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Adir Abergel’s Beauty Regimen
I use an SPF that Rooney Mara told me about years ago called Eryfotona Actinica. I traveled to Brazil in the summer and used it the whole time, so I know it works. In the morning, I wash my face with either Dr. Barbara Sturm’s Enzyme Cleanser or MBR’s Enzyme Cleansing Booster, which I follow with Chantecaille’s Rose de Mai Face Oil and Augustinus Bader’s the Rich Cream. When I travel or need something heavier, I use Chanel’s Sublimage La Crème and Lucas’ Papaw Ointment a ton: on my lips, even sometimes on my dog! It’s my go-to salve. I’ll use a tiny bit of Clé de Peau Concealer in Almond on my eyes with a beauty blender, along with Westman Atelier Baby Cheeks Blush Stick in Petal. It’s so light. At the end of the day, I love taking a bath. It is my favorite ritual. I fill up the first third of the tub with boiling hot water, add in some Ancient Minerals Magnesium Bath Flakes, then warm water until the bath is full. A friend of mine started this company Natureofthings; I use its Fortifying Magnesium Soak and its Restorative Floral Bath. Last, I put in three drops of Women’s Balance aromatherapy oil from Neal’s Yard Remedies. It is a blend of geranium, rose and frankincense that I use on clients before events, too. My body products are from Nécessaire; I love their sandalwood scent. A lot of what I use on my hair I helped create with Virtue — products that I wanted after having tried a million different things in my work. I use the Virtue Purifying Shampoo because I have very fine hair, and the Restorative Treatment Mask. I’ll let it sit while I’m in the bath. To finish, I always use a combination of Virtue Un-Frizz Cream and Healing Oil. Ninety-nine percent of the time, though, I have a hat on top of that.
This interview has been edited and condensed.
Performance wear may seem like a departure for Loewe. After all, the Spanish house has specialized in leather goods for over 175 years now, and yet its latest collaboration — with the cult Swiss running brand On — was the Loewe creative director Jonathan Anderson’s idea. “I felt there was a precision in what they do that connects to the Loewe Puzzle bag,” he says, referring to the iconic trapezoidal purse. “This idea of aerodynamics.” (It probably didn’t hurt that Anderson has been wearing On shoes, which are beloved for their patented cushioning system and lightweight feel, for years.) Launching next week, the collection consists of two sneaker styles, versions of On’s Cloudrock and Cloudventure trail-running shoes, that are made with recycled materials and come in five colorways each — as well as clothes, from temperature-regulating T-shirts to a customizable three-layer parka. In addition to being adaptable and high-tech, of course, the pieces are also nice to look at. Some of the shoes and a unisex moisture-wicking anorak all feature a celestial print of light blue constellations set against a navy background that mimics sashiko — the traditional Japanese needlework style characterized by geometric patterns — and just might inspire night runs. From $275, loewe.com.
LOOK At This
A Re-Examination of the Nude
It was in a Borders in Philadelphia in the mid-1990s that the New York-based photographer Joseph Maida first came across a monograph filled with female nudes shot by Lee Friedlander, a catalog of the artist’s 1991 exhibition at the Museum of Modern Art. Friedlander had made art’s oldest subject somehow alien — witnessed up close, expanses of skin became strange landscapes interrupted by the mundane mise-en-scènes of domestic spaces: lamps, coffee cups and mismatched bedspreads. Decades after he discovered them, “Friedlander’s nudes continued to haunt me, thrill me, challenge me and disturb me,” Maida writes in the introduction to “A Third Look,” a new monograph of his own work. In its style and title, a reference to Friedlander’s 2013 book “A Second Look,” it’s a paean to its source of inspiration — Maida even used a 35 mm camera with a wide-angle lens, as Friedlander did. But Maida deployed that tool to examine the male form, and to play with perceptions of gender. In one image, a manicured hand grips a hairy leg; in another, a penis disappears between thighs. As the artist and Maida’s former student Zackary Drucker writes in the foreword, the viewer may have the “uncanny experience of double-taking, thinking, ‘Is that a woman?’ Clearly they are not … or are they?” Our urge to assign labels is as much the subject of these complex images as the nudes themselves. $65, convoke.nyc.
Blankets Handwoven From Fabric Scraps
Above the Marrakesh atelier of the fashion line Marrakshi Life is a space that serves as both an archive of past collections and a storage area for off-cuts of fabric. “There are rows and shelves filled with the most wonderful colors, sorted by scheme,” muses the brand’s founder, the New York-born photographer Randall Bachner. “It’s great if you ever need to walk into a world of color and begin dreaming.” But the scraps provide more than inspiration: A principle of zero waste has guided the brand, which is known for hand-woven caftans and tunics that marry the look of the region’s ubiquitous djellaba (a full-sleeved, often striped robe) with that of crisp men’s wear-style shirting, since its inception in 2013. Now, Bachner has used the scraps to dip a toe into home items with a capsule collection of one-of-a-kind quilts and blankets. Like his fashion pieces, they mimic the sun-drenched hues of Marrakesh’s medina — turmeric, terra-cotta and sandy beige — and incorporate a mix of blues. On one side of each blanket is a uniquely graphic composition, with chevrons and triangles of stripes in eye-catching collision; on the other, twill stripes were left uninterrupted in order, Bachner explains, to “reveal their full glory.” From $1,200, marrakshilife.com.
With her first line of fragrances, which came out in 2019, the renowned editor and stylist Carine Roitfeld told a tale of seven imaginary lovers and the cities in which they lived. For her new release, created in collaboration with the master perfumer Dominique Ropion, she ruminated on another romantic persona: her own. “The perfume is about my fictional character, but also different parts of myself: my teenage self, the career woman, me as a mother and the current version, which is wiser and more fulfilled,” Roitfeld explains. Carine, as the scent is called, is heady and opulent, with notes of woody vetiver and cashmeran (a complex synthetic ingredient so named for its ability to impart something of the softness of cashmere) contrasted with those of sharp white florals and patchouli, which Roitfeld has loved since her youth. “Patchouli has this forbidden scent to it,” she says. “It’s a bit free-spirited, like me.” Formulating such a personal concoction with Ropion required vulnerability — Roitfeld compares it to walking around naked — but she hopes wearers will make the end result their own, and feel even more like the main characters of their own stories once they’ve dabbed it on. $260, carineroitfeld.com.
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