Easy, elegant loungewear — and more.
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. |
 | | Entireworld sweats.Courtesy of Entireworld |
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By Sophie Bew T Contributor |
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With increasing numbers of people now working from home, it has become clear that we each fall into one of two camps: those who dress up for their working day, and those who favor workout clothes and blankets. Regardless of this divide, video conference calls have become a near unavoidable reality and require a certain level of decorum (at least from the waist up). Luckily, the past few years have seen a surge in brands offering fashion-forward loungewear that can bridge the public-private gap with designs that are both comfortable and presentable — like Entireworld, a line of casual men’s and women’s clothing from the Los Angeles-based designer Scott Sternberg, formerly of Band of Outsiders. “It’s a very pure, modernist take on the stuff we live in,” Sternberg explains. This ethos extends to everything from classic cotton T-shirts and button-downs to socks and underwear — but it’s the monochromatic sweats in Crayola shades that feel particularly appealing right now. Especially when worn as a matching set, the roomy sweatpants and crew-neck pullovers are both striking and cozy; they come in either a fleecy brushed terry or a lighter, looser version. For more labels that cater to low-maintenance dressers, visit tmagazine.com. |
An Online Auction of Art Inspired by Japanese Antiques |
 | | Works from “Netsuke Edo & Now,” by Ryoji Hirose (left) and Hannah Vaughan (right).Asa Nishijima |
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By Katherine Cusumano T Contributor |
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Netsuke — small sculptural figures dating back to the early Edo period in Japan — emerged out of a very practical consideration: Kimonos had no pockets. Instead, their wearers had a sort of external pocket, a hanging vessel called a sagemono; netsuke, then, helped fasten the sagemono to the kimono. But netsuke weren’t just functional: They were, and remain, fecund terrain for artistic experimentation and personal expression. “It was a subversive outlet,” the jewelry designer Jodi Busby explains. Earlier in the year, Busby, who runs D-Day — a gallery and boutique in Woodstock, N.Y. — with her partner, Asa Nishijima, curated a show that juxtaposes antique netsuke against artists’ contemporary interpretations of them. The Tokyo-based artist Ryoji Hirose, for example, contributed pastel works depicting linked organic shapes that seem to recall the connecting function of the netsuke; the Brooklyn-based artist Susan Cianciolo filled boxes made by her daughter, Lilac, with a tea set and other objects; and the furniture designer Kentaro Takashina created sagemono from ash wood and cotton rope. D-Day has closed because of the coronavirus pandemic, but this weekend, to conclude the show, Busby will hold an online auction of all the artists’ works — what she describes as a “fond farewell” to the pieces she brought together. The auction for “Netsuke Edo & Now” will take place via AirAuctioneer from April 4 through April 6; for further details, visit @ddaystudio. |
A Magazine in Which Art Meets … Wrestling |
 | | Left: Carroll Dunham’s “Wrestler (2)” (2016-17). Right: a photograph from Aaron Hardin’s series for “Orange Crush,” taken in Tullahoma, Tenn., at Game Changer Wrestling’s W.O.M.B.A.T. 2Left: courtesy of the artist and Gladstone Gallery, New York and Brussels. Right: Aaron Hardin |
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As I shelter in place, I’ve come to the conclusion that there is still a magazine for everybody. Case in point: the debut issue of “Orange Crush: The Journal of Art & Wrestling.” Its publisher and editor in chief is Adam Abdalla, the founder of the art PR firm Cultural Counsel, who is a wrestling fanatic and a bridge between these two worlds, which are perhaps not as disparate as they seem. “Orange Crush” does not so much make an argument about wrestling as a serious art form as it presents this as a given fact. Along with a dispatch from a recent country rasslin’ match at the Gypsy Joe Arena in Tullahoma, Tenn., and an essay about queerness and the changing sexual politics inside the ring, there is wrestling-themed art by, among others, the painter Carroll Dunham. His series of naked, bearded wrestlers engaged in a variety of holds and maneuvers looks like a cross between the homoeroticism of Tom of Finland and the cover of “Macho Man” Randy Savage’s 2003 rap album “Be a Man.” There’s a sentence I wasn’t ever expecting to write, but I’m glad to have had a reason to all the same. $25, orangecrush.art. |
Raf Simons’s Sumptuous New Fabrics |
 | | The designer’s fabric for Kvadrat as seen on Roberto Matta’s 1960s-era Malitte lounge furniture.Casper Sejersen |
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By Caitlin Agnew T Contributor |
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For Raf Simons’s latest collaboration with Kvadrat, the Danish upholstery company he’s been working with since 2014, the designer wanted to evoke the emotional warmth of an evening spent curled up on the couch with your favorite blanket. “I was thinking a lot about cocooning and a reaction against this whole speeding up of the world,” said Simons, who studied industrial and furniture design before starting his namesake fashion label in 1995. The collection, which launched on Monday, includes two new couture-inspired fabrics: Helia is a bouclé wool blend that resembles astrakhan, a Persian lamb fur, while Silas is a wool-nylon blend with a matte, velvet-like texture that Simons thinks would be great on a teddy bear. For now, it’s available on three cushions. Each upholstery option comes in an array of 11 earthy and primary shades, from duck-egg blue to moss green, and the new offering also includes color updates to an existing Simons-designed fabric, Sunniva 3. Simons says that in his work with Kvadrat he offers something creative shoppers can use to their own ends. To demonstrate just this, he upholstered Roberto Matta’s 1966 modular Malitte seating system in the new textiles, which, according to Simons, give its organic shapes a homey touch. Prices on request, kvadratrafsimons.com. |
In Austin, a Low-Key Natural Wine Bar |
 | | Julia Keim |
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By Emma Orlow T Contributor |
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Austin, Texas, already has an electric nightlife scene, but LoLo, the city’s first natural wine bar and store, brings something wholly new, and needed, to East Sixth Street. The brainchild of Charles Ferraro, Matt Bowman and the couple Christian Moses and Adam Wills, LoLo occupies a one-story building — and its 3,000-square-foot outdoor patio — that was built in 1939 and formerly served as an office for an auto salvage yard. Now, in the spare but still cozy space — dimmed globe lights and disklike sconces illuminate a wooden-slatted bar and matching banquette — you’ll find bottles from sustainably minded vineyards like Partida Creus (in Catalonia, Spain), Valentina Passalacqua (in Puglia, Italy) and Texas’s own Southold Farm and Cellar. An hour’s drive west of Austin, Southold is part of the area’s growing low-intervention movement and practices an ancient style of winemaking in which the grapes are kept free of pesticides and added sulfites. Bottles can currently be purchased at LoLo’s store and enjoyed at home, as the bar is closed to prevent the spread of Covid-19. Take note of LoLo now, though: The refined-yet-casual atmosphere makes for a pleasant place to learn about, and taste, natural wines. lolo.wine. |
 | | David Alhadeff |
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Staying at home, and working remotely, requires some adjustments. We asked designers, artists and other members of T’s community to show us their current work spaces and to share how they’re handling social distancing. Check out our Instagram Stories Highlights to see more — and follow us on Instagram. |
And if you read one thing on tmagazine.com this week, make it: |
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