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Antique Pinewood Cabinets, Turned Psychedelic

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I’m all the time rotating my products depending on what my skin needs. Within the morning, I take advantage of the Nuori Vital Foaming Cleanser, and at the tip of the day I wash more thoroughly with something like Haoma’s Nourishing Cleansing Balm. I alternate between the Royal Fern Phytoactive Skin Perfecting Essence or Biologique Recherche Lotion P50. I’ve been using that since I became a beauty editor — P50 was like my indoctrination. Then I take advantage of Our Self’s Each day Renewal Cream, which is stuffed with peptides, or a moisturizer from the Georgian brand Senself called Wealthy But Light — it has an ideal texture — and the Epara Eye Serum. I take advantage of my Ziip tool to do multiple treatments a couple of times per week, and before events. My face feels off balance after I don’t. I all the time use SPF; I just finished Zitsticka’s Megashade SPF, or if I’m on the go I’ll spray on Habit’s No. 41 Mister. Within the shower, I like Bastide Rose Olivier Natural Body Wash, and Soft Services’ Buffing Bar. It’s very satisfying. I just cut my hair short, so I’ve been trying styling products in a way I never had before. I like Philip B’s Weightless Volumizing Shampoo and Conditioner and Charlotte Mensah’s Manketti Oil Pomade. I take advantage of Kevyn Aucoin Volume Mascara and RMS Lip2Cheek in Illusive. It’s such a cool shade — it makes you look flushed within the winter and more tan in the summertime. To complete, I really like Hermès lipstick in Rouge Orange. There are a couple of scents I’m going back to: Aedes de Venustas’s salty, incense-like Copal Azur, and Maison d’Etto’s Macanudo, which is more grassy, and Costa Brazil just got here out with a fragrance, Aroma, that is basically nice.

This interview has been edited and condensed.

Within the twenty years since Esha Soni Seetha began creating accessories for American houses, including Proenza Schouler, for which she still works, the Mumbai, India-born designer has adopted a slow-fashion mind-set. For one thing, she believes that luxury goods needs to be rare investment pieces that last without end (and are never marked down). Now, she’s bringing that ethos to her recent namesake line, Esha Soni. Seetha spent three years working with artisans in Italy and Recent York to develop her debut collection, which was inspired by Jules Olitski’s color field paintings and the biomorphic shapes sculpted by Jean Arp, and includes three handbags made with French calf, suede and spelt pony, in addition to a sterling silver and gold vermeil necklace that appears like a strand of river stones and was a collaboration with the jeweler Christine McPartland. The Arc tote slants to at least one side in a way that makes you look twice, while the Slope seems to call for a cocktail party. “I used to be calling it the bangle bag,” Seetha says of its removable bracelet handle. Artful bags will all the time be on the core of her brand, but she envisions the Esha Soni customer as someone who appreciates all types of beauty, and he or she’s currently finalizing a number of vessels created with the ceramist Devin Fina that might be made to order. “In an ideal world,” says Seetha, “every collection is born and exists and never dies.” Handbags from $1,950, eshasoni.com.

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The resurgence of Scandinavian interior design trends in recent times has meant a ubiquity of warm woods, clean lines and spare, inoffensive furniture. The polychromatic cabinets made by the Amsterdam-based artists Gijs Frieling and Job Wouters, six of which comprise the duo’s first U.S. solo show on the Future Perfect’s West Village outpost, blow this stereotype wide open. Working under the Anglicized moniker FreelingWaters, the pair sourced 18th- and Nineteenth-century pinewood cabinets from antiques dealers and adorned them with striking geometric forms in a vibrant, hallucinatory palette. Frieling, a painter of traditional Dutch folk murals, and Wouters, who is thought for his psychedelic calligraphy, have collaborated on art exhibitions, books and men’s wear since 2008 but turned their attention to furniture in 2020. “There’s a convention of what I call ‘poor man’s rococo’ in Northern European decorated furniture,” says Frieling, referring to how their cabinets expand on a rural Dutch tradition of embellished objects. Each of the works is painted throughout, including inside — the interiors present more bursts of pattern, color and, in a single instance, ghostly silhouettes of vases and ornate glassware. With their gradients, swerves and moiré, the antiques are recast as curios of up to date times. Says Wouters, “We’re adding a really thin layer that provides recent life to those old pieces which may otherwise be discarded.” “FreelingWaters: Collection III” is on view through June 17, thefutureperfect.com.

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What does clean smell like? In accordance with Diptyque, the French perfumery known for its candles and fragrances, it would just be a stroll through a Mediterranean garden. At the very least that’s the evocation — via notes of lavender, cedar and fig tree — bestowed by the multisurface cleanser of their recent six-piece line of cleansing products, called La Droguerie, or “the pharmacy.” Created with the perfumer Olivier Pescheux, the nose behind scents for Dior and Sisley, in addition to several for Diptyque, the gathering also includes dish soap, leather and wood conditioner and ceramic ovals to nestle into sweater or lingerie drawers — in addition to refills, to chop down on waste. The soap is citrusy, with notes of mandarin and orange blossom, and the lotion polishes those household materials while leaving a woodsy patchouli fragrance behind. As that is Diptyque, there’s, in fact, a candle in the combo; the corporate’s partner the fragrance manufacturer Givaudan has developed a technology that enables candles not simply to mask stale or unpleasant odors but to soak up and replace them: on this case, it’s with the scent of mint, basil and crushed tomato leaves. From $15, diptyqueparis.com.

The Londoners Tobias Vernon, the curator of the art and design studio and gallery 8 Holland Street, and Christine Van Der Hurd, the founding father of the textile atelier Vanderhurd, are also close collaborators who, for over a decade now, have designed interiors for various clients and traveled the world with a shared eye for antiques. But only relatively recently did they embark on their first joint product release, which got here about after they spent a free afternoon on a 2020 work trip in Recent York seeing a Donald Judd retrospective on the Museum of Modern Art. Checkerboard is a set of six dhurrie rugs that, with their repeating patterns of squares, were inspired by Judd’s manner of remodeling space with cubic forms. As Van Der Hurd says, “Squares are very classical and architectural” and think of far-reaching eras and styles, from ancient Rome to midcentury modernism. Made by artisans in Northern India using hand-spun natural hemp in warm contrasting color combos (rust and sky, noir and ocher), the rugs are fittingly named after different chess pieces, and have in another way sized squares — “the larger the squares, the larger the personality,” Van Der Hurd says. While the duo are keen on bespoke design, Vernon notes that this collection is meant to be versatile and never so precious. “It’s each urban and rustic, historic and contemporary,” he says. “And, like chess, it’s a bit serious but meant to be playful, as well.” From $1,450, 8hollandstreet.com.

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Faye Toogood has worn the identical pair of brown men’s wear Carhartt dungarees through studio work in her 20s, two pregnancies in her 30s and gardening in her 40s. “Despite spanning nearly 20 years of my life and washing them tons of of times, they feel and look exactly how they did on the primary day I purchased them,” says the British artist and designer, whose namesake London-based studio along with her sister Erica debuts a collaboration with Carhartt’s streetwear brand, Work in Progress, this month. For the six-piece, unisex collection, the sisters took Carhartt WIP’s archetypal pieces and re-cut them so as to add the sculptural volume that’s an indicator of Toogood clothing. Offered in three neutral shades, the items maintain an appreciation for the longevity and utility that the brands share. A standout is the button-up coat with a corduroy collar, the results of splicing together Toogood’s Photographer jacket with Carhartt WIP’s Michigan chore coat. Its deep pockets and oversize shape allow one to maneuver with ease, whether schlepping around town or on cool summer evenings. Available from June 7 at t-o-o-g-o-o-d.com and carhartt-wip.com, and at select Carhartt WIP stores including 286 Lafayette Street.

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