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The Food and Drink Scene of Santa Fe

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A smoky craft cocktail garnished with fresh mint and a cinnamon stick at a stylish bar in Santa Fe, showcasing the city's evolving eat and drink culture.
Palace's Absinthe Colada.

The food and drink scene in Santa Fe today embraces the outside world, while maintaining a rootedness in this place. Gone – for the most part – is the kitsch of kokopellis and howling turquoise wolves, replaced with a matured scene of greater authenticity, and an embrace of contemporary restaurant design that leads to restful, tasteful vibe. Cultural diversity is also on the menu. And, of course, there’s deliciousness at every turn. Bill Smith takes us on a tour.

Chef Angel Franco in the kitchen at Palace, showcasing his culinary expertise with a warm smile and professional chef attire.

Palace’s Chef Angel by Gabriella Marks.

Touring the Food and Drink Scene of Santa Fe

While the culinary style of Santa Fe has evolved over the past decades, a handful of restaurants continue to underscore the timelessness of exceptional dining that exudes Santa Fe style. This group includes restaurants like Canyon Road’s The Compound (established in 1966) and Geronimo (1991), as well as Coyote Café (1987) and SantaCafe (1982) downtown. Friends in from DC and no slackers when it comes to fine dining, couldn’t rave enough about Geronimo. The same for The Compound which was a finalist for the coveted national Outstanding Restaurant award, thanks to dishes like their iconic Maine lobster and bay scallop with avocado, squid ink brioche, fine herbs and mustard-chive beurre blanc.

Lamb shank from a Santa Fe restaurant on a white plate with other food peeking in nearby.

Palace’s Whole Branzino by Doug Merriam.

The Evolution of the Santa Fe Restaurant Scene

Today, both Coyote Café and SantaCafe are in the trusted stewardship of Quinn Stephenson, who began as a busboy at Coyote Café more than 25 years ago. “The old timers have seen (Coyote Café) go from cowhide chairs to LED artwork, from wooden mariachis to gorgeous murals, from hot dogs on the patio to filet mignon, from margaritas to liquid nitrogen martinis, and from a few dozen wines on a list to a curated global selection,” he says. “I enjoy the evolution and I’m proud that both of our restaurants are staying relevant.”

Relaxed quaffing at As Above So Below by Amanda Gretchel.

Long before the limelight of these restaurants, traditional New Mexican food was painstakingly prepared in legendary establishments like The Shed (1953) and thirty years later its sister restaurant, La Choza. Crowds of both locals and tourists, continue to line up for a table at these restaurants and others like Cafe Pasqual’s, where Katharine Kagel has been delivering the flavors of both Old and New Mexico since 1979.

Two frothy cocktails garnished with dried lime, served in elegant glasses with a backdrop of bar essentials and dried citrus slices.

Cocktails and at Santa Fe’s Alkeme by Doug Merriam.

Diversity has grown, thanks to the rise of food trucks which have popped up everywhere, serving everything from pizza to El Salvadoran pupusas, to Thai curries and the best tacos and burritos. Food halls, on the other hand, which have blossomed elsewhere, have struggled with just two, Capital Coal and Chomp. But plans to launch a new mega-food hall downtown by the same team behind Sawmill Market in Albuquerque may change that.

Food from Santa Fe's Alkeme featuring fried cod on a white plate.

Chá Cá-Crispy Turmeric Cod at Alkeme.

Bite Into Something Contemporary

Contemporary international cuisine is flourishing with restaurants like Joseph’s Culinary Pub drawing crowds. Asian options are perhaps more sparse, with Alkeme and Izanami leading the way. Both have carved out niches and very loyal followings. Chef Ahmed Obo and his James Beard award-nominated Jambo Café reflect our growing love of and interest in different cuisines as well as the growing diversity of our population. His Caribbean spiced ox tail with mofongo and collard greens is a unique standout.

Alkeme restaurant in Santa Fe featuring an intimate dining space with bold red walls, rustic wood beams, and elegant table settings.

The dining area at Santa Fe’s Alkeme.

A Special Look at Santa Fe Bars

The bar scene has never been stronger. Watering holes like all-cash Evangelo’s as well as Tiny’s and The Matador blissfully persist while more recently opened establishments elevate the humble cocktail to star status. Places like the renovated bar at the Palace where the House Old Fashioned finds a perfect Santa Fe interpretation, replete with aged Mexican rum and mole bitters. At this new breed of bar, the food holds its own thanks to chefs like Palace’s Angel Franco – one of the most exciting new chefs to make Santa Fe his home – with dishes like his lamb tagliatelle with fresh pasta, merguez sausage, tomato and mint.

Capital Coal’s Tacodilla and Chef Dakota Weiss at work by Doug Merriam.

At the Tack Room, tucked into the recently re-opened Market Steer (where tapas-focused El Meson operated for a quarter of a century), the sexy, dreamy bar gleams under subtle lighting. It encapsulates the casual elegance and often neutral palette of today’s Santa Fe style. The cocktails deliver on the promise of the look of the place, like the Manhattan Steer, deploying barbeque bitters for a steak house vibe and the Tequila Mockingbird with muddled watermelon and jalapeño that might well entice Atticus Finch into intemperance. With the restaurant’s full menu available at the Tack Room, it’s the best of both worlds.

Cafe Pasqual's, a beloved Santa Fe institution, housed in an adobe-style building with a turquoise door.

Cafe Pasqual’s, a local institution.

Locally Crafted Brews

New Mexico-based microbreweries, distilleries, and vintners are another welcome addition to the scene. In the railyard, both Second Street Brewery (which has shuttered its namesake location) and Nuckolls Brewing are serving craft brews alongside great pub grub. And if, on one of our perfect, temperate afternoons, you’ve never been to Santa Fe Brewing’s location by their production facility out off Highway 14, you’re missing out.

Gracious outdoor dining at SantaCafe.

Distillers like Santa Fe Spirits, Tumbleroot, As Above So Below, and Los Poblanos (at their stylish Bar Norte location on Washington Street) are all creating an exciting cocktail culture that goes way beyond the standard fare. Los Poblanos’ Lavender Gin, with botanicals from their property in Los Ranchos de Albuquerque, is an exquisite expression of the spirit.

Chef/Owner Joseph Wrede and refined pub fare at Joseph’s Culinary Pub by Doug Merriam.

Similarly, winemakers across the state have established a presence in Santa Fe, demonstrating the staying power of wine making in the oldest wine making region of the United States. Both Hervé and more recently, Vara, have tastings rooms where you can not only imbibe reputable wines, but also partake in small bites and well-curated charcuterie.

Santa Fe's Bar Norte interior featuring a stylish bar, vintage decor, and cozy seating with warm ambient lighting.

Los Poblanos’ Santa Fe outpost Bar Norte by Doug Merriam.

Truly From Farm to Table

And finally, there is an increasing connection between local farmers and restaurants with an eye to creating a sustainable food ecosystem. I love bumping into local chefs at the farmer’s market, knowing they are assessing the availability of local produce and proteins that will shortly make their way to diner’s tables. The kitchen at Plants of the Southwest is another example of this trend, as is the array and quality of produce made available by the non-profit Reunity Resources.

Two drinks from a Santa Fe bar sit on a marble table with a pink napkin to the left of the glasses.

Cocktails at Los Poblanos’ Santa Fe outpost Bar Norte by Doug Merriam.

And of course, we have just scratched the surface of the great diversity in offerings for all things food and beverage in Santa Fe. It is truly an embarrassment of riches that continues to evolve in exciting and inviting ways. Salud!

Elegant dessert at Coyote Cafe featuring a creamy panna cotta, pistachio ice cream, a crisp biscuit, chocolate garnish, and fresh blackberries on a black background.

Dessert at Coyote Cafe.

Story by Bill Smith
Featured Photography by Doug Merriam

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Curating Santa Fe Style in Fashion, Home, Cuisine, and Beyond

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A woman with black hair in a white sweater and grey pants poses, representing Santa Fe style through fashion.

What is Santa Fe style? Where did it come from? Where is it going? These are some of the questions we ponder in this issue. Because TABLE is about all the things that make for a good life, we found ourselves wondering (as we always do) not just about the food we eat, but also about what we wear, where we live…and what we love about the whole of it.

Curating Santa Fe Style in Fashion, Home, Cuisine, and Beyond

New Mexico is all about the individual – the soft-spoken rule breaker rather than the strident rule maker. The murmuring iconoclast, not the shouting ideologue. The maverick over the nabob. As we contemplated the style of this beloved place, we found amazing interlocutors. From the always thoughtful Teresa Robinson of Living Threads, who curated our cover shoot with loot from local boutiques, to the six New Mexicans who modeled for us, each the epitome of individuality that is at the heart of Santa Fe style, we were dazzled by everyone we encountered. Photographer Ashley Lynn captured the magic.

What we learned is that Santa Fe style, indeed New Mexico style, is more eclectic and personal than ever. That it draws on an increasingly diverse, international-minded citizenry who value quality, connection with the maker, and clothes that are as comfortable as a second skin. Labels, fast fashion, and the hottest look are not for these souls. They’re devoted to a new wave only now being defined by trend forecasters: a post-trend era where we curate a life well-lived because it is not defined by consumerism and its hollow, short-lived pageantry, but by compassion, connoisseurship, and comfort.

Looking at Style in the Home

We then looked at Santa Fe style through the lens of architecture. We look into the petite casita of a twenty-something whose home is a soothing palette of muted earth tones and the perfect spot for chilling out after work or hanging out with friends. Next stop: an old adobe residence that reminds us that the bones of Santa Fe buildings are built to last. At their very best, they are family homes with handsomely weathered faces, warm hearts, and living souls.

And Christine Mather invited us into her home to meet her and Santa Fe Style co-author Sharon Woods. She discussed the age old, time-tested characteristics of a northern New Mexico home. But she also noted that nothing stays the same: if an idea is alive, there is movement and life in it. It inevitably evolves with the lives of the people who keep its flame alive, and the needs of the place it embodies. As she often says about the subject of her nearly forty-year-old tome: Santa Fe style is dead! Long Live Santa Fe style!

Diving Deeper into Santa Fe

Once you’ve strolled through the clothes and the homes in this issue, please ponder two deep-dive resource guides. First, some of our favorite designers and architects opened their little black books to share the names of master woodworkers, tinsmiths, furniture makers and painters with whom they love to work. Each one is a reminder that New Mexico is rich with what makes a house a treasured home.

Second, Bill Smith takes us on a walkabout around the great dining options of our country’s oldest state capital. He includes almost thirty eating and drinking establishments, ensuring you’ll leave with your stomach full.

The Artistic Side of the City

To deepen still further this issue’s contemplation of style and creativity, the Wheelwright Museum opened its vaults for a glimpse into Indigenous jewelry of the 1970s. Captured by photographer Tira Howard, the splendid work on these pages is a heady mix of traditional skills and materials, modern genius…and protest. We have much to learn in the current day from their bold statements of principle and their cry for change.

Hungry for more? We stop by the Nuevo Mexicano Heritage Arts Museum to meet their Colcha Club and the inspired visionary who is keeping this venerable art form alive and well. Then it’s off to Double DD Ranch for a weekend of memoir writing, and then to the home of one of Santa Fe’s premier party throwers and goers for a garden fête replete with gossip, food, and drink.

As always, our gallery guide and cultural calendar keep your days – and nights – full, no matter the parameters of your Santa Fe style. Because at the end of the day, we live life differently here. Personality, individuality, and vision are as prized in “the 505” as always. May it always be so.

Story by Julia Platt Leonard and Keith Recker
Photography by Ashley Lynn

Modeling by Tira Howard

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Explore Albuquerque Film at the Experiments in Cinema Festival

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A man sits wrapped in a towel in a black and white film project featured in Experiments in Cinema Festival.
Keith, Natasha Cantwell, New Zealand

New Mexico is a thriving hub for movie and TV production. This spring gives an opportunity to focus on film through Experiments in Cinema at Guild Cinema in Albuquerque from April 16-20.

Explore Albuquerque Film at the Experiments in Cinema Festival

A man crouches on a dirt road as a part of a film still for Experiments in Cinema Festival.

Sanctification, Kokou Ekouagou, Togo

Bryan Konefsky’s blood must surely be made of celluloid, so deep is his fascination with and appreciation of experimental films. His organization, Basement Films, has collected some 6,000 16-mm film prints housed at Central New Mexico Community College available for scholars, researchers and artists to browse. He also founded Experiments in Cinema, the oldest and most comprehensive artist-focused film festival in the Southwest, called one of the top 10 experimental festivals in the world, and the number one experimental festival in the country by Senses of Cinema magazine.

“We’re the only festival of its kind in New Mexico that celebrates the poets of the film world,” Konefsky says. “These aren’t filmmakers per se, but rather moving image artists who work in sub genres of dance, poems, essay, abstract films, etc.”

In 2025, the festival celebrates 20 years challenging the form, format, content and composition of film, with a roster of more than 100 experimental moving images and film artists from around the world. Special activities include workshops by Christian Haardt, head of the antiquated video archive department at the ZKMCenter for Art and Media in Karlsruhe, Germany, and Takashi Makino, a Japanese experimental filmmaker. This year’s artist in residence is Jeremy Rourke of San Francisco. The festival will also publish a yearbook featuring images of all 20 festival catalogues, a complete list of all the films and artists over the past 20 years, and special anecdotes.

Story by Kelly Koepke
Photos Courtesy of Experiments in Cinema

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Fashion Your Santa Fe Style with Local Shopping

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Suit yourself like Tracee is wearing a Tibi dress
Tracee wears a Tibi dress and Issey Miyake scarf, both from W Department, with a Vlas Blomme coat from TOKo and Daniela Gregis ballerina flats from Santa Fe Dry Goods.

Six citizens of The City Different (Santa Fe) gathered at Lena Street’s Living Threads. They brought favorites from their own closets, layered them with clothes, jewelry, and accessories from Santa Fe shops and boutiques, and allowed TABLE to capture their style for our 2025 Spring Design Issue. A major theme emerged in this facet of our discussion of Santa Fe style: just be yourself.

Fashion Your Santa Fe Style with Local Shopping

Tracee Stanley-Rinzler

Writer and Author of Radiant Rest and The Luminous Self

Tracee is wearing the Tibi dress with a mud silk Chuba coat.

The Tibi dress gets a totally different look thanks to a mud silk Chuba coat from Living Threads, rings by Annie Hackett at Living Threads, and Daniela Gregis espadrilles from Santa Fe Dry Goods.

“I feel like my style has always been a mixture of Obi-Wan Kenobi meets Grace Jones, meets Japanese Samurai warrior, monk-type vibe,” says Tracee. She practices yoga, Qigong and loves to dance. “So, all of those things need to be incorporated into how my wardrobe fits me. And it’s not about what the label is, it’s really about how it feels on my body.” Tracee likes to shop from designers she knows, like her friend Myrah Penaloza.

“I try to look for people that I know who make clothing so I know where it comes from and I know the intention behind it.” Her clothing also reflects her close connection to place and her rootedness in Santa Fe. “I want to feel like I’m part of the environment, and that the environment is part of me. It’s not like I’m looking to make myself stand out,” she says. “I’m more trying to make myself blend in, in a way.”

Matt Campos

Shamanic Practitioner

Matt is wearing a Jerry Kaye with Jimmy Dean Horn-design t-shirt.

Matt is wearing a Jerry Kaye with Jimmy Dean Horn-design t-shirt from J Justice, vintage Peyote Bird Designs squash blossom necklace, Living Threads pomegranate skin-dyed shirt jacket, an undyed, handknit wool sweater, and pants from Living Threads. The shoes and hat are Matt’s own, decked out with pompoms from Living Threads.

If you’re looking for Matt, he’s probably in his home studio, doing beadwork, walking his dog Cooper or sipping a margarita at Bishop’s Lodge. Think Santa Fe style and many people think Southwest but visit the International Folk Art Market and you’ll see just how international it is, he says. “Santa Fe style is eclectic,” he says simply. His own style? “I’m all over the place. I can be very utilitarian. Sometimes, I’m just wearing things to survive the brutal weather. Sometimes I just like to be bold, which is something I never was when I was living in L.A.” (His go-to L.A. uniform was a favorite cut of jeans, a black t-shirt and maybe a leather jacket.)

“Here it’s a little more varied. Here, we have all four seasons. Maybe that has something to do with it. I feel like you’re more allowed to do whatever the hell you want here.” With more people moving to Santa Fe, he hopes this free spirit will continue. “I hope more people embrace their inner weirdo.”

Tira Howard

Photographer and TABLE Contributing Editor

Tira is wearing a ochineal-dyed silk tunic.

Tira wears a cochineal-dyed silk tunic by Kaval from Workshop and pants from Santa Fe Dry Goods, a necklace from Golden Eye, with her own shoes.

You’re more likely to find TABLE Contributing Editor Tira Howard behind the camera, but for this issue we persuaded her to don some fabulous clothes and step out in front of the lens. She says this about Santa Fe style: “I think it’s really a blend of cultures and that anything goes. There’s a mix of casual and dressy and it’s almost like casual becomes dressy, and dressy becomes casual in certain environments.” Personally, she likes to take something old-fashioned and make it modern.

“I’ll have a character in mind and then take that hopefully in a slightly modern direction. Some days it’s cowgirl and some days it’s milkmaid, some days it’s a mime. Definitely I like dressing up. Dressing up is fun.” Asked to describe her style in three words, it’s pretty, soft and textured. When it comes to shopping, she’s looking for things that last and loves to shop vintage, including local favorite Santa Fe Vintage.

Sara Moffat

Artist, Co-owner La Mama, and Owner L’Ecole Des Beaux Arts

Sara us wearing a black and white patterned tunic dress.

Black and white patterned tunic dress from Amrich at TOKo with Sara’s own boots.

Ask Sara to define her style in three words and there’s not much hesitation. “Artist, work-wear and well-made.” As an artist who divides her time between La Mama and art shop extraordinaire L’Ecole Des Beaux Arts, practicality, comfort, and functionality are key. “I have always tended towards work-wear and identified male clothing,” she says. “I do wear dresses, but it’s more layers and natural clothing and things that are functional and that you can paint in but also look sharp.”

Shopping finds are pieces from her own shop, Living Threads, Spirit of the Earth, La Boheme, Folklore, and 4KINSHIP. Sara says there is an elegance and fearlessness about Santa Fe style – that people are “…not afraid to put things together.” If she’s not at LDBA, La Mama, or home, you’ll find her in the desert, walking in the arroyo, or in Italy or France where she goes twice a year to collect pigments for her art store.

Aaron Payne

Art Dealer, Gallerist, and Founder of Aaron Payne Fine Art

Aaron wears a JJ Justice white shirt and indigo joggers.

Aaron wears a J Justice white shirt with indigo joggers from Living Threads and 3Sixteen jacket from W Department with his own boots.

When he’s not at work, you’ll likely find Aaron relaxing at home, in the mountains hiking with his dog Bear, or shopping and visiting museums downtown. He’s noticed a change in Santa Fe style since he first lived here in 1996. “It’s more international, reflecting how the town has changed. Definitely comfortable clothing, definitely versatile, not fancy or dressy,” he says. For Aaron, that means clothes that he could wear hiking or to work at his gallery.

“I also like to wear clothes that would translate to places like Los Angeles or New York.” He describes his own style as classic, with subtle tones, and always comfortable. Favorite shopping haunts include Paul Smith, Agnes B. Rag & Bone in LA, and Living Threads and Spirit of Santa Fe, closer to home. And what’s the future of Santa Fe style? “I think it’s just more of an international style versus a Southwestern style, and I see it evolving that way.”

Chloe Garcia Ponce

Healer

Chloe in Injiri dress from Santa Fe Dry Goods.

Chloe is wearing her own Injiri dress from Santa Fe Dry Goods and vintage Yves Saint Laurent suede boots, with a 11.11 silk duster from Living Threads.

“I’ve been very blessed to have lived in very beautiful cosmopolitan cities,” says Chloe who splits her time between Santa Fe and Europe. “Coming here in this stage of my life is really connecting with silence, and nature, and the power of this land.” How would she describe her Santa Fe style? “It’s eclectic. It’s different. I don’t really follow any type of trend. I’m drawn to color – it’s like a painting for me.”

Her favorite places to shop reflect that personal style. “I go to flea markets. I love different Italian designers who work with indigenous communities, in India or Africa. When I’m here, I love La Boheme, I love Living Threads, and I do Santa Fe Dry Goods a lot.” What makes today’s Santa Fe style special? “What I love is that it’s very understated, it’s not pretentious. It’s not about a trend, it’s not about feeling or looking like they have to belong. Everyone’s very independent.”

Story by Julia Platt Leonard
Photography by Ashley Lynn
Styling by Teresa Robinson
Shot on Location at Living Threads

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The Santa Fe Style Cocktail

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Santa Fe-style cocktail with mezcal, absinthe, and poblano garnish on a rustic wooden table, surrounded by fresh limes and peppers.

We asked Ashley Lynn – photographer and mixologist at Palace – if she would fashion (pardon the pun), a cocktail that is one part quirky, one part classic, with a generous dash of Santa Fe spirit – something as different as the city we call home. Stop by palace in the next few weeks to sip a Santa Fe Style Cocktail.

What Does Santa Fe Style Mean?

The Southwest has been a melting pot of ideas, cultures, and passions for centuries. Santa Fe is at the epicenter of this. The Santa Fe Style is an ode to both a classic cocktail, the Negroni, but also the flavors of Santa Fe, including NETA Espadin, a beautiful and traditionally made mezcal founded by Max Rosenstock, a New Mexico native, now living and working in Oaxaca, Salers Gentian Aperitif, Cocchi Americano, locally made As Above So Below Absinthe, using foraged Santa Fe botanicals, and Ancho Verde, a poblano liquor made in Mexico. Together these ingredients create a drink that is clear, elevated, and simplistic in appearance, yet the combination of international and local ingredients and flavors create something that truly says Santa Fe, subtly smoky, vibrant in flavor, vegetal, bitter, with a spicy sweetness.

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Santa Fe-style cocktail with mezcal, absinthe, and poblano garnish on a rustic wooden table, surrounded by fresh limes and peppers.

The Santa Fe Style


  • Author: Ashley Lynn

Description

Oh Santa Fe, how we love thee.


Ingredients

Scale


Instructions

  1. Build in a stirring vessel, stir, and then strain over a large cube into a double Old-Fashioned glass. 
  2. Finish with a twist of lime expressed and discarded and finally garnish with a grilled poblano slice.

Story, Recipe, and Photography by Ashley Lynn

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Peeking at Jewelry in the Wheelwright Museum Vault

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Jewelry pieces displayed against a textured green background, showcasing the artistic blend of traditional and modern elements.

A day in the vault of the Wheelwright Museum yielded glimpses of stunning Indigenous creativity. The sculptures, paintings, drawings, beadwork, and more, had us holding our breath with astonishment. But we exhaled when the museum’s director, Henrietta Lidchi, dove into the museum’s jewelry. It is a privilege to share some of what we saw with you, with Lidchi’s words to put the objects in context. This is the tip of the proverbial iceberg. Go to the Wheelwright with all haste!

Jewelry artwork by Bob Haozous depicting a female figure entangled in chains and nature, symbolizing environmental struggle.

Mother Earth is surrounded by rattlesnakes and apple trees. Artist Bob Haozous recalls this as a particularly demanding piece, requiring a lot of precise work and thinking. The apple trees signify environmental activism, drawing from an artist residency in Germany.

Peeking at Jewelry in the Wheelwright Museum Vault

Convention has it that jewelry is merely a beautiful addendum to clothing. But if we pause for a moment and think of it in its fullest sense, we realize that this does a disservice to a dazzlingly complex art form.

Native American jewelry pieces featured in the Wheelwright Museum, showcasing a sculpture of a woman and an abstract figure.

A softness is present in these two works by artist Bob Haozous. Both were made as gifts. The portrait of the young woman surrounded by hearts is in the Wheelwright Museum’s permanent collection. It was donated to the museum by curator, scholar and writer Nancy Marie Mithlo (Fort Sill Chiricahua Warm Springs Apache).

A Historical Look at Jewelry

Two characteristics define jewelry. It is often made of materials thought of as precious, where preciousness can be understood in multiple ways. It can mean that the material is rare or culturally valuable, or it can simply register the sheer labor involved in making a piece that is elegantly simple. Second, jewelry is worn on the body. It is a material interface between the private and the public. As an intimate art form it transforms the wearer into a messenger.

From the 1960s, American art jewelers including Native American jewelers understood the symbolic and political potential of jewelry. Some made work especially to provoke a conversation between makers, wearers, and viewers and grapple with some of the urgent issues of their time. Jewelry was deliberately made to trouble the viewer’s expectations. More mobile sculpture than precious ornament, jewelry was used to express disquiet, critique and protest. Those emerging from art schools harnessed this potential to confound expectations as to what jewelry could be.

Artistic display of Native American jewelry, featuring intricate beaded necklaces, silver pendants, and decorative elements, showcasing the blend of traditional materials and modern artistry.

Artist Bob Haozous’s 1990 brass double snake pendant in the shape of a dollar sign is part of a series of pieces originally intended to be a concha belt. His 1989 belt buckle displays the word “sexist” in reverse. His 1991 pendant depicts a woman falling, surrounded by the word “help.” Haozous’s unfinished work from the 1970s is inscribed with “Indian Art Police” and takes the form of a star-shaped sheriff’s badge to level a critique of judges at Native American art shows. The 1987 concha belt with clouds, lightning and buckle with plane reminds us of concerns about acid rain. All but one are in Haozous’s personal collection.

Bringing About Modernity

In 2025, the Wheelwright Museum explores the potential for jewelry as protest in the exhibit Memo to the Mother. This year-long celebration of the work of Bob Haozous (b.1943, Warm Springs Chiracahua Apache) speaks particularly to his environmental messaging, evident across sculpture, jewelry and prints.

Silver and gold jewelry pendant by Bob Haozous featuring an intertwined double snake design.

Bob Haozous’s female dog wrestling a rattlesnake is in the Wheelwright Museum’s permanent collection, a gift of Charmay B. Allred.

Memo to the Mother focuses on Haozous’s interpretation of the female form. The female nude falling, struggling or running, stands for the embattlement of Mother Earth when faced with the weight of human activity. Asked how he defines his jewelry, Haozous notes that he sees it as a continuum with other work. The divisions between media are mere conventions which potentially dull the capacity for expression. He notes, “In an artist’s studio you cannot let those kinds of restrictions dictate what you want to say, so I just use them all.” Haozous states that his jewelry is a question of expression, not perfection, consistent with Apache aesthetics.

Jewelry pieces displayed against a textured green background, showcasing the artistic blend of traditional and modern elements.

The Wheelwright Museum is fortunate to have a range of work by both Charles Loloma and Preston Monongye in the permanent collection donated by Ann and Lew Stewman and Sidney and Ruth Schultz. The sheer beauty of Monongye’s bracelets is astounding. These were all made between the 1970s and 1980s and recall the excitement that this new jewelry provoked.

A New Period for Native American Jewelry

Haozous’s work emerged in the wake of new directions in Native American jewelry which were embedded by the 1970s. During this period, significant figures came to prominence whose work served to redefine perceptions of Native jewelry. Using the traditional palette of coral, turquoise, jet and white shell, and combining these with novel materials such as ironwood and cocobolo, jewelers produced bold new styles, drawing on the potential of tufa casting.

Hopi jeweler Charles Loloma (1921-1991), himself a graduate of the School of American Craftsmen, was a skilled visionary. Preston Monongye (1927-1987, Mission/Mexican) created dazzling representational compositions. He worked with lapidary artists, such as his son Jesse Monongya (1952-2024, Diné) and Lee Yazzie (b. 1946, Diné). Their work, considered by many to the pinnacle of work made at the time, consciously positioned itself as art jewelry seeking to contest attributions of craft, and to highlight the skill and aesthetic range of Native jewelry.

A collection of Native American jewelry featuring a turquoise inlay pendant, a beaded necklace, and a geometric bracelet.

Loloma’s work has been the focus of more art historical research and the two pieces shown here, the pin of forged silver with turquoise dangles, and the inlaid pendant in female form represent the more restrained work Loloma was making in the 1970s.

Story by Henrietta Lidchi, Director of the Wheelwright Museum
Photography by Tira Howard
Shot on location at Wheelwright Museum of the American Indian

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New Book ‘MAH-WAAN’ Uncovers the Culture of Hotel Santa Fe

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The outside of the Hotel Santa Fe with balconies and windows peaking through green trees.

A new book, MAH-WAAN: (Welcome): The Story of Hotel Santa Fe & Picuris Pueblo celebrates the rich history and heritage of Hotel Santa Fe.

Steeped in Native culture, art, and architecture, Hotel Santa Fe is a treasure. Since its doors opened in 1991, the multistory Pueblo Revival-style hotel has enchanted travelers and locals alike with a captivating combination of ancient Pueblo traditions and contemporary hospitality. In a city renowned for landmark lodgings, this hotel is unique.

A diverse group of staff and community members pose in front of the entrance of Hotel Santa Fe.

Hotel Santa Fe staff pose with General Manger Paul Margetson and Picuris Pueblo Governor Craig Quanchello (center). Pete Longworth, 2023.

New Book ‘MAH-WAAN‘ Uncovers the Culture of Hotel Santa Fe

“Hotel Santa Fe is the only Native-owned hotel in a city that prides itself on its deep associations with Native cultures,” says Daniel Gibson, the Santa Fe author of MAH-WAAN: (Welcome): The Story of Hotel Santa Fe & Picuris Pueblo, a beautiful new book that celebrates the hotel’s history and heritage. “With its extensive collection of Native art, from paintings to prehistoric pottery and katsina figurines, its architecture born of the fusion of Pueblo forms and Hispanic heritage, its relaxed but lovely decorative finishes and furniture, and Native cultural presentations including Pueblo ceremonial dances, it has a distinctive ambiance and character.”

MAH-WAAN captures that distinctiveness. It starts with the fascinating story of how the hotel came to be. It’s all thanks to a unique partnership in the 1980s between a group of Santa Fe businessmen and Picuris Pueblo.

The book also explores the hotel’s gorgeous interiors. It features carved wooden doors, latillas, tile floors, Navajo rugs, and a museum-quality Native art collection. Rattles, moccasins and other artifacts display alongside paintings, weavings, and sculptures by renowned contemporary Native artists.

More on MAH-WAAN

MAH-WAAN is a collaboration between Hotel Santa Fe and Picuris Pueblo, which became the hotel’s sole owner in January 2023.

Nearly 200 historic and contemporary photographs fill the pages. Santa Fe photographer Kitty Leaken, the project’s photo editor, contributed contemporary photographs, as did Pete Longworth.

“I hope that readers will come away with the belief that Natives and non-Natives can co-create something as impressive as a major hotel, sharing talents, and the benefits of cooperation and mutual respect — a message sorely needed in the world today,” Gibson says.

MAH-WAAN: (WELCOME): The Story of Hotel Santa Fe & Picuris Pueblo is by publisher White Buffalo Inc. (Picuris Pueblo) and available at the Hotel Santa Fe front desk and Collected Works Bookstore.

Story by Lynn Cline
Photos Courtesy of Hotel Santa Fe

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The Authors of Santa Fe Style Give the Inside Scoop

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Rustic Santa Fe-style bedroom with wooden ceiling beams, adobe walls, and vintage decor, featuring a cozy seating area and antique portraits.

Almost 45 years ago, Christine Mather and Sharon Woods wrote Santa Fe Style, a book that captured the unique qualities and sensibilities that give Santa Fe architecture its distinctive look. We sit down with the authors to find out the story behind this seminal, best-selling book to find out that Santa Fe style is alive and well.

The Authors of Santa Fe Style Give the Inside Scoop

“Santa Fe Style is dead. Long live Santa Fe Style.” This is the headline of an article written by Christine Mather for El Palacio magazine in 2013, a full 27 years after she and Sharon Woods wrote the ground-breaking book Santa Fe Style. It’s hard to overestimate the impact that Santa Fe Style had when it was first published in 1986 – how it captured the zeitgeist of the time for those who knew and loved Santa Fe, as well those who longed for a piece of it. Leaf through the book today, and you’ll realize just how relevant it remains.

Sharon Woods and Christine Mather in a Southwestern-style home.

Sharon Woods (left) and Christine Mather (right).

The Start of Santa Fe Style

While Ralph Lauren was busy in the ‘80s creating an ersatz Southwestern style filled with prairie skirts and faux-Indian blanket coats, Mather and Woods were digging deeper to reveal Santa Fe and the southwest through its architecture. I met Mather and Woods in Mather’s historic home on Acequia Madre. The building started life as a mill, powered by water from the acequia. It’s the oldest part of the house, dating back to around 1800 or perhaps earlier. The house then grew organically – as many homes in Santa Fe have – and is now a showcase for Christine and husband Davis Mather’s enviable collection of folk art.

A living room with a traditional kiva fireplace, folk art collection, and rustic wooden ceiling beams.

A bedroom kiva fireplace and host to some of the Mather’s folk art collection.

The warmth and closeness between Woods and Mather is clear, born of spending countless hours creating the book and their shared passion for the subject. They met when Woods (then a builder and designer) was redoing Mather’s former home, also in Santa Fe. Woods remembers Mather asking her, “If we could get along doing a remodel, do you think we could do a book?” Mather was curator of Spanish Colonial Art at the Museum of International Folk Art, from 1975 to 1984 (she was later Curator of Collections at the New Mexico Museum of Art, from 2002 to 2011) but her idea wasn’t for a typical museum book.

Open book displaying a page from 'Santa Fe Style'.

A spread from the iconic 1986 Santa Fe Style book.

Finding the Best of the Best

In a day before cell phones and computers, the duo set out on an analog journey to track down and document the buildings that epitomized Santa Fe style, illustrating their findings with both original and archival photography. They worked with architectural photographer Robert Reck and filmmaker and photographer Jack Parsons (“Thank God we found Jack Parsons,” says Woods) and others. Armed with slides, a detailed business plan, and lots of ideas, they went to New York City. “And we’re stuffed into a phone booth on 42nd Street and we’re trying to get appointments with publishers,” laughed Woods, remembering that rainy day.

Rustic wooden animal sculptures, including donkeys, a pig, and a spotted dog, displayed under a vintage wooden cabinet with a handcrafted ox cart and giraffe figurines in a traditional Mexican folk art setting.

Folk art animal statues sit scattered throughout Mather’s home.

They got a book deal but it’s clear that Rizzoli, their publisher, had no idea how formidable the two were or how game-changing their book would be. Published in October 1986, the initial print run of 10,000 sold out in less than two months, and hit the New York Times bestseller list. At that time, it was the top selling book in the publisher’s history, the two recount.

The cover – a photo of a light-streaked adobe wall and a worn wooden table adorned only with an unglazed clay vase, a weathered ram’s skull, and a stone – flummoxed their publisher. “…The Rizzoli people looked at the cover and said, ‘Aren’t there any rich people who live in Santa Fe?’” Mather remembers with a laugh. What they missed, Mather and Woods got. The photo – taken at artist Forrest Moses’ home – was Santa Fe style. As they say in the book, “…these simple, beautiful objects not only created an aesthetically pleasing environment; they also became an artistic enterprise as crucial to Moses as placing pigment on canvas.”

Rustic adobe home interior with a traditional wooden window, showcasing a hand-carved tribal mask on the windowsill and colorful woven baskets in the background.

A piece of folk art peaks through a window-way.

Defining Santa Fe Style

Mather and Woods opened the book by looking at the critical impact of setting and also location to the homes that dot our landscape. The importance of light, the native building materials used in construction, walls and fences both for protection and to declare ownership, as well as windows that were virtually absent in original adobe homes but later offered a vista to the outside – these were only a few of the topics they touched upon as they set out to define Santa Fe style. While this style might be difficult to pin down, Mather says we know it when we see it. “It’s identifiable, and we know all the cues, and the cues can be different from time to time, and people keep playing with it,” she says.

Southwestern adobe-style living room with a rustic fireplace, handcrafted wooden animal sculptures, and traditional decor.

Another one of Mather’s fireplaces.

They’re quick to say that style isn’t fashion. It’s actually something deeper that has been developed within our community over centuries and is inextricably tied to place and to history. “It’s how people lived,” Mather says. “Most were looking to be near water. You have to protect yourself from predators. You have to get some sort of heat, and you have to have work areas, and you have to have animals, and gardens, and all the things we’re still working on.”

Colorful Mexican folk art animal figurines, including owls, a turkey, and a jaguar, intricately hand-painted with vibrant patterns and designs.

Folk art decor in Mather’s home.

As they say in the book, “Here man and landscape come together with such mutual benefit that the landscape is brought into human scale, and human inhabitation makes no attempt to master elements beyond its scope.”

Beyond the Bounds of Santa Fe

The homes they captured – mostly in Santa Fe but some further afield in northern New Mexico – not only show us Santa Fe style in action but also provide us with an incredible historical record. Like the home Woods visited where a woman lived who had travelled to Santa Fe in a covered wagon. Upstairs in a bat-filled attic, the woman showed her saddles that had made that journey. “It was an enormous opportunity to get in this house and see these saddles that had come over on the Santa Fe Trail,” Woods says.

Southwestern home decor featuring a beaded folk art tapestry with a stylized bull motif, a vintage wooden desk with framed family photos, and two classic table lamps.

Old family photos in frames lay below a beaded Haitian vodou flag in Mather’s home.

And it wasn’t only history covered in Santa Fe Style but also a glimpse to the future with insights into contemporary homes like Charles Johnson’s Boulder House in Scottsdale, Arizona where rocks protrude into the living spaces, blurring the lines between indoors and outdoors and with more than a passing nod to early indigenous cave dwellings and Frank Lloyd Wright’s Fallingwater. Or a passive solar home in Santa Fe designed by architect Robert W. Peters that blends Japanese sensibilities with a distinctively Southwestern feel. “We were looking back and looking forward,” says Mather.

A living room set up with large shelves of books behind a white couch featuring a green pillow.

The living room inside Mather’s home.

The Changing of the Times

As the city has expanded, so has the size of homes and with that, a loss of the intimacy that you find in a home like Mather’s. Both authors served on the Historic Design Review Board (now the Historic Districts Review Board) to help ensure that these buildings aren’t lost to over-zealous owners and developers. “The idea is to try and maintain the streetscape, and the streetscape is maintained by individual homes,” Wood says.

While they focused on the architectural elements of Santa Fe style – the rounded shape of a kiva fireplace, the exterior corbels and portales, and the interior vigas and latillas, the two also looked at distinctive decorative arts like tinwork, furniture, and textiles that bring Santa Fe style to life.

Southwestern-style home interior with exposed wooden ceiling beams, red adobe walls, and a vintage white armchair with patterned upholstery.

A chair leads into a hallway inside Mather’s home.

And while Santa Fe Style captures a moment in time, it has also stood the test of time. “It was a lifechanger for both of us in a lot of ways. I feel fortunate that Christine thought of this, was kind enough to ask me, and that we got to do it,” says Woods. Mather adds, “We were in the right place at also the right time, and we were the right people.”

Story by Julia Platt Leonard
Photography by Gabriella Marks

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Throwing a Santa Fe Garden Party Lunch

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A group of women enjoying an outdoor lunch in a garden setting, seated around a table adorned with colorful glasses and plates, amidst lush greenery and a relaxed atmosphere.


Santa Fe host-with-the-most, Ian Johnson, invites us to share a leisurely al fresco garden party lunch where the food, company, and welcome are second to none. The fine art of the midday meal is alive and well.

Throwing a Santa Fe Garden Party Lunch

My grandmother’s rules were clear: sit up straight, no elbows on the table, and napkin in my lap. If in doubt, simply follow the lead of the ladies who filled the old Palace restaurant in 1970s Santa Fe. Their hair was coiffed, they sipped gimlets or dry sherry, and were there as much to see as to be seen. The pièce de résistance was a fashion show where lithe models floated through the room, stopped at each table and booth, and with a quick swivel of the hips, showed off their Chanel-esque jackets or the smooth drape of champagne-colored Quiana. Listening to their muted oohs and aahs, I felt like a junior acolyte in a secret society-–the society of ladies who lunch.

Sadly, this was not my world when I joined the workforce. Yes, there was the odd client lunch but otherwise it was a mystery sandwich wolfed down at my desk, and a crumb-filled keyboard. If the dinner party was on life support, then lunch was deader than a dodo. Where was the glamor? The witty repartee? The clinking of glasses?

A welcoming garden scene featuring a person in a hat and colorful floral pants standing at a wooden gate, greeting two smiling women who have just arrived.

The Importance of Lunch Then and Now

It turns out the leisurely lunch, measured in bites and sips, not minutes, isn’t gone – it’s alive and well and living in Santa Fe. Born in Britain but calling Santa Fe home for over 20 years, Ian Johnson is the consummate host, whether it’s a dinner party indoors or lunch on the lawn. For a Spring outing, a group of ladies who I suspect rarely stop for lunch, arrived at his former bijou home via an iris-lined drive, so jaw-dropping that BBC Gardener’s World featured it in an episode.(He’s since moved to an even more desirable spot in town). We entered through a gate and were transported into an English garden, looking splendid even at 7,200 feet. A glass of something quickly found its way into my hand and suddenly work deadlines didn’t feel quite so urgent.

A person in a white shirt and colorful floral pants using a corkscrew to open a bottle in a relaxed outdoor setting.

Ian produced a magical meal from a small but perfectly formed kitchen. An outdoor grill served as an impromptu station for filling martini glasses with a zesty watermelon gazpacho, artfully garnished with fresh berries, diced yellow pepper and a tortilla chip. A salad of feta cheese, red onion, and cucumber, along with a bowl of baby potatoes and peas, were perfect served at room temperature.

A group of women enjoying a lively outdoor lunch gathering, seated at a colorful table adorned with plates of food and drinks.

He says he does the prep and most of the cooking before the first guest arrives. “You make food you can make in advance, so you can enjoy your guests and it’s easy to serve,” he says of his entertaining philosophy. With unpredictable Santa Fe weather, he plays it by ear and has a Plan B, often setting up tables indoors and out to be on the safe side.

The Plus Side to Hosting

He seems unphased by hosting friends – new and old. “If it goes wrong, it goes wrong. I think the joy in life is cooking for people and having a table full at your house.”

A person in a white shirt is cutting into a layered dish, possibly a pastry or sandwich, filled with meat and vegetables.

And a relaxed host makes for happy guests. Gossip flowed as freely as the wine. Plates were removed, and dessert arrived, the quintessential British classic – Summer Pudding – oozing berry juices and served with a dollop of freshly whipped cream. Guest Cheryl Alters Jamison put it best when she said, “I’m late for where I’m going next, but I’m not leaving until I taste that dessert.”

A lively outdoor gathering featuring four people engaged in conversation around a beautifully set table in a garden.

But eventually, leave we did. Plates wiped clean. Glasses emptied. Hugs exchanged. Back out through the gate, leaving an English idyll behind. Basking in the hospitality, the warmth, and the welcome that only a few people can give so freely. Safe in the knowledge that lunch is far from dead and hoping for another invitation soon.

The Guests

  • Mara Christian Harris, marketing and communications professional.
  • Cheryl Alters Jamison, four-time James Beard award-winning food writer and TABLE Magazine contributor.
  • Julia Platt Leonard, TABLE Magazine New Mexico regional editor.
  • Paisley Mason, Managing Director of Webster Enterprises and real estate broker at Sotheby’s International Realty.
  • Heather Sellers, co-owner of Horno Restaurant.
  • Cyndy Tanner, freelance writer and co-owner of Parasol Productions

The Menu

  • Watermelon Gazpacho
  • Salmon en croute
  • Potatoes with peas
  • Cucumber salad with red onion & feta
  • British summer pudding with fresh berries

Create an English Garden of Your Own

Fancy an English garden of your own? Ian Johnson shares tips on creating your ownpiece of English countryside.

  1. Start with the basics like figuring out where the sunny – and shady – spots are in the garden so you can pair plants with places where they’ll thrive. “Check on your north, south, east, and west and start at the back and work forward,” Johnson says.
  2. Get the ‘bones’ in place first with shrubs, trees, and perennial plants. Then use annuals to fill in the border and add color. “You can change those out every year,” he adds.
  3. Think about layering plants with different heights and shapes to create visual interest and movement in the garden.
  4. Pots are a must and can be moved around the garden and changed each season. “You can have a vegetable garden contained within a pot of fertile soil,” he says.
  5. And don’t forget garden ornament. “I love the use of sculptures or statues or little features – small things to take your eye to different corners and places in a garden,” he says.
  6. Don’t be afraid to be bold. “When you plant, make a statement. Splash it with color or splash it with something that really catches your eye.”

Story by Julia Platt Leonard
Photography by Gabriella Marks

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Taking a Writing Workshop at Double DD Ranch

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A trip down memory lane where people gathered around a rustic wooden table in a bright, modern space, engaged in a discussion. A woman with pink hair speaks expressively while others listen attentively, taking notes.

Everyone has a life story, but how do you take your story and make it a memoir? Regional Editor Julia Platt Leonard joined a weekend writing workshop at Double DD Ranch called “Putting the ME in Memoir Writing,” led by two LA A-list writers to find out.

Taking a Writing Workshop at Double DD Ranch

Put the ME in memoir? No thanks. Couldn’t someone else star in my memoir (perhaps a cross between Audrey and Katherine Hepburn)? Or, at a minimum, could I refer to myself in the very distant third person? Let’s be honest, only my mom would want to read my memoir, and she died two years ago. And if she were alive, would I want her finding out what I was really up to when I told her I was at Charlotte’s house studying for my English final?

A group of four people engaged in a discussion, with a person wearing glasses and a dark jacket gesturing while speaking, as others listen attentively.

The short answer is no. I showed up to the weekend-long memoir workshop hosted by bestselling author Hillary Carlip, and Emmy nominated/Golden Globe winning TV comedy writer, Maxine Lapiduss, shall we say, reluctantly. It didn’t help that we were told firmly no talking until directed to do so. Vague thoughts of cults did cross my mind.

Two women with colorful hair embrace warmly at a table.

Hosts Maxine Lapiduss and Hillary Carlip of Double DD Ranch.

But – and yes, there is a but – it’s hard to be anything other than relaxed and at home at Double DD Ranch. Start with the fact that wife-and-wife team, Lapiduss and Carlip are consummate professionals with resumes in writing and performance that are long and lauded. And in a way, you are at home. Double DD ranch is their property eight miles south of Santa Fe, and the setting for writers’ workshops, Sunday salons, retreats, weddings, and gatherings.

Mint leaves and ice in a glass, accompanied by a bamboo straw, set on a wooden surface.
Flowers by Mini Falls Farm

Why a Memoir and Not a Novel?

But why a memoir workshop? It’s all about helping us find our authentic voice, says Carlip. “It’s an important time to tell our stories, and to share things in our lives that can inspire people and move people and entertain people,” she says. In telling our own stories, we strike a universal chord. And that touches both reader and writer. “Just being able to sit down and tell a story can be incredibly healing and revealing at the same time for people,” says Lapiduss.

A rustic taco spread featuring freshly prepared tacos with seasoned meat, cheese, radish slices, cilantro, and salsa on a wooden board.
Food by Juicy Foods 505

What unfolds is a weekend of writing, talking, and – dare I say it – playing. The other guests were an engaging and uber talented group from every walk of life. There was the story of a youth fueled by a predilection for starting fires. There was the church acolyte who buckled to the bully, stole the communion wine, and drank the evidence. Everything from stories of harrowing childhoods to learning how to drive in Mississippi.

An older woman with shoulder-length white hair, smiling and engaged in conversation while sitting at a table.

What Happened on Day Two?

By day two, I was comfortable enough to let the group know that I hated that day’s opening exercise. In saying so, I felt I was channelling my inner two-year old, and it felt good. Like the therapists you wish you had had, Lapiduss and Carlip create a safe environment where we could explore challenging issues and emerge with our hearts opened, sometimes broken, but always healed. Boxes of tissues made the rounds.

A woman with long wavy blonde hair, wearing a light-colored jacket, smiles while engaged in conversation with another person who has vibrant pink hair, in a casual indoor setting.

“I think right now in the world, so many of us don’t feel seen and heard,” says Lapiduss.” And we feel like we have to fight for everything we’re doing, whether it’s in our career, or our family, or to be heard. It’s so wonderful to release that stress of it all and just have people find out and reveal something that they might not have even known.”

Two middle-aged women engaged in conversation, one wearing glasses and a turtleneck sweater, looking attentively while the other gestures.

So Much More Than Just Writing

Frequent breaks to stretch legs and continue conversations, enriched with lovely lunches created by Juicy Foods 505, replenished us in every sense of the word. The setting didn’t hurt. Double DD Ranch is nestled within 27 acres of land, under the totemic presence of Lone Butte, so you can’t help but feel a sense of space and freedom that eases even the weariest soul. We ended Sunday evening gathered round the fire pit, sipping cocktails, and furthering friendships, amazed that in one weekend, something had shifted for all of us.

An elegant dessert display featuring a variety of pastries and tarts on wooden serving trays.
Pastries by Mille French Bakery and Café

The buzz continued as Hillary – author of five books including her memoir Queen of the Oddballs: And Other True Stories from a Life Unaccording to Plan – provided follow-up one-on-one sessions to offer her critique (always gentle and always on target) on pieces we’d written over the weekend. If you’re a writer, this workshop is a must. If you’re not, it’s still a must. Lapiduss and Carlip remind us that we’re all creative and have a story to tell.

That Time I Pretended to be Swedish,’ Cyndy Tanner’s Memoir Workshop Creation

I don’t make left hand turns, I have never parallel parked and, I assure you, I’ve never won an award for safe driving.

A smiling elderly woman with blonde hair, wearing a patterned shawl and a crocheted scarf, attentively listening during a gathering.

My driving record is, in a word, sketchy. I was 27 before I took my driver’s test, while living in Oxford, Mississippi with my then boyfriend and future husband, while he attended his first and what turned out to be his last year of law school at the University of Mississippi. “Ole Miss,” which I immediately dubbed “Ole Mistake.”

There I was, uprooted for love and living in a place where towels took three days to dry and the steel pole in the closet leaked steady droplets of rust-colored water onto our hanging clothes. I asked myself daily, “Have I moved to Andy Griffith’s Mayberry?”

One morning, looking out my back kitchen screen door, I saw an elderly black man skinning a squirrel and it hit me. It was time to get my driver’s license.

How’d I get to be 27 years old and never learned to drive anyway? In high school, when most everyone was fairly obsessed with getting their driver’s license as soon as they were legal, and some people, like Cissy Levine, got a brand-new powder blue Saab just for turning sixteen, I didn’t have the money to take Driver’s Education nor was there a family car for me to practice with. Thankfully some of my rich friends already had their own cars and happily stopped by every day to pick me up.

Other friends had access to their mother’s wood-sided Country Squire station wagons. I listened for the signature honk of different horns, then bolted out the front door of my house and hopped in, lit up a Viceroy and cranked the volume on KDWB.

Traveling in the City

Soon I left for college in Chicago, where I had no need for a car, then later moved to Santa Fe where I walked or rode my bike.

The move to Mississippi was more rational than it might appear. The Mississippi River divides the cities of St. Paul and Minneapolis where the boyfriend and I had both grown up, and where he had been recently active in a very public battle with developers and the St. Paul Port Authority (where my father happened to serve as Vice President), to preserve and save Pig’s Eye Lake, a heron rookery.

Additionally, the boyfriend had previously attended a literary conference in Oxford, at Faulkner’s beloved home Rowan Oak, and I suspected still harbored romantic notions of wearing seersucker suits and the writing life. So, studying environmental law at the University of Mississippi sounded good … in theory. As I had already concluded, Ole Mistake.

Taking the Leap to Getting a License

Broke, bored and friendless, I embarked on a plan to finally get my driver’s license. I had the notion that a female tester might be more sympathetic to my situation, so I began calling the driver’s examination office every few days, faking a different accent each time, trying to find a date that a woman might be giving the test.

I had sense enough not to try and imitate a Mississippi drawl, but on the day that I was faking a Swedish accent, the receptionist informed me that on Friday, Leslie Lamar would be conducting exams and the driving school had a car that I could use to take the test. After a litany of pre-test questions, which I mostly replied by enthusiastically gushing, “Ja, Ja,” I had secured a one o’clock appointment with Leslie.

This was my ticket to ride. Feeling confident that a woman would be kind and less wedded to the formalities of people taking the test that actually knew how to drive, I hung up the phone quite elated. Until it quickly dawned on me that in just two days, I actually had to drive and pass the test.

The boyfriend took me to the appointment in his cherry red Volkswagen van, proud of the fact that he could still drive it despite a broken starter and a snapped clutch cable. As he pulled over and idled in front of the examination office, he turned to me and incredulously asked, “So how are you possibly going to pass a driving test? You can’t drive for shit!” With more bravado than I was feeling I replied, “Because LESLIE is gonna LOVE me!”

An Unexpected Surprise

At that exact moment a red-faced, middle-aged man wearing a lime green polo shirt and khaki pants emerged from the building.

“Hey … I’m Leslie Lamar, y’all Swedish?” “I’m not,” the boyfriend responded tersely, putting his van in gear, anxious to get out of there.

“Uh…Krakën ost blinken daag,” I spewed out, hoping it sounded like a Swedish goodbye. As the boyfriend drove away, I noticed the back of his head twisting left to right like a bobble head doll.

Leslie Lamar’s breath smelled of spearmint and bourbon. We got in a Cutlass Supreme the color of root beer Lifesavers, me in the driver’s seat and Leslie right next to me on the passenger side with one hand firmly secured on his own brake.

He began issuing commands and after a few minutes of abrupt lurches, dramatic braking, one erratic attempt at driving in reverse and a brief moment when the entire right side of the car was hung up on a yellow curb, my most dreaded moment arrived when Leslie said, “Darlin’, why don’t y’all parallel park now.”

Looking as terrified as I actually was by this point, I grabbed my crotch and blurted, “Tack Värsag klinken winken.”

A panicked Leslie asked, “Ladies room?”

“Ja! Ja!,” I said, pulling the car up to the office, slamming it in park and flying through the front door.

In the bathroom I had no plan whatsoever about what was to come next. I took my time splashing cool water on my face and washing my sweaty hands with bubble gum pink soap from a stainless-steel wall dispenser.

Thanks to the Swedish

When I emerged, Leslie was sitting in a mushroom-colored pleather chair with a stack of papers and a flask in front of him on a Formica table.

Clearly the driving test was over.

“Now I know thangs must be a little different over there in Sweden,” Leslie drawled, as he lifted a stamped document and handed it to me.

All I saw was the gold seal of the State of Mississippi and the word, passed.

Decades later, as the boyfriend — now husband said, I still can’t “drive for shit.” But my Swedish accent has steadily improved and should come in handy soon — I have to renew my license.

Story by Julia Platt Leonard
Photography by Tira Howard


Food by Juicy Foods 505
; Pastries by Mille French Bakery and Café
Flowers by Mini Falls Farm
Shot on location at Double DD Ranch

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