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Floral Designer Maurice Harris’ Beauty Regime
Fragrance is all about storytelling. I layer scents: I use DS and Durga I do not know what it is as my base and then complete with Frédéric Malle Rose and Cure or Vetiver Extraordinaryor wearing my recent collaboration with Diptyque, Eau Rose. To finish, I wear a small piece on the back of my neck. night From Frederic Malle. I use Ultraluxe as a cleanser. 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 very expensive, but they really work! This mat 12 The mattifier from Deciem is the bomb. I really don’t like to look like I’m wearing makeup in front of the camera and when I use this product I feel like I don’t need it. I like a long, hot shower and burn incense while I’m there – there’s something so cool about the smoke and steam melting. I love Santa Maria Novella incense. In both, Dr. I use Bronner’s Pure Castile Soap. tea tree or mint and Le Labo shower oil; Dr. Bronner moisturizes the skin after exfoliating. I use Pattern Beauty’s Intensive Conditioner lots and Shea Moisture’s Coconut and Hibiscus Frizz-Free Curl Mousse. i was using Renee’s Shea Souffle From Lush on my hair and whole body last winter because it was very dry, but I use it in summer Daily Fat in its place. I like it sea breeze moment; this was my dad’s aftershave and it goes in my bathroom cabinet often.
This interview has been edited and shortened.
“Every time I go to Mexico, I fall more and more,” says New York-based landscape designer Grace Fuller Marroquín. She has partnered with a workshop in the state of Michoacán for her latest project, adding her own interpretation to the region’s ornamental tradition. pins, pineapple-themed pottery made from natural clay and created to mimic the fruit’s spikes and leafy crowns. For each of Fuller Marroquín’s unique planters, who came with a complementary (and complimentary) plant inside, the process involved selecting clay from the nearby mountains that was shaped and baked in an open-air oven and then cooled a few days earlier. it was glazed. His designs have an almost alien quality that, at second glance, imitates vegetation: the puffy black face of a sunflower, for example, or the cushions of a cactus. “The master craftsmen in the country are unique,” says Fuller Marroquín, who founded his first project there and hopes to return soon. Starting this week, the 20-piece collection is on display and sold exclusively on Row’s Manhattan flagship. 17 East 71st St., (212) 755-2017.
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New Album by Pierre Kwenders
Born in Kinshasa, Democratic Republic of the Congo, Pierre Kwenders immigrated with his family to Montreal in 2001 and later 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 Award. His third and final album “José Louis and the Love Paradox” (2022) pays homage to his early years in church singing and listening to the wonders of Congolese rumba. The name refers to the artist’s birth name, José Louis Modabi (he took his stage name from his grandfather Pierre) and describes his songs as the most personal ever. They were recorded at studios in Montreal, Lisbon, Santiago, Seattle and New Orleans – Kwenders says he “loves to change inspiration” – and the result is an endlessly listenable album that combines pop, R&B and electronic music with melodic vocals. A mix of Lingala, French, English, Tshiluba and Kikongo. Highlights include the hypnotic opening, “LES (Liberté Égalité Sagacité)” and the dancer “Coupe” – though, any of these can be played at a dinner party or club. Kwenders is also the co-founder of the artist collective Moonshine, which hosts parties around the world every Saturday after the full moon. He says the group has a goal of “spreading the love by highlighting music we can’t find anywhere else” – people like to call it the global club sound, but for us, most of them came from Africa. So watch out for the next lunar cycle or catch Kwenders on tour next year. shop.arts-crafts.ca
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Jewelry Inspired by the Met’s Islamic Arts Department
The relationship between New York’s Metropolitan Museum of Art and Islamic works is long and rich, from the first pieces of jewelery he acquired in 1874 to the establishment of the Department of Islamic Arts in 1963 and the division’s expansion to 15 galleries a decade ago. This spring, the museum celebrated the anniversary of this renewal by inviting a handful of global artisans who follow ancient techniques and design principles to create fine jewellery, clothing, home furnishings and accessories. For a capsule collection called Heirloom Project, curated by Madeline Weinrib. “Met has been an endless source of inspiration for my work,” says Brazilian jewelry designer Silvia Furmanovich, who designed two earrings and created a clutch by looking at Iznik plates and tiles from the museum’s Ottoman-era archives. wood, with a centuries-old inlay application. Other participating producers include Munnu the Gem Palace, directed by the Kasliwal family in Jaipur., Hanut Singh, a New Delhi-based contemporary jewelery designer who produces a pair of colored enamel earrings with an Indian poppy motif and pendants with carved emeralds and diamonds. Available in the hanging gallery of the Met Store, (212) 570-3767.
On an ordinary spring day at Rockefeller Center Plaza, you see the flags of 193 nations of the world fluttering in the breeze. But from May 5, flagpoles will fly casual clothing donated to artist Pia Camil to install “Saca Tus Trapos al Sol” (“Air Your Dirty Laundry”), a component of “Intervención/Intersección.” An exhibition organized by the Mexico City-based gallery Masa and curated by Su Wu. For the rest of the show, held in a former post office, you’ll find a wide variety of work by Mexican artists and non-Mexicans whose work is nonetheless interested in the country’s traditions. There are rarely seen erotic drawings of Adolfo Riestra, who was born in Tepic in 1944 and is best known for his totem sculptures, and an original 1937 plaster relief of Isamu Noguchi, who went to Mexico City in 1935 and stayed there for about eight months. (inspired by her interactions with local talent, including Frida Kahlo, with whom she had a brief affair). They stand next to contemporary pieces that reuse waste materials, such as face-like light switch covers made by Tomás Díaz Cedeño from salvaged scrap metal, and sculptural car bodies riddled with bullet holes and repaired with gold rivets in the Japanese Kintsugi style by Rubén Ortiz Torres. Concerned with what it means to transform a space or material and disrupt established narratives, Wu saw, “These artists question the idea of monumentality and singular genius.” Available May 5 – June 25 at Rockefeller Center Plaza and by appointment. masaatrockefellercenter.as.me/nyc.
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