2022年4月6日 星期三

The T List: Five things we recommend this week

Beauty tips from Sharon Alexie, a pair of boutique hotels in Miami Beach — and more.

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.

STEP BY STEP

The Model and Artist Sharon Alexie's Beauty Regimen

Left: The model and artist Sharon Alexie. Products, clockwise from top left: Augustinus Bader the Cream Cleansing Gel, $69, augustinusbader.com; Dior Hydra Life Fresh Sorbet Crème, $75, dior.com; Olaplex Professional 4-in-1 Moisture Mask, olaplex.com to find salons; Rouge Dior Lipstick in 964 Ambitious Matte Finish, $39, dior.com; As I Am Coconut CoWash, $9, asiamnaturally.com; Louis Vuitton Attrape-Rêves Eau de Parfum, $280/100 ml, louisvuitton.com; Fenty Beauty Pro Filt'r Instant Retouch Setting Powder, $34, ulta.com.Left: Claudio Lavenia/Getty Images. Right: courtesy of the brands
Author Headshot

Interview by Caitie Kelly

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My mother is Cameroonian, and she always wears a very vivid red lipstick — that's her signature. When I go out at night, I do a brownish contour on the lips with an elegant dark red in the middle. Rouge Dior Lipstick in 964 Ambitious Matte Finish is a shade I like. I also love Dior Forever Couture Luminizer; the way it melts into the skin looks so natural. I use Vaseline as a highlighter on my eyelids, a trick I picked up on set. To finish, Fenty Beauty Pro Filt'r Instant Retouch Setting Powder is the only powder that I feel works on me. I like Fenty's eye shadows, too. In the morning, I use the Cream Cleansing Gel by Augustinus Bader, followed by the Essence as a toner and Dior's Hydra Life Fresh Sorbet Crème. A really feminine perfume gets me ready for the day. I like the Attrape-Rêves fragrance from Louis Vuitton and Miss Dior Eau de Parfum. I'm very particular about how I get my hair done; either my mom does it or I do it myself. When I take out my braids, I'll use a creamy cleansing conditioner, like Coconut CoWash from As I Am. I'll use a mask, too, like the Olaplex 4-in-1 Moisture Mask, or Jamaican Black Castor Oil Moisturizing Masque, also from As I Am, depending on what issue I'm having with my hair. At the end of the day I take off any makeup with a liquid remover, like Bioderma Sensibio H20 Micellar Water, and then double cleanse, again using the Cream Cleansing Gel from Augustinus Bader. I use scented creams before going to bed: I gravitate toward anything that smells like honey or vanilla, or a traditional Cameroonian oil called Manyanga.

This interview has been edited and condensed.

VISIT THIS

Stylish Sister Hotels in Miami Beach

Left: a room at the boutique hotel the Esmé in Miami, with walls painted in Benjamin Moore's Rosetta, a Thibaut-clad stool and furniture custom designed by Jessica Schuster. Right: tile is the star at the roof bar, with Nemo on the floor, Clé Tile Zellige on the bar and Dex Industries Terrazzo on the counter. Uniqwa's Atang Atang pendant lights preside over the scene.Christian Harder

By Rima Suqi

T Contributor

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For her first-ever hotel project, the Manhattan-based interior designer Jessica Schuster took on a doozy, or rather, two of them: Over the last five years, she re-envisioned a pair of Miami Beach boutique hotels, the Esmé and Casa Matanza, both backed by the New York-based firm Infinity Hospitality and located across the street from each other on South Beach's Española Way promenade. The 145-room Esmé's interiors were meant to be "softer and sweeter," Schuster says, while at 42 rooms, Casa Matanza is "darker and moodier," but in both, Schuster employed a color palette of saturated citrus and jewel tones, and retained many architectural features from the hotels' original 1920s buildings, including arched doorways, pecky cypress ceilings and a fireplace uncovered during demolition. The result is a richly eclectic space that guests may not want to leave, and won't need to: Schuster connected Esmé's multiple roof decks with a series of small bridges, so visitors can saunter from the new pool to cabanas to the Spanish tapas restaurant and sangria bar, and the sibling properties will soon be connected via a subterranean passageway so that people may take discreet advantage of each property's amenities. "I was borrowing from yesterday, today and tomorrow to create this whimsical and fantastical experience," Schuster says. "It's very different for Miami." Rooms at Esmé or Casa Matanza from $300, esmehotel.com.

WEAR THIS

Sneakers in Spring Colors

Veja x Mansur Gavriel Campo sneakers in (from left) Celeste, Crema, Rosa and Sunshine.Chaumont-Zaerpour

Though Rachel Mansur and Floriana Gavriel, the founders of the New York-based accessories line Mansur Gavriel, are not lacking for options when it comes to choosing their own footwear, the two like to "wear sneakers nearly every day," they said in an email to me. They're big fans of Veja, the French brand founded in 2004 by Sébastien Kopp and François-Ghislain Morillion — recognizable for the letter "V" emblazoned on the shoe's side — and respected for its efforts in sustainability, including sourcing wild rubber and organic cotton from Brazil, as well as working with chrome-free leather as much as possible. "We love that Veja is environmentally conscious, as this is something we have always thought about at Mansur Gavriel," wrote the duo. "We intentionally create classic shapes that have longevity and use leather that wears well and sustains over time." A new collaboration between the two brands debuts this week that offers Veja's classic Campo trainer in four striking colors. Choose among a morpho butterfly blue, a soft clay, a rose pink or a sunrise yellow — and match your new pair of shoes with Mansur Gavriel accessories, such as a woven tote or a slouchy shoulder bag, while you're at it. $175; veja-store.com or mansurgavriel.com.

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SEE THIS

A Revived East Hampton Gallery Space

The facade of Onna House in East Hampton, N.Y.Jordan Tiberio

By Michaela Trimble

T Contributor

From hosting women's liberation salons led by Gloria Steinem and Betty Friedan to sitting for one of Andy Warhol's first portraits, the art collectors Robert and Ethel Scull were at the glamorous center of the 1960s culture, as was their modernist mansion in East Hampton. Staying true to the original ethos of their home as a living art gallery — the Sculls once covered the walls with works by Jasper Johns and Robert Rauschenberg, to name a few — the art collector, designer and women's rights advocate Lisa Perry purchased the property in early 2021 and reimagined it as Onna House, an arts space devoted to creating visibility for the work of women-identifying artists and designers. When it opens to the public this May, the home, which Perry transformed to incorporate Japanese design elements like a verdant moss garden and a tranquil tearoom, will host its inaugural exhibition, consisting of colorful woven tapestries by the Japanese textile artist Mitsuko Asakura and a paper dress collection by the Swiss-born artist and designer Ligia Dias. Though visitors can book viewing appointments, Perry also hopes Onna House will be a gathering place for discovery and collaboration among creatives, with regular community events and discussions. onnahouse.com.

BUY THIS

Floral Hosting Gear From Colombia

Left: Casa Velasquez Sinu Violette Dress and Denim Gardening Apron. Right: Embroidered Terracotta and Navy Trim Dinner Napkins, Table Stationery Set in Coral Mompox (16 menus and 16 place cards, plus one extra of each for practice) and Sole Coral Dress in printed linen.Andrés Oyuela

By Julia Bozzone

T Contributor

It was a desire to look polished while "cooking up a storm and building giant cakes" on photo shoots for the likes of Saveur magazine and Williams-Sonoma that, she says, led the Brooklyn-based food stylist Mariana Velásquez to design her signature cross-back, pinafore-style aprons. She had them made by a women-owned workshop in her native Colombia and started selling them about a decade ago. While planning her 2021 cookbook, "Colombiana," Velásquez began imagining a line of tableware that evoked the essence of Santa Cruz de Lorica, the Colombian port town where her grandmother lived that had made a vivid impression on Velásquez as a child for its fusion of Caribbean and Lebanese cultures. Now, in partnership with the Colombian workshop owners Blanca Muñoz and Catalina Avila, she's produced Casa Velasquez, an elevated line for entertaining that includes table linens, her trademark aprons and hand-painted menu and place cards in the exuberant local palette of terra-cotta, mustard and pink, as well as dresses and tops with voluminous sleeves inspired by the dramatic arches in the town's public market. The debut collection's cotton and linen pieces, in stripes and chrysanthemum prints, are meant to be mixed and matched, and though Velásquez believes entertaining is making a comeback, they could also be used to brighten up an otherwise routine weeknight dinner. From $30, casavelasquez.co.

FROM T'S INSTAGRAM

A Full-Circle Show Curated by Simone Rocha

Francesca Woodman's "Self-Portrait Talking to Vince, Providence, Rhode Island" (1977).Courtesy of the Woodman Family Foundation and Marian Goodman Gallery/ © Woodman Family Foundation/DACS, London

The line between fashion and art is often permeable, but the designer Simone Rocha definitively crossed over with "Girls, girls, girls," a group show she has curated at the nonprofit Lismore Castle Arts in Ireland. For it, Rocha, who often looks to artists for inspiration for her namesake line, selected works by female talents who, like the designer herself, explore codes of femininity and the various chapters of womanhood, and posit progressive notions of beauty that poke at convention. She made a point, too, of including a range of perspectives and media. Works by Roni Horn, Cindy Sherman, Sophie Barber, Cassi Namoda, Francesca Woodman, Louise Bourgeois and others take the form of photography, oil painting, sculpture, textiles and more. There are also a number of pieces, such as a wax-covered saccharine pink dress by Iris Häussler and a pair of surreal cowhide stilettos by Dorothy Cross, that bring things full circle — and further the dialogue — by referencing items of clothing. "Girls, girls, girls" runs from April 2 to Oct. 30. Read more fashion and arts coverage at tmagazine.com, and follow us on Instagram.

Correction: Last week's newsletter referred incorrectly to the Quinte oyster bar at the Pinch hotel in Charleston, S.C. The bar is scheduled to open this summer; it is not currently open.

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2022年4月1日 星期五

The Daily: One Senator’s Conflicted Climate Interests

Bill McKibben explains. 

Welcome to the weekend, and happy spring. Daylight saving time is now officially here from Los Angeles to London (though maybe for the last time). We hope you're getting more sun, wherever you are.

We've had a lot of big episodes on The Daily recently, filled with original reporting from Ukraine to Afghanistan. Was there one show that stood out to you? Let us know here. We'd love to hear from you.

The big idea: Conflicted interests and the climate crisis

The Daily strives to reveal a new idea in every episode. Below, we look more closely at the impact of federal conflicts of interest, one idea that appeared in two of our shows this week.

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According to his financial disclosure forms, Senator Joe Manchin of West Virginia earns about half a million dollars a year from a coal brokerage that he and others own.Photo: Al Drago for The New York Times

Conflicts of interest are, by their nature, often obscured. A financial tie here, a family connection there, concealed by the division of public and private life. But what happens when those conflicting interests inform national — and international — policy?

In the executive branch, the Trump presidency was dominated by this question. In the judicial branch, Supreme Court Justice Clarence Thomas is under pressure to recuse himself from cases regarding the 2020 election and its aftermath after The Times revealed that Virginia Thomas, his wife, was involved in efforts to overturn the vote. And in the legislative branch, Senator Joe Manchin, Democrat of West Virginia, is facing increasing scrutiny of his financial ties to the coal industry.

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The influence of money and corporations in the federal government is a "growing problem," said Aaron D. Hill, associate professor of management at the University of Florida. Nearly one in eight stock trades by members of Congress intersects with legislation, and research shows that members of the House and Senate generate "abnormally higher returns" on their investments. Still, Congress members are subject to less stringent (or, at times, unenforced) oversight on conflicts of interests than those in other branches of government.

But what is the impact of this lack of oversight? As you heard on Tuesday's show, at every step of his political career, Manchin helped a West Virginia power plant that is the sole customer of his private coal business. Along the way, he blocked ambitious climate action.

So we reached out to Bill McKibben, environmental activist, professor and author, to ask him about the rippling effects of Manchin's actions on the climate movement. His responses have been lightly edited.

You recently wrote: "The climate movement has come very close — one senator close — to beating the political power of Big Oil. But that's not quite close enough." How have Manchin's actions affected the broader climate movement?

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For Biden and his climate efforts, Manchin's opposition seems to be excruciating. The Democrats can't do anything to offend him for fear of forfeiting his vote. So they've largely given up executive authority on climate, but he never quite delivers the vote. Now he seems to be saying that if he gives some money for renewables, it has to come with money for fossil fuel as well. I'd say Big Oil has never made an investment with a higher rate of return.

On climate, at least so far, we might have been better off without control of the Senate, because then at least we could have gotten what executive action could accomplish.

In the case of Manchin, congressional conflict-of-interest loopholes have consequences well beyond American borders. What equity concerns does this illuminate?

We're not just gutting America's energy future to please one corrupt coal baron; he's managed to upend global climate policy, too. The plan for Glasgow, I think, was for Biden to arrive with Build Back Better in his hip pocket, slam it down on the table and tell the Chinese and Indian delegations to match it. Instead he arrived with nothing, gave a limp speech — I'm not certain he went to sleep afterward, but the conference did.

In 2020, fossil fuel pollution killed about three times as many people as Covid-19 did. This statistic can feel overwhelming. As an activist, what are the most effective strategies you see for generating momentum and a sense of urgency in addressing the climate crisis?

The sad thing is, we've generated a ton of it. It was the biggest voting issue for Democratic primary voters, and the issue where polling showed Trump's position was furthest off from the mainstream. But the desire of people doesn't reliably translate into political action in our system anymore. There's never been a purer case of vested interest thwarting necessary action. As the Exxon lobbyist told a hidden camera last summer, Manchin was the "kingmaker." Or, alternately, the man who melts the ice and raises the sea.

What is making you feel optimistic about climate action lately?

Well, it's the perfect moment for action, and some places we're starting to see it. Vladimir Putin has reminded us that the daily carnage of pollution and the existential threat of climate damage are joined by the fact that fossil fuel underwrites despotism more often than not. It could be a pivot point, and, in the case of the E.U., may turn out to be. But so far here, Biden and his team haven't really messaged it that way. They've been way more focused on carrying water for Big Oil.

But I can tell you that more and more people are getting it, and not just the young people who have been in the lead of the climate fight. Our crew of over-60s at Third Act [a climate action group focused on mobilizing "experienced Americans"] are joining in large numbers this pledge to take on the banks that back the fossil fuel industry. After the record temperatures in the Antarctic combined with the missile strikes on Mariupol, people have had enough.

From the Daily team: Remember cheap oil?

In April 2020, we explored why the cost of a barrel of oil dropped into the negatives.Bing Guan/Bloomberg

This week, we sat down with Michael Simon Johnson, a senior producer, for our series in which we ask Daily producers and editors to tell us about their favorite episodes that they've worked on.

Michael's pick is "A Glut of Oil," from the spring of 2020. It's an episode that looks back at half a century of American foreign and energy policy to explain how, at the time, the price of a barrel of oil dropped into the negatives. And it's one that has particular resonance today as parts of the world grapple with how to reduce reliance on Russian oil amid the war in Ukraine.

What was "A Glut of Oil" about?

It was an episode we did in April 2020, when oil prices dropped into the negatives. A huge portion of the episode ticked through history, starting with the Arab-Israeli War in the '70s, the U.S. stepping in to provide weapons — not unlike the way we are with Ukraine right now — and Arab countries retaliating by cutting off our oil supply, causing an energy crisis. It felt important to start there because that is where it changes our foreign policy. The whole point of energy independence is so that we can exercise control over our foreign policy and not have other countries dictate who we help and why. For better or worse.

We spent 50 years trying to solve that problem and we succeeded. Then the pandemic happened and we literally had the opposite problem — what happens when we have too much oil?

Why is it one of your favorite episodes that you've worked on?

What it did for me was take all of these aspects of American history that I don't tend to think of as related and it drew a line between them; they're actually all part of a single continuum. I re-evaluated modern American history through the lens of oil, and I saw so many more connections because of that than I would have seen otherwise. Going back in history allowed us to go on this amazing journey through history and through archival tape.

How important is it for there to be historical context in climate episodes?

Historical context is one of the first tools we turn to when we're making an episode in general, but it's not specific to climate episodes. We are generally trying to arm listeners with the tools they need to understand and to have more context for what is happening. We want people to understand what is happening as some part of a continuum.

On The Daily this week

Monday: The story of Iryna Baramidze, one of the millions of Ukrainians who have fled their country amid the war.

Tuesday: Inside the investigation into Manchin's conflicts of interest.

Wednesday: How Justice Thomas and his wife, Ginni, came to be at the heart of the conservative movement.

Thursday: Why this year's midterms could have the fairest congressional map in a generation.

Friday: What is happening inside the besieged Ukrainian port city of Mariupol?

Did you relocate to New York City in the last two years? If so, we want to feature your story on an upcoming podcast. You can learn more about how to send us a voice note below.

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