See Inside The Restaurant Designed By Wes Anderson’s Set Decorator

Photograph by Liz Clayman.

Kris Moran shows us around Floyd Cardoz’s Bombay Bread Bar

Kris Moran is most comfortable behind the camera.

She attributes this to being camera shy, but, during the few hours I spend with her for this story, I come to realize that it's more because she is eternally preoccupied with capturing the perfectly framed shot. As NYLON's video team sets her up on a stool for the interview, Moran asks for trays to sit on so she can look taller in relation to the shot, gets up to move the tables behind her, and adjusts the camera angle so you can see more of the space she's showcasing. "If you show me anything, I will comment on it," she says when someone alerts us that we're low on time, "so just don't show me anything anymore!" It's that laser-focused attention to the most minuscule detail that has led Moran to become the similarly aesthetically obsessed director Wes Anderson's go-to set decorator. 

If you've seen films like Moonrise Kingdom, The Darjeeling Limited, and The Life Aquatic with Steve Zissou, as well as films like Noah Baumbach's While We're Young and The Meyerowitz Stories, or indie darling Begin Again, you know what I am talking about: the lovingly selected retro mementos and odd trinkets that add nostalgic warmth to every shot, the perfect shade of blue wallpaper or carpeting centering its characters, and the plaid and floral upholstery that looks borrowed from your grandmother's basement in the best possible way. It's that incredible ability to make kitsch look modern, and clutter appear visually exciting that has made Moran the film industry's best secret weapon.

Moran has a signature style, and so she is not looking to reinvent the wheel with each new project (and she has many: most recently, she worked on Barry Jenkins' upcoming James Baldwin adaptation). So when four-time James Beard Award nominee, chef Floyd Cardoz, who had loved Moran's work on The Darjeeling Limited, cold-called her to design his new restaurant, The Bombay Bread Bar, she wasn't sure if she would take the job. "In the beginning, I thought that they just saw a Wes Anderson-themed restaurant, and I was kind of like... [sighs dramatically]," she tells me. "To make something that's derivative of him, I didn't feel very comfortable with it. It's kind of like selling out on Wes's thing, you know? It's not my thing. Like, I work for Wes." But as soon as she got to know Cardoz, Moran realized that the film was just his starting vision and not something that he wanted to actually imitate. "The whole idea and concept of the restaurant changed the more I got to know Floyd," she says. "I got on board and just sort of tried to make this train for him."

As Moran started interacting with the Indian-American chef, Cardoz inspired her with stories about his heritage and childhood, as well as his dishes that serve as love letters to India—the same ones beloved by judges of Season 3 Top Chef Masters (which, spoiler alert, he won). These inspirations can be seen in, for example, Moran's choice of vibrant oilcloth table coverings, one of Floyd's strongest visual memories: “Those tablecloths was something that Floyd was excited about from his childhood. That’s what his auntie had at her table, and it was what all the cafes had when he was a kid in India." When Moran suggested they cover the bathroom wall with a collage of vintage Indian matchbox prints, Floyd was excited, distinctly remembering the designs from his youth. "Before we started, I would be walking around with paint chips, and Floyd would come in before work time for him, and he would just talk about his mother and his family house in India," she says. "I sort of got to hear his heartstrings about India, and he showed me pictures, so I just felt like this is his house, and I kind of couldn't help but really weave it in along with all his other hopes and dreams. I felt like I had a responsibility to represent this properly."

Considering herself only "a small cog in this giant machine," Moran wanted to incorporate other artists into the design process. She recruited Maria Qamar and Moshtari Hilal, amongst others, for the many art pieces adorning the space, like a floor-to-ceiling mural featuring a crying woman and man on a fire engine-red wall; a hallway featuring 80 stylized pink portraits, including one of Floyd, that Moran arranged over a chartreuse green wallpaper; and a tiger painted over an open wood-fire oven. Moran says that one of her favorite parts was discovering up-and-coming talent. "The younger Indian women artists that I looked around for—they are so incredible. It seems trifling for me to talk about them in this way, but, from the outside looking in, because I haven’t noticed it before, there are so many of them. And they are doing this amazing, strong, feminist, outspoken work, and they’re just beautiful and strong and embracing their qualities…," she says. "That was a fun journey for me to embark on."

Moran says, aside from the quick turnaround—she had less than a week to design the restaurant before it opened to the public—the process was not unlike designing a film set. "You have the character, which is Floyd, and then the subplot, which was that he wanted people to enjoy the food—he's like, 'I wanna have a place where people can feel good and be happy and wanna come and enjoy themselves and enjoy the food'—and then you have this restaurant structure, which is the set. Films are escapism, this restaurant is like escapism." Moran says. "It's like at the end of a Wes movie—you always have that amazing feeling, you get the song, you get the slo-mo, and you feel really good. That is what I was trying to bring here."

Take a tour of The Bombay Bread Bar with Moran, above, and learn more about the design details in the gallery, below.

Camera: Dani Okon and Charlotte Prager
Editor: Dani Okon
Producer: Maura Gaughan

Moral relied heavily on a saturated color palette of blues, reds, and pinks and mismatched prints. She commissioned an artist to create a portrait of Shah Jahan, who famously built the Taj Mahal, and hung portraits of men in suits, topped with animal heads, as nods to India's calling cards that "photographers" employed in the 1800s.

Screenshot via Youtube

While the song should serve as a reminder to your exes

Just a day after dropping new single "Nunya," featuring Dom Kennedy, Kehlani has released the winter-wonderland visuals to go along with. The singer, NYLON November cover star, and mother-to-be rocks some of the best winter 'fits I've seen in a while, including a glorious puffer jacket that could double as a down comforter that I absolutely need in my life right now.

Kehlani is clearly living her best life up in some snow-filled forest hideaway, vibing on the beach at sunset and sipping on something bubbly as she coolly reminds nosy exes that who she's with is "nunya business." There's not much of a story line (unlike her recent "Nights Like This" video); the main takeaway is that Kehlani is busy dancing through a forest, missing no one and chilling amongst people who are clearly not the subjects of the song.

Kehlani is only two short months away from bringing baby Adeya into the world, who she thanked for helping her get through the video process. "Shot that 7 months pregnant in da snow..." Kehlani wrote on Twitter, adding, "thank u baby for da motivation, mommy was FROZE."

Even from the womb, Adeya has been hustling hard alongside her momma. Twitter user @ODtheMC pointed out that this is already her second music video appearance, and she's not even been born.

Get some mulled wine ready and escape into Kehlani's winter getaway, below. Stay tuned for her forthcoming mixtape, While We Wait, out on February 22.

Kehlani - Nunya (feat. Dom Kennedy) [Official Music Video]



Photo by Alberto E. Rodriguez / Getty Images.

As in Black Panther Political Party leader

It's been a running joke that the Black parents/grandparents of millennials were really confused about all of the Black Panther hoopla ahead of its 2018 release. Many of them were anticipating a movie about members of the Black Panther Political Party and didn't know who the hell T'Challa was. Well, those people are about to have their moment, and we're about to have another one.

Variety is reporting that Fred Hampton, the Black Panther leader at the center of the upcoming biopic Jesus Was My Homeboy, could be played by none other than Daniel Kaluuya. Apparently, he is in negotiations for the role. And he's not the only Black Panther alum in the mix. The Warner Bros. project is being produced by Black Panther director, Ryan Coogler. The same article reports that the forever swoon-worthy Lakeith Stanfield—who appeared with Kaluuya in Jordan Peele's Get Out—is also in negotiations, to play William O'Neal, an FBI informant who infiltrated the Black Panther Party.

Coogler and Charles King are putting together a dream cast to tell a difficult story. Hampton was killed by the Chicago Police Department, while his pregnant girlfriend lay next to him, thanks in part to information they received from O'Neal. Whenever it's out, I strongly recommend having Black Panther queued up as a palate cleanser.