Magazine

Living With Art

“The elements of this main entryway, with its floor-to-ceiling glass and floating stair, are reflected in the linear composition of Dale Roberts’s streetscape. The tones of the piece also echo the colors of the space, adding interest and depth to the shiplap wall without distracting from the dramatic design.”

—Kevin Browne, Kevin Browne Architecture

Architect: Kevin Browne Architecture
Art: Behind and Away, Dale Roberts, encaustic on panel, 44” x 36”, Portland Art Gallery
Builder & Interior Designer: Skymore Company
Bench: Article
Wall Hooks: Rejuvenation
Windows & Doors: Marvin

“Whenever we use a clear finish instead of paint, it seems there is more scrutiny of the woodwork. Knowing that open shelving can be used functionally rather than just decoratively, we decided that vertical solid ash boards for the back would allow this cabinet to stand out on its own.”

—Rick Sawyer, Blue Hill Cabinet & Woodwork

Architect: Elliott Architects
Art: (on countertop) Wafting Fish, Rebekah Raye, carved mahogany, 15.5” x 20” x 8”; (on shelf, from top) Version 6 and Radishes, Beth Richey, oil on board, 8” x 8”, Artemis Gallery
Builder: MK Purvis Construction
Interior Designer: Blue Hill Cabinet & Woodwork

“I think the definition of a Maine camp is constantly evolving. While we love the rustic log camps that are traditional in our area, we have an appreciation for the ‘modern camp,’ which takes the concept of the classic Maine camp and adds colorful cabinetry, art, and beautiful lighting—truly a place you never want to leave.”

—Jill Gordon, Rangeley Building & Remodeling

Architectural Designer, Interior Designer & Builder: Rangeley Building & Remodeling
Art: On a Hot Summer’s Day, 2023, Mary Lynn Burke, acrylic on canvas, 39” x 39” x 1.5”, Portland Art Gallery
Cabinetry: Vining’s Custom Cabinets
Fixtures: Delta Faucet
Furniture & Accessories: Bar stools, Anthropologie Home; demilune table, vintage from Facebook Marketplace
Lighting: Sconces, Birch Lane; kitchen ceiling mount, Lamps Plus
Windows & Doors: Andersen Windows & Doors

“Striking iconic art and sculptural furniture contrasts the huge south-facing window overlooking the Maine woods. The clean modern aesthetic is warmed by a 1950s antique elliptical walnut coffee table with chrome legs and the antique Heriz rug underfoot.”

—Sarah Duquette, Duquette & Company

Architect & Builder: Acorn Deck House Company
Art: (from left) Vogue September 1968 and Charade, both by Maria Laura Ribeiro, mixed media (collage, acrylic, and diamond dust) on canvas, 48” x 36”, KW Contemporary Art
Interior Designer: Duquette & Company
Sofa & Chairs: Kravet
Windows & Doors: Andersen Windows & Doors

“Walking into this space you immediately feel lighter and happier. This French country-influenced design was a home run, with natural marble counters, a slate floor, and stunning Grabill inset cabinetry.”

—Kim Connell, Arcadia Kitchen & Bath

Art: Old Soldier, Jean Jack, oil on canvas, 30” x 36”, Portland Art Gallery
Backsplash: TileBar; D. Todd & Company (custom rooster design)
Builder & Interior Designer: Arcadia Kitchen & Bath
Design Lead: Caitlin Tucker
Cabinetry: Grabill Cabinets (lower cabinets custom-painted Lulworth Blue by Farrow & Ball)
Fixtures: House of Rohl
Floors: Belknap White Group

“Serenity by the sea—this stone gazing bench is woven into the landscape, offering a magical perch for peaceful moments of reflection.”

—Ted Carter, Ted Carter Inspired Landscapes

Art: Heartstone Bouquet, Dick Alden, granite and solid brass, 41” x 18” x 15”, Portland Art Gallery
Landscape Design & Installation: Ted Carter Inspired Landscapes
Ornamental Grass: Festuca Ovina ‘Elijah Blue’
Stone: Mystic Mountain, quarried in Maine

“This new Kennebunkport residence demonstrates a thoughtful palette of materials including hemlock columns, steel beams, and a glass stair railing. With Jane Dahmen’s River Landscape illuminating the central living space, we are reminded of the vibrant whimsy of Maine’s scenery that resides just outside the doors.”

—Emma Van Wickler, Mobile Studio Design

Architect & Interior Designer: Mobile Studio Design
Art: (in stairway) Pounce, Bibby Gignilliat, mixed media on panel, 24” x 24”; (over sideboard/media stand) River Landscape, Jane Dahmen, acrylic on panel, 60” x 60”; both Portland Art Gallery
Builder: Building Concepts Maine
Casework: All American Woodworks
Chairs & Coffee Table: Simply Home
Chandelier: West Elm
Rug: Bradford’s Rug Gallery
Sideboard/Media Stand: Chilton
Stair Enclosure: The Glass Guy
Stair Railing: Nelson Metal Fabrication

“In this shingle-style cottage overlooking a popular Boothbay waterway, I brought a vintage vibe to the interiors with a timeless fieldstone fireplace, green painted wood floors, and Douglas Fir ceilings stained to appear as though they have been there for generations. Custom-painted mahogany wooden screen doors bring the outdoors in and offer a familiar summertime sound when they close. Period chairs and fabrics support the theme and create a warm and inviting living space. It truly feels as though this cottage has been here for more than 100 years and brought back to life for a family to enjoy.”

—Michelle Phelps, Phelps Architects

Architect & Fireplace Designer: Phelps Architects
Art: Sunshine in the Lee, Jill Hoy, oil on canvas, 36” x 36”, Portland Art Gallery
Builder: Bruce Laukka, Inc.
Fireplace Installation: Bonin Masonry
Lighting: Visual Comfort & Co.
Windows & Doors: Marvin

“Ted Arnold’s work has been featured at Home Remedies since our opening in 2010. His distinctive and creative pieces are layered with meaning— literally—many of them include sewing patterns, candy wrappers, and other ephemera. Any one of his paintings can spark the design of a room; we often use them as inspiration when planning showroom vignettes. Besides being a gifted artist, Ted was also a talented carpenter who custom made many of the fixtures in the store. We lost Ted last year and miss his wise, calming presence and humor. Thankfully his artwork lives on.”

—Rachel Ambrose, Home Remedies

Art: Bride & Drink Doll, Ted Julian Arnold, oil, encaustic, and collage on panel, 44” x 60”
Interior Design & Furniture: Home Remedies

“For this stand-alone sauna, my client wanted a simple, traditional structure large enough for family and friends to gather. I used various colors of cedar: white for the cedar shakes on the exterior, which complement an existing barn on the property, and inside, various grain cuts of red cedar to add visual interest. The flagstone flooring not only provides textural contrast to the walls, it absorbs heat and feels good on bare feet.”

—Steve Boucher, Steve Boucher, LLC

Art: Eyelet for the Universe, Andreas von Huene, granite, 10.5” x 13.5” x 8.5”, Portland Art Gallery
Designer & Builder: Steve Boucher, LLC
Floors: New England Specialty Stone
Interior & Exterior Wood: White, yellow, and red cedar from Hancock Lumber and Day’s Hardwood
Woodstove: Sauna Wood Stoves by Royale

“The bold geometry of the timber frame serves as both structure and organizational element. This framework provides a stage for diverse activities in the barn, including art studio, office, and home theater. The three-dimensional nature of the exposed timbers transforms 2D plans into dynamic spaces.”

—Peter Anderson, Houses & Barns by John Libby

Architect & Builder: Houses & Barns by John Libby
Lead Architect: Peter Anderson
Art: Outlier 12, Laurie Fisher, oil on linen, 36” x 30”, Portland Art Gallery
Interior Designer: e4 Interior Design
Countertop & Sink: Morningstar Stone & Tile
Custom Cabinetry: Downeast Woodworks
Windows: Pinnacle Window Solutions

Susie Smith Coughlin Designs a Sumptuous, Swanky Dumpling House in an Old Port Basement

“The founders of Bird and Company wanted a fun, sexy, comfortable space for their new Chinese American dumpling and dim sum restaurant, Lucky Cheetah. We aimed to create a space where diners could sit comfortably and get lost in time and space—envision a 1950s supper club vibe blended with the opulence of Monte Carlo.

“Given that the space is underground, we wanted it to feel textural and sumptuous. Pistol Pete Upholstery helped us cover the cozy built-in banquettes with a knockout velvet, floral-print Schumacher fabric. The pattern is somewhat feminine, so we paired it with a masculine House of Hackney cheetah print wallpaper for a playful twist.

“Since we picked a 1950s Monte Carlo vibe, we needed artwork that lends itself to that period. Slim Aarons is one of my favorite photographers—every one of his images evokes a feeling of playfulness, but they’re sexy and a bit modern at the same time. The photographs we chose blend naturally into the space and fuse it all together.

“We knew modern lighting was not a good fit for the restaurant, but I wanted something other than traditional lighting so it wouldn’t feel outdated. The Curry and Company three-tiered chandeliers we selected are a modern interpretation of a traditional shape, and the green glass and brass finish contrast beautifully with the old wooden beams on the ceiling.

“The bar was a big topic throughout the project because the Old Port Tavern was such a long-standing, well-known establishment. We kept the original bar’s shape but completely reimagined the space. The bar is this unique quartzite stone with pinks, browns, and greens—the light bounces off it in a million different ways and picks up all the colors in the space. A local craftsperson, Brian Sewell of Sewell Associates, designed the custom bar back to house the liquor and glassware. Between the beautiful inlay work, LED lighting, and antique glass, no detail was spared in making it spectacular.

“One of my favorite elements is the big cat carpet, which feels luxurious underfoot and has the charm of a vintage casino. In my mind, it’s one of the things that pulls the whole place together. At first, you think, ‘Wow, that’s really tacky,’ but it absolutely completes the space.

“The restaurant is a celebration of Chinese American fare, and we wanted to pay homage tastefully. After several concepts, we landed on using red as our primary color throughout the space, and it pops. Everything else was ultimately open to interpretation, and I believe we created a space unlike any other.”

—Susie Smith Coughlin, founder of Susie Smith Coughlin Design and Shop Le Marchande

An Elegant Showhouse Dining Room Created by Cullman & Kravis’s All-Female Team

For nearly 50 years, the annual Kips Bay Decorator Show House—held each spring in New York City, along with recent offshoots in Palm Beach and Dallas—has been a must-see for design enthusiasts. A bona fide “who’s who” in the world of interior design, the Kips Bay Show House brings together around 20 prominent firms to display their best work throughout the various rooms of a single Manhattan townhouse. Proceeds from the celebration of design benefit the Kips Bay Boys and Girls Club, a nonprofit organization dedicated to enhancing the quality of life for young people in the Bronx. A frequent participant in the annual showhouse fundraiser is acclaimed interior designer Elissa Cullman, who founded the firm Cullman and Kravis Associates with her late partner, Hedi Kravis, in 1984; she currently sits on the board of the Kips Bay Boys and Girls Club. Cullman was recently honored with a Lifetime Achievement Award for her contributions to the design industry along with her philanthropic work.

The blue and gold dining room pictured here was designed by Cullman’s all-female team for a recent showhouse. Displayed in the opening pages of Cullman and Kravis: Interiors (Rizzoli, 2024), a new tome that celebrates 40 years of the design firm, the elegant space features lacquered navy walls dotted with 24-karat-gold-covered porcelain drops created by weaving and sculpture studio Dougall Paulson. A custom bronze and Murano glass light fixture by Charles Burnand hangs from the ceiling, and colorful contemporary art adorns the walls, while the mirrored fireplace surround makes the room feel even bigger. Rounded blue and gold banquettes and a set of midcentury armchairs provide seating among a collection of vintage treasures and golden decor.

“The modern application of details from the past, and the mixing of old and new—this is what makes each space look fresh and right for now,” writes Cullman at the beginning of the book. Follow the firm’s footsteps and incorporate the Cullman and Kravis aesthetic into your home with these nine finds.

This Legendary Toothpaste Tube-Inspired Sofa Has No Frame

If there were ever a piece of furniture beckoning you to jump on it, it would be the Togo. The seating recently celebrated its 50th anniversary and has had a major resurgence in the past four years. It has been compared to a comfy pair of sweatpants because of its cozy form and how it hugs your body when you sit in it. As comforting as it is, it is also an important piece of design due to its use of innovative materials and the absence of rigid wood and steel. The piece went against bourgeois norms, embodying the political freedom of the late 1960s and early 1970s.

The low-slung sofa was designed in 1973 by French artist Michel Ducaroy, the design director of the French furniture manufacturer Ligne Roset. Ducaroy found his inspiration while at the sink one morning. He was looking at an aluminum toothpaste tube and noticed it “folded back on itself like a stovepipe and closed at both ends.” So he made a sketch. His design broke away from the stiff structure of the traditional sofa. The pillow-like form has no base or frame. Instead, three different densities of polyurethane foam create the form. Layers of foam are carved and glued onto each other to create the large seat and high backrest that wraps around the sitter. Next, the foam is covered with quilted upholstery layers stitched by hand to create a wrinkled pattern that has often been compared to the appearance of a crumbled newborn baby or a shar-pei dog. In the 1970s, the Togo design became available in a range of modular sizes that could be mixed and matched.

The Togo’s production process has not changed in over five decades. Once an upholsterer starts a Togo, they must be the person to finish it, since every piece is unique. Upholstery can take four hours for fabric covers and almost six hours for leather. The chair can be found in the homes of celebrities like Lenny Kravitz and Lady Gaga, in museum collections, and in one of the homes featured in this issue.

There’s even a podcast dedicated to the Togo, called Sofa, Looking for Togo. Each episode investigates significant factors that contribute to the design’s success. When a person sits on a Togo, their joints are relieved, and they’re forced to recline ever so slightly. It has style and ergonomics. Togos range in price depending on various characteristics. The average selling price on sites like 1stDibs is $6,500, but prices have ranged from $913 to $45,300. If you prefer your Togo new, they start at $7,300.

Harriman Expands an Early Childhood Education Center in Millinocket

Harriman is working with Eastern Maine Community College (EMCC) and Penquis Child Development to expand EMCC’s Early Childhood Education Center at its Katahdin Higher Education Center in East Millinocket, currently the only higher education facility in northern Penobscot County. The expansion is particularly important given that high-quality childcare is necessary to recruit employers and their employees to the region.

The visually striking 2,300-square-foot addition and partial renovation of the existing early childhood education building doubles the childcare program’s capacity. The building’s form and material selections evoke the center’s wooded and mountainous surroundings, while a connection to the outdoors is emphasized through ample natural light through windows scaled for young children. The focal point of the addition is the double-height gathering space and light monitor in the center’s new lobby.

An expansive new outdoor play space, designed in collaboration with Sashie Misner Landscape Architecture, offers a variety of natural environments for children to explore. The area is climate responsive and designed to the scale of its users, encouraging children to use imaginative play to shape their experience.

When it opens later this year, the new Early Childhood Education Center will serve children ages zero to five in a stimulating, nurturing environment that meets the economic and community development needs of the region.

Location: East Millinocket
Architect & Engineer: Harriman
Design Team: Daniel Backman, project manager; Scott Daniels, architect; Eric Potvin, senior designer
Engineering Team: Chelsea Hadsel, electrical engineer; Sam Forgue, civil engineer; Josh Huston and Michael Morrisette, mechanical designers; Rob Nelson, structural engineer
Landscape Architect: Sashie Misner Landscape Architecture
Construction Start: September 2023
Construction Complete: Fall 2024

Inside the Longfellow Hotel, Where Historic Allure Blends with Contemporary Design

What was the inspiration for the Longfellow Hotel’s design and aesthetic?

The Longfellow is named for Portland native Henry Wadsworth Longfellow, whose poems were inspired by the wild, untamed beauty of the New England coast. Much like the poet’s enduring words, the hotel reflects the location’s rugged charm and the extremes of the environment—from cold, blustery winters to sun-soaked summer months.

Archetype Architects was instrumental in the design of the hotel. The team led all massing and exterior detailing to ensure the hotel would complement the historic neighborhood while still having a notable street and sidewalk presence. We collaborated so that the overall flow of the interiors would be conducive to an inviting guest experience.

Our interior design marries the historic allure of the port city with a residential feel that nods to the West End neighborhood’s distinctive architecture and character. We aimed to create a residential and timeless experience for guests that also celebrates the contemporary design of the new construction. It is important that a hotel of this nature can endure and improve with age in the years to come.

How do the materials you selected enhance or influence the hotel’s spaces?

We wanted the hotel to feel approachable and effortless and chose materials to help reinforce this goal. Leathers, velvets, oak, marble, and granite speak to a sense of quality, while contemporary detailing, moulding profiles, and lighting fixtures evoke timelessness.

We established a sequence of spaces in this hotel that invite visitors in with handsome details and materials that encourage them to linger and indulge. In the guest rooms, for example, the design is restrained and balanced: wide-plank white oak floors are accented by monochromatically painted trim and crown and baseboard mouldings, while high-contrast doors with long, exaggerated handles and cased openings draw guests into the space. Furnishings skew toward the elegant, with a hand-hewn attention to detail, and thoughtful layers of accessories, textiles, and materials make the rooms ever inviting.

Located on the hotel’s top floor, Henry’s Study has a melange of vintage and contemporary furnishings. Darker natural wood floors are complemented by kilim flat-weave rugs, while a large chandelier, wall sconces, and task lights illuminate the space; two commissioned landscape paintings of the Cliff Walk in Prouts Neck by Portland-based artist Timothy Powers Wilson hang on the wall.

Why was it important for you to source interior elements from Maine makers?

We try to integrate local artists into our work to spark new conversations and honor the creativity in the area—this approach not only honors the rich history of the locations we work in but also supports the local community and opens a dialogue between these creators and hotel visitors.

Strategically placed artisan furniture by Maine-based designers imbues the hotel with craftsmanship and warmth, creating pockets of intimacy, privacy, and comfort. Commissioned tables and case goods by Kidwell Fabrications (Portland) and Bicyclette Furniture (Brunswick) are showcased in the bar and spa; shaker chairs by Windsor Chairmakers (Lincolnville) ground the communal table in the lobby; paintings by artist Timothy Powers Wilson (Portland) and photographic prints by Jonathan Levitt (Lincolnville) hang throughout the hotel; and custom ceramic table lamps by ANK Ceramics (Portland) are dotted throughout the spaces.

Start the Season Right with This Creamy Cauliflower Soup

September is the unofficial start of soup season, and there’s nothing more satisfying than a big bowl of stew, stock, or broth. “This cauliflower soup is one of my favorite recipes to make year-round,” explains Alan Hines, who formerly worked as executive chef at Trudy Bird’s Ølbar in North Yarmouth. “I love the marriage between the spices and the cauliflower, which adds another subtle layer of flavors to the rich dish.” As the weather begins to cool off in the Northeast, a cozy cup of cauliflower soup is the perfect reminder to slow things down.

Serves 6

INGREDIENTS

2 tablespoons neutral-tasting oil
½ cup diced Spanish or sweet onion
1 garlic clove, smashed
1 head of cauliflower, quartered
2 quarts whole milk (enough to cover the cauliflower)
2 tablespoons whole cloves, 1 teaspoon fennel seeds, and 1 bay leaf
Salt and pepper, to taste

INSTRUCTIONS

1. Heat the oil in a small stockpot over medium heat and add the onion. Cook until translucent, about 5 minutes. Add the garlic and cook for an additional 2 minutes.

2. Add the quartered cauliflower and milk and bring the ingredients to a boil, then reduce the heat to medium or medium-high.

3. Place the whole cloves, fennel seeds, and bay leaf in a square of cheesecloth and tie tightly. Add the sachet to the pot, then cover with a lid.

4. Simmer until the cauliflower is fork-tender, 20 to 25 minutes.

5. Remove the sachet from the pot. Transfer the cauliflower into a blender, reserving the milk in the pot.

6. Puree the cauliflower, slowly adding the reserved milk, until the mixture reaches your desired consistency.

7. Puree on high until the soup is completely smooth, about 10 minutes. If desired, pass the soup through a fine-mesh strainer to remove any clumps.

8. Add salt and pepper to taste. Reheat to serve.

Optional: Garnish with mushrooms sauteed in brown butter and finish with a few drops of chive oil.

Design Wire September 2024

Photo: Erin Little

Boston interior designer PAULA DAHER and her business partner and son CLAYTON DAHER—longtime summer residents of Maine—are opening a new retail store and interior design studio at 135 Port Road in Kennebunk. Paula, a New England Design Hall of Fame inductee, and Clayton, who provides interior architecture services, recently revived the neglected building (formerly the Market Day food store) with a total gut renovation. The mother/son team partnered with GREGORY LOMBARDI DESIGN to upgrade the shop and studio’s curb appeal. At the 3,000-square foot location, called MÉLANGE BY DAHER INTERIOR DESIGN, visitors will find a globally curated selection of furnishings and accessories from Paula’s trips to Morocco and France alongside regional craft from Maine artisans and makers. “The opening of Mélange signifies an exciting new chapter of expansion and connection to the southern Maine area, which my family and I have loved for many years,” says Clayton.


Photo: Courtesy of the University of Maine

Maine’s first small research satellite, dubbed MESAT1, was one of four satellites developed by universities carried on a FIREFLY AEROSPACE rocket that launched from VANDENBERG SPACE FORCE BASE in California this summer. Designed and built by students and faculty from the UNIVERSITY OF MAINE in collaboration with the UNIVERSITY OF SOUTHERN MAINE, FALMOUTH HIGH SCHOOL, SACO MIDDLE SCHOOL, FRYEBURG ACADEMY, the RADIO AMATEUR SATELLITE CORPORATION, and the WELLS NATIONAL ESTUARINE RESEARCH RESERVE, the satellite will provide students and teachers in the Pine Tree State with access to space data for educational and research purposes. The cube satellite, which cost $522,000 to develop, is supported by grants from NASA and the MAINE SPACE GRANT CONSORTIUM and will remain in Earth’s low orbit for up to two years.


The TRADITIONAL ARTS NETWORK (TAN), a collaboration between MAYO STREET ARTS and CULTURAL RESOURCES, awarded nine traditional artists and organizations in Maine with micro-grants to overcome short-term financial challenges and lay the foundation for long-term goals. Made possible by assistance from the MAINE ARTS COMMISSION and the NATIONAL ENDOWMENT FOR THE ARTS, the network provides support and infrastructure for new artists and cultural organizations from diverse cultural groups, including Maine’s Rwandan, Burundi, Congolese, and Somali communities. The TAN also offers artist gatherings and a Traditional Arts Apprenticeship to support the education of a new generation of traditional artists who plan to preserve their community’s heritage. “This is the third year of the TAN Fund, and we’ve seen so many past awardees develop as community leaders and artists. This year, a majority of awardees were first-time applicants, which speaks to how much this program can be a springboard for people to take themselves to a higher level,” says Kemal Pohan, community outreach manager at Mayo Street Arts. Congratulations to the recipients of this year’s micro-grants: Anges Mukakalisa, Clarisse Karasira, Gloire Ilonde Eale Bolele, Firefly the Hybrid, Kifah Abdulla, Oga Suya, Orson Horchler, Veeva Banga, and Yuliia Derkach.


Interior design firm STUDIO EASTMAN, founded by ABIGAIL SHEA, is moving into a 1,200 square foot space in the historic building at 54 York Street in Portland’s Old Port, home to the newly opened WELDON HOTEL. Filled with natural light, painted brick, and white oak floors, the expanded studio will serve as the design firm’s office as well as the showroom for AATTIC, the firm’s drop-based collection of vintage furniture. Aattic’s highly curated bi-monthly drops include around 15 to 20 pieces sourced from collections of home goods around the world. Each drop of accessible, high-end antiques is paired with an in-person shopping event that allows customers to interact with items before purchasing. Drop IV occurs on September 7 at 10 a.m. in the studio and online at aatticvintage.com.


Designers STEFANO PANTEROTTO and ALEXIS TOURRON of PANTER AND TOURRON developed the modular ANAGRAM SOFA with Swiss family-owned furniture company VITRA to reflect new realities in design, including easy-to-transform interior spaces and lightweight, movable furnishings. Thanks to an assortment of modules and elements like backrests, side panels, and attachable tables, the Anagram sofa can evolve and adapt along with its owners and the space it inhabits. A simple click mechanism is used to position the furniture’s elements in countless configurations along a frame, and nothing in the furnishing is glued, laminated, or foamed. Filled with 100% recycled PET fibers and a recycled aluminum frame, the sofa is vegan, and its elements can be recycled when the product is no longer needed. “A sofa is an important character in the home and usually one of the largest objects. It’s very important that circularity is a key aspect of the design—only then can it stand the test of time,” says Panter and Tourron.


A 60-unit affordable housing project in Scarborough called JOCELYN PLACE opened its doors this summer to residents 55 and older. Managed by the SOUTH PORTLAND HOUSING AUTHORITY, Jocelyn Place includes nine project-based voucher units along with 51 units with rents ranging from $1,000 to $1,200 per month. Amenities include bundled utilities, on-site shared laundry facilities, communal fitness spaces, 24-hour emergency maintenance, and ample parking. The development, which earned passive house certification for its energy efficiency, is walking distance from Hannaford, the post office, banks, and municipal facilities. It is named after writer, botanist, and nobleman John Jocelyn, who arrived in Scarborough in 1663.


Despite operating in the most rural state in the country, two Maine manufacturers were involved in the development of the TEAM USA RALPH LAUREN uniforms for the 2024 Olympic and Paralympic games in Paris. Lewiston-based shoe company RANCOURT assembled and manufactured the team’s Opening and Closing Ceremony unisex buck shoe, featuring chalk white suede with a woven “Team USA Official Outfitter” label and an American flag at the tongue. ROGUE INDUSTRIES in Standish assembled and manufactured the uniform’s double D-ring buckle Webb Belt, a leather-trimmed jacquard strap woven with “Team USA” and the same American flag graphic along with Ralph Lauren’s signature embossed pony. “Ralph Lauren has once again created designs that not only capture the essence of American style but also embody the spirit and pride of Team USA,” said Sarah Hirshland, U.S. Olympic and Paralympic Committee CEO. Every item in the uniform is proudly manufactured in the United States, and many pieces in the collection are available to purchase at RalphLauren.com and TeamUSAShop.com.


Photo: Darren Setlow

Women-owned handbag company ROUGH AND TUMBLE opened a new flagship store at 176 Middle Street in Portland’s Old Port. Located on the ground floor of the historic BOYD BLOCK, the 2,126-square-foot retail space will serve as a base for partnerships with other Maine makers, designers, and artists through the brand’s custom BE THE DESIGNER program that allows users to select their own leathers, textiles, and swatches to create a unique bag of their own. Using leathers sourced from France and Italy, Rough and Tumble’s understated utilitarian bags are created in Maine and sold nationally through a partnership with GARNET HILL and SUNDANCE CATALOG. “The culture of this state is rugged fearlessness and a deep sense of community connection,” says owner Natalie Durham. “My hope is that this extraordinary location serves as a beacon and source of profound inspiration for all Maine makers and creators. This space is a playground for that inner muse, and a truly unique shopping experience for every budding artist, serving as a testing ground for new designs and materials as they explore the depths of their talent and creativity.”


Damariscotta native KATE LEMOS MCHALE, who spent the past twenty years as a historic preservation specialist in New York City, has been named the new executive director of GREATER PORTLAND LANDMARKS. Founded in 1964, the nonprofit serves as the steward of the PORTLAND OBSERVATORY on Munjoy Hill and seeks to “build awareness, instill community pride, and encourage public participation” in the planning, preservation, and development of the city. McHale previously worked as a senior associate at BEYER BLINDER BELLE ARCHITECTS AND PLANNERS and as director of research for the NEW YORK CITY LANDMARKS PRESERVATION COMMISSION. “Preservation more and more is getting at how to tell those important stories and really acknowledge history honestly and inclusively. I think telling stories of communities through the buildings that we can appreciate today really helps root us all to this place,” McHale told the Portland Press Herald.

Blanche and Mimi is a Bona Fide Treasure Trove

Part of the fun of a general store is the element of surprise, of discovery: that “aha!” moment that comes from seeing many different objects rubbing shoulders with each other, soaps and sardines and salad tongs coexisting happily, sometimes on the same shelf. Blanche and Mimi founder Hilary Sinauer once ran a traditional general store, but for the past 17 years her talents at finding and displaying beautiful and useful objects have been put to use at her Portland shop.

Sinauer didn’t start out as a shopkeeper. She recalls, “I was living in Boston. I’d gone to cooking school at the Cambridge School of Culinary Arts, and I was working at Formaggio Kitchen,” the famed gourmet food store beloved by Julia Child. “It was the perfect spot for someone just out of cooking school. But then I suddenly had the opportunity to open a general store in very rural Harrisville, New Hampshire,” she says. “We used to go to northern Maine when I was little, and I loved the old-school general stores, and this place was looking for somebody to reboot it.”

“I had a little cafe and general store. It was hard. I worked at least 80 hours a week,” Sinauer continues. “People were excited about the new energy, but boy, was I tired.” When it came time to leave Harrisville, she recalls, “A friend of mine had read about Portland and told me, ‘I think you should live there.’ So I moved here and started working for a catering company. But in the back of my mind I was thinking, ‘I still want to do my own thing.’”

Her sister had owned an antique store for years, and that example, combined with her experience of the general store, inspired Sinauer to create Blanche and Mimi. “I liked the idea of having a mix of vintage and new. I wanted people to feel like they could dig and find a cool thing,” she says. It was a busy time in her personal life—“While I was thinking about it, I got pregnant with my son,” she says, laughing—but the pieces fell into place, in particular a cozy space on Middle Street in the Old Port.

A former restaurant, it looked out over Tommy’s Park and contributed to the culture of small, independent shops that revitalized the Old Port. Sinauer named her new venture after her grandmothers. She says, “Blanche was an amazing cook, very intuitive. She’d go to the garden, pick cucumbers, and make a great salad. She was also a great baker.” As for Mimi, “She was an interior decorator. She was the tactile one.” Channeling these two women, Sinauer filled her small space to the rafters with a blend of vintage and new items for the kitchen and the home. She sold everything from antique butter knives to the latest cool handbags. “We were on Middle Street a little over 15 years,” she recalls, but the once-cozy space grew tight. When large-scale renovation started on her building, she seized the opportunity to find a new spot on Commercial Street. “I was a bit scared at first because it was so much bigger. But the space is so beautiful—I love the beams and the windows,” she says. “It’s a gorgeous spot, with the boats right there.”

It’s also very much on the beaten path for visitors to the Old Port, which has taken some getting used to. “There’s a lot more foot traffic. I need more employees, for sure,” says Sinauer. “I’m very happy to have the tourists; they’re great. But I don’t want to lose sight of the fact that I opened the store as a local store—I also want my locals to like what we have. In this new space, I have been able to keep growing, buying what I want to buy, and keep it interesting for myself, my employees, and my customers.”

In this new iteration of Blanche and Mimi, the selection feels ample but never crowded. One section is devoted to textiles Sinauer created in collaboration with Tensira, a Paris-based design house founded by a Guinean and Scandinavian couple. “It can be hard to find unique products that other stores might not have. When they suggested we collaborate, it was very exciting,” says Sinauer. “I just love their vision, because there’s a real weight to the fabric. It’s all hand dyed with natural dyes. And the stripes are so vibrant.” The stripes—on pillow covers, bedrolls, and aprons—pop against their neutral, textured backgrounds. Piled nearby are hand-blocked voile quilts from India, and turning around, we find vintage oyster plates from France sitting next to Erin Flett napkins from Gorham.

Across the shop, in a section that has more personal care items, there are toothpastes from Italy, soaps in the shape of antique cameos from the United Kingdom, and bath brushes from Japan. It’s an eclectic, global mix that reflects Sinauer’s balance between classics and novelty. “It is very exciting for me that I can spread my wings a bit here, you know, and not cram everything in. There was a point in which I really shouldn’t have been buying more lines, but to me, that’s what keeps it fun and exciting,” she explains. “There are also things that I’ve sold for years. I still love them. I have a lot of standbys now, but I also want to switch it up,” she continues. “We have return customers who come back once a year, and I really want it to feel like, ‘Oh, she didn’t have this last time!’ That’s kind of my goal: to have it feel different, but like home.”

Standing the Test of Time

Among the many treasures in Blanche and Mimi, Sinauer has a special place in her heart for the goods she carries that have long and often storied histories. “I love carrying items from companies that have been around for over a century,” she says. “They really prove my ‘test of time’ theory.” Here are just a few of the legacy brands that you’ll find in her shop.

  • The Weck company was founded in 1900 in Öflingen, Germany, by Johann Weck. His innovative design, featuring a glass lid and rubber gasket secured by clips, became instantly popular with home canners because it eliminated the metallic tang associated with other jar styles. Weck jars, with their gently curved sides and distinctive tops, can hold anything from flour to baby food—and make it look beautiful.
  • Already a successful restauranteur known for his sweets, Louis Sherry officially established his confectionery company in New York City in 1919 (with the advent of Prohibition, he thought he might see less business at his restaurant). The company he founded continues to manufacture premium chocolates and package them in their famous decorative tins, thus ensuring that the memory of the delicious gift will live on, adorning the dresser of the lucky recipient.
  • Like the Louis Sherry tins, the bottles from Bienaimé perfumes are objets d’art in their own right. The firm was founded in 1935 by Robert Bienaimé, who had worked at the famous French perfumier Houbigant in the early decades of the twentieth century. After his death in 1960, the brand lay dormant until being revived earlier in this century by Cécilia Mergui. The beautiful bottles and jars are meant to be refilled and reused.
  • With their distinctive patterned paper wrappers, Claus Porto soaps have been making bathroom vanities stylish since 1877. The company was founded in Porto, Portugal, and continues to use nineteenth-century techniques to produce their soaps. The result is a finely milled, durable bar with long-lasting fragrance: the perfect gift for your host or yourself.

STITCH: A Look at Maine’s Fashion & Craft Scene

STITCH, the Maine Crafts Association’s (MCA) annual fashion show fundraiser, was a lively celebration
of Maine’s fashion, design, and craft scene. Held at Maine Studio Works in Portland’s East Bayside neighborhood, the 2024 fashion-forward event was sponsored by MH+D, Hay Runner, Woodhull, Old Port Specialty Tile Company, A Gathering of Stitches, Bixby Chocolate, Austin Street Brewery, Cellar Door Winery, Bespoke Branded Fit, Jill McGowan, and Headlight Audio Visual. Six local designers saw their work on the runway: Deborah Freedman of the Fourth World, Rose Normann of Dippermouth Company, Busola Olagunju of Luxeby Dorcass, Sara Charles of Simka Sol, Sharon Chandler and Rachel Gloria Adams in a Marigold and Tachee collaboration, and Kelsey Parker of Garbedge Designs. A style market before and after the runway show featured apparel, jewelry, shoes, hats, and other accessories from Maine-based designers including Akakpo and Company, Alice Yardley, Sundew Sewing, and more. Proceeds from STITCH support MCA’s annual events and educational programming.

“STITCH celebrates the slow fashion scene in Maine by showcasing an incredibly talented and diverse group of designers each year. Our new partnership with Maine Studio Works enabled us to expand upon our vision for the event by extending our hours and offering more space for artists to take the floor and showcase their work. We’re grateful for our community of makers, supporters, and sponsors for making this celebratory evening a success.”

—Whitney Gill, executive director, Maine Crafts Association

Maine Home + Design

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