With the abundance of autumn comes the not-so-dire dilemma of what to do with all that produce. Whether harvesting from your own garden or being given shopping bags of food from neighbors (are you sure you don’t want more zucchini?) to the overflowing bins at farmers markets, the bounty of food and the task of eating and preserving it all can be daunting. If you’re tired of pie, salsas, and squash soup, why not give cocktails a try?

We’ve seen by now that the world of mixology is limitless, where imaginative experts are able to craft something balanced and creative with almost anything, from marjoram to mushrooms. By basing concoctions on fall vegetables and fruits, creators add other levels to drinks, making them savory, herbal, and, not in the least, nutritious. Who doesn’t want to don a halo while sipping their spirits? 

Sean Palmer, the founder of Sip and Stir, a Park City-based hospitality service, forged his formative years in the restaurant business at what most consider a pioneer in the local farm-to-table movement of the early 2000s, aptly named The Farm. When Palmer applied there, one of the interview questions was “what’s an heirloom tomato?” 

Growing up in Maryland, Palmer spent a lot of time in his grandmother’s half-acre garden. “She gave us two buckets,” he remembers. “One for picking and one to sit on.” A marketing job brought him to Park City in 2006, but he soon adopted the favored local lifestyle—skiing all day and working restaurant jobs at night. He was 27 years old, and when he landed the job at The Farm, everything changed. 

“This is where my story gets started,” he says, recalling moving up from a bartender to being mentored by sommelier Joey Lopaka, to receiving a coveted position in San Francisco at Michelin‑star restaurant Spruce, then back to Park City in 2016 to run the wine and cocktail program at Handle. This is the short version, but along the way, Palmer became a “weapon in beverage management,” acquiring top-rated experiences and bringing all of this to Sip n’ Stir, his company that brings elevated wine-tasting and cocktail experiences into people’s homes. “We execute the highest level of service as possible,” Palmer explains. 

Palmer created two original cocktails for this issue, using his years of expertise and passion for working with all organic, handmade ingredients. Enjoy!

If you enjoy these cocktails, embark on your own adventure of shaking things up with your garden goods. Since the vegetable-cocktail trend took off in 2025, the internet abounds with recipes. As the weather cools and cozy fireside season begins, the possibilities are endless, from pumpkin bourbon eggnog to beetroot shrubs. We’ve all had a cucumber-tini, but how about a zucchini-tini? If you enjoy a Bloody Mary, experiment with Palmer’s clarified tomato water as a base for a lighter, more refreshing beverage. 

See more in the 2026 Fall Home magazine

The post Garden to Glass appeared first on Park Record.

On a now-viral episode from 2025 of “The Drew Barrymore Show,” when asked to give tips on how to make cut flowers last longer, celebrity florist Kristen Griffith-VanderYacht took Barrymore by the hands, looked her in the eyes and said, “Flowers are not supposed to last.” Barrymore and her co-host, Ross Mathews, appear slightly disappointed, then visibly stunned when the florist continues: “Listen to me. Listen, listen, listen. Their job is to help us stay in the present. They grow, they blossom, they thrive, and then they’re gone.” 

For local artist Kyla Welch, however, this encounter with the ephemeral wasn’t enough. Her seasonal garden was a source of joy, and when winter’s frost took the last flowers, she wanted more. Her journey includes being diagnosed with Lupus, discovering her talent, and creating custom, in-demand pieces for private clients, primarily deconstructing bridal bouquets and framing them into abstract art. 

This fall, as your flower garden begins to fade, take some notes from Welch on how to make them everlasting. 

Park City Home:  How would you describe your art?

Kyla Welch:My art captures life’s transient moments. Things that wither and die get to have a second life. It captures the chaotic beauty of nature. The bouquets that come to me are very structured and organized, and I make them less structured, almost natural in a way. 

PCH: How did you first begin to make this type of artwork? What were the first renditions like, and how did your craft evolve?

KW:I started because I was diagnosed with Lupus, which had impacted my life in that I couldn’t participate any more in all the sports and activities that I loved doing, like rock climbing and beach volleyball. I began to get closer to my garden, and I hated the end of the season when I couldn’t see my flowers anymore. So, in winter I decided to start pressing. At one point I had so many flowers—boxes full—and every book was full of flowers. My husband said, “We can’t open every book and have flowers come out.”  

I tried to mimic other artists whose work I had seen online, and it just wasn’t working. What they were doing, I couldn’t make work for me. Instead, what I decided to do was just start laying out, collage style. I used to do that as a kid. Every piece I make, there’s no structure to it. In my mind, I just start in one section and build from there. That’s how my brain works. 

PCH: You started with your own flowers, creating for yourself. When did it become a business? 

KW:It took the people that are closest to me seeing what I was making and convincing me that it was actually good enough that people might like it. It began in 2024, with one posting on Etsy of a framed flower bouquet. I was overwhelmed within a month with over 100 brides who wanted me to do their bouquets. 

PCH: How did this change your life?

KW:I was overwhelmed with joy, and super validated at the moment, but I knew I couldn’t possibly do that many bouquets for people. I’m booked now through the end of 2027, but I always allow time for two requests a month for memorial pieces. Those are the kinds of things you can’t plan for. 

PCH: What is the first thing people should know if they want to start pressing and drying their own flowers?

KW:Different flowers have different pressing needs. Before you press a flower, research what type it is, look at how thick it is, what type of water does it hold?

PCH: What are the best types of flowers to dry?

KW: Wildflowers dry really well. Peonies and ball dahlias are difficult to press, but it can be done, with more knowledge and care, to complete deconstruction and reconstruction. Water content is important—but not always a problem. Orchids hold a ton of water, but you can have a beautifully pressed orchid that shows the veins and colorations. Roses change color, orange to yellow, red to purple. Lisisanthus is interesting in that lavender will turn royal blue. Cosmos are wonderful, and larkspur, aster, echinacea, poppies, and yarrow. 

Kyla Welch’s Drying Process

1. Pick Dry, Fresh Flowers
Best results come from flowers that are freshly picked and completely dry (no recent rain or early morning dew) that have just opened and are free from bruises or browning. Flat blooms with single layers of petals are best for beginners, such as pansies, poppies, daisies, or cosmos. Leaves and grasses add beautiful texture to your final composition.

2. Prepare Your Flowers
Trim away excess stems and damaged petals. If pressing thicker flowers such as roses, zinnias, and peonies, reduce bulk by removing all but two or three layers of petals or even cutting the bloom in half. Extremely wet flowers like orchids and dahlias need to be deconstructed (petals removed and pressed separately from centers) to be reconstructed after they leave the press. 

3.  Layer Your Press
How you build your flower press is just as important as the flowers themselves. For the best results, assemble each layer in this order:
• Cardboard
• Chipboard (optional)
• 12–15 sheets of copy/printer paper (but honestly… the more the merrier)
• Flowers
• 12–15 sheets of copy/printer paper
• Chipboard (optional)
• Cardboard

The cardboard promotes airflow throughout the press, helping flowers dry evenly. Chipboard provides a smooth, firm surface, but if you don’t have it, simply add extra sheets of printer paper so the texture of the cardboard doesn’t leave lines or impressions on delicate petals.

4. Press with Care
Place your layered press under firm, even pressure using a flower press, or, if you don’t have one, use heavy books, bricks, or cinder blocks. During the drying process, replace any damp printer paper with dry sheets, ideally every 24 hours for at least the first three days. For thicker or more moisture-rich flowers, you may need to continue changing the paper for up to a week. Fresh paper helps preserve color, speeds drying, and prevents mold.

5. Be Patient
Flower pressing isn’t a rushed hobby or craft. Leave your flowers to dry for four to six weeks depending on their thickness. Once they’re crisp and completely dry, carefully lift them from the paper using tweezers.

6. Get Creative
Pressed flowers can be used for framed artwork as I do, but they can also be made into handmade cards, wedding invitations, jewelry, bookmarks, suncatchers, or seasonal decorations. (My 4 year old loves turning them into holiday ornaments!) Stored away from direct sunlight and moisture, they’ll retain their beauty for many years to come.

PCH: What are some pitfalls beginners may encounter? 

KW: One of the biggest pitfalls is that you’ll see a lot of resources online that say you can just stick a flower in a book, and it will work and keep its color. Not true. You have to change out wet paper for dry paper, every day, for the first three to four days. Switching out paper will help keep the color and prevent rot. The biggest pitfalls are mold and color loss. Also know that, the thinner the petals, the less weight you want to have on them, or they will adhere and be hard to remove.  

PCH: What is the most enjoyable aspect to this type of art? 

KW:Checking on the flowers, over eight weeks of drying, then seeing the finished press, seeing these flowers that are just vibrant, perfectly dry, looking so gorgeous. It makes all the hours worth it. Second, it’s fulfilling for my soul. When the brides see the piece or loved ones who have someone who has passed away—the joy that brings them is most fulfilling. 

Kyla Welch is the program director for the Wilkes Center for Climate Science and Policy

Instagram @aleafinthenight | www.leafinthenight.com

See more in the 2026 Fall Home magazine

The post Master Class: Pressed for Time appeared first on Park Record.

When autumn arrives across the Mountain West, we instinctively reach for layers: a soft tee under a wool sweater, a scarf thrown over a field jacket, leather boots ready for a canyon walk or brunch in Old Town. The same instinct belongs at home. As the light turns golden across the valleys, interiors benefit from the same thoughtful accumulation of texture, color, proportion, and personality.

Layering in interior design is not about filling a room with more things. It’s about composing depth. A well-layered space feels collected rather than decorated, warm rather than heavy, and personal without becoming cluttered. It gives the eye somewhere to travel and the body somewhere to settle.

Start with the Base Layer

Every great fall wardrobe begins with the right foundation, and so does every room. In interiors, that base might be an area rug, wall color, or a principal upholstered piece. These elements establish the mood before any added decorative flourish.

In mountain settings, popular base hues are warm neutrals, earthy browns, saturated burgundies, forest greens, ochres, rusts, and muted jewel tones. These colors echo turning aspens, alpine meadows, weathered timber, sage, and evergreens, without relying on obvious seasonal motifs. A caramel leather chair, a walnut console, or a tobacco-toned rug can do more for a room than a bowl of miniature pumpkins ever could.

Add Texture the Way You Add Fabric

Think of texture as the interior equivalent of fabric weight. Linen, velvet, wool, tweed, and leather or wood, stone, iron, ceramic, and handwoven textiles all bring a different attitude to a room. In Utah interiors, texture often connects indoors to the landscape: rough-hewn beams, honed stone, leather, woven wool, clay vessels, and natural fiber rugs that feel both refined and rooted. The magic happens in contrast: smooth beside nubby, matte beside lustrous, structured beside soft.

A linen sofa becomes more interesting with a velvet pillow and a chunky knit throw. A sleek stone fireplace feels warmer beside a woven basket or a stack of lodgepole kindling. A polished dining table relaxes when paired with cane chairs. As with dressing, the goal is balance: too many heavy pieces can feel bulky, while too many slick surfaces can feel cold.

Layer Pattern with Restraint

Autumn dressing often pairs plaid, herringbone, denim, canvas, suede, and knitwear in a way that feels effortless because the palette is controlled. Rooms work the same way. Patterns can absolutely mingle, but they need a shared language.

Choose one leading pattern, such as a vintage rug, a subtle stripe, a geometric textile, or drapery with a botanical reference, then support it with quieter companions. Florals, checks, geometrics, and solids can sit beautifully together when they repeat a color family. For a western vibe, patterns feel most natural when they nod to place without becoming a theme: a woven motif, a saddle-blanket stripe, a checked pillow, or a landscape-inspired print.

Expert Layering in Mountain Modern Style

Rion Locke and Richard Miller of LMK Interior Design in Salt Lake City are known for their expertise in layering furniture, objects, materials, and finishes in spacious Park City homes, credited for being early pioneers of the region’s “mountain modern” style. 

In Miller’s opinion, layering is certainly fabric and texture, but also a stacking of pieces and objects. When designing a space, he looks at each vignette as a “nesting” opportunity, such as layering ottomans under consoles. 

“When I consider layering, I’m thinking of elevations of texture and materials that bring interest to the room,” Miller says. “It brings contrast to a ‘neutral’ house.” 

He also points out that a single piece of furniture can exhibit layering, such as the mixed fabrics and materials he used on a Tete-A-Tete Chaise from Hickory Chair company, where leather and steel contrast with plaid weaves and velvet. 

While Miller guides clients to choose furniture and accents, Locke’s expertise is the built-in pieces and finish materials, such as flooring, fireplaces, and cabinetry, where the concept of layering is equally as relevant. 

“We like to bring rough and smooth together, lighter and heavier, so there’s a structural dynamic,” Locke says, explaining that there’s an art to blending materials to create a serene result, a cohesive mix of organic, forged, and polished.

Dress the Windows

If rugs are the boots of a room, window treatments are the coat. Drapery softens light, frames the view, absorbs sound, and gives architecture a finished quality. In fall, woven linens, lined panels, and soft sheers can make a room feel more enveloping without shutting it down.

Layering sheers beneath heavier panels is especially effective in the mountains, where autumn days can be bright and hot while evenings turn suddenly cool. It gives homeowners control over privacy, glare, light, and mood, while adding the tailored finish that separates a furnished room from a designed one.

Create Comfort Zones

The best layered interiors anticipate how people actually live. A reading chair needs a lamp, a side table, a throw, and somewhere to rest a book. A sofa needs pillows of different sizes and densities, not a row of identical squares. These layers should feel useful first and decorative second, which is what keeps a home from looking staged. 

Bring in the Personal Layer

The final layer is the personal one: Books, favorite pottery, local art, travel finds, family photographs, antique mirrors, woven baskets, vintage maps, and well-loved objects give a room its voice. Without them, even the most beautiful space can feel like a showroom.

Autumn is an ideal time to edit and reintroduce these pieces. Trade summer glass for earthenware. Move a favorite landscape painting into the living room. Stack books beside a chair. Display branches, seed pods, dried grasses, or clipped scrub oak in a vessel you already love. The most compelling seasonal decorating often whispers rather than announces itself.

The Seasonal Shift

Layering is ultimately an act of hospitality. It prepares a home for colder mornings, longer dinners, ski weekends, game nights, visiting family, and the quiet pleasure of staying in while canyon winds move outside. Like a beautifully layered autumn outfit, a layered interior suggests ease, confidence, and care given to your own personal style. 

See more in the 2026 Fall Home magazine

The post The Art of Layering in Interior Design appeared first on Park Record.

When Camille Wing looks at a topographical map, she sees more than slopes and elevations or valleys and peaks. For this Park City maker, the geologic contours are foundations for a future project with tactile form. 

A native Utahn who grew up exploring the outdoors, and a “lifelong maker,” Wing began to appreciate the places she loved—the desert and the mountains—not just for their natural beauty, but for design motifs as well. 

“The first wall hanging I created was an organic shape in a blue, green, and yellow palette,” Wing recalls. “It was a riverscape, which felt so cool to me, giving a line on a map texture.” She said it was a “whoa” moment, and she wanted to make more pieces like it. 

Wing’s medium is wool, and she creates felted wall hangings that look both modern and ancient, timeless and edgy. She began the journey to this iteration more than a decade ago by exploring macrame, a craft that was experiencing a major resurgence in popularity. Aesthetically, the trend caught on with 1970s plant hangers and evolved to more sophisticated pieces, from wedding backdrops to boho interiors. 

“Macrame was achievable as a textile. It was satisfying because it’s fast and easy to learn,” she says. She became so skilled at it, she was hired to teach classes at local “craft n’ sip” nights at The Paint Mixer. But it wasn’t long before she was striving for more variety.  

“I started seeing mixed media macrame, where people were using yarn, hemp rope, roving,” she explains. Roving is yarn before it is spun. “I started incorporating that into my art, and that led to my interest in other fiber arts, such as weaving,” but the latter didn’t stick.  

“I have a loom, which is now collecting dust,” Wing smiles. “It’s an amazing medium, but it’s so time consuming, and I never felt rewarded by it. I like to make things in one sitting—or I may never finish the project.” 

A Gift of Awakening

It was an old friend of Wing’s father, a quilter and a crafter, who opened her eyes to the potential of wool. “She gifted me these beautiful, felted wool bracelets she had made. It was the first time I had ever seen that fabric turned into an object.”

Curiosity about the bracelets took Wing on a “what is wet felting?” journey. She began to experiment with the materials and was enthralled with the process.

“When I made my first felt, it was an extremely rewarding moment, unlike anything I’d seen before. [The wool] starts fluffy and dry, with loft. Using soap, water and friction, it becomes fabric. It’s a fascinating transformation that happens very quickly.” 

That first felted piece was almost four years ago, and it has become Wing’s medium of choice, not only because she can create something in a relatively short period of time—clearly a key to her satisfaction as an artist—but also because working with wool feels earthy and connected. 

“It’s organic. When you get the wool, it can have little sticks and grass in it, from the animals. It feels very natural,” she says, noting that it’s a “super sustainable, regenerative source.” 

Forming a Path

Wing studied communications and sculpture at the University of Utah from 2015 to 2018, which she calls “years of exploration,” and both disciplines have served her well in her evolving and intersecting career. After college she landed a coveted visual display internship, at Anthropologie, which she loved. When a permanent position failed to materialize, Wing “floundered” for a short period.

“I started working in marketing, using my communications degree,” she says, working a corporate job until she found a “teeny branding studio,” The Afton Klein Group, where she thrived for six years, surrounded by talented creatives who sparked her awareness of the overlap in design principles, no matter the field. With this knowledge, Wing began to fuse her myriad skills into a cohesive repertoire. 

While she was still in college, she and her future husband, Chad, curated events and festivals, designing decor but most importantly, creating atmosphere with lighting. Her years of DIY hustling brought a unique artistic perspective to events, further informed her skillset in fiber art, and added a new layer to her studies in sculpture.

“Wool can almost act like clay,” Wing says. “What I’m trying to work toward now is 3-dimensional, from 2-d, flat pieces, where it loses the loft. So, I’m trying to break beyond that with my art, to take wool more sculptural,” noting projects like sconces and light fixtures.

From Form to Function

Over the years, Wing saw interior design as a far-off dream, a career she was drawn to but never studied—until now. 

“Chad is a building contractor, and I’d look over his shoulder at night, at home designs, layouts. He knew I wanted it and encouraged me.” While the desire was there, “blossoming in her heart,” Wing never acted on it until the new Heritage School of Interior Design opened in Utah in 2025. She says the timeframe and structure offered by the program were perfect for her, and she recently graduated this June with her master’s certificate in interior design. 

In the desert landscapes where Wing finds inspiration, the passing of time can be seen in the layers of sandstone, in eons of earth settled into horizontal slabs of colorful rock. Careers build this way too—especially creative ones. One striated, delicate, uneven layer builds upon the next until at last there is a foundation.

“Creating has been a part of my identity, forever,” Wing says, “and I’ve had this dream of intersecting my art with interiors for a long time. Whether I’m designing spaces, or staging them with my art, I’m hoping to find my niche.” 

It’s become important for Wing to hold onto what drives her in the first place: joy. “I call myself a maker, not an artist. I love contemporary art, high art. But the pressure of making a statement takes my joy away. I like making for the sake of making.”

See more in the 2026 Summer Home magazine

The post A Confluence of Craft appeared first on Park Record.

In the heart of Heber City, a block off the bustling main drag in a small office building, you’ll find a new photography gallery with fresh white walls and pristine finishes. But while the space is new, the friendly proprietor and the subjects of his work may seem familiar, even like old friends. 

Johnny Adolphson Gallery is the work of the artist with the same name, and for the past four years, along with his wife, Sherry, he’s been a regular on the scene at the Park Silly Sunday Market, as well as at a number of other festivals and gatherings like Oktoberfest at Snowbird and the Salt Lake City Downtown Farmer’s Market. Yet if his face doesn’t ring a bell, the subject of his work will—the snow-capped peaks of Mt. Timpanogos, the wildflower-covered desertscapes of Southern Utah, or the glimmering curves of the Provo River. 

With the opening of the gallery, Adolphson will be working with a roof over his head, so to speak, for the first time. From a liftie job at Park City Mountain Resort in 1992, to becoming a ski patroller, to summers as a wildlands firefighter, to guiding photography tours in Kanab and ski tours with Park City Snow Cats—he’s worked outdoors his entire adult life. Now in his mid-fifties, Adolphson said it was time to open the gallery—but it took finding the right spot. 

Right Time, Right Place

“I had been looking for a while, then this became available,” he says. “I wanted something in our neighborhood, and this couldn’t be better,” noting that he and Sherry and their two boys, ages 20 and 17, live a few blocks away. The only tough part of the commute is “getting across Main Street.” 

The gallery is a petite 300 square feet, not extravagantly bigger than a festival booth, but it works just fine for this phase of the business, for a few reasons. “This was the natural next step, and the perfect time in our lives,” Adolphson continues, explaining that while they will still work art shows, they are “slowing down” and the gallery offers them a peaceful place to work and meet clients without the grind of a regular retail commitment. The gallery is only open Wednesdays 11 am to 6 pm and other days by appointment.

“The cool thing is, whether I’m here or in a 20-foot tent, or small pop-up, the display represents the collection,” he says. “It works the same for me.” Whether you’re meeting Adolphson at the gallery surrounded by his magnificent prints, at an outdoor market, or shopping online, the process of acquiring a print is the same. First, clients choose the photo. Next Adolphson creates a rendering of the picture in the client’s space. Then they choose a finish, such as metal or acrylic, a decision guided by the artist, to avoid glare or fit the decor, etc. Then the project is sent to the high-end print lab and receives a custom frame.

“We want for people to be absolutely happy with the art in their space,” Adolphson says, adding that every sale is 100% guaranteed. Many of their clients are people who have been following him for a long time, who have been waiting for the “right spot” in their home. The pastoral subjects of Adolphsen’s photos are often tied to his clients’ personal stories. For example, a meadow glowing with golden aspen may be a reminder of past engagement photos and an alpine trail may evoke memories of a favorite hiking trip.

His dedication to capturing the magic of a perfect shot is well-documented. One of his most popular photos features Mt. Timpanogos in autumn. The full spectrum of colors is on display. The mountain is positively on fire, the sky streaked with a few gorgeous clouds. To get this photo, Adolphson drove to the location every morning for three weeks, waiting for the right moment. “I was chasing the light and colors, then a few clouds came, creating the layers of light on the red oak, the maples, yellow and green aspen,” he remembers. 

From Working in to Capturing the Outdoors

Adolphson started taking pictures as a side hustle, when his sons were little. “Twenty years ago, I stopped firefighting in the summers to watch my son,” while Sherry, a master gardener, ran a landscaping business with a group of other women, from the mid-2000s until 2019. 

“I was a stay-at-home-dad with a camera, and I started focusing on photography,” he recalls. This evolved into leading photography tours in Kanab and further grew to selling at art markets and online. In 2021, Sherry left her office job and they became full-time photographers. “It took a while, from being just a side hustle to selling a fair amount of art, but things continued to expand,” Adolphson recalls. “I began thinking we could do just as well as photography as at our jobs, so we should chase our dreams. Why not?”

Overall, it’s been a big year and the future looks bright. This summer, one of Adolphson’s dreams will come true—he will display his work for the first time at the Kimball Arts Festival, which offers a limited number of booths for photographers. In May and July, Johnny and Sherry will also host their own Wasatch Back Art Festival, a multi-day event which they founded three years ago to provide more opportunities for local artists. Adolphson’s work can also be seen on the walls of the chic new Grand Hyatt Deer Valley hotel, a placement born out of a chance meeting with the property owner one sunny Sunday at the Park Silly Market. 

Whether you plan a visit to the Heber City gallery or happen upon the Adolphsons at an art market, Johnny’s deft use of natural light to capture the tiny details of vast landscapes will surely draw you into his world. Delicate petals of wildflowers pop boldly against towering mountains in the backdrop. Nothing is lost in the shadows, and everything is shining brightly. It’s these kinds of details that take real dedication.

See more in the 2026 Summer Home magazine

The post Artist Profile: Following the Light appeared first on Park Record.

By now, most people have heard of the decades-old “slow food” movement, or possibly another “slow” spinoff, all of which are rooted in improving quality of life through a more intentional and sustainable approach to eating, traveling, and living. Think slow, locally grown, lovingly prepared food vs. industrial fast food, or in the fashion realm, slow means durable, sustainable materials and ethical production in contrast to the Sheins of the world, which mass-produce inexpensive clothing from cheap, often toxic fabrics. Fast fashion is made quickly and ends up in the landfill even quicker.

Inevitably, the slow movement inched its way into interior design and has found strong footing on the luxury level. The Live Design Project, established by global designer Delphine Leon Bellancourt, writes that “slow design is the future of luxury” and that “people are tired of chasing viral looks.” The project, founded on principles of fairness, inclusivity, and “client-centric innovation” asserts that people are ready for a mindset shift away from fast trends toward luxury that “honors craft, comfort, and longevity.”

But how does this mindset differ from luxury interior design as we know it? Don’t we all want spaces that are comfortable and created with a bit of craftsmanship? Yes, says designer Hope Chappelle of Hughen House, but the “slow” distilled perspective recognizes that “true luxury becomes the ability to prioritize thoughtful design, craftsmanship, and quality materials over speed and instant gratification.”

Based in Park City, Chappelle’s firm naturally utilizes slow luxury to create spaces in homes that last for generations, through prioritizing handmade pieces, local craftsmen, and custom work that’s tailored to each client’s lifestyle. “It’s the idea that a home can evolve with us as we move through different eras of life.”

If traditional luxury is about conspicuous branding and extravagance, and quiet luxury is about understated elegance that preserves an air of exclusivity, slow luxury speaks to how you get there. And while slow luxury can be eco-friendly, that’s not necessarily the main intention.

“Quiet luxury is an aesthetic. Slow luxury is a mindset within the process,” says Chappelle. “It’s about being thoughtful in what you bring into a space, where it comes from, and how long it’s meant to live there. Sustainability becomes a byproduct of that—through quality, restraint, and long-term thinking, not trend-driven ‘green’ design.” Chapelle also notes that her firm has clients who genuinely care about having a “cleaner” home with fewer byproducts and healthier materials. “It’s a luxury to be able to pay attention to those details—from copper plumbing to organic cotton sheets—and to make intentional choices that support how a family lives,” she says.

The first conversation to have with a designer should reveal how you live, and how you would like your values to be interpreted throughout your home. Chapelle says, “We start by asking questions and really listening—understanding who they are before we ever begin designing their greatest investment. How do they move through their day? What do holidays look like? What about a regular pizza night with their family?”

So how is the concept of slow luxury influenced by simple pleasures like Netflix and a slice of pie? “It tells a story,” says Park City designer Jonna Robison. “The story of the people who live there, or the story of artisan-made object d’art or collected pieces.”
Robison is a textile collector, a self-described serial traveler who ventures into markets around the globe to discover rug-makers or naturally dyed fabrics. “I love finding hand-woven willow baskets in Provence and hand-thrown and painted pottery from Mexico. These fabulous finds are lovingly made by artisans, and purchasing from them supports the continuation of cultural arts and traditions that are rapidly fading from the face of the earth,” Robison continues. She loves to share the stories of these pieces with the client.

She is also fond of incorporating items clients find on their own personal travels into a design scheme. “It’s a way of connecting with people around the world and collecting treasures that are much more meaningful than factory-made products from a showroom,” Robison explains. “To me, this is slow luxury.”

The connections between objects and artisans, designers and contractors, and residents and the place they call home are prominent guidelines when discussing slow luxury. These smaller connections become facets to a larger connection between the organic and the origin of things, which engenders a true appreciation for where things come from. This mindset encourages achieving a space that resonates by building and decorating with purposeful intention.

“My perspective of slow luxury is rooted in nature,” says Robison, who envisions a link between the mountain cultures and their decorative arts. “Many of the artisans I source from are located in various mountain ranges across the globe where there is a prevalence of nature. The wool comes from the sheep who graze in these ranges, the natural dyes come from the plants and wildflowers, the clay comes from the land. Because Park City is situated in the beautiful Wasatch Mountains, surrounded by natural beauty and textures, there is an aesthetic commonality and nature is really the essence, in terms of inspiration, source, and material.”

Slow luxury is a reaction to this fast-paced world, to unchecked consumption and waste, where “checking out” can also mean grounding yourself through making intentional choices about your surroundings. Making the choices and the time to seek out items that are sustainable, non-toxic, and locally sourced are the true luxuries behind this design concept.

Such luxuries, Chappelle believes, can be found in the materials themselves. “It’s natural materials, real texture, and things that feel honest. Stone, wood, plaster, linen, handmade tile, aged metals, custom millwork—pieces that feel substantial, tactile, and well-made. You can see the craftsmanship, and you can feel that they’re meant to last, not be replaced in a few years.”

She says that layering in vintage and antique pieces “when the design allows” is also part of the mindset, to “add depth and age to a space in a way new pieces can’t.”
“These materials carry history, tell stories, and ultimately make a home feel like a home,” Chappelle adds. Feeling comfortable and peaceful, despite trends that come and go is ultimately the goal.

The appeal of slow luxury is that it isn’t confined by any particular color palette, regional twist, or material. Proponents of slow luxury insist it’s about taking the time to build a style that’s meant to last.

“Park City is a mountain town,” Chappelle says, “and while some people want a traditional mountain home, others want a space that feels more connected to their family than to a specific style. We draw inspiration from nature by working with natural materials that have been used in buildings for generations and will continue to be used for generations to come.”

Chappelle calls it a patina design enriched by time. “We love working with materials, and with clients, who appreciate the beauty of aging. Pieces that soften, wear, and tell a story over time rather than needing to stay perfect.”

See more in the 2026 Spring Home magazine

The post Slow Luxury: The Future of Interior Design appeared first on Park Record.

“There’s always more than meets the eye out there,” says Rhea Cone, director of conservation at Swaner Preserve and EcoCenter at Kimball Junction. She’s talking specifically about the 1200 acres of the preserve, but it’s a truth that applies to all forays into nature: The more you slow down and immerse yourself in a quiet state of observation, the more you see.

Birdwatching is having a moment, as more people flock to the pastime due to popularity on social media. It appeals to a wide range of folks for a variety of factors such as easy access for almost anyone, anywhere, and at any age. And aside from a pair of binoculars and fuel, it’s free.

With the dramatic migrations of birds that take place in spring and fall, one could assume that few birds stick around Utah during the winter. On the contrary, a surprising number and variety of species are year-round residents.

“I love observing wildlife in winter,” says Cone. “It’s a window into what’s happening.” Birding is more than just spotting the birds themselves, she says, but signs of birds, e.g. pellets (indigestible ovals of food, most commonly from owls); feathers, and tracks in the snow of either talons or wing beats, which create an etched impression in the snow.

“Wing-prints in the snow show you that a bird of prey has caught something,” Cone explains, a clue that a raptor has been in the area.

Winging It: The Basics

When planning your birdwatching trip, you need only an interest in birding and a pair of binoculars. It helps to have a beginner’s knowledge of how to bird, but basically you see a bird and take quick mental notes of size, shape, color, and behavior. For example, if you saw an American robin, you’d note that it was eight-to-ten inches long with a yellow beak and red breast, and that it was observed hopping around on the ground (most likely). Even better, bring a friend who birds, a field guide, and a notebook, so you can identify and record what you see.

For winter excursions along the Wasatch Back, where you go determines your gear and attire. If you’re heading out on a trail in boots or on snowshoes, dress for active warmth. Breathable layers are key, as well as a hat and gloves. You might be birding from your car, observing bird activity over a reservoir, or in a far-off tree. In this case, still dress warmly as you’ll want to turn off the engine.

Take Flight: Where to Go

A great place to begin your winter of birdwatching is the Swaner Preserve to not only see birds but learn more about them. Cone suggests signing up for the Saturday Morning Nature Walks which, while not birding-specific, will still likely lead to some sightings. When there is snow on the ground, nature walks take place on snowshoes, and you can bring your own or rent them at the center, which also loans out binoculars.

Beyond the preserve, head into the forest, or to bodies of water that haven’t frozen over. “Winter birding is fairly limited,” says Bryant Olsen, a conservation ecologist with the Tracy Aviary in Salt Lake City. “But there are some birds around even in the coldest weather.”

Olsen’s favorites places include Echo Canyon Reservoir for its surrounding stands of juniper trees which attract flocks of berry-eating birds like cedar waxwings, Bohemian waxwings and American robins. “Also look for Woodhouse’s scrub-jays, pinyon jays, juniper titmouse, bushtits, and Townsend’s solitaires,” he says, noting that Rockport Reservoir has the same forests and potential. Echo, or any area with surrounding big cliffs, can host large flocks of rosy finches.

Birds of a Feather: Tours and Events

Snow doesn’t stop birds from hanging out, and it doesn’t have to stop you from looking for them. Whether on skis or snowshoes, winter sports in the forest can be paired with birding. “Any mountain area dominated by conifer forest will have some hardy overwintering birds,” Olsen says, like chickadees, nuthatches, jays, and woodpeckers. “In some years with good conifer cone crops, large flocks of finches such as red crossbills and pine siskins are also around.”

If you’re unsure about going it alone, you can join expert birders on an alpine skiing adventure offered by the aviary at Alta Ski Resort. “Birding on Skis” is a bi-weekly bird survey that takes place every first and third Thursday from December through April. For more than a decade, Alta has been guiding novice and experienced birders on these mountain tours to “identify Alta’s avian residents by sight and sound,” according to the website. Participants must be 12 years old, and registration and intermediate skiing skills are required. Visit www.alta.com to sign up.

If the idea of being a part of bird surveys like the one at Alta is appealing, you can be part of nationwide tribe of citizen naturalists and join the National Audubon Society’s Annual Christmas Bird Count. Every year, thousands of birders volunteer to note and count the birds in their neighborhood, submitting the sightings to the overall census. The count is an official census with real data that aids in conservation, so you need to sign up with an existing circle.

Visit www.audubon.org for more information.

View more in the Winter 2025/26 Adventure Guide

The post Become a Winter Birdwatcher appeared first on Park Record.

As the snow begins to pile up on the trails, it’s the perfect time to physically and mentally prepare for the ski season. Whether you’re a casual adventurist or a Jessie Diggins wannabe, improving cardio capabilities, flexibility, balance, and strength will enhance your efforts in the tracks.

For insider tips on exercises specific to cross-country skiing, experts Laurie Humbert and Janet Myshrall, coaches of The Utah Nordic Alliance (TUNA) Dryland Training Program explain the warm-ups, stretching, core-strengthening, hill-climbing, and weight-lifting routines they use to train attendees to become a stronger athlete on the snow.

Founded in 1996 by Myshrall, a physical therapist who moved to Utah from the Northwest in 1991, and fellow physical therapy graduate Kirsten Aalberg, TUNA is open to all skill levels.

“You can go as hard or as mellow as you need, and almost anyone can participate despite your level of ski experience,” says Myshrall. “This program emphasizes mobility—plenty of hip openers—and core stability with neuromuscular training to ‘hardwire’ communication and activation of important core stabilizers during other activities; and valuable ski-specific classic and skate techniques.”

For Myshrall, the sport became integral to her lifestyle and well-being after a West Yellowstone ski camp in 1992. Raising kids in the winter wonderland of Park City prepared her for a future as a parent attending college ski races. As co-founder of TUNA Dryland Training, she enjoys as much time as she can in our surrounding mountains while continuing to provide diagnostic testing for physicians’ groups in SLC.
Humbert is a lifetime cross-country skiing expert and coach. A triathlete and a pro-bike racer, Humbert was also a member of the US Olympic Biathlon Team and competed in the 1994 Lillehammer Olympics. Humbert founded a junior program for TUNA, then became a dryland training coach and started an on-snow ski program for TUNA masters. She is a health teacher and cross-country running coach at Highland High School.

While it’s too late to join this season’s TUNA dryland training group, there’s still time to begin your own training program with insights from Humbert and Myshrall.

Park City Home: What does your pre-season training routine typically look like?

Laurie: Exercise and recreation are my lifestyle. I maintain consistency while being mindful of energy levels, potential injuries, and being conservative with distance and intensity. I do cross-training in the off season. I hike with poles, run, canoe, and bike. I do quite a bit of core work throughout the year.

Janet: My “pre-season” routine has been focused on preparing for longer self-supported bike adventures overseas with my husband. We have so much fun riding our bikes through amazing countryside while soaking up the history of these places. We have a dog, Frankie, who requires daily hikes for which I always use poles. I do a yoga flow flexibility five times a week and maintain a strength program.

Park City Home: How do you balance endurance, strength, and flexibility training in your preparation?

Laurie: On weekends I do one longer workout, strength-train twice a week (in dryland training group) and I stretch to maintain flexibility all the time, sometimes while watching TV or sitting in a chair at work.

Janet: Endurance, strength, and flexibility training are typically addressed throughout the year, but to varying degrees depending on the season. In autumn, more ski-specific strength training and drills are implemented to prepare for seamless transition onto snow (roughly 3x week). Flexibility should be highlighted throughout the year (5x week).

Park City Home: Are there exercises you recommend for building ski-specific strength?

Laurie: Hike with poles from the base of Snowbird to the tram and then take the tram down and save your knees.

Janet: Balance, balance, balance. Start by standing on one leg, then add dynamic motion (tossing and catching a ball), then progress to a less stable surface like a rocker board. Planks for core strength, lateral walks using resistance bands for hip strengthening, and triceps dips.

Park City Home: What role does interval training play in your fitness program?

Janet: Pole hiking or light bounding: 4 x 4s (4 min on and 4 min off), repeating 4-6 times. I prefer doing these on some of the less steep service roads at the ski resorts. If your aerobic base isn’t quite there, you can begin with shorter duration (like 2 x 2s). Just make sure your last interval is done with as much intensity and good technique as your first.

Park City Home: How do you incorporate cross-training activities (like running, cycling, or roller skiing) into your regimen?

Laurie: I do not roller ski anymore, although I do enjoy it. But I don’t want to fall. I would rather cycle, hike, swim, and run.

Janet: Living in Park City allows access to one of the best outdoor playgrounds in the world. Just get out the door. When I am working from home, I frequently jump on my Bongo board to challenge my balance, awakening all the muscle and neural pathways that sit dormant when hyper-focused at my laptop.

Park City Home: What nutrition strategies do you follow to support your training and recovery?

Laurie: I limit sugars and carbohydrates while eating more veggies and healthy proteins. I drink Kefir every day for probiotic balance. I also take zinc, and vitamins C and D daily. Stay hydrated with water.

Janet: My son got on me a couple years ago as I was not fueling during long workouts, something I used to get away with when I was younger. Fueling appropriately has been a game changer. I supplement a high-fiber diet with added calcium, and creatine for muscle mass maintenance, and magnesium (L-threonate and Glyconate).

Park City Home: How do you prevent injuries during the ramp-up to the ski season?

Laurie: I’m conservative in my distance and intensity with my exercise level. Stretching, range of motion, and core strength are key to injury prevention. I strive to get a massage every couple of weeks.

Janet: Work hard to try to reduce the potential for injuries through maintaining flexibility, strengthening specific muscle groups for both stability and power, and recognizing and correcting compensatory patterns of muscle activation that can create overuse injuries.

Park City Home: What kind of mental preparation do you do before the season starts?

Laurie: I strive to really enjoy my exercise and training. Enjoy the process and enjoy being around other skiers. Mentally and spiritually, I really gain strength by exercising in the mountains.

Janet: Agree. Just have fun with it.

Park City Home: Are there any common mistakes you see athletes make when getting fit for skiing?

Laurie: Aerobic training without also focusing on core strength, technique, flexibility, and balance. Balance is needed for optimal fitness and injury prevention. I find that many retired folks tend to overtrain given that they have the time. Overtraining can lead to injury.

Janet: Jumping into intensity training with poor quality of movement, especially during ski-specific interval training like moose-hooves (a striding technique) and bounding. Yes, you’ll get an aerobic or anaerobic workout, but you will not be helping your transition onto snow with good form.

Park City Home: How important is rest and recovery in your training plan?

Laurie: Recovery is just as important as the training! As I age, I find that I need way more rest. I never sacrifice sleep. It’s where our recovery and immune system are strengthened.

Janet: Agreed. I follow my longer or intense workouts with a source of protein to support muscle recovery.

See more in the 2025/26 Winter Home magazine

The post Master Class: Tune Your Skis, Tune Your Body appeared first on Park Record.

When you live in a place where you get to experience all four seasons, you can choose to embrace them, despise them, or avoid them altogether by escaping to somewhere cooler in the summer or hotter in the winter like many Parkites do. But if you’re ready to fully dive into winter and expand your sporty repertoire beyond the ski slopes, take your adventuring up a notch by doing like the Nordics do: Outdoor picnicking. 
The Norwegians have a philosophy called friluftsliv, or “free-air life,” a belief that one should connect with nature daily, especially in winter. What better way to enjoy our beautiful outdoors and foster a healthy state of mind throughout the darker months than to pack delicious foods, gather some friends, throw on snowshoes or skis and embark into the wild—or even just your neighborhood park. 

The Art of Fika 

The breadth of your selection and depth of your picnic basket (or backpack) is up to you. You could start simply by modeling your adventure after the Swedish concept of fika. Pronounced fee-kuh, this tradition of enjoying coffee and pastry with friends can be performed just as easily at the end of a cross-country trail as in a cafe—but the effort to take it outdoors makes it even more memorable and authentic; the Swedes prefer to not even translate fika, because they don’t want the act to lose significance. Without fika—coffee, caring, connection and community—life in Sweden is unimaginable. 

To bring the Swedish art of the coffee break to your winter picnic is easy, just pack something sweet and a thermos of warm beverages. Here’s a list for your backpack: 

• Thermos of hot coffee + mugs 
• Thermos of Lococo hot chocolate
  (for kids or non-coffee-drinkers) 
• Container of half n’ half 
• Cinnamon buns or other favorite pastry 
• Pre-made pancakes rolled and filled with jam 
• Napkins 

It’s Always Good Weather for BBQ

In neighboring Finland, it’s all about the grill, where the beauty of a snow-covered landscape meets the tradition of campfire cooking. According to Finland Magazine, “campfire cooking is an essential part of Finnish outdoor culture, especially during the winter. Sitting by the fire in freezing temperatures not only provides warmth but also an opportunity to prepare delicious meals amidst nature.” 

The essential ingredient to Finnish-style winter grilling is sausage—Finns love their sausages—specifically called makkara that’s made from pork and beef and flavored with allspice, cloves, and brandy. It’s difficult to get authentic makkara in the United States, but any favorite sausage or bratwurst will fulfill the spirit of the cookout. To add to the authentic flavor, top it with sweet-tart lingonberry jam. Similar sausages such as korv, a Scandi-european variation, can be found at the Old Dutch Store in Salt Lake City. Online sources that ship include www.willysproducts.com, an excellent source for a variety of Scandinavian foods; and the “King of Meats” from Minnesota, www.vollwerth.com. 

Bring Norway to the Wasatch Back 

Nevada Berg, born in Utah and raised in the Wasatch Mountains, now dwells in the mountains of Norway where she has created a meditative life as a farmer, chef, culinary tour guide, writer, and cookbook author. Over the last decade, she has become an authoritative voice on Norwegian cuisine. She offered some ideas for a Nordic-style winter picnic and a recipe from one of her cookbooks. Here are her suggestions, which are inspired by Norwegian cuisine but include items available locally. 

• Hot Chocolate 
• Ski Queen Brown Cheese 
• Wasa crackers (great with the Ski Queen and a spread of butter) 
• Open-faced sandwiches: Include in the basket/backpack these items: 
• Hearty grain bread 
• Smoked salmon 
• Jarlsberg cheese
• Cured meats 
• Scrambled eggs 
• Cucumber and red pepper slices 
• Butter 
• Sausages/hot dogs (to grill over a fire or pre-cooked) 
• Oranges (Norwegians love bringing oranges and chocolate along for a winter snack)
• Cinnamon buns 

If you don’t have a small, packable grill for hiking and snowshoeing adventures, it’s perfectly acceptable to cook outdoors the Finnish way, which is to pack firewood, drive to a lakeside picnic site, and light up an existing grill or fire ring. All’s fair and worth it when it comes to winter cooking! 

From Norwegian Baking Through the Seasons by Nevada Berg.

Note from the author:
“These are great to bring along and eat as a treat or you can also serve with blue cheese as an appetizer.”

Spicy Gingerbread Cookies (Pepperkaker)
Makes around 60 to 80 cookies

• 1 1/3 cups lightly salted butter
• 1 ½ cups granulated sugar
• 1 ¼ cups Norwegian dark syrup
• or light molasses
• 3 teaspoons ground cinnamon
• 3 teaspoons ground ginger
• 2 teaspoons ground cloves
• 1 ½ teaspoons freshly ground
• black pepper
• 2 large eggs, at room temperature
• 6 cups (720 g) all-purpose flour
• 1 tablespoon baking soda

In a large saucepan, heat the butter, sugar, and syrup over medium heat until the butter is melted. Add the cinnamon, ginger, cloves, and black pepper and blend. Set aside to cool completely. Once the mixture is completely cool, whisk in the eggs.

In a medium bowl, whisk together the flour and baking soda. Add the flour mixture to the pan with the butter mixture and blend well to form a smooth and relatively firm dough. Transfer the dough to a lightly buttered bowl, cover with plastic wrap, and refrigerate for at least 4 hours and preferably overnight.

Remove the dough from the refrigerator and let stand at room temperature for 15 minutes before rolling out.

Preheat the oven to 350°F / 180°C. Line 2 baking sheets with parchment paper.

Place the dough on a lightly floured surface. Using a rolling pin and more flour as needed to prevent sticking, roll out a large piece of the dough until about 1⁄5 inch (5 mm) thick. The thinner the dough, the crispier the cookies will be. Using cookie cutters, cut the dough into shapes as desired. The dough will become easier to roll out the more it is worked. Arrange the cookies on the prepared baking sheets. Bake, 1 baking sheet at a time, for 8 to 10 minutes, or until golden brown. Set on a wire rack to cool completely. Continue this process with the remaining dough. Serve right away or decorate the cookies with confectioners’ sugar or icing. Store in a metal cookie tin for up to 1 month.

“Campfire cooking in the Finnish winter is much more than just a meal,” writes Finland Magazine. “It’s an experience that connects Finns with nature and the peacefulness of winter, offering a chance to enjoy the simplicity of life and the beauty of the surrounding environment.” 

See more in the 2025/26 Winter Home magazine

The post Embracing Winter appeared first on Park Record.

Apples grown in Utah orchards are now starting to show up at fruit stands along the Wasatch Front—from the “Fruit Way” on the northern end near Willard to highways and parking lots all the way south to Santaquin. But what about Summit and Wasatch Counties? When the air turns crisp and golden sunlight filters through the branches, are there Instagram-able apple-picking adventures to be had on the Wasatch Back? Absolutely! But like any good adventure, it may require a beautiful fall drive as you put some miles on the tires.

Apple-Core

The entire essence of apple picking is a mood, a vibe, a sensory feast the moment you arrive, a timeless activity played out in a postcard-perfect setting, ideally during golden hour. It’s a low-tech, charming celebration of the season that rises in popularity every year, along with pilgrimages to pumpkin patches and quintessential hayrides. Apple-picking differs though, in that by participating in this celebration of the season, you walk away not only with memories but with a bushel of food…and possibilities.

Planning Your Visit

Most orchards open their gates to the public from mid-September through late October. Many offer more than just apples: hayrides, corn mazes, farm stands with late-harvest produce, sometimes even selling cider donuts hot from the fryer. Before you go, check the orchard’s website or social media for information on hours, available varieties, and any special events that might be happening. Some orchards provide bags or baskets, while others ask you to bring your own.

You-Pick Adventures

Huber Grove: Located in Midway in Wasatch Mountain State Park (about a 30-minute drive from Park City), this historic orchard offers a you-pick experience of organic heirloom apples on Saturdays from mid-August to mid-September. Reservations are required, and availability depends on the crop. You can pick up to two baskets per reservation, and the park provides baskets and apple pickers. Some apple varieties are good for sauce, some for eating, some for pies. Check the website to read more about the varieties and best usage. Tickets are $20.
Visit reserveamerica.com for your spot.

Burgess Orchards of Cherry Hill Farms: A quick 55-minute drive will take you to picturesque Alpine and this family orchard in operation since 1926. Burgess Orchards offers fresh produce, tasty desserts, and you-pick opportunities from August through October. Availability is subject to change based on weather and ripeness. Check their website or social media for updates on specific dates and varieties available.
cherryhillfarms.com/alpine-ut#u-pick

Elk House Chop Salad
From Rebekah’s Kitchen — Serves 6

SALAD

• 6 cups mixed greens
• ¾ cup radicchio, chiffonade
• 1 Tbsp. fresh parsley, fine chopped
• 2 Tbsp. red onion, sliced thin
• 1 cup toasted nuts, your choice
• ¾ cup Asiago cheese, shaved or grated
• 1 apple, Pyne Farm Crimson Crisp or Gala, sliced thin

Instructions
Mix lightly in large bowl

VINAIGRETTE

• ½ cup sherry vinegar
• 1 Tbsp. shallot, chopped
• 2 cloves fresh garlic
• 1 Tbsp. Dijon mustard
• 2 tsp. honey
• ½ tsp. kosher salt
• pinch of pepper, fresh ground
• 1 ½ cup olive oil

Instructions
Puree all ingredients EXCEPT olive oil until just smooth. Slowly add olive oil until blended thoroughly.

Toss vinaigrette with salad.

Local Produce Picked for You

Pyne Farms: Harvesting in the heart of Orem, Pyne Farms is known for cultivating exceptional apples and generations of stewardship. Pyne Farms has earned a reputation for producing crisp, flavorful apples, which can be found at several farmer’s markets on both sides of the Wasatch. You can also enjoy apple cider slushies during warmer months and fresh half gallons of apple cider to take home.
pynefarms.com

Further Afield

Rowley’s Red Barn: Located in Santaquin, a longer drive but worth the trip, this farm is well-known for its apples and other seasonal fruits. Their you-pick apple season typically starts in early September. From I-15, you can see the landmark big red barn, where you’ll find much more than apples. The apple cider donuts are a must.
rowleysredbarn.com

Rocky Top Fruit Farm: Situated in Payson, this 32-acre farm specializes in u-pick fruits like sweet cherries, peaches, apples, and berries. They are open Wednesdays and Saturdays from 9 am -1 pm
rockytopfruit.com

Celebrating Fall

Apple picking is one of the best ways to come together, celebrate the passage of the seasons, and, of course, support a thriving fruit industry. This fall, answer the call of the orchard—you’ll find more than apples waiting for you.

See more in the 2025 Fall Home magazine

The post Golden Opportunity appeared first on Park Record.