Photo: Howell Conant (1962), courtesy of Lilly Pulitzer
This is the story of a dress inspired by a nervous breakdown and juice stains. Lillian (Lilly) McKim was born into wealth, the daughter of a Standard Oil heiress. In 1952, at the age of 21, she eloped with Peter Pulitzer, grandson of the publisher Joseph Pulitzer, and moved to Florida, where Pulitzer owned several orange groves.
The attractive couple was known for their fun parties, where Lilly often poured water on the floors to promote dancing. The Palm Beach socialite was something of an anomaly known for walking down Worth Avenue barefoot with her pet monkey, Goonie, on her shoulder. The Pulitzers had three children in under four years, which took a toll on Lilly. She sought treatment for what we would now call postpartum anxiety/depression. After being carefully evaluated by her doctor, she was told that there was absolutely nothing wrong with her, but she needed to find a hobby. Her husband suggested she help sell some of the citrus from their groves, so she opened a juice stand with her dear friend and former fashion editor Laura Clark in 1959.
After a day working at the stand, her clothes were often stained with orange and grapefruit juice. She bought some fabric from the five-and-dime store that would camouflage the stains and asked her seamstress to create a couple of dresses. Lily requested that they be lined, so she could wear the dress without undergarments, and not be fitted, so she could stay comfortable and cool while working at the stand in the Florida heat. The design was simple, featuring two seams, a few darts, and a slit to allow for easy movement. Juice stand customers soon wanted to know where they could purchase their own bright-colored frocks. She began selling her shift dresses, which became known simply as “Lillys,” at the stand for $22. When her friend from high school, First Lady Jackie Kennedy, wore a Lilly dress on the cover of Life magazine in 1962, the company rose to fame. The dresses were unlike the corseted-waisted designs most women were wearing in the late 1950s and early 1960s, the Lilly represented the ease and carefree nature of resort living.
Lilly’s juice stand turned into a clothing business. Soon she needed better textiles. She found a pattern that fit her style and traced the designer back to the small fabric printing business Key West Hand Prints. The designer’s name was Susie Zuzek, and over the next 23 years, Zuzek created over 1,550 designs, most of which were used by Pulitzer. Lilly added her signature to each print. The “Lilly Look” was synonymous with wild, bright, colorful prints, the products of Zuzek and Lilly’s collaboration.
Lilly Pulitzer’s trademark shift dress became a wardrobe classic not only worn by the wealthy in Palm Beach but also by those who vacationed in Nantucket, Martha’s Vineyard, Southhampton, and Bar Habor. The design was simple but sophisticated. “‘The Lilly’ doesn’t really follow trends,” Lilly Pulitzer said in an interview in April of 1978. “It has become a kind of classic after all these years, kind of on the order of a Chanel suit. It doesn’t change, you can always recognize one.”
Lilly Pulitzer died in 2013, having sold the company years before. One thing that has not changed is that the iconic prints are still a staple in many wardrobes, and the iconic shift dress is as popular as ever.
August, 2025 | By: Becca Abramson | Photography: Andy Gagne, courtesy of Mahoosuc Land Trust
What inspired the creation of the Habitat For All Garden at Valentine Farm? The goal for the Habitat For All Garden and educational initiative is to provide opportunities for everyone to connect with nearby nature. In construct and inspiration, it has four main pillars. The first is habitat for birds and pollinators: there are sections of the garden that are built for birds, and other areas that are densely planted for insects. It envelops visitors in a riot of color and texture—you can hardly see the ground. The next pillar is food production, which is an amazing access point to appreciating nature. Caring about your food really means caring about how it’s produced. The third pillar is sanctuary, which is especially important because we all need respite and downtime. We’ve designed spaces within the garden where visitors can sit and read or meditate, and where we encourage people to just be. The final pillar is exploration and discovery, and that corner of the garden is designed for kids and families. There are lots of hand-painted signs and prompting questions that get children to touch, smell, create, climb, and question. It’s a brilliant addition to the garden.
What are the benefits of a pollinator garden? Insects support all life—everything that we need to eat, wear, or enjoy is somehow connected to insects—but they’re in trouble across the globe. If you simply provide some flowers with nectar and pollen, the pollinators will come, and you’ll be rewarded. It’s an incredibly easy entryway into having a close encounter with nature, even if all you have is a single plant in a pot on your stoop.
What are the first steps you recommend for establishing a pollinator-friendly garden? After visiting the Habitat For All Garden for inspiration, I’d suggest picking up some books or doing some research online. Select a full-sun site if possible, because the flowers people are most familiar with do best in full sun. Work with a local grower who can tell you how their plants were grown and what chemicals they may have used on them. If you’re planting a small garden, buy four or five different types of plants, and then numerous ones of each so that insects can feed efficiently (they like clumps versus several different kinds). Try to choose things that bloom at different times from June to September instead of having everything happen all at once. My own philosophy is that the longer you garden, the better you garden, so give it some time and you really can’t go wrong.
What are some common mistakes people make when trying to create pollinator gardens, and how can they be avoided? I encourage people to plant closer than the package or directions may instruct, because it provides a dense habitat that will attract more life. Also, many of our ornamental plants don’t need overly rich soils—once established, most of them are going to grow without needing much. Last, when you have a diverse garden, you attract many new insects that are also pollinators. Before you squash any new insect, make certain it’s not beneficial for the garden!
Visit Valentine Farm and the Habitat For All Garden from dawn to dusk through November 15 at 162 North Road in Bethel.
Maine Crafts Association’s (MCA) annual fundraiser at Maine Studio Works brought together lovers of slow fashion for an unforgettable celebration of wearable art. The evening featured a high-energy runway show spotlighting seven talented Maine designers, an inspiring keynote from local fashion icon Jill McGowan, and live screen-printing action from Little Chair Printing. Guests sipped on craft cocktails from Cocktail Mary, cooled down with refreshing summer samples from Coffee by Design, and shopped the vibrant style market featuring 18 incredible vendors offering apparel, accessories, and more.
Mary Allen Lindemann from Coffee byDesign, one of the night’s sponsors ChristineWaring; MH+D editor Danielle Devine; MH+D associate editor Becca Abramson Lizz Brown, MCA program manager, andLawrence Hollins, MCA board president Cece Haviland of Cece and the Seams Kimberly Becker of K.Becker Kerry Goulder of Kid Giddy Adele M.Ngoy of Adele Marengo Designs
Katie Rose Champlin of Flowbot Anysa Williamson of A.W.D.Textile Designs Kazeem Lawal of PortlandTrading Co.
“STITCH 2025 was bigger and better than ever, and our community showed up to celebrate MCA like never before. We are proud to serve as the connecting point for a broad network of makers, collectors, and supporters in Maine.”
MH+D’s spring Mainstay at Kevin Browne Architecture (KBA) was a lively celebration of the local creative community and the firm’s transition to totally employee ownership. Held at KBA’s new office in Falmouth, the evening brought together designers, architects, and builders to connect and share ideas. Attendees enjoyed savory eclairs, charcuterie, and more by Experience Maine Culinary and drinks provided by KBA while taking in views from the office’s massive third-floor windows.
Members of the KBAteam: Drew Bortles, project manager; Leah Lippmann,project and interior architect; Lexi Waddell, designer;Nichole Drew, office manager; Heather Browne,marketing manager; and Kevin Young, project manager Guests minglingwith the KBA team. Woodworker SteveBoucher of Steve Boucher, LLC Kevin Browne, CEOand principal architect at KBA; DanielleDevine, MH+D editor; and Heather Browne,marketing manager at KBA Enjoying the third-floor patio thatoverlooks Falmouth. Karen Bowe, MH+D director of business development and partnerships, provides remarks. Snacks byExperience Maine Culinary Interior design inspiration
“Sharing our space with collaborators and supporters made for a meaningful gathering. It was a pleasure to see familiar faces, spark new connections, and celebrate the relationships that make our work possible. The event was filled with great conversation, shared stories, and a true sense of community.”
—Kevin Browne, founding principal of Kevin Browne Architecture
I’m Irish, so if you put a potato in front of me, I’m going to love it. But if you put a potato salad in front of me, I do have this short list of requests right here: lots of acid (that will always work in your favor), a little bit of heat (never a bad idea), fresh herbiness (a reliable balance to starchy), and a hard no to raw onions stinking up the bowl. If you’ve been dying to have a killer potato salad in your arsenal—and really, everyone should—this recipe will help get you on the right track.
Serves 6 to 8
INGREDIENTS
3 pounds baby creamer potatoes (two 24-ounce bags) 1 tablespoon plus 1 teaspoon kosher salt 1 cup dill pickles plus ¼ cup pickle brine 10 pepperoncini plus 2 tablespoons pepperoncini brine 2 tablespoons white wine vinegar ½ teaspoon celery seeds 1 bunch chives 1 cup mayonnaise 2 tablespoons grainy or spicy brown mustard 1 teaspoon freshly ground black pepper ½ cup loosely packed fresh parsley leaves, plus more for garnish ½ cup loosely packed fresh dill fronds, plus more for garnish
INSTRUCTIONS
In a large Dutch oven, combine the potatoes, 1 tablespoon of the salt, and 8 cups of cold water. Set over high heat and bring to a boil, about 10 minutes. Once bubbles start to pop all over the surface, set a timer for 8 minutes. When the timer goes off, use a spoon to remove a couple potatoes; if a paring knife slides in and right back out with no effort, you’re good to go. If not, give them 2 more minutes before testing again.
Drain the potatoes, but don’t rinse. Let them sit for about 5 minutes until you can comfortably cut them in half. Throw the halved potatoes in a large bowl. While they’re still warm, toss with the pickle brine, the pepperoncini brine, the vinegar, the celery seeds, and the remaining 1 teaspoon of salt. Let the potatoes cool completely and absorb those flavors, about 1 hour.
When the potatoes are cool, finely chop the pickles, pepperoncini, and chives. Add them to the bowl with the mayonnaise, mustard, and black pepper and fold everything together. Chop the parsley and dill and add. Lightly toss to mix.
Pile the potato salad into a serving bowl, then garnish with more parsley and dill before serving.
New York City-based hotel group KASA recently opened a 20-bed boutique hotel in Skowhegan’s Spinning Mill called THE SKOWHEGAN BY KASA, the group’s first property in Maine. Each thoughtfully designed room features modern accommodations inspired by the state’s natural beauty, as well as a fully equipped kitchenette and stunning oversized windows. “Reimagining the Spinning Mill into a beautiful property designed for the modern traveler is an exciting milestone for us,” said Roman Pedan, CEO and founder of Kasa, in a press release. “This transformation goes beyond revitalizing a historic building; it’s about creating a premier destination that seamlessly blends heritage with modern hospitality. We’re excited to introduce a space that enhances the town’s tourism and economic landscape.” In addition to the hotel, the newly repurposed Spinning Mill will house a farm-to-table restaurant and brewery tasting room run by MAINE GRAINS, along with 41 residential units, a fitness center, and office space.
Photo: Courtesy of Estabrook’s
ESTABROOK’S, a Yarmouth-based, family-run garden center and nursery, recently completed a state-of-the-art commercial greenhouse in Pownal that doubles the company’s production capacity to 209,000 plants (including annuals, perennials, herbs, and vegetable seedlings) at any given time. The 55,000-square-foot facility, which was supplied and built on-site by ATTKO, features computer-controlled watering, fertilizing, and monitoring systems, mechanized curtains, automated radiant floors, and heated piping along the walls and roof. Cumberland firm SEVEE AND MAHER ENGINEERS handled the project’s site work.
A $52.6 million overhaul to the PRESQUE ISLE INTERNATIONAL AIRPORT began this spring, including a brand-new $38.4 million passenger terminal to replace the 1952-era facility, which was originally constructed as a fire rescue building for the PRESQUE ISLE AIR FORCE BASE. SENATOR SUSAN COLLINS, who secured $20.5 million in funding for the construction, participated in the groundbreaking and noted that “Presque Isle International Airport is a vital hub for Aroostook County, connecting northern Maine to the rest of the country and supporting economic development throughout the region. This new terminal will improve the passenger experience, ensure compliance with federal safety standards, and support future growth for generations to come.” A/Z CORP is the terminal project’s general contractor, while SODERBERG CONSTRUCTION CO., HOYLE TANNER, and AECOM are working on other aspects of the airport’s upgrade.
Photo: Courtesy of Indigo Arts Alliance
Nonprofit organization INDIGO ARTS ALLIANCE has purchased their 8,000-square-foot purpose-built studio at 60 Cove Street in Portland’s East Bayside. Made possible through 18 months of dedicated fundraising efforts, the acquisition of the build- ing represents a significant milestone for the first Black-owned, Black-led, Black- and Brown-centered arts and culture nonprofit in the state. “In a time when cultural memory is under siege, the day-to-day work of the organization serves as a radical affirmation that Black and Brown histories, voices, and futures are not only worthy of preservation, but essential to the health of our collective humanity,” said Mia Del Bene, systems and communications manager, in a statement. To date, the organization has supported 73 artist residents representing cultural lineages from 21 countries.
Photos: Courtesy of Bould
Industrial design company BOULD has released an innovative countertop appliance called SPOUT, which extracts humidity from the air and transforms it into drinkable water using atmospheric water generation technology. Inside the device, a condensation system captures moisture, which then undergoes a rigorous filtration and mineralization process, resulting in fresh, clean water collected in a sleek pitcher. The pitcher is complete with lighting and an ergonomic handle, making it suitable for drinking and cooking. Under optimal conditions, the unit can produce 2.5 gallons of water per day, offering a sustainable alternative to bottled water that reduces plastic waste, carbon emissions, and water transport-related emissions.
Three new commercial buildings in the TOWN CENTER at SCARBOROUGH DOWNS will offer 144,000 square feet of retail and restaurant space. A MARKET BASKET supermarket, announced last year, will become the center’s first retail tenant; ALLAGASH and BITE INTO MAINE have signed on to join the site’s retail and office structure; and a new building designed for a small restaurant or coffee shop is in the works. The development is currently offering 96 high-end residential units priced at just under $400,000. According to MaineBiz, the town center will be surrounded by a green space with tree-lined sidewalks and trails.
Rendering: Courtesy of Safdie Architects // Longfellow Communications
Following nearly a decade of collaboration between EAST BROWN COW and SAFDIE ARCHITECTS, the architecture and urban design firm unveiled a comprehensive design vision that reimagines Portland’s CANAL PLAZA BLOCK into a district called OLD PORT SQUARE. The four-acre site would feature a timber and glass pavilion, updated retail storefronts, restaurants, a hotel, residences, offices, parking, and outdoor community spaces, all while combining new construction with the revitalization of existing structures. An impressive 30-story, 380-foot-tall residential and hospitality tower designed by Safdie Architects, which would become the tallest structure in Maine, is inspired by the state’s iconic lighthouses; on the top floor, a public sky lobby and restaurant will offer 360-degree views of Casco Bay and the White Mountains. Award-winning design firm PENTAGRAM is behind the project’s name and brand, and MICHAEL BOUCHER LANDSCAPE ARCHITECTURE is collaborating on the landscape design.
Bestselling author, retired physician, and Maine resident TESS GERRITSEN initiated a matching challenge to raise capital for the state’s first Asian American community center in Westbrook supported by KHMER MAINE, WATT SAMAKI TEMPLE, the FILIPINO AMERICAN SAMAHAN OF MAINE, the CHINESE AMERICAN FRIENDSHIP ASSOCIATION OF MAINE, and other organizations (see Design Wire November/December 2024). Gerritsen intends to match every dollar up to $50,000 donated to the $10 million campaign through the end of October 2025. “What a wonderful idea for Maine: a place where everyone can learn about Asian cultures, join in their festivities, hear their languages, and sample their wide variety of foods. It promises to be an enriching place for all,” Gerritsen told MaineBiz. In addition, COFFEE BY DESIGN will be donating $2 from every sale of their medium roast AANHPI Blend featuring beans from Sumatra, Papua New Guinea, and India’s KaadKaapi collective.
Mairen Marshall has southern Maine in her blood, with everyone from her great-grandmother and grandmother to her parents and her mother’s cousins spending time there over the years. “My parents bought a house in Wells the year I was born, and my grandmother was in Perkins Cove,” says Mairen, referring to the quaint harbor village in the town of Ogunquit. She now shares a love of Maine with her husband, Sean, and the couple bought their own Ogunquit home after they had their second of three children. “We lived there for seven months during COVID and realized that we needed more space,” she continues. “This property in Perkins Cove came on the market, and it happens to be across the drawbridge from my late grandmother’s old house.”
The couple’s new residence—perched on a large rock outcropping between the cove and the Atlantic—has seen many iterations since the original structure, a small Cape, was built during the mid-1800s. “In the early 1900s, artist Hamilton Easter Field renovated and enlarged the house, resulting in a structure that looks like our home today,” explains Sean, also noting that it later served as a bed and breakfast beginning in the 1950s. (One of its guests reportedly included actress Bette Davis, who served as an Ogunquit Beach lifeguard in 1926.) “The previous owner rebuilt the residence in 2001 to look identical to the existing one, and the goal with our renovation was also to keep its look and feel. We loved the white exterior with its huge farmer’s porch, but the building had taken a beating as a rental property, and it needed new bones.”
To help usher the property into its next phase, the couple called on Boston-based interiors firm Erin Gates Design and local builder Richard Moody and Sons Construction. “We lived in the house for two summers, which helped determine what we wanted,” says Mairen. “It needed to function for our busy family of five and also serve as an easy place to entertain, since local family members are always stopping by.” Hence the decision to convert a dark TV room between the kitchen and screened porch into a lively bar room, which is enveloped in bold blue and white fig-leaf wallpaper. “This space was our number one priority,” says Sean. “We opened the kitchen to create a large pass-through into the bar area and replaced the French doors to the screened porch with sliding doors that create an indoor–outdoor feel.” The screened porch and adjacent deck are popular spots thanks to their front-row view of boats navigating to and from the harbor. “Someone is always outside,” he continues. “There are a few different places to sit, eat, or have a drink.” The pass-through serving area isn’t the only change back in the kitchen. Additional windows were installed, and the layout was reimagined to incorporate an island for dining as well as an island for food prep. Nearby are the refreshed living and dining areas, powder room, laundry room, and mudroom. “It was critical that there be enough space for the family to tuck away towels and other beach gear,” notes Gates.
Meanwhile, on the lower level, a second kitchen was removed, the bath was renovated, and a new bedroom, gym, and sauna plus a den for the kids were added. On the upper level, which contains three bedrooms and a workspace that can be closed off for privacy, some key modifications make all the difference, especially in the primary suite. In the bedroom, the cathedral ceiling was converted into a paneled barrel-vault that feels more welcoming. The adjoining bath was looking its age and was in desperate need of an overhaul. “There was an oversized jacuzzi in the corner, a vanity that took up too much space, and a glass block shower in a strange location,” recalls builder Jason Moody. “Also, you could hardly see the water, so we installed new windows in one corner to allow for a better view of the boats coming and going.”
In general, says Moody, “the house needed a lot of updates. The original plan was to replace the windows and rework the layout to be less choppy. However, we started to find some rot and were forced to peel back the layers. In the end, the entire structure was taken down to the studs out of necessity.” And while the overall appearance of the exterior remains (a few Palladian windows were swapped out for more contemporary rectangular versions), the materials are new, from the high-performance Andersen windows to the stainless-steel cable railings to the fiber cement siding and composite trim. “Because of its location, this house gets hammered by heavy wind, driving rain, and snow,” says Moody. “We needed to choose the right construction methods and products to withstand that.”
This dedication to selecting hardy materials was carried through to the interiors as well. “Our kids are 13, 10, and 6, so durable furnishings are critical,” notes Sean. And given the abundance of windows, potential fading is also a concern. “We chose indoor–outdoor fabrics, wipeable surfaces like porcelain tile, and lots of V-groove paneling, which is tougher than plaster,” says Gates, who installed penny tile in a fun striped pattern on the floor of the children’s bath. “The effect looks custom and interesting, but it’s not precious.” Fun is a common theme throughout, as the couple is open to pattern and color—especially their favorite hue, blue. “It’s always important to take the location and views into consideration,” says the designer. “The ocean heavily influenced the palette here, but it doesn’t feel too beachy. We have just about every iteration of blue, from the bold fig-leaf wallpaper in the bar area to the pale blue kitchen to the grayish blue in the children’s room. And I love that they went with that fig-leaf wallpaper. People tend to get nervous about bold choices, but those always end up as favorites in the end.” The furnishings are a comfortable yet fresh combination of new and custom pieces with some of the owners’ artwork sprinkled in. “We incorporated some sentimental touches, including a surfboard the couple purchased on a trip to Hawaii,” says the designer. “It’s classic New England, but with a more whimsical seaside touch. The goal was to design a happy, relaxing, beautiful, and functional space that they look forward to returning to.”
And it would appear the team has succeeded. Even after a complete gut renovation, the soul of the original house that the couple fell in love with remains. “It’s nice that when I’m in the house, I can still feel what it was like when we bought it,” says Mairen, whose favorite place to perch is at a table near a windowed corner of the living room. “It’s a great spot for the kids to play games or do puzzles, but it’s also where I drink my coffee on cool mornings and watch the lobster boats go by.” No matter the weather or season, there are plenty of areas to cozy up and relax. “We weren’t interested in creating a showpiece, but rather a home that reflects this family,” says Gates. “It’s a house where you can kick your feet up.”
It’s hard to imagine an event more fully in concert with a liberal arts education than the visual extravaganza of Ralph Steadman: And Another Thing, currently on view at Bates College Museum of Art. The exhibition, curated by Sadie Williams and Andrea Harris in collaboration with the Ralph Steadman Art Collection, is as vast as any artist’s retrospective might be, spanning more than 60 years. For fans and fans-to-be—there’s something for everyone here—it’s truly incredible to have so much original Steadman art in one place, to be able to take time with the work and revisit it, to allow the work to surprise and delight and even horrify. “This is an exhibition with so many portals,” says the museum’s education curator, Anthony Shostak. “The work opens directly into so many fields of study—literature, art history, American history, environmental science, political science—and Steadman makes it really easy for the viewer to open those doors.”
Whatever you think you know about Ralph Steadman—his Gonzo journalism era and his world-famous adventures with Hunter S. Thompson; his Rolling Stone magazine illustrations for Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream; his artwork for Flying Dog Brewery; his portraits of musicians, writers and U.S. presidents; his depictions of endangered, extinct, and imagined birds; his Paranoids (manipulated Polaroids); his documentary collaboration with Johnny Depp; or his award-winning children’s book illustrations—you’ve never seen him like this. You haven’t encountered his works at scale as he envisioned them, or in the context of our challenging times, where they feel as fresh and resonant as ever.
Not to say that viewing And Another Thing is easy. It’s unsettling, provocative, loud, and often raging. “All animals are equal, but some animals are more equal than others,” George Orwell wrote in his 1917 allegorical novel Animal Farm, and Steadman’s illustrations for the 50th anniversary edition of the novel express a visceral rage at the abuse of power. At the same time, animals in their natural environments have a dignified and loving presence in Steadman’s work. He traveled with his family to South America in the 1980s to closely observe and sketch vultures, and created many reverential drawings of the unpopular bird; the milky-eyed baby bird in the ink drawing, Owen the Owl, was rescued by Steadman and brought to a sanctuary.
By the time Steadman found his groove, he’d experienced multiple affronts to his moral sensibility, so he set out to make world-changing art; specifically, he sought to make the world a better place by calling attention to injustice through his artistic output. “I had found my voice, and I was going to use it as a weapon,” Steadman said in the 2012 documentary film For No Good Reason. Regardless of the medium, his works are like a direct jolt from a mind deeply engaged with the human condition. The quality and energy of his drawing line is instantly recognizable; it’s as distinct as his signature, which he inks using a calligraphy pen in a mashup of cursive and printed all caps: STEADman. An ink splatter released from Steadman’s hand holds infinite possibilities for form and story to emerge. Even better if the ink wash water is dirty with residue, a muck of color; as he says, “It might just lead somewhere.”
Ralph Steadman was born in 1936 and grew up in Liverpool, England, where he would concentrate on the clicking sounds of his mother’s knitting needles during the air raids of World War II. He spent some time in the Royal Air Force, where he loved the engineering of flying things, an interest that would resurface years later in his immersive study of Leonardo Da Vinci. In his twenties, Steadman pieced together an art education at various U.K. schools, where he felt the strongest pull and connection to the life drawing classes. He found work as a cartoonist—thrilled to be paid to draw—and ventured to New York City in 1970. Later that year, Steadman exploded into the popular consciousness when he was invited to accompany the maverick journalist Hunter S. Thompson to document the Kentucky Derby. He and Thompson were like a chemical reaction, with Steadman’s drawings seeming to flow out and even anticipate Thompson’s words.
The story of Steadman’s now-classic black-and-white illustrations for Lewis Carroll’s Alice’s Adventures in Wonderland and the sequel, Through the Looking Glass, is that Steadman didn’t know the books before he was commissioned to draw them. Somehow, this is fitting for an artist who is so often carried along by his own stream of consciousness. “I’m interested in making something that is as unexpected to me as it is to anyone else,” he says. “If I knew what was going to happen, what would be the point of doing it?” Alice shares this sentiment, as she is never sure what she will be from one minute to the next, and famously sees no point in books without pictures.
Ralph Steadman: And Another Thing will be on view at the Bates College Museum of Art until October 11, 2025.
From the outset, the homeowners of Sylvan Hill envisioned a high-performance home rooted in Maine’s architectural vernacular, blending historic charm with modern sustainability. They hold a deep appreciation for summers spent outdoors, so the landscape design naturally became a central element of their vision.
The resulting design strikes a thoughtful balance between timeless character and ecological responsibility. A meandering driveway winds through a wildflower meadow and a birch copse before arriving at the entry circle and main door, offering a peaceful arrival to the site. Native plantings and pollinator-friendly gardens enrich biodiversity while creating a low-maintenance, seasonally dynamic landscape that matures gracefully over time.
Locally quarried granite was chosen for patios, walkways, and terraces, grounding the home within its coastal surroundings. Covered porches, open decks, and a rustic granite terrace with a fire pit offer a variety of inviting outdoor spaces for gatherings and quiet moments of reflection. The intentional use of textured paving stones adds a rustic character, helping pathways and terraces blend seamlessly into the existing ledge and wooded edges of the site. Lawn areas were minimized and used only where essential for pathways.
By honoring the site’s natural topography and patterns, the land- scape design ensures a harmonious integration between built and natural environments, thus preserving the enduring spirit of traditional Maine homesteads.
Location: Coastal Maine Architect: Knickerbocker Group Builder: Knickerbocker Group Interior Designer: Knickerbocker Group Landscape Architect: Knickerbocker Group Construction Start: 2021 Construction Complete: 2023
Q. How can the process of birth be considered a design problem?
A. Labor progression is an anatomical and physiological design problem, as is creating an environment that fosters labor and birth, rather than hinders it. By design “problem” I don’t mean “problematic” but, rather, something that can be better understood through the lens of design.
A birthing room can, by its design, either support a normal physiological birth or support a risk approach to childbirth. Ideally, the design should create a sense of safety and privacy, foster one’s sense of agency, allow freedom of movement and change of position, and reduce stress and fear, all of which release birth hormones that allow labor to progress and pain to be more manageable.
However, the design of many contemporary labor and delivery spaces remains modeled on acute hospital care, and are the antithesis of these qualities, designed for the benefit of the practitioner, rather than the birthing person. This has led to an increase in unnecessary C-sections, rampant birth trauma, racial disparities, and mortality. In short, we are in the midst of a full-blown maternal healthcare crisis.
Q. Are there specific elements within the birth experience that could benefit from intentional design thinking?
A. Understanding how one’s body works during labor is essential to having an empowered and positive birth. Design is integral to the baby’s descent and engagement with the pelvis during labor. There are simple tools and props, like birth balls, hanging silks, and birth stools, and also techniques that can potentially shorten labor, decrease pain, and reduce the likelihood of unnecessary interventions, including cesarean section. Movements, lunges, and inversions during pregnancy and labor can facilitate positioning and rotation of the baby in a way that creates a path of less resistance for easier delivery, regardless of whether that birth is medicated or nonmedicated. But many labor environments do not facilitate this, making them a mismatch for childbirth.
Design and rendering: Raven Xu
Q. How do you approach the intersection of healthcare and design in your work at Doula X Design, especially when thinking about the birth experience?
A. One of the greatest obstacles to the work I do is a general lack of education and awareness about birth. Birth has been medicalized, even pathologized, and is often viewed as a condition to be managed, rather than as a normal life event. Through the media and other channels, we have been conditioned to fear birth. So I always start with the basics: what are the stages and hormones of labor, the differences between a midwife and a doula, and between different birth environments, including a hospital labor/ delivery room, a freestanding birth center, and homebirth? The policy makers in charge, for the most part, don’t know the answers to these questions, which is inherently problematic.
Q. What role do you see user-centered design playing in the creation of birth-related products or environments?
A. Examples of user-centered design in birth are offering a bed larger than a twin-size hospital bed; not making the bed the focal point of the room; and creating a circuit for movement and change of position during all phases of labor, including pushing, which is least effective when lying on one’s back. Incorporating visual, audio, and lighting options is important, as is offering hydrotherapy and reducing the number of spaces a laboring mom cycles through (lobby, triage, labor/delivery, OR, recovery, postpartum) because with each change of environment, she has to reacclimate and get labor back on track. When you check in to a hospital as a pregnant person, you’re asked to put on a gown, and from the very beginning, you are made to feel like a sick patient. Your sense of agency is compromised, your confidence erodes, and the “fight or flight” hormones kick in, potentially leading to a stalled labor and ultimately a less than positive birth experience.”
Birth centers provide a person-centered, midwife-led, collaborative model of care. They are a safe alternative to hospital births for low-risk pregnancies, offering positive outcomes, lower cesarean rates, better breastfeeding initiation rates, and decreased risk of trauma and postpartum depression. But without sufficient access, there is a limited path to improvement.
Over the past decade, 11 birthing centers in Maine have closed. After July 1, MDI Hospital’s unit will join that list, bringing the total to 12, with 4 closing just this year. In addition, less than half of Maine’s hospitals offer birthing services at all, and more labor and delivery units are expected to close in the future. High out-of-pocket costs and insurance coverage issues limit most births to hospitals, which can be intervention-suggestive and prioritize medical providers over patients. These closures have created maternal healthcare deserts, particularly in rural areas, and have contributed to the maternal health and mortality crisis, disproportionately affecting low-income communities, immigrant populations, and communities of color.
Typical hospital labor and delivery room (left), courtesy of Kim Holden; photo and design by Zelda English (right), courtesy of Astoria Birth Center
Q. What are some innovative solutions or technologies you’ve explored that could improve the birth experience for those involved?
A. For the most part, the medieval-looking design of women’s health tools and instruments has not changed in decades. However, there are exceptions. In Sweden, midwives are experimenting with plasma screen walls that can be customized to provide a calming, private environment.
There is a new, simple wireless monitor that can track contractions and the baby’s heartbeat as an alternative to wearing two monitoring belts and being tethered with many wires. Designers are working on prototypes for more user-friendly OB/GYN instruments, including speculums and self-collection cervical screening swabs. They are experimenting with less-clinical finishes, concealed medical equipment, dedicated birth furniture, and how to provide hydrotherapy options in every birth room.
Q. What long-term impact do you hope your work will have on the experience of birth and its design solutions?
A. Childbirth is a universal experience. We are all born and have all been impacted by the design of birth spaces, whether we realize it or not.
In many other countries, family life is integrated into how businesses operate. Education about how babies are made and born is a priority, and birth is demystified starting at a young age. Along with this, there is a general attitude that if you support birthing parents, and families, to help children get a good start in life—through enhanced benefits and initiatives, family leave, and flexibility—there will be a positive ripple effect that will ultimately translate into better lives, more productive work, and a happier society.
My goal is to create awareness of how environment, at the scale of the individual and the scale of the structure, profoundly impacts birth and postpartum experience, outcome, disparity, and mortality, and to reframe childbirth as a societal topic rather than a “women’s issue.” Everyone deserves a safe and dignified birth that is not driven by profitability or fear.
MH+D is proud to partner with acclaimed architectural photographer Trent Bell on his architecture, design, and photography podcast. To hear Bell’s conversation with Holden, please visit adppodcast.com.
