A Copenhagen Hotel Overlooking One of the City’s Largest Gardens

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A Hotel and Cafe Next to Copenhagen’s Frederiksberg Gardens

House of Josty, an 1824 building just outside Copenhagen’s Frederiksberg Gardens, was originally a confectionery that became a favorite of the Danish royals. After the Josty family, its founders, left in 1937, the property became, at various points, a restaurant, a hotel and an event space. Earlier this summer, the Danish hospitality firm Food Studio redesigned it as a six-room hotel with a ground-floor cafe. The interior features a mix of styles and eras: sculptural sofas by the Copenhagen-based brand Gubi and cafe chairs from Frama, another local company, sit next to vintage coffee tables and credenzas. Two 19th-century paintings depicting the gardens hang in the foyer, just as they did in decades past. The cafe is open for breakfast and lunch, serving seasonal dishes like a tomato tartine and chicken confit, made with produce sourced from Food Studio’s regenerative farm in Humleore, southwest of Copenhagen, and other nearby growers. Visitors can dine on the terrace overlooking the trees, then take a path directly into the park. From about $175 a night, houseofjosty.com.

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The Coastal Vegetable That’s Exciting Irish Chefs

The distinctive look of sea kale, a frilly-leafed coastal brassica, has often earned it a prized spot in ornamental gardens. But lately, a number of Irish chefs have been bringing it into the kitchen. Chef Cúán Greene of Ómós, a restaurant and hotel that opened in July in Abbeyleix, 62 miles from Dublin, first encountered it growing at Ballymaloe Cookery School. The school’s co-founder Rory O’Connell showed him how it can be forced, like rhubarb, grown in darkness under a terra-cotta cloche. This process turns the leaves an almost glowing white. Greene was astonished by the vegetable, which has a taste similar to asparagus but “almost acts like a cabbage,” he says. He now has it in the garden and on the menu at Ómós, where he extends its life span using fermentation techniques learned in Danish restaurants Noma and Geranium. Greene includes it in dishes like his Irish Salad, which riffs on a traditional Irish summer supper of cured ham and salad leaves.

In early April, when sea kale first appears outdoors, the chef Darina Allen of Ballymaloe cooks the vegetable simply, in boiling salted water, and serves it on toast with melted butter. “It’s precious,” she says, “so we don’t like to faff about. But I love sea kale tempura with chervil mayonnaise.” Katie Sanderson, the chef co-founder of the condiment brand White Mausu, has foraged it from pebbly beaches near her Connemara home and fries it in butter with barbecued pollock, while JP McMahon, the chef-owner of the restaurant Aniar in Galway, grills sea kale, then drizzles it with cold rapeseed oil and seaweed vinegar. At 505, in the small village of Dingle, the chef Damien Ring has served the vegetable with mushrooms, trout roe and a sauce made of smoked fish bones, kombu and a local IPA.

“ I have this idea that everything I do should connect to everything I’ve done,” says Sander Lak. For the New York-based fashion designer, who worked at the Belgian label Dries Van Noten before running the brand Sies Marjan and now his namesake line, that means a through line of punchy color and sumptuous texture. Since 2021, he’s translated his design language into the world of interiors in an ongoing collaboration with the Manhattan textile house Maharam. Their first release was a rainbow of woolen upholstery fabric, while the 2025 Nova pattern recalled multihued abstract paintings. Now, with next month’s launch of two new textiles, titled Arcana and Bolero, Lak is focused on tactility. Arcana, a slick, stippled polyester available in 12 colors, features a weave that resembles hammered metal and seems to be lit from within. Bolero, an exuberant upholstery textile in 10 colors, is made from swoops and whorls of plush polyester yarn that seems destined for cozy chairs and oversize accent pillows. In a convergence of design disciplines, the Arcana textile also made its way into Lak’s latest ready-to-wear collection, in the form of a few luminous pants and jackets. Available on Sept. 10; from $55 per yard, maharam.com.

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A Swedish Designer’s Lasting Influence, as Seen in a Stockholm Exhibition and Two Reissued Works

The Swedish artist and designer Anna Petrus was a determined free spirit in the early 20th century. She demonstrated with the suffragists while studying in London and, says her grandson, Leif Lyttkens, shrugged off marriage as “old-fashioned” — that is, until a relative refused to babysit the artist’s firstborn unless Petrus and her partner, Harald Lyttkens, officially wed. When the Swedish Pavilion opened at the 1925 International Exhibition of Modern Decorative and Industrial Arts, in Paris, her pioneering cast-iron work was impossible to miss. A series of pillars, embellished with chevron motifs and figurative friezes, stood in the entrance hall. Farther inside, a carved oak table base took the shape of a charismatic lion. But the material most closely associated with the artist is arguably pewter, thanks to her connection with the Stockholm firm Svenskt Tenn. Its founder, Estrid Ericson, sought out Petrus in 1924, and their collaborations over the next several years became exemplars of the short-lived Swedish Grace movement, with its streamlined neo-Classical aesthetic. The exhibition “Sequence of Spaces,” which opens next month at Svenskt Tenn’s nearly 100-year-old flagship, will showcase Petrus’s designs for the company along with artworks on loan from her family. Lions are a recurring presence, as seen in Svenskt Tenn’s free-standing pewter sculpture (cast from the original molds) and in a plaster model for a commissioned cast-iron fireplace panel. The animal also sits atop a geometric pewter mirror newly back in production, while another reissue — a table lamp decorated with a female nude — recalls the figures in Petrus’s 1920 sketchbook, which will also appear in the show. “Sequence of Spaces” will be on view at Svenskt Tenn, Stockholm, from Sept. 4 through Oct. 18; svenskttenn.com.

It’s been a rainy August in New York City. As storms get stronger, increasing the likelihood that small, spindly umbrellas will collapse in the wind, more New Yorkers seem to be favoring bigger, sturdier versions over the pocket-size kind. And since they can’t be hidden away, finding a stylish one is all the more important. In Surrey, England, the brand Fox has been hand-crafting umbrellas, like this 37-inch model with tartan panels, for 158 years. The Danish home goods purveyor Hay sells affordable options whose canopies are made from recycled plastic, like this transparent one. The Milan-based company Francesco Maglia has been making umbrellas since 1854; one model comes with a chestnut handle and a blue and green striped canopy. This 35-inch umbrella from DiCesare Designs is made in Kyoto, Japan, and features a handle in patent leather stamped with a lizard effect. And for those who want an ultra-luxe shelter from drizzle, consider this umbrella from the Milanese fashion house and textile producer Loro Piana. It comes with a curved maple handle and a canopy made from cashmere wool that’s been treated to be wind- and rainproof.

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Gardening-Inspired Garments That Clean Up Well

The London-based clothing brand Dudley Coppice celebrates British horticulture with clothes that are intended to transition easily from the garden to the city. Its founder, Bleue Wickham-Burnham, previously worked in men’s wear; he then launched a namesake jewelry line, drawing inspiration from nature with organic textures and forms, before starting to make his own garments in 2024. The latest Dudley Coppice collection — the moniker combines Wickham-Burnham’s middle name and the gardening term “coppice,” or copse, connoting a thicket of small trees that’s cut back regularly to promote growth — features a striped gardener’s shirt with pragmatic details like taped seams on high-wear areas (cuffs and hems) and a lower-than-usual front pocket for more convenient access to a set of shears. A T-shirt is printed with an illustrated guide to British wildflowers, while the gardening tote, equipped with enough compartments for all your pruning tools and fresh cuttings, is made in glossy vegetable-dyed leather to double as an everyday carryall. “If our work inspires someone to spend a little more time outdoors, then I think we’re moving in the right direction,” says Wickham-Burnham. From about $163, dudleycoppice.com.

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