Last year, on an outing to the Metropolitan Museum of Art, the Brazilian fine jewelry designer Silvia Furmanovich found herself marveling at 100 or so miniature paintings — intricate scenes commissioned by India’s Rajput rulers, depicting lush landscapes, limb-tangled battles and euphoric love scenes. Later, Furmanovich stepped back into these dreamscapes on a 40-day trip through India during which she commissioned artisans at a school in Udaipur to create unique pieces on scalloped, diamond-shaped chips of wood and bone. She then framed the works — painted with brushes made from the hair of squirrels’ tails — with diamonds, gemstones and South Sea pearls, turning them into earrings that give refined meaning to the term ‘‘wearable art.’’ — HILARY MOSS
Big cats come in from the wild, embellishing covetable objets for the home.
We’re ‘‘ready for a different narrative about women,’’ says the artist Judy Chicago, fresh off seeing the summer blockbuster ‘‘Wonder Woman.’’ Chicago — who, after taking her hometown’s name partly as a symbolic rebuke of the patriarchy, famously posed as a boxer in the ring for a 1970 Artforum ad — knows a thing or two about the politics of representation. Now, at 78, she’s soon to be the subject of a number of important shows. The first, ‘‘Judy Chicago’s Pussies,’’ opens next month at Jessica Silverman in San Francisco and features both well-known and never-before-seen drawings, paintings and prints made between 1964 and 2004. Some works, like ‘‘Through the Flower,’’ are geometric abstractions, while others are more anatomical. (There are also watercolors of her actual cats.)
Then there’s Chicago’s masterpiece, ‘‘The Dinner Party,’’ which the artist revealed nearly 40 years ago at SFMoMA. The piece, a reimagining of the Last Supper with painted-vulva plates and seats reserved for famous women, from Sappho to Sojourner Truth, is now installed at the Brooklyn Museum. (It even made a cameo on this season’s ‘‘Master of None.’’) In October, the museum will open a separate exhibition analyzing the work’s conceptual origins and influences. A concurrent show at Washington, D.C.’s National Museum of Women in the Arts will focus on the collaborative studio environment in which the project evolved (it involved a team of hundreds), but it’s really just a prelude to Chicago’s forthcoming 2019 show there, ‘‘The End: A Meditation on Death and Extinction.’’ Next spring, meanwhile, Salon 94 in NYC will exhibit Chicago’s 1980s paintings of cartoonish male nudes wrestling with rainbows. In both its breadth and depth, this surge of attention is long overdue. But perhaps, as Chicago says, we’re finally ready. — LIZ HIRSCH
Husband-and-wife team Nicolas Malleville and Francesca Bonato founded the fragrance and hotel line Coqui Coqui over a decade ago on Mexico’s Yucatán Peninsula, which hardly lacks for natural beauty. Still, the two were always finding reasons to fly off to Bora Bora, the site of their latest project. After buying some land there across from a lagoon, they started planning their dream garden: ylang-ylang trees, frangipani, Tahitian rose. ‘‘French Polynesia is a paradise in terms of flora,’’ Bonato says. The result is a new collection of a dozen fragrances, including Fleurs des Iles, with notes of tiare, the national flower, and Sancoco, which incorporates local coconut oil. To experience the full range, scent seekers should go to the source, where the pair has opened a small boutique selling their sun hats and woven string hammocks. Next year, they’ll also offer a welcome alternative to the island’s ubiquitous overwater bungalow resorts: a tented villa amid their fragrant Eden. — GISELA WILLIAMS
Panne velvet smoking chairs and trompe l’oeil frescoes fill the thoroughly Italian Hotel de Ricci, recently opened in Rome’s central Regola district. The intimate albergo has just eight rooms, but its cellars and bars are appointed with over 1,500 varieties of wine, from Friulians and Mosellas to Gajas and Nebbiolos. ‘‘I wanted to create something very warm,’’ says the restaurateur-turned-hotelier Lorenzo Lisi, who now manages the nearby Pierluigi, his father’s iconic seafood spot (a favorite of Cy Twombly’s, who kept an apartment upstairs). “Those white walls you see everywhere in Brooklyn? You’re not going to find anything like that here.”
For the guest rooms, Lisi enlisted the help of his neighbors Daria Reina and Andrea Ferolla of Chez Dédé — the Old World concept shop known for those lettered canvas totes found on fashionable beaches the world over. Ferolla’s illustrations and retro fonts appear on embroidered bed linens, do-not-disturb signs and the menus in the lobby’s Charade Bar, which hired the head barman from the Dorchester in London. He’s already dressed up the house Negroni with a splash of Umeshu plum sake — ideal, says Lisi, for sipping ‘‘after you’ve just stepped in from the same sun-dappled sanpietrini Michelangelo and Raphael used to stroll down.’’ — LINDSAY TALBOT
For her 40th birthday in 1972, Elizabeth Taylor received a Bulgari sautoir from her husband, Richard Burton, who tended to express his passion in carats. It featured a detachable octagonal brooch-cum-pendant with pavé and bullet-cut diamonds set in platinum, and a Burmese sugarloaf sapphire so large it’s a wonder Taylor was able to remain upright while wearing it. (Bulgari, Burton once famously quipped — in a tone one hopes was fond — was all the Italian Taylor knew.) Now, the company has reinterpreted that iconic bijou for modern times. With a peach-pit-size cabochon emerald centered in a dangling frame, the necklace’s contemporary geometry is complemented by an intricate, diamond-bejeweled chain. Taylor herself once remarked that you can’t truly possess radiance, only admire it. But, she might have added, it’s always nice to try. Price upon request, (800) 285-4274. — NANCY HASS
For his 2014 series of photographs, ‘‘Postures,’’ the Swedish artist Carl Kleiner used brass-wire posts to manipulate the long, willowy stems of tulips, freezing them in poses of melancholy, human-like repose. This year, in collaboration with Bloc Studios, a design group in Carrara, Italy, that specializes in the local stone, Kleiner and his wife, Evelina, have debuted a collection of vases with a similar armature. With an emphasis on stark form, the vessels — which come in several shapes and stones, from green onyx to white marble — force a reconsideration of the flowers they contain, shifting the focus from their color or scent to the fragile beauty of their structure. From left: $670 and $510, mattermatters.com. — N.H.