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Annabel Graham

@annabelgraham

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⚡️ editor in chief @thepanafold
🏹 co-founder @somethingsomethingseries
✍️ words @vanityfair, @wsjmag, @wmag etc
🎞 occasional fotos @annabelgrahamphoto
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COVER REVEAL 🌾 we’re thrilled to share our official Issue 07 | Fall 2026 cover: @chriskallmyer sits beside a listening system he designed and built from Douglas fir, walnut, and redwood in the field behind his Petaluma studio. Chris is profiled in the issue by @deborahdbishop 🍁 📷: @sailortwitch Issue 07 begins arriving in mailboxes in early October 🍂 subscribe at thepanafold.com to secure your limited-edition copy 💫 taken in Petaluma, California by @annabelgraham
11
6 days ago
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Issue 07 is almost here & we can’t wait to share it with you 🌿 secure your limited-edition copy, only in print, by subscribing at thepanafold.com ✨ background image: lush landscaping by Mia Lehrer and @studio_mla at the new @lucasmuseum in South Central Los Angeles, 📷: @connorrancan 🌱 by @annabelgraham
4
8 days ago
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cosplayed as the 💃🏼 emoji to celebrate @ellie_ander & @trevames’ magical union 🌹✨ 📷: @alisajjane taken in 1880 Union Hotel by @annabelgraham
3
8 days ago
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Last Call on Issue 06 ⏳ less than ten copies left! Subscribe by 11:59pm PST today, Wednesday, 9/16 to secure your limited-edition copy ⚡️ for current subscribers: if your mailing address has changed, please be sure to update it to ensure that Issue 07 finds you safely in early October 📬 ✨ by @annabelgraham
1
13 days ago
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some things have changed since we lived together in a tiny walk-up on St Marks Place in 2009 and some… have not 🪽 🔩 🍸 🎞️ 👯‍♀️ taken in Vidiots by @annabelgraham
3
15 days ago
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It’s the thirteen-year anniversary of my dad’s death. Strange, writing that sentence. This morning I went through the few hard-copy photos I still have after the fire and pulled out this snapshot. It was taken in December 1963. My father was thirty-seven, just a few months older than me. He had a divorce under his belt, a child, a second marriage, another child on the way. He owned a house in Topanga Canyon, a sailboat. It strikes me how adult this all seems, how much older thirty-seven was in 1963—but also how much my father had yet to experience after this photo was taken. It would be twenty-six years before I was born. A whole other life, then. I’ve never before felt called to make an altar, but this morning, almost instinctively, I did. I placed the photograph on my mantle, the first design detail that drew me to this rickety old bungalow in Beachwood Canyon, and in front of it I set the few mementos I have left: his monogrammed Swiss Army knife, his New York Yacht Club pin, a pair of his cufflinks that I still wear occasionally. I lit one of my Takazawa candles and stood there studying my father’s gaze behind his horn-rimmed glasses, his faintly knitted brow. I could feel the salt wind on his cheek and in his dandelion-puff hair, rippling his navy windbreaker. Like pressing on a bruise. Amid the grief there was gratitude. I have had an extraordinarily beautiful life, and I’ve watched many aspects of that life crumble, shatter, burn—quite literally—before my eyes. Loss comes for us all. It has come for me earlier and more often than I’d like. I can only hope there is some usefulness in this, that perhaps it has endowed me with some greater capacity to sit beside others in their pain. What is there to say? I loved my father, and I miss him, and at times it feels unthinkable that I lost him so early, that he never witnessed any milestones past my college graduation. That the house where he and my mother raised me is now a flattened lot, a few charred trees, all those books and paintings and photographs and copper pots gone. But to have had any of it at all, ever, is an immense gift. I love you, Dad. The most, the most, the most. by @annabelgraham
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16 days ago
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Photographs of Palm Springs modernist architecture are, for the most part, inextricable from the idea of sunlight. Think of Slim Aarons’ iconic Poolside Gossip (1970), in which two meticulously groomed blonde women, backs to the camera, faces caught in mid-sentence profile, recline on chaise lounges beside a turquoise swimming pool that stretches toward Richard Neutra’s Kaufmann House and, beyond it, the San Jacinto mountains, purpling at golden hour. Pops of saturated yellow—a two-piece set and matching sandals, a scalloped patio umbrella at the pool’s opposite end, the curved edge of a loveseat just visible behind the nearest sliding glass door—draw the eye pleasingly around the composition, but the photograph is governed above all by the radiant clarity of desert light, a light that somehow both sharpens and softens, imbuing the scene with cinematic intensity. It’s this familiar, sunsoaked visual dialect that Mexico City-based queer artist duo @lakeverea disrupts in DarkRooms and Other Games, on view through September 13 at @psartmuseum. Throughout the mostly-analog photographs that make up the exhibition, modernist landmarks like the aforementioned Kaufmann House, Wilson & Webster’s Ship of the Desert, and Albert Frey’s hillside Frey House II drift in and out of visibility, whether under full moonlight, filtered through reflection and shadow, or partially obscured from view. The artists themselves—Francisca Rivero-Lake and Carla Verea, who have collaborated since 2005 as Lake Verea—appear in many of the photographs, introducing a sense of movement and human presence into spaces so often rendered as inert, pristine design objects… continued on page 126 of Issue 06, only in print 🌞 ✍️: @annabelgraham 📷: @lakeverea read the full article by subscribing at thepanafold.com/subscribe (or by visiting one of our stockists, listed at thepanafold.com/stockists) ✨ taken in Palm Springs, California by @annabelgraham
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21 days ago
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new stream of consciousness up on substack with some recommendations inside 🐚 by @annabelgraham
0
a month ago
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some summer things ☀️ by @annabelgraham
3
a month ago
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standing in while shooting @communedesign at their dreamy LA studio for @thepanafold issue 07 and @justinchung casually snapped my (completely unplanned) new headshot ✨ taken in Los Angeles, California by @annabelgraham
22
a month ago
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The painter Arshile Gorky, whose enigmatic abstractions bridged Surrealism and Abstract Expressionism, is rarely associated with California. Yet a road trip from New York to Los Angeles during the summer of 1941 marked a pivotal moment in both his life and oeuvre. Gorky, his soon-to-be wife Agnes “Mougouch” Magruder, and the sculptor Isamu Noguchi packed into the latter’s Ford station wagon and set out on a two-week cross-country journey that would expose Gorky, for the first time, to the vast landscapes of the American West after more than two decades spent on the urban East Coast following his arrival in the United States as an Armenian refugee. The trip—which coincided with Gorky’s first solo museum exhibition at the San Francisco Museum of Art (now SFMOMA)—would give rise to a striking transformation in his artistic practice. “He got out of the interiority of the studio, and away from the limited subject matter he’d been focusing on,” says Gorky’s granddaughter, Saskia Spender, a ceramic artist and president of the Arshile Gorky Foundation. The West offered a radically different sense of scale and space; one that Spender notes initially “disturbed” Gorky. As a result, his compositions began to open outward, growing increasingly fluid and atmospheric. Forms loosened; distinctions dissolved; horizons appeared for the first time. Spender sees the journey as her grandfather’s “first great exploration,” one that propelled him toward the expansive visual language he is best known for today. “He progressively got freer,” she says… continued on page 60 of Issue 06, only in print 🎨 ✍️: @annabelgraham 📷: courtesy of @gorkyfoundation & @hauserwirthlosangeles subscribe at thepanafold.com/subscribe to read the full article 💫 by @annabelgraham
2
2 months ago
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Last week, we celebrated the launch of our summer issue with an intimate gathering at @macmodernappealingclothing, co-hosted by our friends (and Issue 06 feature subjects) Ben and Chris Ospital and Nathaniel Anderson. Readers, contributors, feature subjects, and friends gathered over wine while exploring the shop, where copies of the new issue were artfully integrated into displays alongside idiosyncratic garments by Simone Rocha, Comme des Garçons, Sofie D’Hoore, and other MAC mainstays. Contributor @deborahdbishop, whose friendship with Ben and Chris goes back decades, read an excerpt from her feature on the shop, offering a glimpse into the history, vision, and enduring spirit of one of San Francisco’s most beloved independent boutiques. Gathering with our community to celebrate our contributors’ work remains one of the most meaningful parts of what we do. In our fast-paced digital world, these opportunities to come together around stories, creativity, place, and print feel more essential than ever. We hope to see you at a future gathering. And if you’re not yet a subscriber, we’d love to welcome you into our community. 🥂 ✨ thepanafold.com/subscribe 📷 🎞️: @paulinechatelan taken in Modern Appealing Clothing by @annabelgraham
5
2 months ago
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