What’s Happening: Humberto Leon unearthed a trove of photographs that Spike Jonze shot of Björk one day before filming her video for “It’s Oh So Quiet,” but shelved and never revisited. Three decades later, they’re going on view at Leon’s L.A. gallery for the first time.

The Download: Humberto Leon was a sophomore at UC Berkeley when he first caught the video for Björk’s 1995 hit single “It’s Oh So Quiet” on MTV. “It changed my life,” the designer and Opening Ceremony founder says. “I remember like it happened yesterday. It was so happy and joyful, yet weird and strange—everything I love in one.” Shot by filmmaker Spike Jonze in the San Fernando Valley as an homage to Technicolor musicals, the video perfectly matches the song’s quirky effervescence and abrupt transitions between gentle verses and brassy choruses with colorful, highly stylized visuals and theatrical choreography. Nearly three decades later, it remains the Icelandic musician’s biggest hit, thanks in large part to its constant rotation on MTV.

Few may know that Jonze, then 25 but already a seasoned director for the likes of Fatboy Slim, Dinosaur Jr, and the Beastie Boys, only met Björk the day before. The now-defunct Detour Magazine asked if he could shoot photos of her at Chateau Marmont for an interview. “We just went down to the pool and shot photos in the pool for two hours,” Jonze recalls, “It wasn’t a big production in any way. She was just roaming around the Chateau.” Thousands of photos were taken, but only six were published. Still, they became classics in the Björk canon, wonderfully capturing the spellbinding slyness that would catapult her to stardom with the album Post. Jonze shelved the outtakes and never revisited them until recently, when Leon—a friend and collaborator—unearthed them while helping organize his archives.

“When I came across these photos at Spike’s, I knew they were special and needed to be seen,” Leon says. So he organized and curated an exhibition of more than 25 previously unseen images from the photoshoot that opened yesterday at Arroz & Fun, his Los Angeles restaurant and gallery space. Presented with the support of WeTransfer, the show includes photographs, contact sheets, and a zine featuring a conversation between Leon and Jonze. Devoted Björk fans would be wise to read closely—Jonze reflects not only on how the video came together, but his experience capturing the enigmatic artist’s mesmeric mythos as she was entering her prime. Their friendship has remained constant since: “She’s this Icelandic punk who probably can drink a lot more vodka than, well… definitely can drink a lot more vodka than I could.”

In Their Own Words: “Many of these images, and the physical zine, can only be seen at the exhibition,” Leon tells Surface. “The digital nature of things is so easy today, but I really want people to feel the sense of discovery I felt when I uncovered these photos at Spike’s house, or when they opened that issue of Detour back in the day.”

Surface Says: We’re just impressed that Jonze pulled off a photoshoot at Chateau Marmont without any celebrity cameos.

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Mexico’s Riviera Maya has its share of accommodations both swaggering and rustic, but its latest, Belmond’s Maroma hotel, deftly navigates the space between. The hacienda-style architecture lends the space home-like charm as do its locally sourced artisan wares, courtesy of Tara Bernerd’s well-honed eye. One might say her team took a ground-up approach. More than 700,000 geometric hand-painted tiles by ceramist José Noé Suro cover the floors of guest rooms; hand-carved timber furnishings and armoires adorn the walls, blown glass from Max Kublailan, a repeat collaborator of proprietor Belmond, sets interiors aglow. Rattan, seagrass, and hand-glazed mosaic tiles carry the accommodations’ effusive warmth through to the common areas and create an environment that feels almost like home—but better.

Even though Gallery Fumi has long been a regular on the international fair circuit, the British stronghold of collectible design was itching to shake things up. The gallery had never committed to presenting a major exhibition in the United States, but that quickly changed when founders Sam Pratt and Valerio Capo visited Sized Studio, the burgeoning hub of art and design in the heart of Melrose Hill. They found affinities not only between Gallery Fumi’s repertoire of bold-faced talents and California’s growing collectible design market, but the community that Sized founder Alexander May was cultivating through partnerships with HypeArt, Clarke & Reilly, and Carpenters Workshop Gallery. Pratt and Capo were eager to get involved.

That led to Gallery Fumi unveiling its inaugural stateside exhibition at Sized earlier this month. The six-week-long showcase features a fresh collection of standout pieces that capture the blend of beautiful, provocative, refined, and offbeat that has cemented Fumi’s fruitful outings at marquee fairs like Design Miami and Salon Art+Design, but scaled up. There’s no shortage of compelling pieces on display, but the magic lies in the dialogues that ensue when they share space. The Spanish artist Saelia Aparicio’s powerful Esfinge Absorta room divider, shaped like a curled-up woman, assumes monumental form when placed next to petite plywood tables in the same language. Ditto for American ceramic artist Jeremy Anderson’s large-scale chandelier installation that beckons a closer look at his like-minded lamps and playful Piccolo vases.

Paris Fashion Week may not kick off for another ten days, but McQueen’s latest creative director Seán McGirr managed to get the last word as New York Fashion Week drew to a close. Ahead of his inaugural collection’s debut, McGirr snapped bleary-eyed editors to attention with a spooky snapshot of McQueen’s new era: a new logo, truncated name, and a first look at the house’s direction under his stewardship with a campaign teaser. In it, two masked models perch imposingly in a secluded forest as photographed by Tommy Malekoff.

Most fashion houses, hot on the heels of a rebrand, lean heavily on a coterie of celebrity “ambassadors” for their first look campaigns. Instead, McGirr enlisted two faces best equipped to keep the focus squarely on the clothes: veteran models Debra Shaw and Frankie Rayder. Both are longtime friends of the brand, so much so that Shaw played a pivotal role in the 2018 McQueen documentary. Together, Shaw, Rayder, and the skull masks they don anchor the house’s new era to its origins. So too do the clothes: leading with a strong tailoring moment nods to founder Lee Alexander McQueen’s Savile Row origins.

Our weekly roundup of the internet’s most preposterous headlines, from the outrageous to the outright bizarre.

His Best Friend Was a 250-Pound Warthog. One Day, It Decided to Kill Him. [Texas Monthly]

A Single Pregnant Stingray Hasn’t Been Around a Male Ray in 8 Years. Now Many Wonder If a Shark Is the Father. [CBS]

“Extraordinarily Misguided” Man Put Pythons in Pants, Boarded Bus to U.S., Attorney Says [Miami Herald]

Boston Airport Dog Sniffs Out Mummified Monkeys in Passenger’s Luggage [HuffPost]

“What Do You Mean, the Tower Is Gone?” Thieves Steal 200-Foot Structure From Alabama Radio Station [The Guardian]

I’m Eating Raw Chicken Every Day for 100 Days—or Until I’m Hospitalized [New York Post]

Cybertruck Owners Say They’re Already Rusting [Futurism]

By exploring the tapestry of our daily lives and domestic rituals, the newly formed studio between designers Max André and Jordan Jacob strives to enhance the aesthetics of home through meticulously crafted objects whose subtle, poetic details contribute to a sense of sanctuary. Their inaugural collection of metallic accessories embodies that idea, particularly a freestanding human-size vase envisioned as an homage to the punctured canvases of Lucio Fontana, but they plan to delve deeper into that approach by applying it to furniture.

Kimy Gringoire is bringing her multidisciplinary talents to the intersection of fine jewelry and her budding incursions into art and collectible furniture. With Big LoveCables, she finds a new way to explore—or in her words, “exhaust”—a recurring symbol in her jewelry collections: the heart. Gringoire’s modular 3-D murals and sculptures reduce the heart to its most basic forms: cheeks, grooves, points, and curves that abstract the shape and allow the viewer a true moment of discovery. Red metallic paint imparts passion and exuberance to the pieces, which can be installed as cables that evoke pulsing arteries, wall art, or, if you dare, seating. From $2,366

HUSH designs experiences for the world’s most dynamic organizations. The firm seeks to create a world in which people and communities are more inspired, achieve greater knowledge and understanding, and have a deeper engagement with their own environment.

Surface Says: HUSH isn’t afraid to think big, so it’s no wonder that they’re sought out for their ability to turn ideas into full-scale, immersive experiences.

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