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, along with monthly travel and beauty guides, and the latest stories from our print issues. And you can always reach us at tmagazine@nytimes.com. STAY HERE A Riad With a Rooftop Pool in Marrakesh, Morocco
For decades, the small hotels in Marrakesh’s medina — the city’s fortified historic center — were mostly owned and run by European expats, but lately, Moroccans have been buying them back. This week, the Moroccan entrepreneur Simohamed Azzouz opened the Mellah, a 10-room hotel with a rooftop pool. Inside, it’s decorated with photographs and paintings by Moroccan artists including Bouchra Boudoua, who often paints on ceramic surfaces, and the muralist Mourad Aboulahna, along with midcentury-inspired furniture made by local artisans. All the rooms look out on a tiled courtyard with a fragrant orange tree in its center. The Mellah (named after the historic Jewish quarter in which it’s located) was a personal project for Azzouz, who was born in Casablanca but lived for years in France. “Returning to Morocco and creating Mellah was also a journey back to myself,” he says. The kitchen serves homey Moroccan favorites such as slow-cooked tagines and just-baked flatbreads. From $300 a night, instagram.com/themellah_marrakech. WEAR THIS A New Line of Irreverent Knitwear From the Belgian Designer Meryll Rogge
The Belgian designer Meryll Rogge is having a banner year. In June, she won the Andam Grand Prize — a 300,000-euro (about $350,000) grant that was founded in 1989 to promote young design talent — for her five-year-old namesake label. In July, she was named the creative director of the Italian brand Marni. And this month, she’s launching a new knitwear line, B.B. Wallace, a collaboration with the British knitwear designer Sarah Allsopp (with whom she previously worked with at Marc Jacobs). While slouchy wool sweaters and oversize cardigans have always featured prominently in her line, Rogge says she wanted to make “beautiful sweaters that could exist outside of a fashion show.” The brand’s name was inspired by the names of her two children. Accordingly, the clothes have a playful, nostalgic air. There are Fair Isle crew neck sweaters, a delicate scallop-edged pointelle top and a fluffy neon pink fake-fur top-and-skirt set. Working with natural yarns in Shetland wool, soft merino wool and double face cashmere, Rogge has married artisanal details (such as buttons made from natural horn) with her offbeat design sensibilities to create a collection that is as versatile as it is luxurious. “We wanted to make knitwear you bring on a weekend trip to the countryside or throw over your shoulder during your morning commute,” says Rogge. “Clothes that serve as a comforting, protective layer when you’re out in the world.” From about $530, bbwallace.com. NEIGHBORHOOD GUIDE Where to Find Inventive Seafood and a Floating Hotel in Edinburgh
Leith, the Edinburgh neighborhood, was immortalized in the film “Trainspotting” during the hyped Cool Britannia era of the mid-1990s. Now, with a crop of new hotels, shops and restaurants, the area is even more alluring. Beneath Calton Hill, one of the capital’s volcanic mounds, the chef Stuart Ralston’s restaurant Lyla focuses on seafood, combining culinary concepts from both Scotland and Japan. Another new standout is the nearby bistro Montrose, offering plates of Shetland mackerel and razor clam in a former 19th-century inn. Nearer the waterfront area known as the Shore, the chef Roberta Hall McCarron’s playful take on hash browns with chili and kelp has made Ardfern a popular brunch spot. A coda of sorts to Leith’s terrific new food scene is Barry Fish, where the chef Barry Bryson has opened a seafood restaurant that pulls off the neat trick of being smart but never stuffy. Sea trout pastrami is the star here. Along with notable restaurants, Leith is full of revitalized historic spaces: At the renovated Leith Theatre, fresh programming and heritage tours are giving the venue a new lease on life. Likewise, Fingal Hotel is a lavishly remodeled lighthouse tender turned floating inn and restaurant. Another important locus of maritime history is Custom Lane, once a tax and excise hub, now tenanted by a design studio, a coffee roastery and the sustainable craft boutique Bard, which sells Shetland sweaters and platters woven of willow from the Isle of Eigg. COVET THIS Plinths and Pedestals That Are Art on Their Own
As a curator and art dealer, Katharina Herold often advises clients on how best to display their collections, and she found herself frustrated by the nondescript cases and stands typically used in galleries. “It doesn’t do the artworks justice to put them on boring white boxes,” says Herold, who since 2024 has hosted exhibitions and artist residences in the 18th-century Mallorcan townhouse where she also lives. In 2021, she released the Draped shelf, a diminutive plaster plinth that she later adapted into a sconce, whose undulating folds mimic the drapery she’d long admired in ancient Greek and Roman sculpture. Now, Herold has created the Attica collection, a quartet of stands produced by the Lacquer Company in Vietnam. There are two plinths, one about two and a half feet tall, the other just over three; and two pedestals, both under two feet tall, that can accommodate larger sculptures and vessels, though in shades of black, ivory and burnt orange, they are dramatic enough to stand alone. Their glossy surfaces were inspired by Art Deco, while the Vitruvian wave, wreath and palmette decorations borrow from Apulian pottery created in Southern Italy largely during the fifth and fourth centuries B.C., as well as from the antiquities that Herold handles for private clients. Herold road-tested her creations earlier this summer, using them to display a selection of classical artifacts from a sale at Christie’s in London. Made to order from Heroldian Art, from about $3,850, heroldian-art.com. GO HERE Faena Comes to New York With a Glamorous High Line Hotel
The Argentine real-estate developer Alan Faena is known for reshaping unloved corners of Miami and Buenos Aires with fantastical, art-driven hotels. Now he’s brought his leopard-and-red-velvet aesthetic to a building next to the Highline in New York’s Chelsea. Guests at Faena New York don’t enter a lobby but a “cathedral,” as Faena calls it, with a two-story mural by the Argentine artist Diego Gravinese. A swirling staircase leads to a check-in lounge with blood-red walls, an animal-print rug and a gold ceiling. Hallways are riotous with icons from Faena’s personal symbology including hearts, swords and unicorns. It’s not all theatrics. The celebrated Argentine chef Francis Mallmann will launch his first New York restaurant at the hotel this month, and its 12,000-square-foot spa, opening in 2026, will be accessible to non-guests, too. Faena New York occupies part of the Bjarke Ingels-designed One High Line building, whose twisting shape makes each guest room different and ensures abundant views of the High Line and the Hudson River as well as some of the city’s most striking architecture, including nearby buildings by Shigeru Ban, Frank Gehry and Zaha Hadid. The guest rooms themselves are unusually spacious, starting at 400 square feet, with floor-to-ceiling windows. And just as Faena Miami has become an arts hub in South Florida, Faena has similar ambitions here. A cabaret-style theater with original programming is scheduled to arrive next summer. This year, the hotel plans to host art events that will be free and open to the public. In October, a particularly colorful roller rink designed for the 2004 Whitney Biennial by the Brazilian artist Assume Vivid Astro Focus will open on the hotel’s plaza. From about $1,300 a night, faena.com. FROM T’S INSTAGRAM A Moody, Gothic Writer’s Home on Long Island
Coastal style hasn’t always been synonymous with whitewashed, sun-soaked spaces. In fact — as Stephen Alesch and Robin Standefer, the husband-and-wife design team known as Roman and Williams, learned a decade ago while working on Nantucket’s circa 1850s Greydon House hotel — shadowy interiors were the norm along America’s Northeastern shore until the mid-20th century. “It wasn’t like, ‘How can there be more glass?’” says Alesch. “You wanted to protect the interiors and the fabrics.” Alesch and Standefer were entranced by that dark and moody seaside aesthetic. So in 2019, when they were hired to make over a Hamptons retreat for a pair of writer-directors, they decided to go dark. From the outside, the home is a classic Cape Cod, complete with cedar shingles, fluffy bushes of panicle hydrangea and a white picket fence. Inside, however, it’s dominated by a palette of almost-black aubergine, stormy blue and deep teal green and furnished with Turkish carpets, English antiques and copious woodwork. “It’s Beach Gothic,” says Alesch. “It breaks right through that classic blue-and-white thing.” Click here to take a full tour of the house and follow us on Instagram.
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