Welcome to the T List, a newsletter from the editors of T Magazine. Each week, we’re sharing things we’re eating, wearing, listening to or coveting now. Sign up here to find us in your inbox every Wednesday. You can always reach us at tlist@nytimes.com. |
In Paris, Restaurant-Worthy Meals at Home |
 | | Left: the chef Ella Aflalo’s basket for ONA Le Panier. Right: a dish of summer squash by the chef Robert Mendoza.The Social Food |
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In mid-March, when chefs in France packed away their knives for the 13-week-long government-enforced restaurant shutdown, many small-scale producers were left with a glut of seasonal produce. So, Luca Pronzato, the 28-year-old Paris-based founder of the itinerant dining concept ONA, devised a plan: recruit local chefs, such as James Henry of the forthcoming restaurant Le Doyenné and Guillaume Sanchez of the Michelin-starred NeSo, to design a three-course menu that people could make at home. And so ONA Le Panier was born. Each week, food lovers in the Paris region can sign up to receive a basket of fresh, locally sourced ingredients and access to a video with instructions for transforming their delivery into a restaurant-quality meal. Recently, Pronzato’s stable of chefs has grown beyond France, and for this coming weekend, Marco Baccanelli and Francesca Barreca, of Mazzo in Rome, have assembled a hearty Italian feast. It features beef tripe from the beloved Paris grocer Terroirs d’Avenir and, for the main course, spaghetti di mezzanotte (midnight spaghetti), tossed with red wine, bread crumbs and anchovies sourced from the épicerie Le Mille Pate. “We used to cook this up when we came back from a party late at night and were still hungry, but it works for lunch and dinner as well,” Barreca says of the dish. For dessert, there is a nostalgic riff on an Italian after-school snack: sourdough bread topped with ricotta and sautéed cherries. 60 euros, weareona.co/lepanier. |
The Designer Angel Chang’s Ethical Textiles |
 | | Left: My Favorite Shirt in natural. Right: the Kirta shirtdress in clay. Boe Marion/2DM Management |
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By Sydney Rende T Contributor |
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For Angel Chang — the New York City-based designer who, after a decade of research and development, launched her eponymous clothing line last month — “sustainability” is less a word than a way of life. In 2010, Chang took a trip to the Guizhou Province of China to participate in a fabric-making workshop and, soon after, earned a Smithsonian grant to start a training program there in which she collaborated with villagers to create prototypes of handwoven garments, some of which were later shown in an exhibition at the Smithsonian Asian Pacific American Center in Honolulu. She became so committed to the province that she has spent much of the last decade working with the women of the village of Tang’an to keep their fabric-making traditions alive. It’s those relationships that fueled the launch of Chang’s brand, which consists of chemical-free, sustainably created shirts, dresses and pants, all made of organic cotton and with techniques passed down through generations of artisans. They use a large wooden loom and hand-dye the fabric in a vat filled with water and indigo plant or gardenia flowers, which grow wild in the nearby mountains, and sometimes spend as many as six months on a single garment. “It’s like you’re picking the cotton and the flowers and wearing them on your skin, but with impeccable style,” says Chang, who is particularly fond of the hand-sewn French seams and cotton knot buttons of the brand’s breezy, oversize shirtdress. Her hope is that it and the other pieces will be worn year-round, and both indoors and outdoors because, as she puts it, fashion, like nature, is meant to be lived in. angelchang.com. |
A Modernist Cretan Retreat, Complete With Its Own Botanical Garden |
 | | Left: an exterior view of Cretan Malia Park. Right: one of the hotel’s bedrooms. Courtesy of Cretan Malia Park |
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By Michaela Trimble T Contributor |
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Set on the northeast edge of Crete, the recently opened Cretan Malia Park is a Modernist respite surrounded by the rugged mountains of the Mediterranean. Rooted in mindful living and equipped with its own organic garden, the 204-room property — originally conceived in the 1980s by Antonis Stylianides, who once worked under the German Bauhaus pioneer Walter Gropius — was transformed by the Greek architect Vana Pernari. She updated the resort with bohemian fixtures, including warm cotto floors, oversize macramé chandeliers and works by Greek contemporary artists such as Joy Stathopoulou’s threaded steel-frame lighting installations, which are wound with colorful threads. Each guest room and bungalow, some of which have private terraces and pools, features terra-cotta-colored and cobalt textiles, daybeds made of Greek chestnut and geometric wall tiles in jade, while suites also come equipped with luxuries like four-poster beds draped in white linens or a stocked library made from aged oak and rattan screen doors that open to extensive balconies with views of the resort’s garden. The property’s restaurants include a casual beach bar and a classic Cretan taverna with a wood-fired oven, where the chef Lefteris Iliadis serves regional specialties made with foraged wild herbs, locally produced olive oil and fresh-caught lobster and blue crab. cretanmaliapark.gr. |
Work by the Japanese-American Sculptor Leo Amino |
 | | Clockwise from left: Leo Amino’s “Winter Scene” (1951); “Refractional #73” (1971); and “Chrysalis” (1953).© The Estate of Leo Amino. Courtesy of the Estate of Leo Amino and David Zwirner. |
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Opening next week at David Zwirner gallery is “The Visible and the Invisible,” the first New York City show in 50 years of work by the 20th-century artist Leo Amino. Amino, who used the industrial material polyester, otherwise known as a form of plastic resin, in the 1940s (long before more well-known artists such as Eva Hesse, DeWain Valentine and Peter Alexander), is the subject of a posthumous rediscovery. As a person of Asian descent, Amino appears to have been largely left out of the abstract canon, despite being hailed as an important artist during his lifetime. Born in 1911 in Taiwan, the son of an ikebana artist and calligrapher, Amino later emigrated to the United States, eventually finding his way to New York City, where in 1937 he studied direct-carve techniques under the sculptor Chaim Gross at the American Artists School. In 1946, he taught sculpture at Black Mountain College — an important year in the school’s history, as it was when Ruth Asawa enrolled as a student and Gwendolyn Knight joined as a fellow faculty member. According to the curators Helen Molesworth and Ruth Erickson’s 2015 monograph “Leap Before You Look,” Amino found the college “cliquish and incestuous” but enjoyed the freedom he had there to make work. His grandson, the poet Genji Amino, is the Zwirner show’s curator; he has extensively researched Amino’s life and work and wants to ask — as today’s art world considers notions of diversity and inclusion — what, exactly, “are the optics that render these artists [such as Amino] invisible, and what is it that we need to learn to see?” “The Visible and the Invisible” will be on view by appointment from July 6 through July 31 at David Zwirner, 537 West 20th Street, New York, davidzwirner.com. |
A Skateboard in Kenzo’s Archival Botanical Prints |
 | | Left: the Los Angeles-based skater Vincent Nava captured by the photographer Ari Marcopoulos. Right: from the collection, the Tulipes sneakers.Left: Ari Marcopoulos. All photos courtesy of Vans. |
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When Kenzo Takada, the founder of the French luxury brand Kenzo, opened his first boutique in Paris in 1970 (having moved from Japan six years earlier), he found inspiration from French art history. He was especially drawn to Henri Rousseau’s “The Dream” (1910), a painting from which he borrowed a kaleidoscopic jungle and floral motif. These patterns soon became a signature for the brand, and throughout his years at Kenzo, Takada built on them to create an extensive collection of prints. This past February, the Portuguese designer Felipe Oliveira Baptista debuted his first collection as Kenzo’s newly appointed creative director and tapped into the brand’s archives, offering floral and camouflage prints on billowy midi-dresses with matching head coverings. This month, Kenzo released a collaboration with the American skate brand Vans, for which Oliveira Baptista again looked to the brand’s botanical motifs for inspiration. The collaboration consists of three different floral patterns printed on two of Vans’ classic sneaker styles, the Sk8 Hi and the Old Skool. In addition, Kenzo teamed up with the Skateroom to create 150 different floral-printed skate decks. All of the proceeds will go to a social skate project to empower at-risk youths in the country of Jamaica. The sneakers start at $240 and are available at kenzo.com and at the brand’s new flagship store in New York City. |
 | | Left: Elliott Jerome Brown Jr.’s “Oftentimes, justice for black people takes the form of forgiveness, allowing them space to reclaim their bodies from wrongs made against them.” (2018). Right: Christina Quarles’s “Oh Dear, Look Whut We’ve Dun to tha Blues” (2020).Left: Courtesy of the artist and Nicelle Beauchene Gallery, N.Y. Right: courtesy of the artist and Pilar Corrias Gallery, London |
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Pride Month might be over, but, as the country continues to to contend with ongoing violence against queer and BIPOC communities, it’s paramount that voices from those communities are heard. Not all artists are activists, of course, but they are all keen observers, ones who invite the viewer to consider their way of seeing things, whether their chosen subject is as expansive as prison reform or as singular as their own sense of self. “A lot of my work involves interiority, both of physical spaces and of individuals — I’m interested in what constitutes their foundation and enables them to act,” says the New York-based artist Elliott Jerome Brown Jr., whose photograph “Oftentimes, justice for black people takes the form of forgiveness, allowing them space to reclaim their bodies from wrongs made against them.” (2018) is among those featured on T’s website this week. “Your attacker might not repent and the state might assist in perpetuating violence, so, in that lack, what tools do you have to fortify yourself?” asks Brown. We invited 15 queer artists of color to elaborate on a particular work or pair of works of theirs. Find the slide show on T’s Instagram — and follow us. |
And if you read one thing on tmagazine.com this week, make it: |
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