Talia Loubaton, the designer of London-based ready-to-wear collection Liberowe, moved to the U.K. from her native Paris to study at Central Saint Martins. After a stint at Alexander McQueen, she launched her brand during the pandemic. It was a frantic moment in her life: caring for her two small children, creating custom dresses for friends, and perfecting the Nehru-collar jacket that would become Liberowe’s signature. But, she says, “it brought me back to life.” Two years later, her collection of tailored, minimalist separates, made primarily in the U.K., is selling briskly at Net-a-Porter and Saks Fifth Avenue. Knitwear is on the horizon, but for the shoulder seasons, we’re especially fond of her shirts, especially the cotton-poplin Cape Shirt. With its dramatic collar, figure-skimming silhouette, and delicate buttons, it’s a high-style take on the white shirt—without the fuss. ($687, liberowe.com) —Ashley Baker

The luxe-ification of Portugal’s seaside Comporta region continues at a red-hot pace. Little restaurants you fell in love with last season? Shuttered now, thanks to landlords’ being offered millions of euros so fashion brands can open pop-ups. Thank God for Mesa. Tucked on a side street, near where a pair of storks nest overhead, this lovely restaurant is the kind of gem you look to discover when you’re in a new place. The menu features outstanding locally sourced, market-driven dishes, such as tuna crudo fresh from the Atlantic, sea-bass ceviche, roasted-peach salad, and briny oysters. All of it’s terrific and made even better by the super-smart list of Portuguese wines. (restaurante.covermanager.com) —Michael Hainey

Kurt Vonnegut once compared the American cartoonist and illustrator Drew Friedman to the Spanish painter Francisco Goya. He’s also been likened to Pablo Picasso and called the “Vermeer of the Borscht Belt” for his “warts and all” caricatures. Formerly of MAD magazine and National Lampoon, Friedman is out with a collection of satirical portraits called Schtick Figures, which features everyone from Bob Dylan to “Weird Al” Yankovic. The undisputed master of wrinkles, jowls, and nose hairs is characteristically unsparing in his new book, but his subjects harbor no hard feelings. As Yankovic puts it, “I’ve been waiting my entire life to get old, decrepit, and craggy enough to merit a Friedman portrait of my own—hurray!” ($29.99, amazon.com) —Paulina Prosnitz

Marc Hom has always loved sculpture gardens—a fascination that only grew when the Danish fashion photographer moved to New York City from Copenhagen in 1989 and later visited the Hudson Valley’s Storm King. Wandering through the 500-acre open-air museum, Hom dreamed of creating one of his own. Two decades later, he presents “Re-Framed” in the backyard of the Fenimore Art Museum, overlooking Otsego Lake in Cooperstown. Twenty-eight portraits of notables, from Anne Hathaway and Cher to Samuel L. Jackson and Johnny Depp, swivel in the wind at 11-feet high. But don’t worry if you can’t make it to upstate New York before Labor Day—“Re-Framed” will be accompanied by a book, featuring the entire selection of photos on display with details about the exhibition’s creation. (fenimoreartmuseum.org) —Jeanne Malle

Some of us watch cricket mostly for the outfits. Now, instead of scouring the Cricket Direct Web site in search of the perfect slim but slouchy white trousers, fashion lovers can secure the platonic ideal of the pants in Dunhill’s new Athluxury collection. Combining technical design with tailoring, the polos, shirts, trousers, and knitwear have a sporty sensibility, but without sacrificing the cotton cashmere, wool jersey, and other high-end fabrics that are the signature of Simon Holloway, Dunhill’s creative director. A zip hoodie jazzed up with a two-way leather zipper pull, accessorized with a cashmere cap, is just the thing for spectating in style. ($2,305; dunhill.com) —Ashley Baker

Max Wolf Friedlich’s title for his new play, Job, refers to work at a major tech company, not unendurable Biblical suffering, but apparently there is not much difference. The show’s heroine is so unraveled by the demands of her position she ends up in the office of a crisis therapist. And their encounter—a generational clash between a hippie-era baby-boomer and a sarcastic millennial—is also a clash of mores and manners, sanity and madness. Job is an intense and disturbing hour-and-a-half confrontation, with no intermission, but the pace is fast and the dialogue is often quite funny. The two performers, Peter Friedman and Sydney Lemmon, are exceptionally good at slowly revealing secrets. (from $59, telecharge.com) —Alessandra Stanley