Summer is the perfect time to enjoy fresh and tasty food, and the award winning restaurants in Santa Fe know how to make every dish special. From seafood dinners under the stars to sweet desserts full of summer flavor, these restaurants bring the best local ingredients to every plate.
Try These Summer Menus at Santa Fe Restaurants
New Mexico’s Farms and Ranches deliver ripe summer foods that make their way into innovative dished serves in award-winning restaurants.
Summer ushers in the fresh flavors of just-plucked greens, juicy sweet corn, heirloom tomatoes, and luscious peaches. Following a winter of warming root vegetables and braised meats, we now eagerly welcome the light, bright flavors of summer. Notably, this includes two iconic dishes from two landmark Santa Fe restaurants, each of which features a patio ideal for dining beneath the stars.
Executive chef Weston Ludeke, who recently moved on to Single Thread Farm in Healdsburg, California, dreamed up The Compound’s Maine Lobster & Bay Scallop with Avocado & Squid Ink Brioche as an entree. This ode to summer begins with bay scallop mousse studded with poached Maine lobster morsels. The mousse is warmed and then topped with squid ink brioche that’s as black as night. Avocado slices are the next layer, followed with a colorful tangle of radicchio, parsley, and chives lightly tossed in a red wine vinaigrette. This tower of flavors is finished with a classic beurre blanc enhanced with Dijon and chives. Savor it on The Compound’s elegant patio and raise a glass to the year’s sweetest season.
The Famous Key Lime Tart Santa Fe Dessert
Executive pastry chef Rebecca Freeman divinely crafts the Key Lime Tart at Santacafé. It is a symphony of sun-kissed yellows and whites. The tart sits atop a buttery homemade graham cracker crust. The chef decorates its filling with custard-like passionfruit crémeux, coconut sorbet, and crispy coconut meringues. Squares of fresh mango add bright, tropical notes. Freeman also crafts desserts for Santacafé’s sister restaurant, Coyote Cafe, where she skillfully captures the essence of summer in both flavor and presentation. Her ingenuity earned the Freemason Pastry Chef of the Year honor from the American Culinary Federation in 2023. I can’t wait to see what she concocts next.
Story by Lynn Cline Photography by Gabriella Marks
IAF.1272
Artist once known (Pueblo of Zuni), K'yabokya de'ele (Water jar), c. 1850, clay and paints, 12 x 14 in. Indian Arts Fund purchase for the permanent collection, 1929. Collection of the School for Advanced Research, Santa Fe, NM, catalog number IAF.1272.
The Native Artist Fellowships give artists a special chance to focus on their work while exploring amazing collections of pottery, jewelry, and textiles. At the School for Advanced Research, artists get to learn from history and let it inspire their own creativity. The Native Artist Fellowship is all about helping artists grow and connect with their culture in a meaningful way.
The School for Advanced Research’s Native Artist Fellowships Help Kickstart Creativity
Each year, three artists come to SAR — the School for Advanced Research — to take part in the SAR Native Artist Fellowship. For the artists, it’s a chance to immerse themselves in their art. It’s also an opportunity to access the Indian Arts Research Center (IARC), home to more than 12,000 pieces of pottery, jewelry, textiles, painting, basketry, and drums. We asked seven past fellows two questions — what is the piece from the IARC collection that’s influenced you the most and why?
Nampeyo (Hopi-Tewa), Jar, c. 1915, clay and paints, 6 1/4 x 13 in. Gift of Mrs. H. P. Mera for the Harry P. Mera Memorial Collection, 1951. Collection of the School for Advanced Research, Santa Fe, NM, catalog number IAF.2413.
Michael chose three pieces of Nampeyo pottery, including this piece circa 1915. In addition, I think what I was really looking at was the time period in which these were created. Specifically, this was the late 1800s and, furthermore, the early 1900s. At the same time, I was also looking at the abstract quality of the line of the images. However, it is important to note that each one of these represents something.
And in that same time frame, artists like Wassily Kandinsky were creating works on another continent that were of very similar line and form, whereas they were exploring shape and composition. I think Nampeyo was doing the same thing, but also creating something that was very spiritual and talking about our culture within these vessels.
I come from a long line of Hopi pottery makers, beginning with Nampeyo. In addition, my photography practice is related a lot to climate change, and, moreover, to where our culture is rooted in a sense of place, as well as to what is happening to that environmentally.
Connie Tsosie Gaussoin (Picuris Pueblo and Diné [Navajo]), Seed bowl, 2006, sterling silver, mother of pearl, and gold, 1 9/16 x 4 5/16 in. Gift of the artist, 2007. Collection of the School for Advanced Research, Santa Fe, NM, catalog number SAR.2007-2-1.
Connie was the first person next to my father who really gave me that sense of what artistry can be and what it is. She came into her own creativity in such an organic way that I would just lean into the way she spoke, the way she engaged with people, the way she welcomed me hanging around her and her family when I was just a kid.
It was from her that I got this sense of how you get to define how you want to be seen. It doesn’t always have to be defined in the terms of how your tribe designates you to be, because there are so many ways our creativity can bloom and grow. And she’s consistently been doing that in a way that also solidifies her within her tribe. I just love listening to her. I love talking with her, and I still do. She’s like my Santa Fe mom.
Artist once known (Pueblo of Zuni), K’yabokya de’ele (Water jar), c. 1850, clay and paints, 12 x 14 in. Indian Arts Fund purchase for the permanent collection, 1929. Collection of the School for Advanced Research, Santa Fe, NM, catalog number IAF.1272.
I really like art. So just from hanging out working in the museums, it turned me into an artist almost. The reason why I picked the Zuni piece is because it has a long history.
I can sort of see the line work and the detail and the overlap of how Zuni pieces from this period evolve into kind of those geometric pieces that you get out of Acoma, that I’ve seen out of Zia. It looks like stuff that you know, it’s almost universal. I think everybody somehow used that design on their own. It’s kind of like it moved around all the pueblos.
And I really like the whole part about the universal connections of how designs are used by other people. I like seeing how they are influenced by pottery made in other villages. When I really look at their designs, I also consider how my piece will work with that design.
Artist once known (Pueblo de Cochiti), Bowl, c. 1890, clay and paints, 9 x 16 1/2 in. Gift of Mr. Henry Glover Stevens, 1923. Collection of the School for Advanced Research, Santa Fe, NM, catalog number IAF.19.
When you look inside you can see the wear that these were actually used – this vessel was actually storage for the food. Things that were happening at the time, you know, like what were they eating, what were the ingredients that they were using?
And it’s always something dear to my heart because I do love to cook. It kind of takes me back to when I grew up, going with my mom, aunties, or family. We would go pick wild spinach or onions. It brings you back to those memories, you know. We would just wait to see what your mom was going to cook with them. How she would use those ingredients in whatever she decided to make.
Also what I like about these pieces is they’re all fired outdoors and that’s what I do with my work as I keep it traditional as much as possible.
Everett Pikyavit (Moapa Band of Paiutes), Bag, 2005, cliffrose bark, brain tanned leather, and natural dye, 22 x 14 1/4 x 2 in. Gift of Nancy C. Leonard, 2011. Collection of the School for Advanced Research, Santa Fe, NM, catalog number SAR.2011-11-1.
It was my first show and it was in Berkeley, California. And I was really nervous because I never had worked outside a community before and I wasn’t even sure like, how do you sell this stuff? How do you commodify it?
And so that was something I was struggling with. The maker of this particular basket was selling there. I was just amazed at their work and how well they navigated using more place-based or high craft work, and watched collectors come up, get excited, and line up to purchase works. I was thinking, “Wow, that’s so cool.”
And so, consequently, it really opened my eyes. Moreover, it really paved the way, at least for me, to think about how to move from just working within community spaces and, in addition, sharing my work within community, to, ultimately, moving it outside of community and, furthermore, moving it into art markets and gallery spaces.
Severa Tafoya (Santa Clara Pueblo), Bowl, c. 1940, clay, 12 x 16 15/16 in. Gift of Margretta S. Dietrich, 1955. Collection of the School for Advanced Research, Santa Fe, NM, catalog number IAF.2527.
Severa Tafoya (Santa Clara Pueblo), water jar, before 1973, clay, 13 x 12 5/8 in. Gift of Judge and Mrs. Oliver (Jean) Seth, 1980. Collection of the School for Advanced Research, Santa Fe, NM, catalog number SAR.1980-15-1.
It’s always amazing to look at these pieces and how the indentation is there. Usually when I see pots like this and others made by my paternal great-grandmother (Severa Tafoya), we’ll feel that indentation of where her finger made that impression of the bear paw.
It’s pretty smooth on the inside. But sometimes you’ll feel, on some of the pots, that indentation of a fingerprint. Then you know that you’re touching that person, in a sense. And sometimes, with pots like this, it’s amazing to see them. You pick them up, and the weight of them—it’s almost like holding a baby.
It’s always nice to see her work in the collection and kind of come in and revisit it and look at it, touch it, feel it, smell it, and just having that connection to her.
Lucy Martin Lewis (Pueblo of Acoma), Water jar, 1947, clay and paints, 63/4 x 9 in. Gift of Sallie Wagner, 1994. Collection of the School for Advanced Research, Santa Fe, NM, catalog number SAR.1994-5-65.
Lucy Lewis was born in 1889 in Acoma Pueblo and lived her life on what Acoma Pueblo residents call The Rock: a 365-foot-tall mesa that juts out of the ground in an otherwise flat landscape. Lewis most likely lived in the traditional village atop the mesa.
No electricity or running water — by today’s standards, a challenging lifestyle. However, Lucy’s creativity thrived. Her obvious drive and intentionality regarding her art motivate and inspire my own creativity. Lucy came from a long, rich history of pottery making, inherited from her mother and grandmother. I understand that familial connection to clay, I am also a part of that history.
Drawing inspiration from Mimbres and Anasazi pottery shards, she developed a strong sense of design. This design reflected ancestral creativity and the world she inhabited. Whenever I see Lucy’s work, I see a woman with vision. She has incredible skill—a pioneer who used her vessel’s surfaces like a canvas.
Story by TABLE Magazine Staff Photography by Tira Howard
Not all of the drama occurs on stage at the Santa Fe Opera. There is the see-and-be-seen. The outfits, fine China, and crystal. It’s all part of the pre-performance delights of a tailgate party. We gathered TABLE Magazine contributors to experience it for ourselves.
A Santa Fe Opera Tradition: A Tailgate Party for Everyone
Chilled rosé? Check. Tomato and tapenade tart? Check. Ice, ice buckets, side dishes, napkins, tablecloth, plates, and cutlery safely stowed in the back of our Mini Cooper and we were off. The occasion was my maiden voyage hosting a tailgate at the Santa Fe Opera along with some of our beloved writers and contributors.
Summer Nights with Wine and Good Company
The only rule was no work talk (or not much). Wine and spirits writer Bill Smith kindly brought his favorite wines for tailgate imbibing – a sparkling and a still rosé that were just the thing for an early evening that was reluctant to dip below 90 degrees. Photographer Tira Howard magically managed to fit a table and six chairs in her car, already full to overflowing with camera equipment.
The opera kindly opens its parking lot early to welcome tailgaters like us to enjoy the show before the show. There’s everything from candelabras to costumes, so you can count on people-watching opportunities. “I just love the fact that we can say tailgate and opera in the same sentence,” says Jenna Scanlan, who’s an opera tailgate veteran of 25 years.
And even when a tailgate goes awry – that is, the heavens open up – it’s still memorable. Jenna remembers friends hosting a tailgate one year complete with china and crystal when summer monsoons decided to join the festivities. “Luckily, they had an SUV, so they put the seats down, and we piled in the back, enjoyed it anyway, and then made our way to the opera. We were soaked, but happy,” she says.
How to Join the Santa Fe Opera Tailgates
JB Peña has been an avid opera-goer since she was a child but is relatively new to the joys of tailgating. “One suggestion is to get a good parking space if you like the views. Now, if you want to be in the thick of it, then you can just park right in the middle and have everybody walk by and ooh and aah and say, ‘Can I have a bite of that?’”
And it’s that conviviality that makes tailgating such a joy. Amy Owens got her first taste as an apprentice singer in 2014 (she now directs the Santa Fe Opera’s Young Voices program), but it was post-pandemic when she fell in love. And while she likes to don a ballgown and go OTT-elegant, she’s just as happy tucking into a takeaway salad and meeting fellow opera buffs at the picnic tables the opera kindly provides. “I feel like I’ve done all versions of tailgating and every one is a fun experience. There’s no one way to do it,” she says.
Connecting the Experience to the Show
This year, JB is toying with the idea of wearing one of her vintage kimonos for Madama Butterfly, while Jenna has her eyes set on Lili Elbe. “I’m so proud of our opera for hosting the American premiere,” she says. Amy is looking forward to Rodelinda by George Frideric Handel. “I always find that early music really does well here at Santa Fe Opera. It has this feeling of freshness, even though it’s quite old,” she says.
As we finished off a slice of cake with poached plums and orange mascarpone and took a last sip of L’Oiseau du Paradis Côteaux d’Aix-en-Provence Rosé 2024, the lure of the tailgate was clear. The temperature had dropped, there was laughter in the air, and the sun was doing its own performance for us as it slowly started to set. It was a wonderful reminder that a ticket to the opera is always a joy, and a tailgate makes it even better.
A special thanks to the Santa Fe Opera for so generously hosting us for a magical night!
Tailgating Tips from the Santa Fe Opera
We asked out good friends at the Santa Fe Opera for their dos and don’ts for a happy, stress-free tailgate. The dos list is much longer than the don’ts.
Arrive early. The parking lots open three hours before showtime.
Lean into the theme. Show-inspired foods, drinks, and table settings set the mood for the evening. Perhaps sushi and chilled sake for Madama Butterfly, or smoked salmon blini and a vodka cocktail for Eugene Onegin.
Make use of the scenic grounds. Picnic tables are scattered throughout the scenic grounds.
Bring the sparkle (safely). If you have a candelabra begging for its moment, opt for flameless candles.
Catch a Prelude Talk. These talks are free to ticket holders and offered two hours and one hour before most performances. No reservations required.
Plan for the elements. Santa Fe evenings can bring sun, wind, or sudden showers. Sunblock, sunglasses, and a light layer or poncho are wise companions.
Summer art shows in New Mexico galleries bring together color, creativity, and the beauty of the Southwest in a very special way. From bold abstract paintings to glass sculptures and modern landscapes, each show offers something fresh to see and feel. They are a great way to explore local talent while enjoying the artistic spirit of the region.
Summer Art Exhibitions Thoughout New Mexico Galleries
Kevin Tolman‘s new abstract body of work uses vibrant colors and rich textures to record perception, capturing the essence of light, memory, and fluid attention. Through an intuitive, layered process, his paintings balance structure and uncertainty. The resulting work offers an immersive, multisensory experience, inviting viewers into an open-ended viewing shaped by color, texture, and personal experience.
The upcoming group exhibition showcases the exceptional talent of three artists: Jeddadiah Emanuel, Scout Dunbar, and Douglas Ostroff. Visitors will experience Ostroff’s colorful, textured, hand-blown glass sculptures, Dunbar’s earth-toned narrative paintings and drawings, and Emanuel’s organic landscapes crafted from wood and ink.
Stevens’s abstract landscapes are a unique blend of his passion for the natural world and his deep connection to spiritual philosophy and mysticism. He uses shapes, color, and texture as tools to manipulate space and evoke a mood. The result is a series of highly distinctive places in time, born from Steven’s peaceful observations and skilled approach.
Celebrating the vibrant expression of color and form inherent in Taos modernism, this exhibition features the foundational work of trailblazers Beatrice Mandelman and Louis Ribak. Their pieces are presented in dialogue with works by contemporary New Mexico modernists, such as Carlos Estes, bridging past and present expressions of the movement.
Artist David Croxton transforms exotic woods into objects like bowls and vases, using techniques such as carving, texturing, and woodburning. The highlight of the exhibit is Croxton’s basketweave illusion, a technique that makes you feel that the turned wood is actually a woven basket.
July 11-August 30, Opening Reception: July 11, 6-9 p.m.
Olin West’s series, Timescapes, captures the mysterious essence of the Southwest landscape. These works are deceptively simple, using clean lines, broad geometric forms without unnecessary detail, and a subtle play of light and shadow. The paintings create a quiet, mesmerizing effect, drawing the viewer deeply into the canvas.
Story by Natassja Santistevan Photos From Galleries and Artists
Up your mixology cred with rimming salts and sugar from Los Poblanos. The lavender salt imparts a subtle floral sweetness while the rose sugar is perfect with a cocktail (or mocktail), stirred into iced tea, or sprinkled on cookies. The lime salt has a tart, zesty zing — perfect for a Bloody Mary, Paloma, or — of course — a Margarita. And if the summer isn’t hot enough for you, then rim your drink of choice with their spicy salt. But don’t say we didn’t warn you.
Cocktails to Mix Up with Los Poblanos Rimming Salts
The margarita is the perfect cocktail for a salt rim to complete the trifecta of tequila, lime juice, and triple sec. In this Pomegranate Margarita, the salt rim offsets the sweetness leaving you with a balance that feels complete.
Guava is another great flavor to add to a margarita with a salt rim. For this recipe specifically you’ll want to purchase Los Poblanos Piquante Cocktail Rimming Salts that uses nine peppers and three salts for its mixture. That little bit of heat completely changes your margarita game.
Since we recommend a red chile salt mix to finish off your Tamarind Sour you can use the same Los Poblanos Piquante Cocktail Rimming Salts above to portray that spicy touch. It works perfectly with the base of mezcal, Tamarindo Cocktail Syrup, lemon juice, as well as spicy bitters.
The Museum of Indian Arts and Culture is a premier destination for Native art, culture, history, and storytelling. In addition to a robust collection and archive, the museum offers visitors the opportunity to engage with changing exhibitions, public lectures, field trips, events, and renowned artists.
Walk Through Unique Exhibitions the Museum of Indian Arts and Culture
The museum’s unique exhibitions offer visitors the chance to tailor their visit and dive deeper into history, art, tradition, or contemporary topics. The permanent exhibitionHere, Now and Always is one of the first of its kind to be led by a primarily Indigenous curatorial team and also bring Native voices into the gallery. The exhibition features more than 600 objects from the collection and highlights the historic and living traditions of Indigenous communities, including ceramics, jewelry, paintings, fashion, and more. Rotating exhibitions offer unique perspectives on specific artists, science and history, and pop culture.
Family-Friendly Events Year-Round
The museum also hosts an array of family-friendly events year-round. These well-attended events provide a mix of informational and hands-on experiences for all ages. The monthly Native Narratives Speaker Series brings artists, Tribal leaders, and writers to the museum to discuss their careers and also their crafts. The Native Dance Series gives visitors the chance to experience and participate in unique dance traditions from Tribes and Pueblos across the Southwest. The museum’s education program is further amplified with summer programs for children and monthly art activities.
Summer Brings the Indigenous Foodways Festival to the Museum
This summer, visitors should plan to attend the Indigenous Foodways Festival on Saturday, June 20 at the museum. One of the first of its kind, this food festival honors the vibrant culinary traditions of Indigenous peoples across the Southwest. The festival includes demonstrations, hands-on classes, tastings, as well as key presentations by renowned Indigenous chefs.
Visit the Museum of Indian Arts and Culture to experience living traditions. The museum is a space for anyone who wants to learn about important cultural traditions and continue to share their importance for generations to come.
Making jam is a bit of kitchen alchemy. But rather than taking something base and turning it into something precious, it’s a clever way to preserve something precious for the future.
Make a batch of Plum and Pink Grapefruit Jam and you’ve invested in the future. You’ve acknowledged that summer won’t last forever – that eventually the temperature will drop and the days will grow shorter. It’s a recognition that when summer spoils us with a steady succession of stone fruits – apricots, peaches, and plums – we need to eat as much as we can and preserve the rest for a winter’s day.
How to Make Homemade Jam
Making jam couldn’t be easier. You need fruit (naturally), sugar, and citrus never hurts. And time. Time to stir, time to breath in the sweet smell of fruit cooking, and time to witness raw fruit transform into luscious jam. And when you open a jar and spread jam on the base of a pastry case or on a piece of sourdough toast you’ll have your own Proustian moment, as you travel back to a summer’s day, a bowl full of fruit, and a bit of kitchen alchemy.
Cook in the preheated oven until the plums are softened and the skin puckers – about 20-25 minutes.
Remove and allow to cool until you can handle the plums. Remove the stone and chop the flesh into small chunks. Don’t worry about the skin – it’s fine to remove it if it peels off easily, or leave it if not.
Weigh the plums, any juices, and add half the total weight in sugar. Place in a preserving pan or large pot. Finely grate the grapefruit rind over the fruit and sugar mixture, avoiding the white pitch. Add the pinch of salt.
Cover and leave to macerate for an hour or two.
Place the pot with the fruit on the stove and bring to a boil and then reduce the heat to a bubbling simmer. Foam may form but that’s okay – it will cook off. Continue cooking for about 25-30 minutes until the jam starts to thicken and turn glossy. When you stir it along the outer edge of the pan the mixture will pull away.
Decant into your sterilized jars, removing any spills. Place the lid and ring on top of the jar and turn to close. Repeat with the rest of the jars. Go back and tighten the lids fully so you have a secure seal.
If you don’t have enough to fully fill the last jar, that’s okay – place it in the fridge and eat it first!
Story and Recipe by Julia Platt Leonard Photography by Tira Howard
Now, with season two of Tucci in Italy premiering May 11, we’re doing it again. This time, Tucci travels through Naples and Campania, Sicily, Le Marche, Sardinia, and Veneto. Each of these five regions carry different distinct ingredients, techniques, and food traditions.
For each stop, we pair a recipe that connects directly to that region. So when season two drops on National Geographic, Disney+, and Hulu you can join in on the fun by making a recipe for each episode, joining Tucci in his own discoveries.
Recipes for Cooking Through Tucci in Italy Season Two
In Naples and across Campania, Pasta Fagioli is a part of everyday cooking. It comes out of the region’s cucina povera tradition, using beans, pasta, and aromatics to create something filling and practical at a low price. In Naples, it’s often made thicker than a soup and a bit closer to a stew. It’s a dish that’s less about a fixed recipe and more about the method itself. Oh: and the flavor too!
Sicily is home to Pasta alla Norma and you’ll find it all across the region. Eggplant, tomatoes, basil, and ricotta salata form the base, reflecting ingredients that are central to Sicilian agriculture. Even the name is specific to the place. Pasta alla Norma is believed to reference the operaNorma by Vincenzo Bellini, linking the dish back to one of Sicily’s major cultural figures.
In Le Marche, fresh egg pasta is a defining part of the food culture. In turn, tagliatelle is one of the most common shapes. It’s typically paired with a ragù that comes from beef and San Marzano tomatoes as well as a slow cooking technique. It’s a straightforward combination that reflects how central pasta-making is to the region.
Sardinia is where fregula, a small, toasted pasta, originates. This pasta’s texture and flavor come from the toasting process, which gives it a slightly nutty taste. You’ll see fregula in soups or alongside seafood like mussels and fish, tying it back to Sardinia’s geography as an Italian island in the Mediterranean Sea.
In Veneto, Sarde in Saor is a traditional dish with roots in Venice. Sardines are paired with onions, vinegar, and raisins, a combination that reflects Venice’s long history as a trading center because it draws upon flavor influences from the Eastern Mediterranean. Originally used as a way to preserve fish, the dish remains a part of the region’s standard cooking repertoire.
Summer beckons and we answer, spending our long days and starlit nights under the spacious skies of northern New Mexico. Whether we’re off to the opera or popping over to the farmers’ market, it’s time to shift our entertaining from indoors to outdoors with a relaxed and casual air and clothing to match.
The ‘Open Road’ from Storm by Montecristi is a soft and supple version of the classic Western hat. It’s hand crafted from fur felt in a soothing sandstone hue and perfect for dressing up or down. It’s finished with a thin ribbon hat band, matching binding on the brim, and then their signature silver logo hatpin.
Lustrous baroque pearls are prized for their organic shapes and luminosity. Here they’re wrapped in 22k gold with sterling silver-lined glass beads. It’s a necklace that feels both completely contemporary and timeless. Pair it with Bittersweet Design’s ancient Baroque earrings for the perfect match.
Spanish crosses, diamond-shaped “eyes” (ojos) and angular, geometric patterns are at heart of the Los Ojos blanket from Pendleton. The design reverses from black background to white so you can change the look of your bedroom by season or mood.
Based in New York City, design firm 4SDesigns is firmly rooted in Italian style and craftsmanship. This animal print top is stylish yes, but also comfortable and well-made. It’s also part of the expertly curated collection at W Department. Made of 100% cotton, it will wear well whether you’re out for the day or partying under the stars.
This G-2 placemat set from Guatemala is just the thing for setting a summer table for al fresco dining. Handmade in San Juan Comolapa, a pueblo in the Mayan highlands of Guatemala, these placemats are generously sized, made of cotton, and come in a set of six. The plates come from Cafe Pascuals’ second floor gallery.
Somporn Intaraprayong is the self-taught textile artist and designer behind the clothing brand Chinalai Modern. This stunning top is made from a special, dark, naturally-dyed fabric that is from the Hmong people of Thailand. The fabric is then calendered – a special finishing process – to a high gloss by beating egg whites into the fabric. Small strips of indigo fabric are then sewn onto the body of the top, creating eye-catching texture and movement.
There is vintage and then there is Lust & Fond vintage. This Santa Fe boutique sources wonderful, one-of-a-kind designer pieces such as this chic 1970s Gucci cream silk blouse. If you see it and love it, don’t linger – once a piece is gone it’s gone.
This tandem ring dazzles with a Siberian ‘snowflake quartz’ and South Sea Keshi pearl in a 18k yellow gold setting. The interior silver snowflake pattern can’t help but catch the light. Exquisitely crafted, this is more than jewelry – it’s wearable art to enjoy and treasure for a lifetime.
Hold a Malfatti tiny cup or carafe and you hold something handcrafted and also unique. Made from borosilicate glass (the same material used to make laboratory ware), they’re surprisingly strong for something that feels so light and delicate. The perfect way to set your summer table.
Yes, you could wear just one Orsay pavé bangle bracelet from Temple, but more is definitely better. The hand-set cubic zirconia is nestled in brushed metal which is then gold plated over brass. The gems catch and reflect the Northern New Mexico light beautifully.
Lisa Jensen creates fluid ceramic forms that are sensuous and utterly captivating. She builds her forms in coils and also incises each piece with flowing lines that are filled with porcelain color to contrast with the clay body. She leaves her fingerprints and marks of the mallet as enduring signs of the maker. Vanna Curated Living opened recently, and we recommend a visit.
A ceramic trinket tray is the perfect place to stash your favorite ring or earrings on your bedside table. But it’s just as handy as a soap dish, paired with a patchouli and lemon scented bar from soap makers extraordinaire Even Keel.
The Edo fountain is carved from a naturally green-gray granite boulder, so each one is absolutely unique. Water pools gently on the top, and provides the perfect spot for birds to stop by for a drink.
Coral, often associated with healing, protection, as well as transformation, is showcased in this vintage coral squash blossom necklace. It’s orangey-red color seems to glow!
Artist Jessie Baca’s hand-painted chore coat is washable and durable and comes with a striking four-pocket design and railroad stripe fabric. Truly one of a kind.
Firebird is the go-to source for stunning fireplaces but their new showroom, Sage Outdoor Living, is the place to discover beautiful pieces for your outdoor spaces. One of our favorites is their line of Dedon outdoor furniture. Dedon creates lux, woven furniture that is weather-resistant so your outdoor living can be as comfortable and stylish as your indoor life.
Yes, kombucha is the super healthy fermented tea with loads of antioxidants and other goodies our bodies crave. But when it’s kombucha from New Mexico Ferments it’s also seriously delicious. They’ve upped their kombucha game with flavors like Prickly Pear and Hibiscus Lavender, and our summertime favorite, Apricot Mint. Drink it as is, or make it a Apricot Mint Mojito mocktail or cocktail. Either way you’ll be sipping and smiling.
What’s Special About New Mexico Ferments Kombucha?
New Mexico Ferments focuses on small-batch brewing using locally sourced and organic ingredients to make their kombucha stand out from the rest. By working with local farmers, they work towards a sustainable effort. Their kombucha is also unique in its range of flavors. New Mexico Ferments goes beyond what’s already out there by providing types like Prickly Pear, Blue Butterfly, Hibiscus Lavender, Apricot Mint, Grapefruit Rosemary, and Lemon Ginger.
1 small handful of fresh mint, plus additional for garnish
2 oz of light rum (optional)
Instructions
Place the handful of mint leaves at the bottom of a cocktail shaker with the agave or sweetener of your choice and muddle well.
Add the rum, if using.
Slice one wedge from one of the limes and set aside to use as a garnish.
Squeeze the remaining lime juice into the bottom of the shaker.
Shake, then taste and add additional sweetener if desired. Strain into a glass, add ice, and fill the remainder with Apricot Mint Kombucha. Give it a light stir.
Garnish with the lime wedge and additional mint leaves.
Plus try our other cocktail using local ingredients, the Elderberry Spritzer.
Recipe by Julia Platt Leonard Photography by Dave Bryce
