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SHEDDING LIGHT on Industrial Design Luminary BIRKIN Mad Lindsey Adelman T Immaculate JENNY ANTILL COMBUSTION R ecreate the glow of a Mexican chapel's altar with handmade candles from San Miguel. Artisans pour simple flaxen-hued paraffin over cotton wicks to form this delightfully primitive luminosity, which Watkins-Culver stocks in sizes from votives to chunky to tapers. From $10, at Watkins-Culver. Seth Vaughan If challenged, Glamorous by Jan Showers for Kyle Bunting we'd be hardpressed to suggest how Kyle Bunting might up his game. He's long been the undisputed master of decorative hide, partly because of his "any size, any shape, any color" mantra and his willingness to explore the materials' potential for rugs, walls, objects and upholstery. So, how does he raise the bar? By inviting decorating doyenne Jan Showers to put her own sophisticated stamp on the genre. The result is a capsule collection that bears the interior designer's unmistakable color savvy and pattern play. Six pillow styles include tonal stripes in mouth-watering shades of pink, split circles in watery turquoise or mocha medleys, and nesting squares that gradate from charcoal to butter yellow; the three rug designs are knockouts, but it's the latticed framework in ivory that has us truly floored. To the trade at David Sutherland; davidsutherlandshowroom.com. Amy Adams Fetish Méli-Mélo JENNY ANTILL JENNY ANTILL Watkins Culver FUNGI Hide & Chic I ndustrial designer Lindsey Adelman is best known for her series of branching lights and chandeliers. The creations evoke an industrial feel — evidenced by their oil-rubbed brass armatures — while remaining organic in nature. Her studio, founded in 2006, has become a favorite of high-profile designers and architects and counts designer Kelly Wearstler and architect Peter Marino among its clients. We spoke to Adelman, who recently opened a new space on Bond Street in Manhattan, about Design Week in New York and future plans. HOW DID LINDSEY ADELMAN STUDIO BEGIN? I took a break from the design world entirely to have my baby boy nine years ago. I really thought I was through with a design career, actually. Then I was invited to be part of an exhibition when Finn was about two. I realized I had a couple of ideas in me that I was still eager to try. I made the first Bubble chandeliers, and people saw them, and people ordered them, and then before I knew it, I had a business. It turned out great, because I was really aware of the kind of process and studio I wanted to run. Slow design. Thoughtful. Enjoyable. Not too stressful. It's still pretty much that way. YOU RECENTLY OPENED A NEW SHOWROOM. WAS THIS IN THE WORKS FOR SOME TIME? It seemed like an obvious need for me to show our clients finished light fixtures that were plugged in somewhere. We were receiving studio visits five to 10 times per week, but all they saw was a really loud room with metal shavings and half-assembled armatures. It was hard to explain what they would be buying. I knew I didn't want a store. I knew I didn't want walk-ins. I wanted it to feel like I could hang anything in there to test the reaction. So that's what I found. I'm really lucky that an amazing private art dealer said yes to subletting his gallery — we get to live with all the Robert Rymans and Richard Serras every day. JOSEPH DE LEO yler Shields has a presence mesmerizing enough to encourage you to partake in his crazy daredevil photography. Pushing the boundaries of controversial pop culture through photography, video, performance art and movies, this is one seriously cool Californian. While hanging out at the Samuel Lynne Galleries, Dallas, for his exhibition "The Destruction of Glamour," Tyler shared details behind the creation of his large-scale, gravity-defying stunt photography. "I can't really say which is the most dangerous. So many of them were dangerous for other people, and a lot were dangerous for me," he says. "If you look at the X-ray photos, we got a little radiation poisoning from that; the firehouse fight was brutal because of the cold water blasting you in the face; dragging Quint [aka Zachary Quinto] behind a truck on a gravel road was tough for him (not as much for me); but the most painful to watch was Connor Paolo punching Nick Wechsler in the face." Showcasing American culture through celebrities, glamour and the destructive behavior exhibited by the young Hollywood elite set, Shields was thrust into the media limelight after capturing the destruction of a $100,000 Hermès Birkin by Clint Eastwood's daughter Francesca, who ravaged the bag with a chainsaw — both received death threats, and hate mail ensued. Shields is closely associated with actors Mischa Barton, Heather Morris, Lindsay Lohan, Ashley Greene, Scott Patterson and The Hunger Games' Wes Bentley, who appeared in Shields' feature-length film Final Girl with Abigail Breslin. Now Shields is about to launch his latest project. "I just finished my new film Outlaw, which I am most proud of. The work we did on this movie is insane. Some of the shots in the film are the craziest shots I have ever done." In November, he published his first photography book, The Dirty Side of Glamour (Harper Collins), with a foreword by actress Emma Roberts and Francesca Eastwood. The hardcover tome features his "Suspense" and "Chromatic" series of work, along with images of Lindsay Lohan's "prostitute" shoot. $25, at area booksellers and amazon.com. Max Trowbridge BY STEVEN HEMPEL. ICFF/DESIGN WEEK IN NY. IT'S HAS HAD ITS UPS AND DOWNS. I PERSONALLY CAME AWAY FEELING POSITIVE ABOUT THE SHOW AND THE OTHER EXHIBITIONS IN TOWN THAT WEEK. DO YOU FEEL IT'S ON A REBOUND? I guess it always feels the same level to me, just in different ways. This year, my favorite pieces were the new Daydream mirrors by Jason Miller and the beer lounge at the Bowery Hotel by Fort Standard. ANY COLLABORATIONS WITH ARTISTS OR DESIGNERS? I adore working with my close friend, glass artist Nancy Callan. She is a powerhouse full of grace, and it is reflected in her work. We're making new work now for a show in October. UPCOMING PROJECTS? We're doing a large-scale lighting installation with glass pods suspended by a network of branching aircraft cable in a beautiful mansion uptown for Tamara Mellon and Michael Ovits. Who could complain about sharing the space with six Warhols. ANY TEXAS ROOTS? I wish. That sounds so much cooler than Westchester, NY. No — just a Marfa-trip dream. M ushrooms are having a moment. At Méli-Mélo, owner Gina Liuzza, offers stunning hand-cast French knife rests rendered in white-glazed ceramic and fashioned into morels, oyster, porcini, abalone and chanterelles. Not only would they delight on the dining table, but they'd look marvelous under a cloche bell on a side table. At Watkins Culver, rustic 1930s Flemish cement 'shrooms carry the day. Call us mushroom marauder, but we can't get enough. Set of six glazed ceramic knife rests $78, at Méli-Mélo; assorted cement mushrooms from $695, at Watkins Culver Antiques. Seth Vaughan