In the 1950s, after David Hicks served in the British Army and drew cereal boxes for an advertising agency, he turned to interior design. Known for combining bright colors and geometric patterns, Hicks had an irreverent design sensibility that gained the attention of British aristocrats—he designed carpets for Windsor Castle and decorated King Charle’s first Buckingham Palace apartment—society staples (see: Vidal Sassoon), and even Stanley Kubrick, who tapped Hicks to make carpets for several of his films. Cabana magazine has teamed up with Hicks’s son, Ashley, to launch a colorful collection of tableware, glassware, and tablecloths. Should you need further interior-design inspiration, or want to add color to more than just your table, Cabana has also released a limited-edition portfolio of Hicks’s work, written and edited by Ashley and with a foreword by Tory Burch. (from $45, cabanamagazine.com) —Jensen Davis

“Wool underwear” does not sound especially appealing. But what about “merino underpinnings”? Such is the mission of Chosenwoven, a new collection of zero-waste lingerie made from mesh-knit merino wool. Naturally temperature-regulating, it wicks away moisture and molds to the shape of the body. Best of all, it is free of the synthetic fibers and micro-plastics (!) that are so often found in bras and underwear. Importantly, it looks and feels great enough to wear lounging around the house and represents an important step away from the buy-wear-and-trash ethos that has plagued the lingerie industry for decades. ($98, bra; $78, hi-waist panty) —Ashley Baker

The Miuccia/Raf combination has proved irresistible, which is why we can’t rest until at least something from Prada’s painterly spring-summer ’23 collection has safely arrived in our closet. After much internal debate and external discussion, it shall be this: the abstract-print midi skirt in a striking shade of red. Why this one when there are so many spectacular pieces to consider? Well, because Prada skirts are collectible. Because Prada skirts look equally good at Erewhon and Le Rock. Because Prada skirts look best with something that is pre-existing in the wardrobe (white button-up shirt, black knit sweater of some sort, and even a blush silk camisole, for evening). But also because this skirt is as close as we shall ever get to a Degas brushstroke brought to life. If that’s not enough, what is? ($2,500; farfetch.com) —Ashley Baker

Spring may be fast approaching, but should you wish to get a head start on your seasonal glow, turn to Hermès, which just debuted a subtly striking bronzer. Engraved with the Parisian house’s archival H Passant pattern, the semi-matte mineral powder contains illuminating pearls as well as protective hyaluronic acid and vitamin E. Its five warm shades, meanwhile, draw on natural landscapes far and wide, from Japanese dunes to the Moroccan desert. As for how to apply the complexion-enhancing formula? With a complimentary lacquered brush designed by Pierre Hardy and handmade in France, mais bien sûr. ($105, hermès.com) —Zoe Ruffner

It was a lovely curveball of a cover: sometimes, amid the glorious, oxygen-depleting rush of his early concerts, Elvis Costello would perform the Burt Bacharach–Hal David heartbreaker “I Just Don’t Know What to Do with Myself.” That ballad—along with Costello and Bacharach’s fine 1998 album, Painted from Memory, more recent (previously unreleased) collaborations, and additional rare live recordings—is included in the sumptuous new four-CD boxed set The Songs of Bacharach & Costello. Also within: evidence of an even earlier Costello-Bacharach intersection. In a photo taken at the 1963 Royal Variety Performance, which starred the Beatles and Marlene Dietrich, Costello’s dad—the band singer Ross MacManus—can be spotted standing near Dietrich’s young accompanist … one Burt Bacharach. Clearly, it was all meant to be. ($179.98, elviscostello.com) —George Kalogerakis

The Washington Color School, formed in the 1950s, brought together artists such as Morris Louis and Kenneth Noland, and briefly gave the nation’s capital a bohemian edge. At that time there was a cluster of women artists, less heralded, whose abstract paintings and sculptures stood in splashy contrast to their husbands’ careers as spies, diplomats, and bureaucrats. Sheila Isham, now 95, was one of the more talented and prolific. In 1950, fresh out of Bryn Mawr, she married Heyward Isham, a career diplomat, and in postings as varied and demanding as Berlin, Moscow, Paris, Hong Kong, and Haiti, she raised children and kept painting, agilely absorbing new cultures and spiritual themes into her work. This exhibition at Hollis Taggart showcases the massive abstract paintings, known as “Energy Fields,” that Isham made from 1968 to 1978. It’s a feast of light and dazzling color, and well worth a look. (hollistaggart.com) —Alessandra Stanley