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In Barcelona, a Latest Hotel and Hub for Creative Types

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Barcelona’s bohemian side might be present in its El Poblenou neighborhood, where old factories and mills are actually used as artist studios and design showrooms, so it’s fitting that a hotel brand just like the Hoxton, which goals to construct cultural hubs in cities across the globe, would open its first Spanish property here. Guests enter the 10-story space via a lobby appointed with fluted leather sofas and lounge chairs that frame an all-day bar hand-painted with an abstract mural in shades of avocado and orange by the Catalan artist Maria Marvila. The 240 rooms feature handwoven Indian tapestries inspired by the geometric work of the Spanish architect Ricardo Bofill hanging above dusty teal headboards, jewel-toned artworks curated by the Barcelona-based John Brown Projects and soothing terra-cotta floors laid with natural jute rugs. Visitors and locals alike can savor the property’s dining options, which bring a taste of the Americas back to Spain: Detroit-style pizzas are served on the ground-floor restaurant 4 Corners, and on the hotel’s Mexican rooftop bar and poolside eatery, Tope, pulled pork tacos and tequila-based cocktails include an unmatched view of the town’s most iconic structure, the Sagrada Familia. Rooms from $195, thehoxton.com/poblenou.

When the Tokyo-born painter Kikuo Saito died in 2016 at age 76, after 50 years in america, he left behind a profession as a wallflower to the massive names of Abstract Expressionism. As an assistant, he’d mixed paint for Helen Frankenthaler and Larry Poons, but interest in Saito’s own lush, gestural abstractions didn’t surface until the late Eighties, only to be submerged by two setbacks: the death of his first wife, the dancer Eva Maier, in 1997 and, 10 years later, the scandalous end of his gallery, Salander-O’Reilly. Through all of it, Saito never stopped working, and a retrospective up now at San Francisco’s Altman Siegel gallery is a component of a broader reconsideration of how artists of Asian descent have been cut out of the history of postwar abstraction. The survey shows Saito’s genius for color selections — for the dash of marigold that holds down “Ouray” (1979) or the cerulean popping from the sage shadows of “Blue Loop” (2007) — in addition to his efforts designing sets for avant-garde theater productions. “I believe he’d say he was comfortable within the margins, and that’s where his strength was,” says Maier’s cousin the novelist Joshua Cohen. “I believe he’d also say he was here all along.” “Ouray” is on view through June 25 at Altman Siegel in San Francisco, altmansiegel.com.

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Piercing your ears may appear to be a straightforward thing to do, but the jewellery designer Pamela Love — who has 15 ear piercings (“I needed to take a moment to ascertain,” she says. “I’d truthfully lost count!”) — recommends going to a spot where you’ll be able to seek the advice of with a trained skilled who will study the form of your ear (or elsewhere) to make considerate suggestions on how best to adorn yourself. “There’s an enormous difference in the method,” says Love. Opening this week is Love’s first-ever Latest York City studio and shop; her namesake jewelry line — inspired by astrology, folklore and tarot, amongst other influences — was launched in 2007. She worked with Uli Wagner, the Brooklyn-based architect, to create an area that’s light and airy, featuring loads of plants, woven textiles and natural wood. Love’s staff uses hole single-use needles for higher precision and flexibility, and her jewelry on offer — from crescent studs to pomegranate huggies — is all made with recycled 14-karat gold and ethically sourced precious stones. “This was extremely vital to me,” Love says. “Piercing isn’t painless, but every part surrounding the experience needs to be as luxurious and comfy as possible.” Piercing is complimentary with a purchase order, from $150; 145 North sixth Street, Brooklyn; pamelalove.com.

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A surprisingly chilly spring within the Northeast signifies that sweaters have stayed in rotation at the same time as warm-weather garments have come into play. It’s an aesthetic designers are embracing with an eye fixed to sustainability. “Seasonless style to have and to carry on to” is the tagline for the London-based brand Sl’eau, which was launched last yr by the designer Vanessa Jones and utilizes zero-waste practices for its billowy, plissé blouses and swingy iridescent trousers. The Latest York-based stylist Bryn Taylor debuted her line Ouisa last yr, too, in response to the pieces clients were at all times asking for: “They request items that supply ease, longevity and flexibility,” says Taylor, whose biannual presentations of six foundational garments, like a crisp button-down and classic T-shirt, might be worn any time of yr. Also providing streamlined capsule collections is the Malibu, California-based brand Bleusalt; its founder, Lyndie Benson, makes blazers, unisex wraps and the remainder of her evergreen line predominantly in Tencel, a material derived from sustainably sourced raw wood materials. Then there’s Caes, the Amsterdam brand formed by the designer Helen de Kluiver in 2019 in response to her concerns about fast fashion’s environmental impact. Her fundamental garments — ankle-length dresses, an A-line black skirt, a conventional trench — have subtle but special touches, like seam detailing and gathered pleating, and are rendered in organic cottons, recycled polyesters and vegan leather. “I created Caes from the idea that less is more,” says de Kluiver, “but that the pieces we do spend money on should reflect our ideals.”

Before her work in the style industry — shooting supersaturated imagery for Dior’s fall 2021 season and capturing Carolina Herrera-clad ballerinas for the brand’s impressionistic fall 2020 campaign — the Moscow-born, Munich-based photographer Elizaveta Porodina set out on a profession as a clinical psychologist. That point spent studying and treating mental illness, including two years in a state-run psychiatric facility, allowed her to learn “profoundly about human behavior,” she says, and her grasps of melancholy and resilience might be sensed from the eerie photographs compiled in her first monograph, “Un/Masked,” and within the concurrent exhibition “окна” at Fotografiska in Stockholm. A fast glance at one portrait, first published in The Perfect Magazine, shows the makeup artist Cécile Paravina’s glamorous face powdered a stark bone white; upon closer inspection, one notices the model’s teeth have been blotted out in the identical glossy scarlet as her lips, leaving the look in her eyes suddenly unnerving. Such a twist of beauty’s familiar forms into the uncanny is a trademark for Porodina, whose references include the collages of the Surrealist artist Max Ernst, in addition to the daring colours and “sinister messages,” as she calls them, of Italian giallo horror movies. “I really like to call myself a student of the dark side,” she says. About $50, hatjecantz.de. “окна” is on view through June 12 at Fotografiska Stockholm, fotografiska.com.

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