Inside the Met, a capsule collection inspired by Islamic art – Advice Eating

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Fragrances are all about storytelling. I wear several fragrances: I use DS and Durga I Don’t Know What as a base and then top it off with Frédéric Malle Rose & Cuir or Vetiver Extraordinaire, or lately I wear the collaboration I did with Diptyque, Eau Rose. To finish, I wear a little bit of Night by Frederic Malle on the back of my neck. For cleansers, I use Ultraluxe Red Grapefruit Wash and then Vintner’s Daughter Active Treatment Essence and Serum. I’ve been using their products for about five years – they’re so expensive but they really work! Deciem’s ​​Matte 12 Mattifier is bomb. I really dislike looking like I have makeup on in front of the camera and using this product makes me feel like I don’t even need it. I love a long, hot shower and burning incense while I’m in it – there’s something so beautiful about the merging of smoke and steam. I love the incense from Santa Maria Novella. I use dr. Bronner’s Pure Castile Soap in either Tea Tree or Peppermint and Le Labo’s Shower Oil; it moisturizes the skin after the Dr. Bronner really removed it. I often use Pattern Beauty Intensive Conditioner and Shea Moisture Frizz-Free Curl Mousse. I used Lush’s Renee’s Shea Souffle in my hair and all over my body this past winter because it was so dry, but this summer I use Everyday Oil instead. I like a Sea Breeze moment; That was my father’s aftershave and it always finds its way into my bathroom closet.

This interview has been edited and abridged.

“Every time I go to Mexico, I fall more in love with Mexico,” says New York-based landscape architect Grace Fuller Marroquín. For her latest project, she has teamed up with a workshop in the state of Michoacán to bring her own twist to the region’s decorative tradition Pinas, Pineapple motif pottery made from natural clay and shaped to mimic the fruit’s spikes and leafy crown. The process for each of Fuller Marroquín’s one-of-a-kind planters, which come with a complimentary (and free) plant, involved selecting clay from the nearby mountains, shaping and baking in an open-air kiln, then chilling several days beforehand it was glazed. Her designs have an almost alien quality that, at second glance, resembles flora: the pock-black face of a sunflower, for example, or the pads of a cactus. “The master craftsmen in the country are unparalleled,” says Fuller Marroquín, who just launched her first project there and hopes to return soon. Starting this week, the 20-piece collection will be on display and for sale exclusively at The Row’s flagship store in Manhattan. 17 East 71st St., (212) 755-2017.

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Born in Kinshasa, Democratic Republic of the Congo, Pierre Kwenders immigrated to Montreal with his family in 2001 and later joined his local choir. About five years ago he left his job as a tax collector and accountant to focus more on his music, for which he was twice nominated for Canada’s Polaris Prize. His third and latest album, Jose Louis and the Paradox of Love (2022), pays homage to his early years singing in church and listening to the greats of Congolese rumba. The title refers to the artist’s birth name, José Louis Modabi (he took his stage name from his grandfather Pierre), and he describes his songs as his most personal yet. Recorded in studios in Montreal, Lisbon, Santiago, Seattle and New Orleans – Kwenders “likes to swap inspirations,” he says – and the result is an endlessly listenable album that combines pop, R&B and electronic music with melodic vocals in a mixture of Lingala, French, English, Tshiluba and Kikongo. Tracks that stand out include the hypnotic opener “LES (Liberté Égalité Sagacité)” and the dance-like “Coupe” – although both could really be played at a dinner party or club. Kwenders is also co-founder of the artist collective Moonshine, which throws parties around the world every Saturday after the full moon. The group, he says, aims to “spread love by highlighting music we can’t find anywhere else — people like to call it the global club sound, but for us, most of it came from Africa.” Hold on So keep an eye out for the next lunar cycle or catch Kwenders on tour next year.

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The relationship between New York’s Metropolitan Museum of Art and Islamic works is long and rich, from the first pieces of jewelry it acquired in 1874 to the founding of its Islamic Art department in 1963 and the department’s massive expansion a decade ago 15 galleries. This spring, the museum marked the anniversary of that renovation by inviting a handful of artisans from around the world who follow ancient techniques and design principles to create fine jewelry, clothing, homeware, and accessories for a capsule collection called the Heirloom Project, curated by Madeline Weinrib. “The Met has served as an endless source of inspiration for my work,” says Brazilian jewelry designer Silvia Furmanovich, who drew on Ottoman-era Iznik slabs and tiles from the museum’s archives to create two earring designs and a clutch bag inlaid with wood through the centuries-old practice of marquetry. Other participating manufacturers include Munnu the Gem Palace, run by the Kasliwal family from Jaipur, who made a pair of colorful enamel earrings with an Indian poppy motif, and New Delhi-based contemporary jewelry designer Hanut Singh, who made carved emerald and diamond pendants. Available from the Met Store Mezzanine Gallery, (212) 570-3767.

On a typical spring day at Rockefeller Center Plaza, you’ll see the flags of the world’s 193 nations waving gently in the breeze. But starting May 5, the flagpoles will instead wave everyday clothing items donated to artist Pia Camil for her installation Saca Tus Trapos al Sol (Air Your Dirty Laundry), part of Intervención/Intersección. an exhibition hosted by Mexico City-based gallery Masa and curated by Su Wu. For the rest of the exhibition, which takes place in a former post office, you will find a wide range of work by both Mexican and non-Mexican artists whose work nonetheless engages with the traditions of the country. There are rarely seen erotic drawings by Adolfo Riestra, who was born in Tepic in 1944 and is better known for his totemic sculptures, and an original 1937 plaster relief carved by Isamu Noguchi, who traveled to Mexico City in 1935 and spent about eight months stayed (It was inspired by his interactions with local talent, including Frida Kahlo, with whom he had a brief fling). These sit alongside contemporary pieces that repurpose scrap materials, including light switch covers reminiscent of faces Tomás Díaz Cedeño made from salvaged scrap metal, and sculptural car hoods riddled with bullet holes and repaired with golden rivulets in Rubén Ortiz Torres’ Japanese Kintsugi style became. Like Wu, who is interested in what it means to transform a space or a material and shake up established narratives, it goes like this: “These artists question the whole idea of ​​monumentality and singular genius.” On view at Rockefeller Center Plaza and by appointment May 5 through June 25

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