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Step By Step
Quinta Brunson’s Beauty Regimen
I start my day with a very clean face. I use a milky makeup remover on a cotton pad followed by a warm washcloth to really steam and remove anything left over. In the morning, I use Vitamin C + Peptide 24 Brightening Serum from Olay and the matching Vitamin C + Peptide 24 Hydrating Moisturizer. The moisturizer that my mom used and I still use is the Olay Active Hydrating Cream. It still slaps. I’ll use a RéVive roller to prep my skin and look up YouTube videos of lymphatic massages I can do on my face. Peace Out makes really good under-eye masks, which are important because I wake up early and I have big eyes. If the eyes are big, the bags are big, too. My makeup artist on set, Renée Loiz, will do all of my makeup around those so I get the most out of them.
I’ve really learned the beauty of mixing foundation with moisturizer. I use Anastasia Beverly Hills Luminous Foundation because it has my skin tone, which is important. I use Westman Atelier’s Baby Cheeks Blush, Lit Up highlighter and Eye Pods eye shadow and on my lips, I turn to Mented Lip Liner with Westman Atelier’s Squeaky Clean Liquid Lip Balm. I love the Anastasia Perfect Brow Pencil and the Pat McGrath Labs mascara. Maybelline Great Lash doesn’t get enough credit, it still does the trick and is so affordable. To take it all off at the end of the day, I’ll sometimes use olive oil, which is a makeup removing tip I picked up from my mom. I am a big fan of Olay body wash, which has been a staple in my house forever. It gets the job done, I feel clean, smell good and it doesn’t leave a residue. To exfoliate, I like to use a brush, especially on my back, an area that I find isn’t given enough attention. After that I use Sol de Janeiro Brazilian Bum Bum Body Cream. It smells so good and is actually moisturizing. I have been using African Shea butter forever. I always have a big jug of it around.
I truly cannot live without Bread’s Hair-Oil. It is the perfect consistency and puts a protective coat over your hair. Their Hair-Wash and Hair-Mask are perfect for my hair type. The mask is lovely and works as a leave-in product, too. I have curly, kinky hair and their Hair-Cream stands out and really defines my curl. I can’t sing Bread’s praises enough. For fragrance, Marc Jacobs Daisy is my favorite scent — when I discovered it I never wanted to smell like anything else.
Visit This
An Art-Filled London Pub From the Founders of Hauser & Wirth
For more than a decade, Iwan and Manuela Wirth, the founders of the gallery Hauser & Wirth, have been creating art spaces around the world that are more like ecosystems, complete with restaurants and chickens running around. One of their first immersive projects, which they opened about eight years ago, was in Somerset, England, where exhibition rooms, a restaurant and a shop came together on a former farm. That same year, in order to keep the gallery and hospitality development projects separate, the couple founded Artfarm, which oversees the latter. This week, Artfarm opened the Audley, spread across five stories in a listed Victorian building in London’s Mayfair (not far from the site of a future gallery flagship that will open in 2024). In addition to four event spaces, it includes a pub — the renovated historic Audley Public House — on the ground floor. A second more ambitious eatery, the Mount St. Restaurant, serves up elevated British classics like smoked eel with potato salad and a lobster pie for two on the second floor. Not surprisingly, there are dramatic artworks scattered throughout. The pub’s ceiling features a wildly colorful installation by the British artist Phyllida Barlow, and on the second level is an entire floor of palladiana mosaics designed by the American artist Rashid Johnson in dialogue with the Audley’s architect Luis Laplace, a longtime design collaborator of Hauser & Wirth. “I knew Rashid and that he is very open to the idea of a work that crossed the boundaries of art and architecture,” says Laplace. “We are always trying to engage artists more in the space.” theaudleypublichouse.com.
Covet this
One-of-a-Kind Lights, Created With Thai Craftsmanship
For Thai American designer Robert Sukrachand, who lives between Brooklyn and his new studio in Chiang Mai, Thailand’s rich craft heritage has become a tool for bridging geographic and cultural barriers. He has paired American designers with craft communities around the country, collaborating with New York City-based designer Pat Kim on a series of brass bells made with the sixth-generation craftspeople of Ban Pa Ao village in northeastern Thailand and working with designer Steven Bukowski on catchalls from Saraburi marble. “I believe that craft can be a kind of universal language for connecting people,” Sukrachand says. For his latest collection, he returned to Ban Pa Ao to work with the community’s master craftsman Loong Boonmee on a series of lighting sconces and pendants using a brass casting technique more often reserved for ceremonial Buddhist bowls, water bowls and buffalo bells. Each piece is created in a mold from cow dung and termite clay that is destroyed after the lost-wax casting process, making every fixture unique. “By allowing the details of the process to inspire our designs, we get to add a new layer to Ban Pa Ao’s centuries-old design history,” Sukrachand says. “And, I hope, to an extent, we help preserve this craft for the future generations.” Available for preorder, from $700, sukrachand.com.
Eight years in the making, “Moving Chains,” the first-ever public commission by the artist Charles Gaines, will take up residence on Governors Island for eight months starting next week. Overlooking the Statue of Liberty to the west and Wall Street to the east, the forthcoming installation — an outsized wood-clad corridor canopied by nine rotating chains — loosely reconstructs what enslaved people saw and heard while entering New York Harbor by boat in the 19th century. “We suspect that it’s going to produce a pretty intense experience,” says Gaines of the immersive work — the monumental anchor to his sweeping “American Manifest” project (presented by Creative Time, Governors Island Arts and Times Square Arts), which kicked off in July with a Times Square installation called “Roots,” and which Gaines describes as “the largest project I’ve ever undertaken.” (Next year, both “Roots” and “Chains” will head to Cincinnati for the project’s final chapter.) First commissioned in 2014, the 100-foot-long piece took multiple teams of fabricators, engineers and architects to execute. The piece is equally ambitious in concept, addressing democracy, the slave trade and imperial and colonial practices “so that we can have a more truthful critical understanding of American history, particularly with respect to slavery,” Gaines says. “When you study [those histories] together, you can’t avoid the violence that undergirds them.” “Moving Chains” will be open on Governors Island from Oct. 15 to June 2023, creativetime.org.
Wear This
A Set of Statement-Making Cardigans
When Julian Taffel and Paolina Leccese — the Berlin-based duo behind the nostalgic knitwear brand Leorosa — met Super Yaya’s Rym Beydoun, known for her vibrant dresses inspired by her childhood in Ivory Coast, at a dinner party in 2019, the designers quickly discovered a shared sensibility. “We all love something that’s just a little bit old-school … Something that’s maybe not fashionable until you put it in a different context,” says Taffel. The trio began dreaming of a collaboration inspired, in part, by an image of Isabelle Adjani in a ruffled taffeta gown at the 1982 César awards. The resulting 16-piece collection, named Ensemble, transforms Leorosa’s classic Milan-made silhouettes into whimsical — but nevertheless wearable — creations. “There’s this element of fantasy,” says Taffel, “but, at the same time, you can pair them with jeans and sneakers.” A men’s lamb’s-wool gilet with a highly pigmented plaid print and contrasting piping took months of Zoom meetings to perfect, while solid-colored cardigans are accented with ruched collars, shimmering scrunchie-like cuffs or exaggerated bows. The embellishments on the sweaters were meticulously handcrafted by Beydoun in her Beirut studio from Abidjan-sourced textiles, so no two are the same. From $375, leorosa-world.com.
Drink This
Botanical Cocktails With a View of the Empire State Building
Like its locations in Lower Manhattan and Los Angeles, the recently opened NoMad outpost of the renowned cocktail bar Apotheke maintains an inconspicuous, hideaway feel. “We like to be a little hard to find,” Apotheke’s C.E.O., Andrew Hood, says. But its devotees are about to see the bar empire in a whole new light. On West 26th Street, guests initially descend the stairs to a subterranean speakeasy familiar to patrons of the original 15-year-old Chinatown branch. What’s new is a rooftop terrace, opening Oct. 12, with velvet seats nestled beneath a grand sweep of New York architecture — including an unfettered vista of the Empire State Building sure to be an Instagram favorite. Apotheke cofounder Christopher Tierney, who passed away earlier this year, designed the space, including the wall of Art Nouveau-esque stained-glass windows that commands the penthouse lounge and casts a kaleidoscope of dazzling shades at sunset. Behind the signature rose marble bar, four cocktails are on tap (another first for the brand) and flourishing nearby are botanicals for Apotheke’s libations, inspired by medicinal tinctures; this season offers birch bark, five-flavor berries and rosemary, which is charred atop the smoky beet-and-mezcal cocktail the Devil Finds Work, named after the James Baldwin essay (the whole menu pays homage to Manhattan writers). Drinks are complemented by a menu of fresh seafood, seasonal crudités and sustainable caviar. apothekemixology.com.
