In Paris, a dim sum restaurant finds bold ways to invoke tradition

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After traveling across China as a student – ​​from Shanghai to Yunnan, Guangzhou and Beijing – to reconnect with her roots, Céline Chung returned home to her native France with the dream of one day disrupting classic Chinese canteens with restaurants that would emphasize style as well as diversity of cuisine. “I’m French-Chinese and inspired by my family’s heritage, but also by Paris – its sense of design and food scene,” says Chung. Bleu Bao is the restaurateur’s third and final spot: Designed by Atelieramo, the Paris-based interior studio known for its work on the prestige lounges of the Samaritaine department store, the bao and dim sum restaurant nods to the traditional Chinese teahouses and incorporates bold materials and colors, especially the blue and white of traditional porcelain. The ground floor features velor banquettes and an oversized reproduction of a Ming painting offset by neon yellow trim, while the upper level has more of a boudoir feel. Armchairs and daybeds replace tables and chairs, and Maison Martin Morel floral wallpaper inspired by the film “In the Mood for Love” by Wong Kar-wai stages a romantic scene to reject char siu bao, Dongpo pork and ginger milk pudding. “I wanted to show another side of Chinese cuisine,” says Chung, “without the clichés.” 8 Rue Saint-Lazare, Paris,

Avery Thatcher has developed a range of techniques over his creative life, as evidenced by his Portland, Oregon-based line of wallpaper Juju Papers – whose designs feature paper cutouts, sponge paints and screen prints – and its namesake pigmented concrete tiling company. This month, she’s celebrating the merging of those two companies into one design studio, Thatcher, with a collection of geometric Form pillows. The release reflects even more past endeavors, including his training in sculpture and a formative stint in theatrical puppetry. “I never had a traditional career path, and I always had a lot of jobs at all times,” says Thatcher, “but I really learned craftsmanship and how to build things by working there. ” Several colleagues at this gig helped build and develop the playful set of six, available in colors like bottle green, dandelion and port. Stuffed with responsibly sourced New Zealand lambswool, the pillows are filled with CertiPUR-US foam, in accordance with Thatcher’s climate-neutral status. Each can (quite literally) punctuate a space with an energetic jolt of color and can be thrown around for wear. “My two children destroy them daily and they have retained their statuesque shape,” says Thatcher. From $200,

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In the four years since he took the reins at Céline, artistic director Hedi Slimane has made it a priority to resurrect the precision of haute couture, as well as intimacy – the multiple fittings required for each order ensured a relationship close relationship between designer and customer. After reestablishing a couture salon in the French fashion house in 2018 and reintroducing Céline perfumery in 2019, Slimane is now turning to leather goods with the Haute Maroquinerie collection. Each made-to-order handbag is crafted from start to finish by a single artisan in the brand’s leather workshop in Tuscany, with two shapes offered. The 16, a top-handle satchel, is named after Celine’s atelier address at 16 rue Vivienne in Paris, while the Triomphe, a smaller shoulder bag, has a clasp resembling the chain wrought iron surrounding its homonymous arch. Both bags are made of the finest materials, with an array of customization options: clasps and clasps in 18k yellow or white gold, possible diamond details, goat leather interior and crocodile exterior in 14 shades, black varnished in ink to a pretty lilac. . Leave it to one of the most French houses to redefine luxury. Price on request,

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In the imaginary landscapes of Taiwanese American painter Phaan Howng, flora have evolved to take on a riot of Day-Glo hues as a survival tactic against years of toxic industrial waste in a post-Anthropocene future. It’s a theme the artist has explored since the late twenties, when she worked a particularly tiring day job at a South Florida electronics manufacturing company and became more and more aware the environmental impact of the industry. “I didn’t want my ghost to live in that cabin forever,” she recalled. This month, Howng, now based in Baltimore, presents her first solo exhibition in New York, “I’ll Be Back”, a meditation on domesticity, feminism and the extractive history of houseplants. The practice of taming and commodifying nature inside the home dates back to the Victorian era, and the artist’s research included Kate Chopin’s novel “The Awakening” and Charlotte Perkins Gilman’s short story “The Yellow Wallpaper”, as well as the science fiction film “Terminator 2: Judgment Day. Among the works, an immersive installation, staged as an interior invaded by plants and acid yellow, orange and fluorescent green patterns, a fan dizzying array of paintings, sculptures, wallpaper, furniture and more. It elicits a kind of desperate joy – an end-of-day, rave-party aplomb. “I’ve always been interested in how humans try to control and manipulate nature to fit their vision,” Howng says. “Why are we doing this?”I’ll Be Back” is on view until June 25 at the Dinner Gallery in New York,

“I naturally crave to understand the endless mystery of wine,” says Alessio de Sensi, general manager of New York Italian restaurant Scarpetta. This week he begins to share that oenophilia and his vast knowledge – he experienced his first harvest at the age of six in Maremma, Italy, and received a formal education through the Italian Association of sommeliers – with VinVivo, a series of in-person wine lessons. The first sessions, called “World of Wine,” will explain terminology, discuss tasting techniques, and explore the history of winemaking as students savor a three-course meal (and walk away with a copy of Sensi’s book, “Uncork Your Senses”). These are lessons he first imparted to his colleagues as Wine Director of Minetta Tavern a decade ago and continued once he joined Scarpetta in 2019, and the founder of LDV Hospitality, John Meadow, wanted to make it accessible to the public. “Our greatest hope for our attendees is that they’ll be able to find and drink what they really like,” Meadow says. $150 per ticket,

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