A Red Velvet bistro in an Istanbul villa


During the 42 years that Estée Lauder worked at the company that bears her name, she oversaw the creation of a dozen fragrances and encouraged women to create “wardrobes” of fragrances suited to every occasion and mood. The brand's Legacy Collection, out February 1, revives five of Lauder's creations with the help of Frédéric Malle (whose perfume brand was acquired by the Estée Lauder companies in 2015) and perfumers Anne Flipo, Carlos Benaïm and Bruno Jovanovic. all of whom have worked with Malle on previous fragrances. During an interview inside Lauder's well-kept office near Central Park, Malle explained how he restructured the scents using more modern fragrance-making techniques. He noted that, in Lauder's day, perfumers combined base scents that were “like pre-mixed mini perfumes” to create a final fragrance. “They contained things that were not necessary and created background noise,” Malle said. To update the formulas, all non-essential ingredients were removed from those foundations: “It's like cleansing,” he said. The new collection has notes ranging from fresh and herbaceous to musky and sweet. Azurée, initially released in 1969, evokes the dry shores of the Mediterranean with herbal notes such as basil and tarragon, as well as jasmine, spiced cardamom, bergamot and cumin, which Malle amplified in his edition. For White Linen, a classic floral bouquet of rose and jasmine, Malle used pure labdanum, an amber resin from the rockrose plant, which was not available when the fragrance debuted in 1978. Knowing, a seductive fragrance from 1988, “contained a bit a little bit of 80s Muzak,” Malle said. The modernized version is a fruity chypre with raspberries, blackcurrant, rose and patchouli. The overall goal of the collection, Malle said, “is to revive this work and show how good Mrs. Lauder was.” The Legacy Collection is available February 1st for $280. esteelauder.com.

Eat here

When Debora Ipekel, a former music industry executive, and her husband, Cenk Debensason, a classically trained chef, first came up with the concept of a new restaurant in their hometown of Istanbul, they wanted to create an experience that encompasses both their worlds. “Hospitality goes beyond serving good food: it's about creating an atmosphere that reflects our identity,” says Ipekel. Arkestra, named after Sun Ra Arkestra, the avant-garde jazz group formed in the 1950s, opened in September 2022. Inside a sprawling villa in the Etiler neighborhood, a wood-paneled dining room in the ground floor serves Debensason's varied menu of dishes such as tuna sashimi with sushi rice ice cream and seasonal mushroom risotto. On the next level is a bar called the Listening Room that features lounge chairs, low cocktail tables, and an extensive library of vinyl records. Drawing on her musical career, Ipekel hosts late-night sessions alongside guests such as Chicago nightclub legend Sadar Bahar and Turkish DJ Barış K. “We want the music to be eclectic, timeless and soulful, similar to the food we serve.” . ,” she says. This month, the villa that houses Arkestra welcomed the couple's new bistro, Ritmo. Hidden behind velvet curtains with mirrored ceilings and rococo furniture, the space has a decadent and fun feel that complements with the selection of snacks such as oysters with champagne sabayon and churros with spicy chocolate sauce. arkestra.com.tr.

Artist Emily Weiner is drawn to the type of instantly recognizable images that access the unconscious and communicate across time. After spending years perfecting her style while working as an art curator and writer, she has lately been making waves with her vibrant, almost spiritual oil paintings of urns, columns, joyful hands, and theater curtains framing ombré skies and striking moons. Her new pieces, which will soon form a solo exhibition at Red Arrow Gallery in Nashville and appear in the inaugural group exhibition at König Galerie in Mexico City, continue in this vein while expanding her visual lexicon. On one canvas, Weiner has painted an all-encompassing aquamarine spiral that moves toward a small crescent in the center; Hanging next to him on Red Arrow will be her fiery twin: a mirror-image spiral rendered in a rusty red. (Several of the other works are themselves symmetrical and, appropriately, the name of the solo exhibition, “Never Odd or Even,” is a palindrome.) Weiner, who emphasizes the paintings' ecofeminist and futurist bent. , she says the spirals represent the idea of ​​eternal return; she sees them as “cosmic fallopian tubes.” In another work, she can glimpse a glowing moon through a yonic slit reminiscent of a carved painting by Lucio Fontana; Elsewhere, receding silhouettes of faces evoke mountains or monoliths. “I was thinking about the idea that this is a contaminated world that will inevitably be saved by a patriarchal god and trying to invert that,” Ella Weiner says. “How can we care for this landscape we live in like a mother would?” “Never Odd or Even” will be on display at Red Arrow Gallery, Nashville, February 3-24. theredarrowgallery.com; “Entorno Surrealista” will be exhibited at König Galerie, Mexico City, from February 5 to March 8. koeniggalerie.com.

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Growing up in Naples, Italy, Francesca Ruggiero was surrounded by history, but it wasn't until she inherited a collection of ancient coins from her grandfather that she truly felt connected to it. The coins date back to the Greek and Byzantine period, almost 2,000 years ago. They, along with her interest in myths and legends, inspired Ruggiero to create her first pieces of fine jewelry. Now with her own brand, Kiaia, which she founded in London in 2013, the designer spends her days searching for coins engraved with historical Greek gods and Roman emperors, which she transforms into her signature pendant necklaces, charm bracelets and seal rings. The pieces are handcrafted in Italy, where ancient coins are coated in 22- or 18-karat raw gold to preserve them. In February, Ruggiero will bring Kiaia's unique pieces to New York. She will also be launching a new collection of Unity rings meant to connect the past with the present. Designed to be worn between two fingers, two gold bands are connected by a heavy chain that represents the strength of the connection. On view at the Nouvelle Box showroom at the Chelsea Hotel, New York, February 4-6, by appointment only. kiaia.com.

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Textile designer Carolina Irving and art collector Ian Irving met while working at Sotheby's. Bound by a shared interest in antiques, the couple married in 1989. For two decades, they traveled around the world, searching for 17th- and 18th-century treasures in shops from Istanbul to India (as well as in catalogs and at auctions). . houses closest to your home in New York). “He opened my eyes to decorative arts, such as eccentric German silver pieces, tulip-shaped glasses, and Japanese objects covered in silver and gold,” Carolina says of Ian. “We didn't just collect by value. “It was about being surrounded by objects that spoke to us.” Now divorced but still dear friends, the couple is selling a selection of antiques at a live auction at Sotheby's, their original meeting place. “The Pleasure of Objects” reflects the duo's distinct but overlapping tastes: their eye for textured items that showcase a mix of cultural influences and their expertise in antique European silver. Most of the pieces once lived inside Carolina and Ian's apartment on the Upper East Side. Among them is an Indo-Portuguese brass and mother-of-pearl ewer from the early 17th century, and Carolina's favorite: a portrait of Doña Isidora Navarro, daughter of a large upper-class Spanish family. The painting, which dates from around 1810, features details, such as the high-waisted Empire dress made with gold fringe and the flowers in her hair, that recall similar portraits by Francisco Goya. “I like to look at a piece like this,” says Carolina, “and imagine the story behind it.” “The auction “The pleasure of objects: the Ian & Carolina collection” begins January 30, sothebys.com.

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