Inside the Met, a capsule collection inspired by Islamic art

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step by step

Perfume is about storytelling. I layer perfumes: I use DS and Durga I Don’t Know What as a base, then I layer it with Frédéric Malle Rose & Cuir or Vetiver Extraordinaire, or lately I wear the collaboration I did with Diptyque, Eau Rose . Finally, on the back of my neck I wear a very small piece of La Nuit by Frederic Malle. For cleanser, I use Ultraluxe Red Grapefruit Wash then Vintner’s Daughter Active Treatment Essence and Serum. I have been using their products for about five years – they are so expensive but really work! Deciem Matte 12 Mattifier is a bomb. I really don’t like how I look on makeup when I’m on camera and when I use this product I feel like I don’t even need it. I like a long hot shower and burn incense while I’m in it – there’s something so nice about the fusion of smoke and steam. I love Santa Maria Novella incense. I use Dr. Bronner’s Pure Castile Soap in Tea Tree or Peppermint and Le Labo Shower Oil; it hydrates the skin after Dr. Bronner has really stripped it down. I use Pattern Beauty Intense Conditioner and Shea Moisture Coconut Hibiscus Frizz Free Curl Mousse a lot. I was using Renee’s Shea Souffle by Lush in my hair and all over my body last winter because it was so dry, but in the summer I use Everyday Oil instead. I love Sea Breeze for a while; it was my dad’s aftershave, and it ends up in my bathroom cabinet from time to time.

This interview has been edited and condensed.


“Every time I go to Mexico I crave more,” says New York landscaper Grace Fuller Marroquín. For her latest project, she has partnered with a workshop in the state of Michoacán to bring her own twist to the region’s ornamental tradition. pins, pineapple-themed pottery made from natural clay and shaped to mimic the fruit’s spikes and leafy crown. The process for each of Fuller Marroquín’s unique planters, some of which come with a complementary (and complementary) plant already installed inside, involved selecting clay from the nearby mountains that was shaped and fired in a kiln at open sky, then cooled for several days before it is glazed. His creations have an almost alien quality that, at second glance, mimics that of flora: the pockmarked black face of a sunflower, for example, or the pads of a cactus. “The country’s master craftsmen are second to none,” says Fuller Marroquín, who just planted his first project there and hopes to return soon. Starting this week, the 20-piece collection is on display and for sale exclusively at Row’s flagship store in Manhattan. 17 East 71st St., (212) 755-2017.


Listen to this

Born in Kinshasa, Democratic Republic of Congo, Pierre Kwenders immigrated with his family to Montreal in 2001, then joined his local choir. About five years ago, he quit 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 final album, “José Louis et le paradoxe de l’amour” (2022), pays homage to his early years of singing in church – and listening to the greats of Congolese rumba. Its 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 to date. They were recorded in studios in Montreal, Lisbon, Santiago, Seattle and New Orleans – Kwenders likes to “change inspiration”, he says – and the result is an endless listening album that combines pop, R&B and electronic music with melodic vocals delivered in a mix of Lingala, French, English, Tshiluba and Kikongo. Among the most notable pieces are the hypnotic opener, “LES (Liberté Égalité Sagacité)”, and the dancer “Coupe” – although, in reality, either could be played at a dinner party or at the club. Kwenders is also co-founder of the artist collective Moonshine, which organizes parties around the world every Saturday after the full moon. The band, he says, aim to “spread the love by showcasing music we can’t find anywhere else – people like to call it the global club sound, but for us most come of Africa”. So watch out for the next lunar cycle, or catch Kwenders on tour next year. boutique.arts-crafts.ca


buy this

The Metropolitan Museum of Art in New York’s relationship with Islamic works is long and rich, from the first jewelry it acquired in 1874 to the founding of its Department of Islamic Art in 1963 to the massive expansion of the department there. a decade ago in 15 galleries. This spring, the museum celebrated the anniversary of this renovation by inviting a handful of artisans from around the world who pursue ancient techniques and design principles to create jewelry, clothing, homewares and accessories from quality. for a capsule collection called Heirloom Project, curated by Madeline Weinrib. “The Met has been an inexhaustible source of inspiration for my work,” says Brazilian jewelry designer Silvia Furmanovich, who drew inspiration from Iznik plates and tiles from the museum’s Ottoman-era archives to create two earrings and a clutch, all inlaid with wood via the age-old practice of marquetry. Other participating manufacturers include Munnu the Gem Palace, run by the Kasliwal family of Jaipur, who fashioned a pair of colorful enamel earrings with an Indian poppy motif, and New Delhi-based contemporary jewelry designer Hanut Singh, who produced carved emerald and diamond pendants. Available at the Met Store Mezzanine Gallery, (212) 570-3767.

On an ordinary spring day, in Rockefeller Center Plaza, you see the flags of the world’s 193 nations wave gently in the breeze. But from May 5, the poles will instead feature everyday clothes donated to artist Pia Camil for her installation “Saca Tus Trapos al Sol” (“Air your dirty laundry”), a component of “Intervención /Intersección”, an exhibition curated by Mexico City-based Masa Gallery and curated by Su Wu. For the rest of the exhibition, which is held in a former post office, you will find a wide range of works by Mexican artists and non-Mexicans whose work is nevertheless part of the traditions of the country. Rarely seen are erotic drawings by Adolfo Riestra, born in Tepic in 1944 and best known for his totem sculptures, and an original 1937 plaster relief sculpted by Isamu Noguchi, who traveled to Mexico City in 1935 and stayed there about eight months. (He was inspired by his interactions with local talent, including Frida Kahlo, with whom he had a brief affair). These sit alongside contemporary pieces that reuse junk, including face-like switch covers that Tomás Díaz Cedeño fashioned from salvaged scrap metal, and sculptural car hoods riddled with bullets and repaired with streams of gold in the Japanese Kintsugi style by Rubén Ortiz Torres. As Wu, who is interested in what it means to transform space or material and upend established narratives, sees it: “These artists challenge the whole idea of ​​monumentality and singular genius. On view at Rockefeller Center Plaza and by appointment, May 5 through June 25, masaatrockefellercenter.as.me/nyc.


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