Welcome to the T List, a newsletter from the editors of T Magazine. Each week, we share things we're eating, wearing, listening to or coveting now. Sign up here to find us in your inbox every Wednesday. And you can always reach us at tlist@nytimes.com. |
A London Lunch Spot That Keeps It All in the Family |
 | | Left: the takeaway counter at Café Cecilia offers freshly baked loaves of bread, natural wines and olive oil sourced in Tuscany. Right: a framed print from photographer Perry Ogden's "Pony Kids" exhibition greets visitors.Jacob Lillis |
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After stints at such storied culinary destinations as the River Café and Spring, the 31-year-old chef Max Rocha has opened his own restaurant, Café Cecilia, serving breakfast and lunch in a gleaming new space overlooking Regent's Canal in East London. The name is a tribute to Rocha's Chinese paternal grandmother, Cecilia, "who saved up money with her poker buddies to send my dad to London to study fashion," he says. Inside, it's a family affair: Rocha enlisted his father, the fashion designer John Rocha, to consult on the minimalist interiors, and his sister, the designer Simone Rocha, created the staff's outfits. Rocha's food is an unfussy riff on the meals his mother, Odette, made for him and Simone when they were growing up in Dublin: homemade Guinness bread; a pork, apricot and pistachio terrine; deep-fried sage and anchovy fritti; slow-cooked rabbit ragù with tagliatelle; and, for dessert, a version of Odette's famous chocolate pot, a rich concoction of chocolate, eggs and cream served with a sprinkling of sea salt and a buttery shortbread biscuit. cafececilia.com. |
An Homage to a Style Legend Gets a Customized Upgrade |
 | | Left: Tory Burch at her newly opened Mercer Street store. Right: limited-edition Lee Radziwill Double Bags, exclusive to the store.Courtesy of Tory Burch |
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By Flo Wales Bonner T Contributor |
Shortly before the death of her friend Lee Radziwill in 2019, Tory Burch released a series of handbags in tribute to the socialite and fashion icon's "extraordinary personal style." The Lee Radziwill Double Bag was the standout, its casually elegant folds meant to evoke the layers of a trench coat. Now, to mark the opening of the new Tory Burch store on Mercer Street, the brand is releasing a customizable version of the bag in a limited edition of 150. Options include two sizes, three artisanal woven straps and three colorways in shades of mossy green, warm tan or linen white. The bag can be further personalized with a monogram and date, and will be available exclusively at the new boutique — which, decorated with Burch's "found pieces" and located just a few minutes' walk from the location of her first store, feels, the designer says, like a "homecoming." toryburch.com. |
When Modernism Made a Home in the U.S. |
 | | A view of the south facade of "Stillman House II" (1966), Litchfield, Conn.Courtesy Summitridge Pictures and The Monacelli Press. All rights reserved. |
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The Hungarian-born mid-20th century architect and designer Marcel Breuer, who was responsible for the former Whitney Museum of Art on Madison Avenue, is known for his Bauhaus furniture and monumental architecture. But he also built a slew of modernist houses up and down the East Coast, including half a dozen for Rufus Stillman and Andrew Gagarin, competing corporate titans who lived in Litchfield, Conn. "Breuer's Bohemia," a documentary streaming on Vimeo On Demand by James Crump, whose films include "Troublemakers: The Story of Land Art," tells the story of the close friendship and collaboration among all three amid a racy haute-bohemian milieu of infidelity and pool parties spanning East and West coasts, with cameos by Alexander Calder, Paul Newman, Arthur Miller and Robert Redford. The accompanying book from Monacelli Press is out Sept. 14. breuersbohemia.com. |
 | | Michael Bailey-Gates's "Two" (2019).Michael Bailey-Gates |
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By Chantal McStay T Contributor |
An equestrian helmet ("Paul and I"), a puff of feathers ("Body 1"), teased wigs with harsh eyebrows drawn in the hairline ("Ethyl Eichelberger Angels") — these are just a few of the props and costumes on display in the photographs of Michael Bailey-Gates, which evoke the aesthetics of classical portraiture even as they upend conventions of gender and beauty. "A Glint in the Kindling," the artist's first monograph and the inaugural publication from Pinch Publishing, presents a selection of Bailey-Gates's recent work, along with an eponymous solo exhibition on view at the Ravestijn Gallery in Amsterdam from September 18 through October 16. The portraits turn on unexpected juxtapositions — sinew and hair poke out from delicate silk garments ("Self Portrait"); a spider sits poised opposite a lolling tongue ("Bobbi's Face") — and often have the feeling of film stills. "The people I'm attracted to photographing all have really self-observing and reflective relationships with their bodies," Bailey-Gates says. "Gesture is just another form of language — they're saying, 'Know this about me.'" $55, pinchpublishing.com. |
Your Sundries on a String |
 | | Porto's Pouch in Bianco (left) and Limone (right).Jessi Frederick |
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By Angie Venezia T Contributor |
Porto founder Loddie Allison describes the Pouch, the first collection of her women's leather-goods and accessories brand, as "a revival of the oldest handbag and wallet in history," one that "predated and even inspired the invention of pockets." The concept is elegant in its simplicity: an immaculately produced leather bundle held together by a drawstring. Having spent time in Argentina, Allison was influenced by the aesthetics of the estancia, or cattle ranch, and its leatherworking and silversmithing traditions. In keeping with this reverence for craftsmanship, each Pouch is handmade in Tuscany from local organic cotton and napa leather. It's also available in a mini size and comes in six colors. porto-studio.com. |
 | | From top: Maximilian top, price on request, brownsfashion.com; and Alexander McQueen pants, (332) 214-7080. Nihl top, nihl.nyc; Canali pants, canali.com; and model's own jewelry.Photograph by Shikeith. Styled by Alex Harrington |
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"The Wild Party," Joseph Moncure March's book-length 1928 narrative poem about the end of an era — the end of a long, louche, bacchanalian night of bodies twining together in lust and in violence; and the end of a life — is drama in its coolest, coldest form. It seems to cast its glance, without a flicker of sentiment, simultaneously backward at a moment that has just evaporated, downward as it considers the distasteful facts it has laid out on the examining table and ultimately through the looking glass, as it turns its basilisk gaze on us. In the almost century since it was published, it has occasionally gone into eclipse, but never out of style. It will always feel like a telegram sent from the near future warning us of what's to come, scolding us for our heedlessness — as if it knows we won't pay attention — and finally tossing a contemptuous smirk in our direction as it departs. Is it any wonder that it's a work people tend to take personally? Or that at this very moment, when the question of whether we are at the end, the beginning or the middle of something is literally a matter of life and death, it feels more contemporary than ever? To read Mark Harris's full essay on March's poem, and to listen to the actor Adam Chanler-Berat recite it, visit tmagazine.com. (Owing to the era in which it was written, some of the language may be offensive.) And follow us on Instagram. |
Correction: Last week's newsletter referred incorrectly to the Munich-based Franz Mayer; it is an architectural glass studio, not an artist. |
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