art

Olivet Monogrammed Garment Bag

A well-appointed garment bag makes even the most hectic travel feel chic. In gifts for her, Olivet’s sumptuous deep navy poly moiré catches the light just so, with a black flocked bow and coordinating black piping and embroidery. Olivet’s Classic Garment Bag is extra-long to accommodate even the most formal of gowns, with two interior pockets for keeping accessories and essentials close at hand. The ability to transition from full-length to half-fold to compact suitcase fold is a stroke of genius, and with handles at each length, it’s a breeze to carry. Perhaps the most luxurious touch is the option for custom embroidery over the right interior pocket.

In gifts for him, try Hudson Sutler’s Hunter Green Charleston Garment Bag, a nylon and leather version with a spill-proof liner, contrasting zipper and accent piping. It fits two suits or three full-length garments (and is also monogrammable for $180).

Ships in 10-14 business days.

from $240 | olivet

Courtesy of Olivet (L) and Tuckernuck (R)

Alex Mill ‘Perfect Weekend’ Tote Bag

The ‘Perfect Weekend’ Tote from Alex Mill isn’t your average canvas bag; it’s crafted with the kind of obsessive attention to detail that transforms an everyday essential into an heirloom-worthy Christmas gift. The 100 percent cotton exterior is garment-washed for a gently worn-in texture and rich, saturated color that looks like it’s already accompanied you on a thousand getaways. Choose from an array of classic shades, including military olive, golden khaki, navy and black, or make a statement with a bold burst of firebrick or cobalt. A generously proportioned interior features a zip pocket to corral smaller essentials, while the exterior boasts a discreet snap closure that expands or contracts the silhouette as needed. Double handles offer a comfortable grip, but it’s the addition of adjustable shoulder straps that takes this bag from basic to brilliant. Tuck them in for a streamlined look or wear them proudly when you need to go hands-free.

And because a bag this perfect deserves a personal touch, Alex Mill offers the option to monogram your tote for a subtle yet impactful flourish. Your loved one’s initials, embroidered in a classic serif font, transform a flawlessly designed tote into a bespoke accessory that’s unmistakably theirs.

Ships in three weeks.

$295 | Alex Mill

Courtesy of Alex Mill

Anna Lou Rolling Cube Ring

Anna Lou of London’s 14kt solid yellow gold rolling cube ring offers straightforward personalization: two letters of your choice, whether initials, a partner’s monogram, or whoever the recipient wants to carry around. The cube rotates and converts to a pendant, which is practical without being precious. Since 2004, Anna Scaife has built her brand on contemporary pieces that balance whimsy with wearability, working with materials ranging from acrylics to solid gold and recycled silver in her family-run studio in the UK. Made in-house with bold colors and clean lines, these pieces reject the tired notion that accessible means compromised. For someone who appreciates personalization but finds traditional monogramming overly formal, this delivers without the sentimentality.

Ships in 1-2 weeks. Order by December 5 for holiday delivery.

$1,964 | anna lou of london

Courtesy of Anna Lou of London

Salt & Straw Custom Pint Pack 

Forget the foil-wrapped pears and send your loved ones a customized gift box of five hand-packed pints of artisanal ice cream from Salt & Straw. Will you play it safe and send the classic richness of sea salt caramel or honey lavender ice cream? Will you push boundaries with Salt & Straw’s olive oil flavor, showcasing exquisite Arbequina olives sourced from Rio Bravo Ranch in California’s Central Valley? Or will you be so bold as to send the brand’s ‘Turkey, Stuffing & Cranberry Sauce’ ice cream, which—yes, really—combines savory turkey brittle (made with humanely-raised turkeys from Diestel Family Ranch in Sonora, California) with subtly sweet cranberry sauce and house-made stuffing, capturing the essence of a Thanksgiving feast in every scoop?

Whatever you choose, every pint is handmade in small batches using organic, sustainable, and locally sourced ingredients. Include a personalized note card for an extra touch of thoughtfulness, transforming this delightful delivery into a truly memorable gift that speaks volumes about how well you know and appreciate your recipient, curated to reflect their unique tastes.

$75 for 5 pints | Salt & Straw

Courtesy of Salt & Straw

Weezie Monogrammed Robe

Weezie’s robes are a welcome departure from the bulky, shapeless options that often define the category. In gifts for her, the brand’s luxuriously soft French Terry Scallop Robe drapes elegantly, featuring a scalloped edge with contrast piping that elevates the overall look. In gifts for him (and her), Weezie’s Signature Robe is crafted from 100 percent organic cotton in Portugal. Both designs feature roll-and-button sleeves, a stroke of genius that allows the wearer to customize the length depending on the task. The attached belt ensures that it never goes missing in the wash or gets tangled in a drawer. Adding embroidery or appliqué transforms the brand’s best-sellers into personalized gifts that feel genuinely unique. It’s a touch that elevates the robe from the realm of the everyday into something more meaningful, a luxurious keepsake to be cherished for years to come. (Note: the brand also recently launched custom-embroidered Christmas stockings.)

Ships in two weeks.

from $178 | weezie

Courtesy of Weezie

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The Crisis King Who Builds Careers: Inside Matthew Hiltzik’s Paradoxical Empire https://observer.com/2025/10/the-crisis-king-who-builds-careers-inside-matthew-hiltziks-paradoxical-empire/ Tue, 14 Oct 2025 11:30:05 +0000 https://observer.com/?p=1592636 Matt Hiltzik sits at his desk in a plaid blazer with the Omer Neutra hostage poster prominently displayed on the wall behind him. The poster shows a young man's photo with text reading "BRING HIM HOME NOW!" visible through the office window showing the New York City skyline.

Hope Hicks sat before the House Intelligence Committee in February 2018, facing a room full of lawmakers hungry for answers about Russian interference in the 2016 election. Under oath, she admitted to telling “white lies” for Donald Trump. What struck observers wasn’t the admission itself, but her composure under withering scrutiny. That ability to maintain message discipline had been forged years earlier in a modest office in Midtown Manhattan, under the tutelage of a man widely regarded as the most relentless fixer of the last twenty years.

Matthew Hiltzik’s reputation as an “attack dog” precedes him, yet this narrative obscures a far more intriguing paradox. His eponymous firm has become one of the industry’s most successful talent incubators, launching an unusually potent network of protégés into the highest echelons of corporate America.

Hicks parlayed her Hiltzik Strategies experience into White House Communications Director, then executive VP at Fox, and now COO of Megyn Kelly’s Devil May Care Media. Emily Feingold, who started as Hiltzik’s assistant at Miramax, now oversees Netflix’s external communications across the U.S. and Canada—markets that drove nearly $5 billion in revenue for the streaming giant in Q2 of this year. Rachel Adler moved from managing Hiltzik’s high-profile clients (think: Katie Couric, Justin Bieber, Chelsea Clinton) to repping Martha Stewart, Andrea Mitchell, Audie Cornish, Pete Buttigieg, Beto O’Rourke and many, many more at Creative Artists Agency, a powerhouse “iceberg” that infiltrates every pocket of consumer culture while deftly operating beneath consumer radar.

The pattern extends across sectors. Eric Koch founded Downfield Strategies, a firm known for winning in unlikely territory—including helping Blue Dog Democrats hold deep Republican districts in 2024. Eliana Holm Yamshon serves as BlackRock’s Global Head of Employer Brand, shaping how the world’s largest asset manager attracts talent across its $10 trillion operation. Rachel Rosenzweig directs communications at Thrive Capital, the venture firm behind early bets in Instagram, Spotify, Stripe and OpenAI—the world’s most valuable privately held company. Josh Raffel leveraged his Hiltzik experience into White House advisory roles on Middle East policy and tax reform. Jeremy Watkins heads up communications for the Knicks and Rangers at MSG. Sarah Rothman co-founded The Lede Company, managing Hollywood’s most sensitive PR ops for a roster that counts Reese Witherspoon, Rihanna and Emma Stone. These aren’t modest career bumps, but trajectories from junior account executive to C-suite leadership within five to ten years. 

The Anti-Self-Promotion Paradox

In the PR universe, noise often masquerades as power. Headlines are chased, controversies courted, influence measured in decibels. When first approached for this profile, Hiltzik’s response was characteristically restrained: “I am very grateful and humbled by your interest in writing something like this. But I respectfully decline,” he said. “We prefer to keep the focus on our clients.” He cautiously consented only after being assured the story would prominently feature his protégés. 

I first met Hiltzik over a decade ago. My lasting memory of that meeting is that there was no lasting memory. He left little impression—no grandstanding, no casual dropping of celebrity client names, nothing memorable about his Midtown Manhattan office. It was, quite deliberately, utterly forgettable. 

A second interaction proved more revealing. When Observer sought access to his longtime client Eric Schmidt, a junior associate politely deflected, attempting instead to place a far less prominent name. Frustrated, I raised the issue directly with Hiltzik. His response was immediate—he stood firmly behind his staff. Championing smaller clients is as essential as servicing marquee names, and employee loyalty is standard operating procedure.

Hiltzik speaks like someone perpetually aware that each word carries weight far beyond the present moment. His sentences weave through qualifiers and disclaimers, a mind constantly gauging context and consequences. He defaults to understatement, reliably shifting credit toward colleagues or clients. He understands his role as adviser rather than protagonist.

He maintains such a low profile that Getty’s most recent image of Hiltzik is from 2015, so I brought a photographer to his office late last month. A week later, an apology hit my inbox. “I tried my best,” the photographer said. “But he seemed very tense.” Hiltzik had appeared rigid and uncomfortable in front of the camera, resulting in remarkably few usable images. The man who spent his career ensuring others look good had been betrayed by a palpable anti-promotional instinct.

Hiltzik’s office tells a different story. He is warm, welcoming, eager to show us everything that means something to him—which is nearly everything. A black-and-white photograph by former client Annie Leibovitz captures Hiltzik amid Hillary Clinton’s campaign staffers, crowded around a television the night of her victorious 2000 Senate race, for which he was the director of Jewish relations. Behind his desk hangs a watercolor by Deirdre Imus—a whimsical cowboy riding a blue-speckled horse, a memento of his late client Don Imus, the shock jock who trusted Hiltzik enough to joke mid-crisis, “You’re giving me worse cancer right now” after announcing his diagnosis live on-air without warning. The kind of ribbing reserved for family. There’s a large folk art painting of an American flag he acquired at Sundance. “My mother loves all things Americana,” Hiltzik explains. “Everything in her house is red, white and blue.” He’s a fourth-generation American, and his pride is transparent.

Framed black-and-white photograph by Annie Leibovitz showing campaign staffers including Matthew Hiltzik (front row, left) watching television coverage of Hillary Clinton's 2000 Senate election victory. The signed photograph hangs on the wall of Hiltzik's Midtown Manhattan office.

Hiltzik beams when discussing his children—two daughters and a son with Dana, his wife of nearly 25 years—and his decade-plus coaching their sports teams. He holds up a championship ring from his son’s latest flag football season. He recounts how a player whom the other coaches overlooked became his first pick for his daughter’s basketball team. Two words of advice—”slow down”—transformed her into a core player that season.

When asked about the parallels between coaching kids’ sports and running a PR firm, his response is simple: “First, you need to understand their strengths. Not everyone will be, or needs to be, the star of the show. Second, you need to be committed to developing talent in the moment—and accepting of the fact that some of the best people eventually leave. It means they’ve learned what they needed to.”

Hiltzik holds a flyer-sized photograph of a young man in his early twenties, looking toward the camera with calm eyes and a slight, natural smile. It is the kind of image that might appear in a yearbook, if not for the urgent message printed in all-caps beneath the portrait: “BRING HIM HOME NOW!” A plea for the safe return of 21-year-old Omer Neutra, presumed to be among the over 250 hostages taken in the October 7 attacks—the deadliest day for Jews since the Holocaust. For two years, Hiltzik has worked closely with Neutra’s parents and brother and advocated for the families of missing hostages. Last December, the Israeli military confirmed Neutra, an IDF soldier, had been killed on October 7. He was born 24 years ago today, on October 14, about a month after his mother, eight months pregnant, fled Manhattan on foot across the Queensboro Bridge on September 11, 2001. “Do you mind if we make sure this is in the background?” Hiltzik asks. Neutra’s parents are still awaiting the return of their son’s remains.

The Paradox of Loyalty

Industry insiders suggest that Hiltzik’s ability to fade into his surroundings is core to crisis management—a different type of PR where the goal is keeping people out of the spotlight rather than in it—and may be more strategic than temperamental. Though it’s become what defines him publicly, crisis management constitutes a mere 20 percent of his firm’s portfolio. “It’s what people notice most,” he admits.

Regardless, this deliberate self-effacement creates space for something more valuable. Linda Lipman, an EVP at Hiltzik Strategies, has spent over 15 years there, and EVP Meghan Miele, 11 years. EVP Tiffany Siegel, over a decade, and Senior Directors Chris Cunningham over seven years, and Jocelyn Dawson, six years. Several others have stayed for eight years or more. In an industry where the average tenure hovers around three years, these numbers shouldn’t exist—especially given the PR firm’s small size. Hiltzik Strategies has less than 40 full-time staff.

A 2024 survey found 44 percent of PR and comms professionals quit due to exhaustion, with 78 percent rating their stress at eight out of ten. The Institute for Public Relations reported 28 percent of communicators teetering on the edge, 36 percent actively job hunting. The sector’s churn rate—20.8 percent in 2024, down from a brutal 29.3 percent in 2021—still runs nearly double the average for professional services.

In an industry built on burnout, people stay at Hiltzik Strategies. Lipman describes Hiltzik as someone who “speaks with great pride about former employees who have gone on to big roles,” who “can walk into any room and connect with those present.” Someone with, in her words, “a caring heart”—a phrase that sits oddly against what others might call a ruthless reputation. 

Hiltzik is unsentimental about fit—if someone isn’t performing or can’t handle the pressure, the relationship ends quickly and without drama. It’s a pragmatic approach that former employees describe as fair rather than harsh: you rise to the standards or move on, with no hard feelings on either side.

Even messy departures don’t sour relationships. Melissa Nathan spent 10 years at Hiltzik Strategies before leaving in 2023 to found The Agency Group, taking staff, Drake and the Chainsmokers with her. It’s the kind of move that typically breeds permanent bad blood.

Within months, Nathan’s new venture hit turbulence. She was hired by Justin Baldoni in 2024 during the promotional period for It Ends With Us, which he directed and co-starred in with Blake Lively. When Lively filed a sexual harassment lawsuit against Baldoni in December, alleging a retaliatory smear campaign, Nathan was named in the suit. Alleged text messages surfaced, including one where Nathan purportedly told Baldoni, “You know we can bury anyone.” Nathan was named in another lawsuit last month—this one filed by the target of a similar smear campaign the publicist allegedly orchestrated on behalf of Rebel Wilson. 

Hiltzik could have piled on. The setup was perfect—former protégé takes clients, gets embroiled in allegations of fabricating defamatory websites and deploying bot armies to destroy reputations. Instead, when asked about Nathan taking Drake (who recently returned to Hiltzik on a project basis), “She earned that client.” When asked about her alleged tactics: “That’s not how we do things.” No elaboration beyond: “We create an environment where everyone understands our values.” 

Breanna Butler, who left Hiltzik Strategies with Nathan, says the biggest lesson she learned there was commitment to truth, “even when the facts may be less than favorable.” Nathan still calls Hiltzik “family” and credits him with teaching her that “every story has many sides.” 

Feingold also uses the word “family” when describing her time with Hiltzik. Her first day working at Miramax was September 10, 2001. After the towers fell on September 11, he sat with her on the stoop of her Upper West Side apartment building, talking, making sure she was okay.

The familial terminology isn’t accidental—it reflects a workplace where professional relationships carry unusual weight and longevity, and where performance and personal connection are held to equally exacting standards. That culture is self-selecting: it attracts people who thrive on high expectations and total investment at the highest stakes, and naturally weeds out those who don’t. When former employees use the word ‘family,’ they’re describing something intense and demanding that isn’t for everyone—but for those who fit, it’s precisely what makes them stay.

Matt Hiltzik stands behind a foosball table in his office, leaning forward with hands on the table's edge, wearing a plaid blazer. A sign reading "GOODNEWS" hangs on the wall behind him.

The Foundation

“What you need to know about Matthew is that his codependency with his family is extraordinary,” one former employee confides, and means it as the highest compliment. “His father, George, is a very formative person in his life.” Watching George’s career as a talent agent at firms like Bienstock taught Matthew the value of letting people who disagree with you explain themselves. The elder Hiltzik is also a devoted family man who made business decisions through that lens. When an unknown disc jockey named Glenn Beck cold-called him in 1999, George gave him a shot after hearing how Beck spoke about his new wife. Years later, when Beck wanted to hire Matthew, George was “1,000 percent against it.” But both men were adults. They could make their own judgments.

George is a near-constant presence at Hiltzik Strategies, in the office weekly and constantly on the other end of the phone. Current and former employees mention this unprompted, recognizing the elder Hiltzik as more than a proud father checking in. He remains an active sounding board, a link to decades of entertainment industry relationships, and a living embodiment of the values his son absorbed: loyalty, discretion and an unwavering commitment to the people you choose to stand beside, no matter how controversial.

When Matthew began representing Beck in 2007—years before Beck would brand Barack Obama a racist and become one of cable news’s most polarizing figures—his Democratic colleagues were shocked. Ken Sunshine, one of the PR industry’s most influential executives and a long-time mentor to Hiltzik, didn’t mince words. “I love Matt,” Sunshine told the Washington Post in 2009. “I value our friendship, but I wouldn’t be caught dead representing Glenn Beck.” Some friends responded with jokes about the unlikely pairing. Hiltzik’s answer to critics remained consistent: He doesn’t abandon clients based on others’ opinions. That same ethos—choosing people and standing by them—extends to how he builds his team. 

Now at CAA, Adler’s recruitment story reveals how Hiltzik identifies talent. She expected a traditional interview when they met at his Park Avenue South office in 2009. Instead, “it felt like summer camp,” she recalls. They talked about her upbringing, sports and siblings—not her work experience. She calls it “a familial conversation” where “the relationship gets built” before you realize you’re in it.

The core question he asked repeatedly over her four years with the company: “Can you figure it out?” Not whether she had the answer, but whether she could find it. “His belief in me made me think I could do much more than I thought,” she says.

Lipman describes Hiltzik’s hiring philosophy simply: He looks for qualities that suggest someone can work with others and solve problems. Alumni describe learning “discretion, containment and message shaping,” the ability to manage high-stakes situations with poise. The lessons are consistent across generations. Former employees recall his constant refrain: “Are you asking the right questions?” He stressed responsiveness above nearly everything else. When asked what makes Hiltzik angry, current and former employees all gave variations of the same answer: lag time in responding to clients. His message was clear—silence is more damaging than imperfection—and his principles were forged early.

Before completing Fordham Law, Hiltzik volunteered for Carolyn McCarthy’s successful 1996 congressional campaign, drawn to her advocacy for gun control after her husband was killed in the Long Island Rail Road massacre. He became press secretary for the New York State Democratic Committee and communications advisor to Hillary Clinton’s first Senate campaign. In 1998, Hiltzik helped elect Chuck Schumer to the U.S. Senate and Eliot Spitzer as attorney general. That record caught Harvey Weinstein’s attention, who wanted to fill a role that merged communications with political strategy, placing Hiltzik at the intersection of Hollywood influence and Democratic power. In 1999, at just 27, Hiltzik became Weinstein’s loyal spokesman at Miramax, almost two decades before the powerful mogul’s downfall. He left in 2005 and founded Hiltzik Strategies three years later.

This June, Weinstein told The New York Times that Hiltzik was his first choice to help steer him through the #MeToo accusations that began surfacing in 2017. “It was a shocker to me,” Weinstein said of Hiltzik’s refusal to accept what became one of the highest-profile crisis cases in modern PR history. Hiltzik made the same call years earlier, in 2014, passing on the chance to represent Bill Cosby after being introduced to the comedian when tens of women came forth with stories of sexual assault. Hiltzik confirms he turned Weinstein and Cosby down, but in the same breath clarifies he holds no judgment for lawyers or publicists who take on controversial clients. “A lot of people in PR are allergic to controversy,” he says. 

Nathan, who helped lead Hiltzik’s entertainment and crisis division for 10 years, says crisis PR is “instinctive” rather than taught. Hiltzik hones those instincts, training both clients and staff to navigate crises with “empathy and grace.” 

When a viral video showed Dora the Explorer listening to Alec Baldwin’s leaked phone rant against his daughter, Hiltzik deadpanned: “Three-year-olds everywhere are upset that Dora the Explorer and her friends are being dragged into this.” Although he ended that story with absurdist deflection, the actor kept him busy. Baldwin’s 2013 homophobic outburst toward a reporter transformed into a swift apology to GLAAD and an emotional defense of his wife, defusing what might have been career-ending backlash. 

When Manti Te’o’s nonexistent girlfriend scandal threatened his draft prospects, with NFL millions hanging in the balance, the Notre Dame linebacker’s public response emphasized his role as hoax victim, presenting phone records that documented hundreds of hours of calls with someone he believed to be real. Before being completely vindicated for a fabricated robbery story in Rio, Ryan Lochte publicly apologized on NBC Nightly News, where the Olympic swimmer attributed the scandal to “immature behavior,” and reframed his deception as youthful poor judgment. Brad Pitt’s divorce narrative emphasized contrition and sobriety over scandal. Johnny Depp’s defamation victory over Amber Heard was a tale of reclaiming reputation rather than revenge. And last year, when Shohei Ohtani’s interpreter stole $16 million to cover gambling debts, the story became about the baseball star being defrauded rather than complicit in illegal betting, a position federal prosecutors ultimately confirmed.  

When asked about these cases, Hiltzik quickly corrects the record. He didn’t create diversions—he surfaced truths. “Accurate, fact-based context wins.” 

In the early hours of the morning that we met in September, he’d been on the phone with a reporter, demanding to know why what should have been a straightforward, 300-word news story about one of Silicon Valley’s most prominent female executives needed to end with such bias. Though he trusts his staff to handle almost everything, he is still very much in the weeds. 

That level of personal involvement explains the client roster, and the pattern reveals his methodology: be relentless for clients, not with employees. The distinction matters. Hiltzik has solved a problem that plagues most PR firms—how to attract and retain people capable of handling the highest-stakes situations while maintaining fierce client loyalty. The answer: invest in talent, understanding that their success amplifies his own influence and the firm’s reputation for excellence.

Whether this is genuine altruism or sophisticated self-interest is impossible to untangle. Most likely, it’s both—a strategic approach that happens to align with treating people well. But Hiltzik’s legacy isn’t written in crisis headlines or celebrity gossip. It’s embedded in the institutional memory of the dozens of organizations where his alumni now lead—visible in ways he never wanted to be.

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Things We Loved This Month: 48 Hours in New York https://observer.com/list/things-we-loved-this-month-48-hours-in-new-york/ Tue, 30 Sep 2025 19:53:33 +0000 https://observer.com/?post_type=listicle&p=1588877 A recent 48 hours in New York became an unintentional product-testing laboratory—a compressed timeline that reveals what actually works versus what merely photographs well. Between early morning coffee runs and back-to-back meetings, certain items proved themselves indispensable while others (not included here) revealed their limitations immediately. What follows isn’t aspirational so much as practical: the hotel that delivered on its architectural pedigree, the gummy bears that bridged an unfortunate 12-hour gap between meals, the bottled cocktail that justified the minibar prices. Some discoveries were serendipitous—finding a garment bag that protects suede pencil skirts, stumbling across a restaurant packed on a Monday night—while others required active hunting. The through-line isn’t luxury but utility: these are things that solved problems, often ones I didn’t realize needed solving. Consider this less a shopping guide than field notes from an editor who travels enough to have strong opinions about tote bag compartmentalization and the optimal kitten heel height for navigating midtown sidewalks.

The Beekman Hotel

I’ve admired the Beekman from afar for years; the nine-story Victorian atrium is the kind of architectural flex that makes you wonder why we ever stopped building this way. But it wasn’t until this recent trip to New York that I finally stayed here. The building has accumulated enough literary history to justify its own footnote in the city’s cultural record: Mark Twain and Edgar Allan Poe gathered here when it was Temple Court, and the site hosted the New York debut of Hamlet in the 1700s. After decades of neglect following its mid-century closure, it reopened as a five-star hotel in 2016, and the restoration is stunning but doesn’t feel overly reverential.

The rooms themselves are what hotel rooms should be, but so rarely are—bedding that’s comfortable rather than just expensive-looking, a bathroom with enough counter space that you’re not playing Tetris with your toiletries and that blessed quiet you need after navigating the chaos of getting into the city. The service was impeccable, and while Temple Bar downstairs was appropriately lively, the hotel never felt crowded or sceney. My one quibble is that Amex Fine Hotels & Resorts credits don’t extend to in-room dining, which felt like a missed opportunity when all I wanted after my flight was to eat alone in bed. But the hotel redeems itself with a coffee station right off the elevators, meaning you can stumble out half-asleep without subjecting yourself to full lobby visibility. It’s the small considerations that separate a good hotel from one you’ll actually return to.

the beekman

The Beekman’s nine-story Victorian atrium, a landmarked architectural marvel that has anchored lower Manhattan since 1883. Courtesy of The Beekman Hotel

Emilia Wickstead’s Jeweled Kitten Heel

There’s a specific heel height that occupies some theoretical sweet spot of footwear—high enough to feel polished, low enough to actually walk in—and Emilia Wickstead’s Katy kitten heel has found it. The rectangular heel itself is what makes these practical for navigating New York sidewalks, and despite being crafted from black satin with an oversized jewel buckle, nothing about them reads as too fussy for daytime. I wore them with a suede pencil skirt and cashmere turtleneck, an otherwise sober combination that needed precisely this amount of visual interest without tipping into costume territory.

Wickstead, a New Zealand-born designer who launched her eponymous label in 2008, has built her reputation on fluent use of color and exacting craftsmanship that combines traditional romance with contemporary refinement. These mules embody that ethos—pointed toe, sleek silhouette, just enough embellishment to register as special without announcing itself. They’re the rare shoe that works equally well with jeans or a formal gown, which is another way of saying they’re versatile enough to justify the investment and elegant enough to make you reach for them constantly.

$790, shop now

Emilia Wickstead’s Katy kitten heel strikes a rare balance. Courtesy of Emilia Wickstead

Tumi’s Medium Vail Tote

It’s been *checks calendar* a full decade since I last invested in a work tote. My Saint Laurent E/W has served me admirably, but I’ve grown tired of its complete lack of internal organization, where everything becomes a jumbled archaeology project at the bottom of the bag. With this trip to New York looming, I turned to Reddit (not just for incels, it turns out!) because reading one affiliate shopping list after another is exhausting, and it’s hard to trust anything when you know firsthand how many freebies editors receive.

The luxury handbags subreddit led me to Tumi, a brand I’d only ever considered for proper, rolly luggage, and specifically to their medium Vail tote—apparently the holy grail for hundreds of users who praised its thoughtful compartments. The bag delivers on that promise with a dedicated laptop sleeve, a water bottle pocket with built-in ventilation for when your bottle inevitably leaks and a back zip pocket that converts into a sleeve for suitcase handles. Did I feel like a management consultant at times? Absolutely. But I’ve reached the age where the “it bag” isn’t it anymore. What I need is lightweight, well-made and logo-neutral. For the same price, I could have gotten something considerably more stylish, and the decision wasn’t easy, but I have zero regrets about this investment. Especially considering I apparently only make such purchases once a decade, and this bag will easily last that long.

$695, shop now

The Tumi Vail Tote makes daily life measurably easier. Courtesy of Tumi

Haribo Goldbears

I’m a self-proclaimed connoisseur of exactly two things: jelly beans and gummy bears. My criteria are specific—intense flavor, just the right amount of chew—and you’d be shocked how often I’ve been disappointed by gummies that lack punch or practically dissolve on contact. Which is why Haribo’s Goldbears deserve recognition as the platonic ideal of the form. After leaving my hotel early Monday morning and careening through a day of coffee runs, office meetings, midtown appointments and more meetings, I realized it had been nearly twelve hours since I’d eaten an actual meal. A bag of these humble little bears kept me functional, which sent me down a research rabbit hole that only deepened my appreciation.

Haribo—a portmanteau of founder Hans Riegel’s name and his hometown of Bonn—launched its first gummy bear in 1922, and the company’s approach has remained remarkably unchanged since. Their Pleasant Prairie, Wisconsin, facility produces 60 million Goldbears daily using a slurry recipe that hasn’t been altered in over 25 years, in a space staffed largely by robots where signs remind workers that “our world is the world of gummi candies” and warn against distraction. The bears cure for a proprietary number of days to achieve their signature texture. With obsessive consistency, Haribo has applied that distinctly German precision to gummy bears, making the family-owned business the world’s largest sugar confectionery brand because they’ve never tried to fix what wasn’t broken.

$3, shop now

A single Haribo Goldbear—the result of more than a century of obsessive consistency and a recipe unchanged for over 25 years. Unsplash+

Harry’s

There’s something quietly subversive about finding a packed dining room on a Monday night in the Financial District—a neighborhood that tends to empty out after the closing bell—but Harry’s has been defying that logic since 1972. Oberver’s executive team gathered here recently, and the atmosphere had that low hum of energy that suggests people aren’t just killing time before heading home. The space itself leans into old-school Wall Street glamour without feeling like a theme park version of it: warm lighting, rich red velvet banquettes, and walls lined with backlit frames that give the room a jewel-box quality.

The family-owned establishment has been dry-aging its steaks in-house since the beginning, working with the same purveyor since 1974, an increasingly rare institutional consistency. I went with the roasted king salmon with honey glaze and truffle mac and cheese—a choice I stand by—while my colleagues couldn’t stop talking about the polenta fries with truffle aioli. Service was attentive but not hovering, which is always the mark of a place that knows what it’s doing. Harry’s has earned its place in the cultural canon—immortalized in both Tom Wolfe’s Bonfire of the Vanities and Bret Easton Ellis’s American Psycho—but it’s managed to evolve beyond its 1980s trader reputation into something that feels both timeless and current. It’s proof that legacy institutions can adapt without losing what made them worth preserving in the first place.

Harry’s nyc

Harry’s signature red velvet banquettes and backlit frames create an intimate atmosphere that has made it a Financial District institution since 1972. Photo by Eric Medsker, Courtesy of Harry's

Michael M. Grynbaum’s ‘Empire of the Elite’

I picked this up before leaving for New York—partly because I’m constitutionally unable to resist media industry tell-alls, partly because understanding the machinery behind the aspirational publishing world I now write for feels relevant. Michael M. Grynbaum’s book traces Conde Nast through its most powerful decades, when S.I. Newhouse’s magazine empire wasn’t merely covering culture but actively creating it. The reporting digs into how publications like Vogue, Vanity Fair and The New Yorker operated as tastemakers with genuine power—their editors could make or break careers, their photographers and writers shaped what luxury meant to millions of readers, and their lavish events rivaled anything thrown by actual aristocracy.

What kept me reading wasn’t the gossip (though there’s plenty), but Grynbaum’s examination of how a private company managed to position itself as arbiter of what mattered in American culture. Reading about the mechanics of influence while staying at a historic New York hotel and dining at restaurants that still trade on that vision of elevated living felt appropriately meta. The empire has contracted considerably since its peak, disrupted by the same digital forces that upended all legacy media, but its imprint persists. Whether that’s reassuring or troubling probably depends on how you feel about centralized tastemaking versus the chaotic democracy of social media.

$18, shop now

‘Empire of the Elite’ chronicles Condé Nast’s heyday. Empire of the Elite

Via Carota’s Single-Serving Negroni

Finding Via Carota’s single-serving Negroni in the minibar at The Beekman qualified as one of those small travel luxuries that immediately justifies the room rate. I’m admittedly susceptible to a well-made Negroni—they always transport me back to the 1.5 years my husband and I lived in Miami, where we passed too many evenings dining (drinking) outdoors, mostly working our way through variations of this particular cocktail.

This bottled version from Via Carota, the celebrated West Village restaurant from chefs Jody Williams and Rita Sodi, delivers on the classic formula: Forthave Red Aperitivo, dry gin and a bespoke vermouth blend that creates that signature bittersweet complexity. The nose offers juniper, lemon and orange, while the palate balances subtle cinnamon with citrus peel before finishing with lingering red fruit notes. This thoughtfully crafted, ready-to-serve cocktail tastes like something a skilled bartender just mixed rather than something that’s been sitting in a bottle, which is no small feat. The convenience factor alone makes it worth seeking out—sometimes you want a proper cocktail without stocking an entire bar cart or venturing into the night. And if you’re already a Negroni devotee, having Williams and Sodi’s interpretation available in single-serving form feels like bringing a piece of their acclaimed restaurant home with you.

Via Carota’s bottled Classic Negroni brings the beloved West Village restaurant’s signature cocktail to wherever you happen to be drinking. Courtesy of Via Carota

Olivet Garment Bag

I’ve never been precious about luggage—if it zips and fits in the overhead bin, it’s probably fine—but watching a crumpled silk dress emerge from my suitcase after a recent flight to L.A. made me reconsider my (lack of) travel strategy. Enter the Olivet garment bag, which arrived just in time for this trip in a green gingham print with lavender moiré piping that manages to feel both grandmotherly and impossibly chic. At 61.5 inches tall and crafted from durable cotton canvas, the bag accommodates everything from minis to maxis, with two interior zip pockets for accessories and a thoughtful design that transitions from full-length to half-fold to compact suitcase fold, with handles at each configuration. The option for custom embroidery over the right interior pocket elevates it from purely functional to genuinely personal. Such practical luxuries make you wonder why you ever accepted wrinkled clothing as an inevitable cost of travel.

$215, shop now

The Olivet Classic Bag in green gingham with lavender moiré piping brings a touch of charm to the utilitarian task of garment travel. Courtesy of Olivet

ChappyWrap Herringbone Blanket

Leaving my kids—even for 48 hours—is difficult. When my three-year-old daughter realized I was departing, she became inconsolable—until I suggested she cuddle with the blanket that’s been comforting me for three consecutive Sundays while my husband and I watch Mark Ruffalo’s new HBO series, Task, a crime drama where he plays an FBI agent leading a task force investigating violent robberies in the Philadelphia suburbs. This thing is unimaginably soft and turned out to be just what she needed—it literally feels like a hug.

Founded by mother-daughter duo Beth Dwyer and Christina Livada, ChappyWrap was born from a well-loved family blanket that became something of an heirloom, with everyone fighting over it until they couldn’t find a suitable replacement. So they created their own, uniquely woven with a plush natural-cotton blend and high-performance fibers, crafted in Germany and Poland. The design is reversible and Jacquard-woven, measuring 60 by 80 inches, and the fabric resists shrinking, pilling and fuzz even after repeated machine washing and drying. And if it can soothe a heartbroken three-year-old missing her mother, it’s earned its place in the household.

ChappyWrap’s signature blanket is soft enough to become a heirloom and durable enough to survive the inevitable battles over it. Courtesy of ChappyWrap
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The Riggs Hotel Washington: Presidential Luxury, Parental Reality https://observer.com/list/the-riggs-hotel-washington-dc-review/ Thu, 25 Sep 2025 15:30:00 +0000 https://observer.com/?post_type=listicle&p=1582716 I’m defenseless against historic architecture. So when I discovered that the Riggs Hotel in Washington, D.C. occupies a former bank building from 1891, I knew I had found the perfect spot for our late August weekend getaway. A reservation was inevitable.

The Richardsonian Romanesque-Revival structure originally housed Riggs National Bank, famously known as the “Bank of Presidents” for handling the personal finances of 23 commanders-in-chief, from Martin Van Buren to Richard Nixon. The bank financed everything from Samuel Morse’s telegraph invention to the $7.2 million purchase of Alaska, making it a genuine witness to American history.

In transforming this historic space into a luxury hotel, the spectacular architectural details that once impressed presidents—notably the soaring original banking hall, with its Corinthian columns and coffered ceiling—were preserved, resulting in a design that celebrates the golden age of banking without feeling like a museum exhibit. Taking two young children to such a refined property felt like a calculated risk, but the staff never once made us feel unwelcome despite the inevitable trail of crumbs we left behind. What we had planned as a simple weekend trip around a visit to the National Zoo turned into an unexpectedly luxurious family retreat.

First Impressions: Beautiful Design, Patient Staff

Check-in and valet parking ($60 per night, but speedy and professional) were seamless, and I was immediately impressed by the hotel’s attention to and tolerance of young guests—particularly as my daughter furiously threw open a suitcase of American Girl doll paraphernalia in the middle of the lobby on a Friday night because Felicity’s outfit wasn’t working.

The main floor public spaces hummed with just the right energy—lively enough to feel vibrant but never overwhelming. Upstairs, however, the atmosphere shifted completely, offering a peaceful, calm environment that provided perfect respite from the chaos of downtown Washington. One of the hallmarks of a true luxury hotel is making guests feel as though they’re among very few people at any given time, and the Riggs achieved this beautifully when and where it mattered.

Upon arrival, our children received teddy bears, “passports,” coloring books, crayons and gift certificates for ice cream sundaes. These thoughtful touches transformed what could have been an intimidatingly formal environment into a family-friendly experience.

The stunning original banking hall corridor showcases the preserved Richardsonian Romanesque architecture that once impressed presidents. Courtesy of The Riggs Hotel Washington DC
Spacious hotel suite dining and kitchen area with marble dining table, black chairs, teal blue cabinets, floating shelves with decorative objects, rust-colored walls and large windows.
Courtesy of The Riggs Washington DC The Gallery Suite’s beautiful dining table for six.

We stayed in one of the Gallery Suites on the Southeast corner of the hotel’s top floor. A curtain wall of windows extending from the dining room into the living room offered near-panoramic views of the surrounding D.C. neighborhood. At 690 square feet, the suite provided ample space and was beautifully designed, with rich interior fabrics and thoughtful lighting. My husband and I took the bedroom while our children shared the living room’s pull-out couch—an arrangement that worked well for a family with two children under six. The bedding was comfortable, though the noise level ran somewhat high due to our corner location in what can be a busy, sometimes slightly seedy neighborhood—an expected trade-off. The air conditioning and wifi were reliable and strong.

However, the design presented a few challenges that proved tricky for family travelers. The accommodation featured only one bathroom with a single pedestal sink, which created some logistical hurdles. My husband’s electric toothbrush teetered precariously on the edge, my makeup bag lived on the floor, and the children’s various potions—sunscreen, detangling spray, etc.—formed a tower on the windowsill. Every morning became a delicate hop of ‘Don’t touch that,’ ‘Where did that go?’ and ‘Why is there toothpaste on the wall?’ One person brushing teeth meant everyone else had to vacate, turning our luxurious suite into a medieval castle where the garderobe could only accommodate one peasant at a time. For $1,395 a night, I expect a counter large enough to accommodate at least one full-sized human’s toiletries without requiring the organizational skills of a Tetris champion.

The suite boasted a beautiful, long dining table with seating for six, but came without dishes, flatware or even basic napkins—a discovery we made the hard way when we arrived in DC late Friday night, starving, and dashed out for Shake Shack, only to later wipe greasy fingers on paper bags like cavemen. This is a puzzling omission for a space designed for extended stays and group dining. While there was a well-appointed mini-bar, the lack of a second mini-fridge created storage challenges. Because my (all?) children have a talent for leaving everything half-eaten, most food needs to go back in the fridge, making this absence particularly inconvenient.

Despite these material limitations, the hotel staff’s accommodating and patient approach elevated our experience. Their warmth and professionalism made our family feel welcome throughout our stay.

The suite’s single pedestal sink: Beautiful but impractical for a family of four getting ready each morning. Jennifer Hughes c/o The Riggs Hotel Washington DC
Elegant hotel restaurant dining room with soaring coffered ceilings, Corinthian columns, large arched windows, geometric pendant lighting, long communal table with blue leather chairs on the left, and intimate yellow velvet chairs at smaller tables on the right, all set with formal place settings.
Jennifer Hughes c/o The Riggs Hotel Washington DC Cafe Riggs dining room showcases the preserved grandeur of the original banking hall, where Hector caught our tumbling five-year-old and the staff thoughtfully delivered forgotten mac and cheese to our room.

Culinary Excellence for All Ages

Our dinner at Cafe Riggs was phenomenal. Fahad, the maître d’, provided wonderful service, while our waiter Hector brought infectious enthusiasm and friendliness to every interaction. His bubbly personality shone brightest when he literally caught our five-year-old son as he tumbled out of the booth during dinner—well past bedtime, naturally.

The restaurant successfully caters to diverse palates, offering an excellent children’s menu alongside a varied and daring selection for adults. The crispy duck confit with frisée salad, kumquat and croutons stood out among the starters, presenting familiar ingredients in an elevated, sophisticated preparation. The King Salmon with red rice, baby spinach and beurre blanc made me reconsider my hesitation about ordering salmon at restaurants—sometimes dismissed as the “boring” choice, this dish was anything but ordinary. My husband and son raved about the octopus with potato, merguez oil and Meyer lemon aioli, and while octopus isn’t for me despite repeated attempts to acquire a taste for it, this appeared to be an excellent rendition for those who appreciate the ingredient.

For dessert, a triple scoop of their homemade, unbelievably creamy vanilla, chocolate and pistachio ice cream. When we forgot our three-year-old daughter’s leftover mac and cheese that had been packed for our room, someone thoughtfully brought it to us (though, of course, we had nowhere proper to store it). These small gestures of care and attention distinguished the service at Cafe Riggs.

The next day, we returned to Cafe Riggs for a midday snack, ordering the homemade chips, house-brined olives and spicy mixed nuts—all three exceeded expectations as the perfect accompaniment to afternoon drinks. Our included breakfast (again at Cafe Riggs) was a highlight. The kids devoured fresh croissants, my coffee stayed hot, and the eggs were cooked to perfection—a strong start to our zoo-bound morning. We didn’t try room service, but based on the level of service everywhere else at the hotel, I imagine it’s worth the cost.

The octopus with potato, merguez oil, and Meyer lemon aioli – a hit with my husband and son at Cafe Riggs. Courtesy of The Riggs Hotel Washington DC
Upscale hotel bar area with burgundy leather bar stools, extensive liquor display on glass shelving, marble columns, vintage black and white photographs on walls, and rich velvet curtains.
Jennifer Hughes c/o The Riggs Hotel Washington DC Cafe Riggs combines historic banking grandeur with modern dining elegance.

Prime Penn Quarter Location

An 11-minute walk from the Smithsonian Museum of Natural History and across the street from the National Portrait Gallery, the Riggs DC is well-positioned for families planning patriotic adventures. The hotel is on F Street NW, less than a mile from the White House, in Penn Quarter—flanked by Chinatown, Judiciary Square and the National Mall. The surrounding downtown area bustles with dining options, including Shake Shack, The Smith and Le Pain Quotidien, where our kids enthusiastically pointed to pumpernickel something while squealing “chocolate!”—and the staff, apparently believing that small children possess sophisticated palates for dense German breads rather than simple chocolate cravings, never bothered to correct the misunderstanding, which of course led to the kind of wailing typically reserved for actual tragedies as both children declared it “the worst thing” they’d ever eaten.

The Riggs offers bikes for guests adventurous enough to ride bikes in DC, which was not us, and includes a fitness center for those maintaining workout routines (also not us). The entire property was impeccably clean—something we’ve learned to notice since our children spend considerable time on floors, either because their “legs have stopped working” or they’re staging dramatic protests over ludicrous injustices like realizing they can’t take the decorative pillows home as souvenirs.

The magnificent 1891 Riggs National Bank building, now transformed into a luxury hotel while preserving its presidential banking heritage. Courtesy of The Riggs Hotel Washington DC
Sophisticated hotel bar with warm wood paneling, coffered ceiling, plush rust-colored circular seating arrangements, intimate lighting, and rich burgundy and gold color scheme.
PEDEN+MUNK c/o The Riggs Hotel Washington DC Silver Lyan, the hotel’s subterranean speakeasy-style cocktail bar that we discovered by chance but couldn’t experience with children in tow.

Historic Charm Meets Family Fun

The hotel succeeds in feeling genuinely special. In the lower level, a giant gumball machine—probably ten feet tall—delighted our children. The Riggs thoughtfully supplies a dish of tokens, eliminating the need to scrounge for quarters. Such details demonstrate the property’s commitment to creating memorable experiences for guests of all ages.

Our discovery of the subterranean Silver Lyan Bar happened purely by chance when my husband returned from escorting our children for the fifth time to the gumball machine. Eyes wide, a mix of astonishment, defeat and FOMO, he sputtered, “There is a bar down there, behind heavy velvet curtains, and it looks great.” Sure enough, steps from the giant gumball machine, Silver Lyan is the hotel’s cocktail bar that is hard not to envision as a prohibition-era speakeasy. We sadly didn’t have the chance to experience this award-winning destination due to our reluctance to bring children into such a refined space and our lack of childcare arrangements for a proper date night—a missed opportunity that gives us excellent reason to return to the Riggs without little ones in tow.

The famous gumball machine in the Riggs Hotel: A delightful surprise that kept our children entertained. Courtesy of The Riggs Washington DC
Hotel lobby reception area with ornate coffered ceiling, white marble columns, geometric pendant lighting, wooden reception desk with brass clock, red textured wall panels, and blue geometric carpet patterns.
Jennifer Hughes c/o The Riggs Hotel Washington DC The Riggs Hotel lobby reception desk, where check-in was seamless despite the bustling activity.

Coming and Going

The one area where service could have been smoother was at the front entrance, which seemed understaffed during our visit. Most of the time we entered or exited, we found ourselves juggling heavy doors while managing two small children and the inevitable volume of items families require. At a property of this caliber, having doors consistently opened for guests would enhance what was otherwise an excellent service experience.

In contrast, the valet team demonstrated remarkable patience and professionalism. They graciously accommodated my Italian sister-in-law, who parked her car in the valet drop-off zone and then—unbeknownst to me, and I do love her dearly—proceeded to settle into Cafe Riggs for a leisurely 45-minute coffee experience, which included sending back her drink when it arrived in a to-go cup rather than the proper ceramic vessel she expected. My Italian husband assures me this relaxed approach to time and space is distinctly Italian—though he’s careful to distinguish between “carefree” and “careless.” Throughout her extended occupation of their drop-off zone, the valet staff never once appeared flustered, simply managing around her with quiet efficiency. This level of grace under pressure speaks well of their training and temperament, making the inconsistent door service all the more puzzling by comparison.

The comfortable yellow chairs in the Riggs lobby – perfect for settling in with a proper cup of coffee while the valet patiently waits. Jennifer Hughes c/o The Riggs Hotel Washington DC

Final Verdict

At $1,395 per night, the Gallery Suite feels appropriately priced given the premium location, spacious accommodations and historic significance. The only equivalent luxury hotel we’ve experienced in D.C. was the Jefferson, which was perfection from all angles—though we traveled childless on that occasion, making direct comparisons challenging. The Riggs Hotel successfully honors its presidential history while creating a welcoming environment for modern families. The stunning architecture, exceptional dining, and genuinely caring service staff create an experience that feels both extravagant and accessible. However, the 181-room property would benefit from reconsidering suite layouts and amenities to better serve extended-stay guests and families.

Despite these limitations, our weekend at the Riggs created lasting memories.

Our Gallery Suite bedroom featured thoughtful design details and comfortable bedding. Jennifer Hughes c/o The Riggs Hotel Washington DC

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Things We Loved This Month: August Edit https://observer.com/list/things-we-loved-this-month-august-edit/ Wed, 27 Aug 2025 17:30:00 +0000 https://observer.com/?post_type=listicle&p=1571746 August arrived with its particular brand of restless energy—too late for summer optimism, too early for fall’s promise of reinvention. Yet somehow, in the space between summer’s end and September’s inevitable return to reality, we found ourselves drawn to a collection of objects, experiences and small revelations that felt worth preserving. A vintage-style tee that is both effortless and considered. Wrapping paper so beautiful it makes gift-giving feel like an art form again. A children’s book about gemstones that proved more captivating than most adult reading. Here are the discoveries that cut through the noise of another month’s endless recommendations, each earning its place not through algorithmic suggestion but through the more reliable measure of daily use. Consider this our attempt at editing the endless scroll of newness down to what actually mattered.

Alyson Eastman Vintage-Style Tee

I’ve been searching for the perfect elevated basic tee ever since Gap discontinued its scoop-neck linen blend style, which I used to buy in bulk. Alyson Eastman’s vintage-style tees arrive feeling like that beloved shirt you’ve had forever but can never quite replicate when you try to buy a replacement. Each one gets a specialty wash treatment in Los Angeles that creates an impossibly soft hand-feel, while the garment-dyed cotton develops subtle color variations that usually take months of dedicated wear to achieve. The cut is slightly cropped, with a boxy silhouette, drop shoulders and no side seams, creating a clean, uninterrupted drape.

The brand, founded in New York in 2016, is rooted in the “fewer, better things” philosophy, and it shows in every detail. Eastman offers just four colorways—white, black, blue/white, and black/white—and while part of me wishes they came in every color of the rainbow, I respect the restraint of not trying to be everything to everyone.

SHOP NOW, $75

Courtesy of Alyson Eastman

Dogwood Hill Wrapping Paper

There’s something to be said for the lost art of beautiful gift wrapping. Call it the lasting influence of watching Martha Stewart as a tween in the mid-90s, absorbing her gospel that presentation is everything, but I’ve always believed that even the smallest present deserves to arrive looking like it matters. Which is why I’ve become obsessed with the wrapping paper collection from Dogwood Hill, where founder Jennifer Hunt has assembled a roster of artists who understand that the packaging can be as thoughtful as what’s inside.

Take Gina Langford’s Virginia Holiday design, a botanical wonderland of pineapples, pinecones and winter florals, or Paige Spearin’s Citrus Tree pattern, where oranges and lemons dance across the page in a way that makes you want to frame the paper instead of tearing it off. At 20 by 30 inches per sheet (three sheets per roll), these aren’t your drugstore impulse buys, but they’re also not the sort of investment that requires a small loan.

SHOP NOW, $12

Courtesy of Dogwood Hill

Sydney Hale Co. Shiso + Cedar Candle

My husband discovered this candle while visiting Celladora, our favorite wine bar and restaurant in Richmond, Virginia’s Fan district (where we live). The candle was burning in their bathroom, creating such an unexpectedly sophisticated atmosphere that he tracked down the shop owners to ask about it. That’s how we learned about Sydney Hale Co., a Richmond-based candle company operating out of the Manchester neighborhood since relocating from Northern Virginia in 2017. The Shiso + Cedar scent itself is unlike anything in our usual rotation—a complex blend of Japanese shiso leaf, clove, black pepper, ginger, hinoki, basil and cedar that manages to be herbal, spicy and slightly smoky all at once.

What makes Sydney Hale even more compelling is that they achieved B Corp certification in 2020 and donate 2 percent of revenue or 20 percent of profits (whichever is greater) annually toward animal rescue and organizations that strengthen the Richmond community. The company was founded by Meghan and Chris Cook, who source all materials for their hand-oured candles domestically and focus on sustainable packaging choices.

shop now, $34

Courtesy of Sydney Hale Co.

Super Smalls Super Book of Gems

I was lucky enough to get an early copy of Super Smalls Super Book of Gems: Birthstone Magic, Science, Facts and Fun—which hits shelves on October 14th—and it’s become an unexpected obsession in our household. When this bold, graphic celebration of all things sparkly arrived, I knew it was something special. What I didn’t anticipate was the immediate custody battle that erupted between my three-and-a-half-year-old daughter and five-year-old son. My daughter ultimately claimed victory and has slept with it every night for weeks, establishing a bedtime routine where she flips through to point out all the jewelry “Santa will bring us”—and honestly, I hope she’s right. Meanwhile, my son is fascinated by what he calls “all kinds of rocks!” and the incredible depth the book goes into about where each gemstone originates, the myths behind them and how they’re used.

Written by Super Smalls co-founders and sisters Maria Duenas Jacobs and Bianca Gottesman, it’s equal parts educational deep-dive and glitter-filled fun, with legendary jewelry house cameos from Cartier and Van Cleef & Arpels. It’s designed for kids but sophisticated enough that I find myself learning alongside them—proof that the best children’s books work on multiple levels.

SHOP NOW, $25

Super Smalls

Randolph Concorde Sunglasses

I’ve been loyal to a fault to my Tracksmith sunglasses for years—a brand devotion bordering on stubborn—but my complete inability to put them back in their case before tossing them into my bag has finally caught up with me. They’re now so thoroughly scratched they’re practically impossible to see through, which is how I discovered Randolph’s Concorde aviators and promptly fell down a rabbit hole of American-made eyewear excellence. Named after the supersonic passenger airliner, these aren’t your gas station aviators—they’re dipped in 23k white gold with AGX glass lenses that make everything look more saturated and crisp. The titanium nose pads and black-tipped temples feel substantial in a way that reminds you why handcrafted items cost more.

The silhouette is undeniably classic and, according to my husband, “much more flattering!” than my beloved Tracksmith frames, which I have mixed feelings about but am choosing to take as a compliment. The real revelation is the AGX lens technology; a soothing green tint reduces eye fatigue in a way I didn’t realize I needed.

SHOP NOW, $369

Courtesy of Randolph

Goldie Chelsea Tee

If the earlier ode to Alyson Eastman didn’t already indicate, my tee drawer has become surprisingly strategic over the years. My latest discovery is the Goldie Chelsea Tee, for when the silhouette of my outfit demands something fitted. I’ve only had this shirt for a few weeks, but it’s already become the piece I reach for every time I wear those high-waisted mom jeans that I’m relieved to see fading from the trend cycle, or when I want to tuck something into a silk pencil skirt for that French-girl thing. Think Rachel Green’s fitted tees from the mid-’90s, but without the commitment to showing your entire midriff or the structural engineering challenges that came with going braless in cotton.

The wide-rib knit has a thick, luxurious texture, and the lettuce-edge trim adds just enough feminine detail to keep things interesting without veering into precious territory. Made from 96 percent Peruvian pima cotton with a touch of spandex, it has a flattering, body-hugging fit without feeling restrictive. The crew neck hits at precisely the right spot, and at 22 inches in length, it tucks beautifully without creating bulk at the waist.

shop now, $120

Courtesy of Goldie Tees

Weezie Wet Bag

After countless pool days with two kids, I’ve learned that the real enemy isn’t sunscreen stains or forgotten goggles, but the soggy swimsuit that turns your tote into a swamp. The Weezie Wet Bag has become my summer MVP, solving what used to be an inevitable mess with surprising elegance. This water-resistant drawstring pouch keeps wet bathing suits completely contained while doubling as storage for pool snacks, treasures my kids insist on collecting, or that inevitable sandy toy that somehow makes it into every beach bag.

The striped design is clean enough for grown-up sensibilities but cheerful enough that my kids remember to use it (a minor miracle). What makes it brilliant is the customizable embroidery option. When staying at someone’s beach house, arriving with a personalized wet bag shows you’ve thought ahead. It’s the kind of detail that turns a practical necessity into a genuinely useful host gift.

SHOP NOW, $44

Courtesy of Weezie

YogiFi Gen 3 Smart Mat

Between kids’ schedules, work deadlines and the reality that most yoga studios require you to show up at specific times, making it to in-person classes has become nearly impossible. The YogiFi Gen 3 Smart Mat bridges that gap by bringing A.I.-powered instruction directly to my living room floor. Embedded sensors track posture and alignment, providing real-time corrections through subtle, surprisingly intuitive notifications. There’s something satisfyingly futuristic about having artificial intelligence analyze my downward dog.

The technology isn’t complicated, either. Roll out the mat, connect to the app, and suddenly, I can access personalized feedback that rivals what I’d get from a skilled instructor. The “Freestyle” mode is clever, allowing me to practice my own sequences while the mat silently monitors balance and form and provides insights afterward. For anyone whose practice has been derailed by logistics, having A.I. technology that adapts to your schedule and skill level feels like the future of home fitness.

shop now, $249

Courtesy of YogiFi

The Riggs DC Hotel

I’m defenseless against historic architecture, so a reservation became inevitable when I discovered that the Riggs Hotel in Washington, D.C. occupies a former bank building from 1891. The Richardsonian Romanesque structure originally housed Riggs National Bank, famously known as the “Bank of Presidents” for handling the personal finances of 23 commanders-in-chief, from Martin Van Buren to Richard Nixon. The bank financed everything from Samuel Morse’s telegraph invention to the $7.2 million purchase of Alaska, making it a genuine witness to American history.

In transforming the space into a luxury hotel, the Lore Group preserved the spectacular architectural details that once impressed presidents—most notably the soaring original banking hall, with its Corinthian columns and coffered ceiling. The design, led by Lore Group’s Creative Director Jacu Strauss, celebrates the golden age of banking without feeling like a museum exhibit. Taking two young children to such a refined property felt like a calculated risk, but the staff proved remarkably patient, never once making us feel unwelcome despite the inevitable trail of crumbs we left behind.

book now

Jennifer Hughes
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Mixed, Measured, Maximal: Inside Mestiza’s Fashion Philosophy https://observer.com/2025/07/mixed-measured-maximal-inside-mestizas-fashion-philosophy/ Fri, 11 Jul 2025 17:55:21 +0000 https://observer.com/?p=1565531 Alessandra Perez-Rubio and Louisa Rechter, co-founders of Mestiza New York, smiling together in embroidered white and blue dresses, standing against a neutral backdrop.

Two twenty-something women sit in a SoHo bar, dressed like they inherited a tasteful fortune. They’re not drafting a business plan yet, but they’re naming something—something plural, personal, with identity and intent. Mestiza. A woman of mixed blood. A word loaded with lineage and complexity, and the first decision Alessandra Perez-Rubio and Louisa Rechter will make in building a fashion brand devoted to heritage and the hope that elegance doesn’t have to be elitist.

When they met as students at Washington University in St. Louis, bonding over shared memories of fashionable grandmothers, the seeds of Mestiza were planted. Perez-Rubio recalls visiting her grandmother in Manila: vintage custom gowns draped across furniture like jewels waiting to be rediscovered. “My grandmother was a social butterfly,” Perez-Rubio tells Observer, “always dressed to the nines. That afternoon, during what I think was some manic spring cleaning, was any old day for her. But for me, it was a formative memory because she gave me pieces that still hang in my closet.”

Before Mestiza, Rechter worked for a Madison Avenue retailer that was small, elegant and high-stakes in its own way. What stayed with her wasn’t the glamour upstairs but the basement. “I’d go into the stock room just to watch what was moving,” she says, not out of anxiety. It was something closer to compulsion. Beautiful clothes didn’t belong in storage. They needed to be worn, to find a home. That instinct calcified into a personal rule: inventory shouldn’t linger. “Even now, I don’t see our warehouse every day, but I’m always checking what’s selling. I’d rather buy less and watch it turn over than sit on piles of product.”

Perez-Rubio and Rechter aren’t opposites, but a kind of deliberate counterpoint. Perez-Rubio speaks with a designer’s precision, describing fabrics and silhouettes as if narrating a love letter. Her presence matches the subtle formality of Mestiza’s more opulent pieces. Rechter, by contrast, brings a sharper edge: direct, strategic, pragmatic in tone and personal style. Where Perez-Rubio talks in textures and references, Rechter talks in timing, inventory and strategy. Together, they move like longtime collaborators: one setting the vision, the other steering the ship. They are united by the shared conviction that there is room in the fashion world for a brand that treats heirlooms as inspiration rather than marketing copy. Mestiza isn’t trying to be the next big thing. It’s trying to last.

“We are not a brand obsessed with trends,” Rechter says. She is frank about it: sure, there are moments when moving faster might look tempting. “Maybe we wish we were, in some ways,” she admits. But Mestiza was never built to chase trends. Their customers care about timeless style. “We stay relevant because we’re not trend-obsessed,” Rechter repeats, emphasizing the point less like a marketer, more like someone who’s made peace with building something slowly.

A collage of Mestiza New York dresses and accessories, featuring structured gowns and cocktail dresses in floral jacquard, bold prints, oversized bows, and ornate embroidery.

That unhurried approach—intentional from the beginning—now underpins a business with real structure. From day one, Perez-Rubio handled brand and design as creative director, focusing on Filipino heritage elements—embroideries, silhouettes—that come from lived experience. Rechter, as CEO, oversees operations and growth. Fast forward ten years, and the division remains. Today, they lead a 12-person team, backed by outsourced sales and marketing, and the brand’s aesthetic is unmistakable: Palm Beach polish with an Upper East Side wink—bold florals, preppy stripes, lemony jacquard and fit-and-flare silhouettes meant for yacht decks, bridal brunches or summers in San Miguel. The mood is breezy: wicker clutches, wide-brimmed hats and a knowing embrace of femininity as both armor and asset. It’s sunny, structured, and planned a year in advance. Wrinkle-free fabrics. Convertible gowns you can wear four ways. They avoid waste, both for ethical and financial reasons.

Mestiza’s growth hasn’t been hockey-stick, nor was it meant to be. They started DTC, now sell through retailers like Neimans and Saks, and have thoughtfully expanded categories: loungewear, bridal and soon, swimwear. Rechter emphasizes restraint: they test products in small batches, reordering only what resonates. “If something is working,” she says, “we run with it.” That approach has kept them nimble and relevant, helped along by best-sellers like the Georgiana gown—a strapless, classic silhouette, fitted through the bodice, with a dramatic high-low hem and a skirt that flares in sculptural volume, meant to hold its shape and its presence in a room.

At their price point, Mestiza isn’t quite mass market, nor is it haute couture. It’s that sliver of fashion occupied by women who never seem to need a reservation—discreet but unmistakably polished. The same women who collect Markarian’s evening coats or La Ligne’s striped knits might find themselves drawn to Mestiza’s jacquard gowns. “We’ve always liked the idea that finding us feels like finding a treasure,” Rechter says.

At the same time, as Perez-Rubio frames it, “We don’t believe fashion has to be elitist or exclusive to be special.” She and Rechter built Mestiza with a clear philosophy on thinking about luxury: polished, yes, but without gatekeeping. Perez-Rubio, who grew up moving between Manila and the U.S. as a Spanish-Filipino woman, sees the brand’s name as more than a label. Mestiza reflects her own dual identity: two cultures, two aesthetics, belonging everywhere and nowhere at once. That layered sense of self is the same quality they design for. “I don’t think coming from a place of warmth sacrifices the mystique,” she says.

Rather than billboard their values, they fold them into practice: convertible designs, gifting excess inventory, measured production. Rechter’s favorite word, if one must pick? Empowerment. Least favorite? None exactly. “It’s difficult to be all of those things,” she says. “We do what we can.”

At their recent 10-year anniversary, they threw a party complete with a dress from each defining year modeled live—a living archive. Families flew in. Longtime collaborators joined. A decade in, Mestiza isn’t pivoting or rebranding. It’s refining, deepening. “We’re at an inflection point,” Perez-Rubio says. “And we’re just really happy that we get to do this.”

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Louise Ulukaya Looked at the Garment Industry and Said: ‘Non’ https://observer.com/2025/06/mon-coeur-louise-ulukayas-sustainable-clothing-for-children/ Thu, 26 Jun 2025 16:00:31 +0000 https://observer.com/?p=1560538 Collage featuring Louise Ulukaya, founder of Mon Coeur, alongside children wearing the brand’s sustainable clothing. The images include scenes of play, ocean-themed prints, and moments of family life, reflecting Mon Coeur’s eco-conscious, joyful aesthetic.

Louise Ulukaya’s sustainable children’s clothing brand isn’t a gauzy ode to eco-utopia. “I wouldn’t put clothing made with child labor on my children,” Ulukaya tells Observer. It’s a line that sounds obvious, even virtuous, until you realize how rarely that sentiment troubles the trillion-dollar garment industry—and how little Ulukaya is willing to compromise. When she became pregnant with her first child in 2018, Ulukaya tore into the global fashion supply chain, learning everything she could about fast fashion, material fabrication and the staggering waste of the garment industry, especially in children’s clothing.

The numbers are grim: over 3.15 billion kids’ garments are discarded globally each year. In the U.S., 70 percent of that waste heads straight to landfills, contributing to the nine million tons of apparel tossed annually. Nearly all clothing sold in the U.S. is imported, and the Department of Labor has identified 51 countries where child labor persists in garment production. In Africa, close to 20 percent of children are engaged in labor. In China, nearly 8 percent. The consequences are brutal: malnutrition, exposure to toxic chemicals, blindness, paralysis—even death.

It doesn’t stop there. A 2021 study found that nearly two-thirds of children’s clothing tested positive for forever chemicals—substances that remain in the environment for millennia and are linked to cancer, developmental delays and organ damage. Apparel manufacturing is responsible for nearly 10 percent of global carbon emissions, one-fifth of all industrial water pollution, and 35 percent of the microplastics in the ocean. Fast fashion production has more than doubled since 2000, and the children’s sector is outpacing it, projected to hit $300 billion by 2030. Over 150 million children worldwide, some as young as five years old, are involved in child labor—many through force, and more than half in hazardous conditions tied to garment production.

“It clicked right then: how wrong it is to put a child in clothing that is made by a child, probably through forced labor,” Ulukaya says. “How could we make things better?”

Mon Coeur (“my heart”) launched three years later, in 2021, with a circular, transparent ethos and a distinctly Mediterranean aesthetic inspired by her childhood in the South of France. There are no overloaded patterns, cartoon characters, sequins or slogans. It is not twee and it is not, blessedly, ironic. The clothes are bright, buoyant and engineered to outperform their fast-fashion cousins. 

“The prints won’t move,” she says of the sun-drenched popsicle reds, lemon yellows and pool blues anchored in clean silhouettes. “You can wash the clothes hundreds and hundreds of times.” Every piece is made from recycled or organic materials and built for years of wear, wash and hand-me-downs. About 60 percent of Mon Coeur’s styles are gender neutral for practicality, and the company’s website, which speaks to a vision of childhood rooted in respect for the planet, offers tips on how to launder and care for clothing to make it last.

Buttons are made of recycled paper. Zippers are almost entirely made from post-consumer recycled yarns and upcycled plastic bottles. Swimwear is stitched from old fishing nets, and all of Mon Coeur’s fabrics are certified by the Global Recycled Standard (GRS), which verifies both the presence and volume of recycled material in a product and ensures responsible social, environmental and chemical practices throughout the supply chain. 

“Many companies throw scraps away,” Ulukaya says of the leftover fabric that falls to lesser factory floors. “But we collect them, almost shrink them into dust and mix them with recycled elastane or rPET from plastic bottles to make our yarns.” Ulukaya donates at least one percent of Mon Coeur’s annual revenue to environmental causes via 1% for the Planet, and maintains longstanding support of the 5 Gyres Institute, a leader in the zero-waste movement and promoting circular economies. 

“We produce 100 percent in Portugal,” she explains. “We used to get our yarn from France and our recycled fishing nets from Spain, but now, to lower carbon emissions, we’ve centralized everything.” What she’s building is grounded in an almost militant commitment to the belief that children’s clothes can be playful and principled. The same values inform her partnerships. 

Mon Coeur’s latest—a three-piece collaboration with the Billion Oyster Project, a nonprofit working to restore New York Harbor’s oyster reefs—launched in May. The limited-edition capsule features blue and white shell prints across summer-weight tees, sweatshirts and SPF swimwear. Fifteen percent of proceeds go directly to oyster reef restoration.

“Oysters are basically trees in the forest,” Ulukaya says. “They clean the water. They support the whole ecosystem.” The Billion Oyster Project, she says, is already making an impact: “We saw seahorses in the harbor for the first time in 100 years.” Mon Coeur’s collaboration with the Billion Oyster Project grew from Ulukaya’s grassroots efforts: volunteering, organizing beach cleanups, leading sustainability events and engaging local schools and families. True to her mission, it was Ulukaya who initiated the partnership. “Sometimes people say, ‘Oh, but it won’t really do anything for the environment,’” she recounts. “But if everybody does a little bit, is a little more aware, and is more careful and conscious, that small effort will make an impact.”

You can tell she was raised to respect precision. Her father is Jean-Georges Vongerichten, the playful yet notoriously exacting French-American chef with a global fleet of fine dining restaurants, hotel concepts and Michelin stars. In the late 80s, about a decade before his first solo venture, Vongerichten staged a Dalí-inspired dinner at Lafayette, where he hung dead pigeons from a dead tree in the middle of the restaurant and served pork belly and gelatin breasts with carrots for nipples—a dish he dubbed The Breast of Venus. In a past interview with Observer the chef described himself as a rooster (happy with his feet in shit!). Unfiltered and theatrical, yes—but more than anything, Vongerichten is known for working 14-hour days, evangelizing the importance of commitment to one’s craft, and showing no signs of slowing down after fifty-plus years in the kitchen.

“My father is, by far, the hardest-working, most disciplined person I know,” Ulukaya says. “Nothing comes easy.” She learned effort and persistence from him, she says. But where her father is effusive and tangential, speaking in bursts peppered with charm and sudden exclamations, Ulukaya is a systems thinker, level and steady. This is the problem, here’s what we’re doing about it. Her tone doesn’t flatten into outrage even when talking about waste or injustice. There’s resolve in the way she articulates quality, and a kind of maternal pragmatism in how she breaks down her process; she’s letting you in on something sensible and straightforward.

“My goal was always to make sustainable clothing available for all children,” she says. “That is my mission: to democratize sustainability.” At launch, prices were high and margins were, in her words, “not really healthy.” She knew $60 T-shirts wouldn’t scale. So she went after volume, not compromise. Wholesale followed; over 200 stockists now carry the brand across the U.S., Canada, Europe and Asia. At Maisonette, the Vogue-alum boutique for fashion-literate parents, Mon Coeur slots in with ease.

Ulukaya’s long, chestnut hair is softly waved and neatly parted. Her posture is relaxed, her expression open. A gentle French lilt in her voice is softened by years in New York (Ulukaya was born here, moved to France at two, and returned as a young adult). She listens as much as she speaks and doesn’t break eye contact. She’s fluent in both the poetry and the math of her business, but there’s an earthiness to her, too—a tranquility that feels more oceanic than urban. Which makes sense, once you learn the sea is her north star.

Ulukaya designs everything herself in New York, in a studio pinned with sketches of shells, boats and seaside botanicals. Her prints look like memories. “I do most of the actual drawings,” she says. “I’ve always loved design.”

It’s no surprise that a genuinely sustainable, well-made, reasonably priced brand has gained a following among millennial coastal moms. Wholesale was dominant until last year, when a series of targeted ads featuring children in motion, jumping into pools, slurping lemonade, streaked with sun and play, drove direct-to-consumer revenue to nearly 80 percent of total sales. Profit margins grew, but more importantly, the campaign resonated with mothers with opinions about plastic waste, who want their kids to look charming but not overdone, and their values to be visible in their clothes. That window—when parents still decide what their children wear—is Mon Coeur’s sweet spot, she says. “That is our main market.”

Not for long. An unnamed mass-market brand recently approached Mon Coeur for a collaboration. “They are absolutely not sustainable,” Ulukaya declares, bluntly. “That’s why they came to us.” She said yes. 

The partnership offers an opportunity to do something radical at scale. If the average parent can buy a Mon Coeur-designed tee, made in Portugal, for the same price they’d pay at a fast-fashion chain, why wouldn’t they? “It would allow their brand to have a better, bigger impact, and for Mon Coeur’s impact on sustainability to grow faster,” Ulukaya explains.  

Even so, the lift is immense. “All the ink we use is vegetable ink!” she interjects, mid-thought, before returning to the scale of operational overhaul. The cultural and financial shift toward sustainability is daunting for any company, let alone one that’s been around for thirty or more years, beholden to shareholders, investors, board members, thousands of suppliers and hundreds of thousands of employees. “Change like that requires so much investment, knowledge and training. It is complicated,” Ulukaya sighs. “I don’t like blaming companies that are not doing things the right way, when they’re so big, because it’s so hard.”

Her background—in hospitality, in operations, in growing up inside her father’s empire—is foundational. Ulukaya grew up watching a father build empires out of intuition. Her strategy is less about instinct and more about infrastructure. Before launching Mon Coeur, Ulukaya studied business at American University’s Kogod School, graduating cum laude with a focus in marketing and a side life as a ballet dancer—eighteen years en pointe, which tells you nearly everything you need to know about her tolerance for pain. Ballet, in her words, “literally and metaphorically taught me balance.”

After undergrad, she pursued an MBA split between ESSEC Business School in Paris and The Hong Kong Polytechnic University, deepening her expertise in hospitality management. That led her into senior roles at Starwood Hotels in the Middle East, then to Chefs Club in New York, and eventually to founding Food Dreams, a Jean-Georges Foundation nonprofit to bridge the gap between culinary students and the working world. What she learned from those years—managing hotel teams in the Gulf, restaurant staff in New York, founding a culinary nonprofit—was how to endure.

She once felt every challenge like a boulder to the chest. “Back then, it was hard to stand back up,” she says. Resilience is now her default mode.

Fashion and hospitality are both industries of surface that demand brutal consistency. You don’t dance for nearly two decades without learning to take criticism, push through failure and find joy in repetition. You don’t launch a sustainable clothing company in the teeth of fast fashion without that same discipline. 

“The hospitality industry made me very strong. What I learned wasn’t how to manage the challenge itself, but to take each challenge as an opportunity to change. Whether in the restaurant industry or fashion, the challenges are the same at the end of the day. The challenges are in everything we do,” she says. 

It is a mindset that extends to how she hires and leads. The team behind Mon Coeur is small—a dozen women split between Portugal and New York. “It’s not that we don’t welcome men,” she says. “But I’m proud of it. It’s hard for women in business. When we can help each other out, we should.”

Maybe it wasn’t by design, she admits. But the result—a tight, international network of women solving supply chain puzzles and managing growth across time zones—is one she doesn’t take for granted. The trait she screens for most aggressively? “Kindness,” she says. “Skills can be learned. Kindness can’t.” 

Ulukaya doesn’t see Mon Coeur as a moral crusade, but the logical outcome of asking a single, unfussy question: What if no one had to get hurt to get dressed? “The most beautiful thing about children is that they should be kids.” The rest—fabrics, factories, fishing nets—is how you get there.

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