The Frick Museum Is Opening its Very First Restaurant in 89 Years
The Frick Collection is opening its new museum restaurant this week. Westmoreland will open on the Upper East Side at 1 East 70th Street, near Fifth Avenue, on the second floor starting on Friday, June 6.
The Danny Meyer-founded Union Square Events is running the cafe and bar, led by chef Skyllar Hughes, who had most recently been at Italian restaurant Ci Siamo. This means an initial American menu with dishes like tuna nicoise, tagliatelle pomodoro, club sandwiches, and strawberry tarts, alongside baked goods such as croissants and kale-ricotta scones. Drinks include American and European wines, nonalcoholic options, and cocktails that are inspired by the museum's video and book Cocktails With a Curator .
The 50-seat restaurant is open to people visiting the museum only; day-of reservations have to be made in person by visitors with tickets or museum members. It's part of the museum's overall renovations, which debuted back in April. The name comes from the Frick family's private train car that they used to travel across the Northeast in the 1900s. Union Square Events is also opening a restaurant, Babette, within the forthcoming members-only club Moss. Details on PDT co-owner's other new bar
Iconic East Village speakeasy Please Don't Tell co-owner Jeff Bell is in the middle of opening a three-part dining-and-drinking complex in the West Village. There's going to be an agave bar, Mixteca, and the first East Coast location of famed Los Angeles taqueria Tacos 1986. There's also going to be a new cocktail bar evoking the glamorous post-Prohibition nightclubs of New York, as reported by Substack the Mix. Kees will open at 1 Cornelia Street, at West Fourth Street, in the fall.
Bell tells the newsletter that he wants Kees to work as a 'special occasion place' that 'capture[s] the essence' of places like the Stork Club and El Morroco. The basement bar will be able to fit 55 people (with a 12-seat bar). It'll serve classic cocktails and other iterations. There will be wine by sommelier Dustin Wilson and food. The bar's name had been a nickname for Cornelius, who had been one of Bell's relatives who came from Holland to New York in the 1600s. It also works as a play on the word 'key' and 'seek.' Berlin Korean fried chicken pop-up makes New York debut
A Korean fried chicken pop-up from Berlin is making its way into New York City this week. Eating Fantasy's pop-up is taking place in Bushwick at Orion Bar on Thursday, June 5, from 6 p.m. until everything is sold out. Chef Häran Kim, who started the pop-up in 2023, will serve Korean fried chicken with varying sauces.
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Time Business News
2 hours ago
- Time Business News
Masquerade Ball Dresses: The Art of Dressing for Disguise in the 18th and 19th Centuries
For centuries, few social occasions offered women the same freedom of expression as the masquerade ball. Wrapped in mystery, glittering in candlelight, and filled with playful intrigue, masquerades allowed guests to step beyond the rigid expectations of everyday society. At the heart of these grand events were the costumes themselves, and especially the Masquerade Ball Dresses that offered women a rare chance to blend historical fashion with personal fantasy. Though masquerade balls originated as part of Carnival traditions in Renaissance Italy, they became deeply woven into the social fabric of European aristocracy during the 18th and 19th centuries. Across grand palaces, ornate theaters, and exclusive private salons, they created temporary spaces where identity could be concealed, challenged, or reinvented entirely. The Setting: Where Fashion Met Fantasy Masquerade balls were elaborate affairs, often held in ornate venues filled with music, dancing, and lavish décor. They attracted royalty, nobility, and the wealthiest members of society who eagerly embraced the opportunity to wear costumes inspired by mythology, history, or faraway lands. The anonymity of the mask added an element of suspense, allowing participants to play roles they might never adopt in everyday life. While men might dress as kings, soldiers, or mythical creatures, women's costumes were particularly elaborate. For many, the creation of Masquerade Ball Dresses was an event in itself, blending courtly fashion with inventive themes and ornate details that set these garments apart from conventional eveningwear. offers a rich source of inspiration for those who wish to explore the artistry, elegance, and history of these extraordinary costumes. 18th Century Styles: The Height of Opulence During the 1700s, masquerade ball dresses reflected the extravagant tastes of the Rococo period. Silhouettes followed the prevailing court fashion but allowed for even more dramatic flourishes. Panniers widened skirts to breathtaking proportions, while luxurious fabrics like silk taffeta, velvet, and brocade shimmered in candlelight. Bodices were tightly fitted with low necklines, revealing the décolletage, while sleeves might be short, puffed, or layered with ruffles. Elaborate embroidery, metallic threads, and gemstone embellishments added depth and texture. Lace trims, satin ribbons, and artificial flowers brought even more dimension to the gown. Rather than simply replicating current fashion, many masquerade ball dresses drew from historical or theatrical references. Some women arrived dressed as classical goddesses, while others chose pastoral themes, dressing as shepherdesses or maidens from imagined pastoral landscapes. Exotic costumes inspired by Ottoman, Chinese, or Egyptian styles also became fashionable, reflecting Europe's fascination with distant cultures during this era. Victorian Interpretations: Formality Meets Imagination By the 19th century, as masquerade balls continued to evolve, the style of Masquerade Ball Dresses also shifted in step with Victorian fashion. While still elaborate, the silhouette changed dramatically. The massive side panniers of the previous century were replaced by crinolines in the 1850s and later by the bustle silhouette of the 1870s and 1880s. Victorian masquerade dresses maintained the tradition of elaborate embellishment, often featuring rich fabrics like satin, silk faille, and velvet, trimmed with lace, pearls, and intricate beading. However, these gowns often balanced fantasy with greater modesty in accordance with Victorian values. Necklines remained low but were typically framed with lace or tulle. Sleeves varied from fitted long styles to dramatic puffed shapes, depending on the period. Themes continued to draw from history and mythology, but Victorian masquerades also reflected growing interest in literary characters, medieval revivalism, and romanticized historical periods. For women attending these events, the opportunity to temporarily embody queens, fairies, historical heroines, or mythological figures offered a rare chance to play with identity while remaining within socially acceptable boundaries. The Mask: Essential Symbol of the Masquerade While the gowns themselves were extraordinary, the mask was equally central to the masquerade experience. Women often wore delicate eye masks made of lace, silk, or papier-mâché, sometimes decorated with feathers, sequins, or tiny jewels. The mask's ability to obscure one's face without fully hiding one's identity offered a subtle thrill. It created a charged atmosphere where whispered conversations, bold flirtations, and carefully veiled observations became part of the night's entertainment. 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The Decline and Legacy of the Masquerade By the turn of the 20th century, the popularity of formal masquerade balls declined as social norms shifted and modern entertainment took new forms. Yet the fascination with masquerades and their opulent costumes endures to this day. Vintage fashion enthusiasts, historical reenactors, and costume designers continue to draw inspiration from these extraordinary events. The Masquerade Ball Dress remains a symbol of artistic freedom within the constraints of rigid social structures, where creativity and craftsmanship allowed individuals to momentarily step into another world. Final Thoughts: Dressing for Imagination Masquerade balls offered more than a chance to dance. They provided an opportunity to blur the lines between reality and fantasy, allowing women to inhabit identities that might otherwise remain inaccessible. The dresses worn to these events stand as rich historical artifacts, revealing not only the evolving aesthetics of fashion but also the enduring human desire for transformation, mystery, and playful disguise. At the legacy of historical costuming continues to inspire. The timeless appeal of masquerade ball gowns reminds us that fashion, at its most enchanting, offers a portal to worlds of elegance, creativity, and endless imagination. TIME BUSINESS NEWS
Buzz Feed
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I'm Here To Tell You The Shibumi Is Actually Worth It
You've probably seen 'em before, those weird flapping tent-like things all over the beach. Seriously, it seems like one year I went on vacation and had never heard of it, and the next year there were dozens all over the place. The Shibumi is taking the world by storm. I thought it was a gimmick, but once my mom got it and set it up, I realized it's actually a game changer. There's a reason these are so popular — they provide up to 150 square feet of shade (aka can fit about 4–6 people), are made from 40% recycled bottles, and have UPF 50+ protection! Personally, I think the most impressive thing about this shade is how compact it is. The entire thing fits into a small bag that you can carry on your shoulder, which is ideal for anyone who has to travel to get to the beach. No more lugging giant umbrellas around or having to buy a new one every time you go on vacation 'cause you can't take them on the plane. Imagine walking out to the beach with your kiddos, all your gear, AND a gigantic, awkwardly-shaped umbrella. Not anymore! This whole thing literally weighs 4 POUNDS!! A shade that hardly weighs anything and provides enough coverage for a whole family is a game changer. You can literally pack this up in a suitcase, or toss it in the trunk without worrying about how you're gonna fit the rest of your luggage in the car. You can just fling it over your shoulder and you're good to go. You can honestly even have one of the kids carry it, it's that light. Now that you've gotten down to the sand with your new shade you may find yourself wondering, "How am I going to set this up? Do I need someone to help me?" And I'm here to tell you, heck no, you don't! This is so easy, you can do it yourself. All you have to do is pull the pieces out of the bag, connect the bar together, put the canopy on, plant the ends into the sand to make a rainbow shape, and fill the bag with sand to be a counter balance. Then the wind takes over, lifts the canopy, and voila! You have a cool, refreshing area of shade! And if my testimonial isn't enough, and the beach full of 'em on your vacay aren't enough to convince you, check out what these reviewers are saying. "The Shibumi Shade is worth every penny. It is light to carry, easy to set up, and covers a good amount of surface area on the sand. It definitely takes the cake on any beach day, even with the lightest wind. Bright color quality, too!" —T"This thing is fantastic! Light, durable, large enough to comfortably shade four or more adults either sitting on beach chairs or spread out on beach towels and blankets. We were in 15–20 mph prevailing SE winds off the Atlantic Ocean in Ft. Lauderdale and the Shibumi performed perfectly. Took less than five minutes to set up and break down. It was like carrying a handkerchief in your back pocket it was so convenient. I've read some reviews about the free end flapping in the breeze as being too noisy. Well, if you're not upset with the flapping sound the American flag makes waving in the breeze, then you're going to love this product. I'm just mad at myself for not patenting and marketing it!! BTW — we were the only Shibumi in sight and we chuckled at the straining efforts and longer times it took others to set up their tents, canopies, flys, or umbrellas in the stiff breeze. If you love the beach and you want convenient shade anytime, anyplace, anywhere, and you don't own a Shibumi — tsk tsk. 😎" —Nick Miller"This thing is sweet. So simple and elegantly designed. After struggling with umbrellas and tents for years, this is a great item that functions well. It's super compact when you pack it up. Easy for one person to assemble in the wind. As an authentic Florida man, I am somewhat saddened that this item was not created in Florida by a fellow Florida man. This is a quality product made from durable materials and functions like it's supposed to. I wish this thing was invented 25 years ago and I got one back then. I would probably be happier, 15 pound lighter, 20 IQ points smarter, and a lot wealthier. This product has improved all aspects of my life." —Clay Montgomery If you only need shade for one or two people, check out the mini version! This bad boy is all the goodness, but smaller (aka 2 pounds!!) and so super easy to travel with. So, if you're sick of lugging around awkwardly shaped umbrellas, spending wayyy too long trying to set up those elaborate tents, or roasting in the sun 'cause you've given up on shade, this is THE product for you. There's a reason you see them all over the beach. The Shibumi is an absolute game changer and your beach vacation has never been better. Get the Shibumi from Amazon for $295 (or grab the mini version for $215).
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It's been 50 years since American movies, and a boy's life, changed forever. ' Jaws ' was released on June 20, 1975, a seismic event in moviegoing. Few films can be said to have changed cinema, but Steven Spielberg's early masterpiece is one. With an unprecedented marketing campaign, an unusually wide initial release and crowds packing showings from its opening weekend, the shark thriller literally invented the summer blockbuster season. It also happened to be the first 'adult' movie I ever saw in a theater. At age 9 and growing up in Indianapolis, I might have been too young to see it; my sister Kristin, four years younger, certainly was. Before 'Jaws,' the only films we'd seen in theaters were Disney-type fare. Perhaps our parents couldn't get a babysitter, or maybe they didn't care. Like the rest of America, they wanted to be where the action was. I likely would have fallen in love with movies anyway at some point, but you could connect the dots directly from that viewing to this column, the latest in a career spent in the dark. If it hadn't been then, it likely would have been in 1977, when the summer movie season became a full-blown phenomenon. Of course, there was George Lucas' ' Star Wars,' which 11-year-old me saw seven times, but there was also the 'Jaws'-inspired 'The Deep,' the Burt Reynolds car chase action comedy 'Smokey and the Bandit' and the James Bond film 'The Spy Who Loved Me.' I could go on: 'Grease' and 'Revenge of the Pink Panther' in 1978; 'Alien' and 'Moonraker' in 1979; 'The Empire Strikes Back' and 'Airplane!' in 1980. You get the idea — I saw them all. In 1981, at age 15, I broadened my horizons. I spent the summer watching the Spielberg-Lucas 'Raiders of the Lost Ark,' fantasy films 'Time Bandits' and 'Clash of the Titans' as well as the box office bomb 'Megaforce,' a terrible action movie starring Barry Bostwick that for some reason sticks in my mind to this day. In the fall, I ventured into more sophisticated fare, what we'd call Oscar bait today. 'Chariots of Fire,' the eventual best picture winner; then 'Reds,' 'Ragtime' and many others. By college I was consuming the French New Wave and film noir, and the rest is personal history. However, the summer box office season of big scale adventures, eye-popping special effects, jump scares and belly laughs still holds an allure for me after all these years. I'm obviously not alone; the recent Memorial Day box-office weekend, led by ' Lilo & Stitch ' and ' Mission: Impossible — The Final Reckoning,' was the best ever for that holiday. This summer is shaping up to be the best since at least 2019, the last before the pandemic. Spielberg calls such genre movies 'films of imagination,' although one has to say that character-driven comedies and dramas from 'Casablanca' to ' Anora ' are also imaginative, but I know what he means. Science fiction and action films have a way of transporting the viewer into another realm — alternate universes, if you will — more than conventional comedies or dramas do. Yet, what is the future of the summer movie season? Despite its current viability, home viewing habits in general and higher movie theater ticket prices present obstacles. The legacy of 'Jaws' has lasted 50 years. Will it last 60? I think so, but who knows. ' How to Train Your Dragon ' is going strong, Pixar's ' Elio ' and the zombie sequel ' 28 Years Later ' just opened to high expectations, and 'Jurassic Park Rebirth,' a new 'Superman' and 'The Fantastic Four: First Steps' loom. Still, few of these movies reach the sublime level of 'Jaws,' which is quite simply not just the greatest summer movie, but one of the best suspense films ever made, not only in its visual splendor and memorable performances, but also the character-driven script by Carl Gottlieb and Peter Benchley from Benchley's novel, Verna Fields' kinetic editing and John Williams' legendary score. Its troubled production, mainly stemming from the fact that the mechanical shark often didn't work properly, is the stuff of legend. Spielberg, then only 27, had to invent on the fly. With the shark, nicknamed Bruce, unavailable much of the time, scenes with humans became more important. With its brooding battle of wills, Robert Shaw's classic USS Indianapolis monologue and a clash between civilization and the elements, 'Jaws' became the '70s version of 'Moby Dick,' a man vs. nature parable that was almost operatic in its humans' obsession with the destruction of an unstoppable predator.
