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Huawei, Zambesi team up to launch P10 phones in New Zealand; Zambesi creates bespoke collection


NEWS  by Lucire staff/April 5, 2017/11.47



Huawei has teamed up with leading New Zealand fashion label Zambesi to launch its P10 and P10 Plus smartphones.
   To mark the New Zealand introduction of the phones on April 12, Zambesi has created a bespoke collection inspired by the P10’s colours, namely the Graphite Black, Dazzling Blue, Dazzling Gold and Prestige Gold.
   The Zambesi collection uses 100 per cent merino wool, black satin and double silk organza gauze in tones of cobalt blue, gold and black, mirroring the P10’s colours.
   The phones will be on display alongside the collection at Zambesi’s Auckland and Wellington stores.
   The new phones promise some class-leading specs, including 5·1- or 5·5-inch screens, larger batteries, 64 Gbyte plus 4 Gbyte RAM, dual Leica cameras on the back and a Leica front-facing (selfie) camera, fingerprint-repelling Hyper Diamond-Cut metal finishing with colours created in partnership with Pantone, a Kirin 960 processor running Android 7, and support for 4·5G networks.
   They also offer Te Reo Māori as a standard language option in New Zealand.
   Huawei is so confident of the P10’s glass that it offers a complimentary three-month screen replacement guarantee. Retail price is NZ$999 for the P10, and NZ$1,199 for the P10 Plus.


Wellington’s eclectic, multicultural streetwear label Paris Club launches


NEWS  by Lucire staff/March 27, 2017/22.54


Having worked with design teams in London, Hong Kong and Australia, creative director Di returned to Wellington, New Zealand to launch her own streetwear clothing label.
   Paris Club, inspired by youthful living, energy, eclectic fun, and trends in 2017 streetwear, features over 250 styles of printed Ts, hoodies, sweaters and embroidered caps, all at an affordable price.
   Paris Club adds a new twist and an extra dash of energy to existing streetwear styles and brands by taking graphics, typography, and the latest trends and making them more boisterous and energetic, with irony, parody and joyful sarcasm, while being comfortable and functional.
   The I Feel Like Pizza long sleeve T is inspired by Yeezy’s collection but leans towards the love of food. Lazy, Lola Bunny, and the Icecream cap are honest reflections of the millennial’s heart, and throwbacks of vintage childhood cartoons. Minimalist black-and-white designs, featuring the Paris Club slogan, dominate; the label reports that girls seem to have taken the biggest liking on menswear in the collection, and boys on the pinks within the range.
   Inspired by Italian, French and Tokyo street styles, the brand seeks to create diversity and integrate a variety of cultures and their streetwear trends to create an eclectic, multi-cultural, style-lovers’ club.
   Ts retail at NZ$32·99, caps NZ$29, and hoodies from NZ$49, available at www.parisclub.co, with free shipping on domestic orders over NZ$100 and international shipping from NZ$6.







Sonam Kapoor, Naomie Harris, Zhang Zi Lin, Rosamund Pike among celebs at IWC Schaffhausen launch


NEWS  by Nathalia Archila/January 19, 2017/23.13

On the night of January 17 at a private gala event, IWC Schaffhausen and a thousand VIP guests visited Genève to celebrate the arrival of the new Da Vinci collection.
   ‘The new collection is a modern interpretation of the iconic Da Vinci design from the 1980s. Along with its haute horlogerie innovations, the collection once more includes references that have been designed deliberately with women in mind—as is indicated by various features such as smaller case diameters, moving strap horns, diamond-set bezels and leather straps by Santoni in various colours,’ explained Georges Kern, CEO of IWC Schaffhausen.
   Numerous IWC brand ambassadors and international stars such as actors Rosamund Pike, Vanessa Redgrave, James Marsden, Sonam Kapoor, Olga Kurylenko, Jean Reno (with Zofia Reno), Game of Thrones’ Joseph Mawle, Naomie Harris, Zhang Zi Lin, Chen Bolin, Isabelle Huppert, Taylor Schilling, Moritz Bleibtreu, Barbara Becker, Franziska Weisz, Elyas M’Barek, Palina Rojinski, Hend Sabri, Murilo Benício, Pierfrancesco Favino, Ralf Möller, Anna Ferzetti, Anna Drijver, Rob Brydon, and Sir Patrick Stewart; singers and musicians Ronan Keating (with Storm Keating), Sunny Ozell, John Helliwell, and Sebastian Bürgin; TV presenters Raya Abirached and Alessia Marcuzzi; photographers Mika Ninagawa and Murad Osmann; producer Juan López Salaberry; sporting and racing legends Nico Rosberg (with Vivian Rosberg) Lewis Hamilton, Niki Lauda (with Birgit Lauda), Fabian Cancellara, Jan Frodeno, Arsène Wenger, Jochen Mass, Carmen Jordá, Oliver Bierhoff (with Klara Bierhoff), Alexei Nemov (with Galina Nemov), Günter Netzer (with Elvira Netzer), and Ion Țiriac; models Karolína Kurková, Adriana Lima, Vanessa Lorenzo, Monika Radulović (with husband, artist Alessandro Ljubičić), Andrés Velencoso, and Natalia Zakharova; chefs Andrea Berton (with Sandra Berton) and Diego Guerrero; and influencers such as Alexandra Lapp, Tiany Kiriloff, Kristina Bazan, Xenia Tchoumi, Elias El-Indari, Nadya Hassan, Lana El Sahely, Nicole Warne, Germina Preses, stylist Ana Antic, Sandra Bauknecht, Chiara Maci, and Negin Mirsalehi stepped onto the red carpet. Danish singer MØ performed live on stage at the event. Kern’s successor, Christoph Grainger-Herr, made his first appearance at a major celebrity event, as did Monika Kern, who accompanied her husband. IWC’s CMO Franziska Gsell also attended, as did IWC VIP customer, man-about-town Tim Jeffries.
   IWC Schaffhausen has been producing watches since 1868, and has gained an international reputation, creating masterpieces of haute horlogerie at their finest, combining supreme precision and exclusive design.—Nathalia Archila

Bringing Confucius’ legend to life


NEWS  by Lola Cristall/January 10, 2017/11.04




Liu Haidong

After Asia, Europe and Australia the dance drama, Confucius, lands in New York. The China Arts and Entertainment Group (CAEG) returned with a marvellous performance at the David H. Koch Theater at Lincoln Center. The China National Opera and Dance Drama Theatre presented an inspiring feature, directed and choreographed by a 77th-generation descendant of Confucius, Kong Dexin. Written by Liu Chun with costume design by Yang Donglin, the set and its design make for a magnificent backdrop for this dramatic, expressive tale. The beautifully decorated Asian-influenced stage, upbeat traditional tunes and eye-catching outfits make the crowd yearn for more. The full 90-minute performance is divided into six parts: ‘Inquiry’, ‘The Chaotic Time’, ‘Out of Food’, ‘Great Harmony’, ‘Mourning for Bene­volence’, and ‘Happiness’, each explicitly telling a tale, evoking philosophical concepts brought about by the arts. The renowned philosopher’s life blossoms on the stage, sharing various profound messages. As dancers expressed the story, Confucius’ words of wisdom are highlighted on two screens on either side of the stage.—Lola Cristall, Paris Editor









Liu Haidong

Opel previews Insignia B, with clues to next Holden Commodore and Buick Regal


NEWS  by Lucire staff/December 7, 2016/1.07



GM has shown official photographs of the Opel Insignia B, which will be sold in the UK as a Vauxhall and Australasia as the Holden Commodore. Opel has focused on making the new Insignia more efficient, and it has completely reinterpreted how a sporty, large car should look. The new large car boasts a Cd figure of 0,26, yet lightweight materials have shaved up to 175 kg off the weight.
   Length is roughly the same as before, but it’s 29 mm lower, and the wheelbase has been increased by 92 mm (aiding rear passenger space), and the track by 11 mm. In isolation, it appears larger compared with the outgoing Insignia, something which will help its prospects internationally, where a version of the Insignia has to compete in China as the upscale Buick Regal, and in the former E-segment in Australia as the Holden Commodore. There is an increasing commonality between Opel and Buick design languages, too, with GM saying the Insignia B has a ‘sweepspear’ line that begins at the front door—a term that was first used at Buick in the 1940s. A coupé-like fastback roofline and an upper chrome strip—the latter is also tipped for the estate—give the Insignia B a more distinctive appearance. The driver also sits 30 mm lower than before.
   Opel’s design vice-president for Europe, Mark Adams, says that the Insignia B is meant to look more upscale than its predecessor, saying it has ‘the aura of a car from the premium, upper class.’ Inspiration came from the Opel Monza Concept of 2013.
   There is a new eight-speed automatic transmission, and a wide range of engines, though Opel has not yet revealed specifics before the Insignia B’s official launch in Genève next year. The big news under the skin is all-wheel drive with torque vectoring, aiding stability: this feature is expected on the top models worldwide. FlexRide adapts dampers, steering and throttle response to suit a driver’s style.
   Its LED headlights adapt to the traffic conditions, and there are other premium features, including a head-up display, adaptive cruise control, lane assist with lane-departure warning, and rear cross-traffic alert. GM’s Onstar service is also standard, with automatic crash response and stolen vehicle assistance, with a concierge service allowing occupants to book hotels, launching with the car next year.







Ralph & Russo, Charlotte Tilbury, Anya Hindmarch among Walpole winners; Lucy Hale named ambassador for Casetify


NEWS  by Lucire staff/November 16, 2016/12.50

Pretty Little Liars’ Lucy Hale has been named as a spokeswoman and creative director for Casetify, a company retailing cellphone cases, Apple Watch bands, Macbook sleeves and clutches.
   The capsule collection of 34 pieces has been launched in time for the new Apple Iphone 7, based around the idea of ‘delicate but daring,’ a motto credited to the actress. The designs reflect Hale’s tastes, including one with the quotation, ‘I like big brows and I cannot lie,’ as well as cheetah, floral and cacti prints, and one featuring her own dog, Elvis.
   Prices begin at US$40, and the range can be found at www.casetify.com/lucy-hale.
   The 15th annual Walpole Awards, presented in London on Wednesday, saw numerous fashion and beauty brands honoured for their contribution to luxury. Ralph & Russo won Outstanding Achievement in British Luxury, presented by Nadja Swarovski (right).
   Other winners included make-up artist Charlotte Tilbury, who won British Luxury Brand of the Year, and accessories’ designer Anya Hindmarch won the prize for Digital Innovation in British Luxury. Burberry and House of St Barnabas jointly won the Champion of British Luxury Sustainability award.

Skilful execution by tomorrow’s stars at New Zealand School of Dance’s 2016 Graduation Season


NEWS  by Jack Yan//11.39




Stephen A’Court

Above, from top: Meistens Mozart. An excerpt from Political Mother. Pas de deux from The Sleeping Beauty.

The New Zealand School of Dance’s Graduation Season once again brings an expertly executed programme, mixing genres from classical to modern to experimental. Among the programme tonight were three premières: Helgi Tomasson’s Meistens Mozart was performed for the first time in New Zealand, while Amber Haines’s Incant and Jiři Bubeniček’s Dance Gallantries received their world premières on opening night of the season at Te Whaea.
   Meistens Mozart started the evening and showed that, with the right arrangement and choreography, the German language could be made cheerful. Songs by Wolfgang Amadeus Mozart, Carl Ditters von Dittersdorf, Bernhard Flies and Jakob Haibel, sung by the Tölzer Boys’ Choir, accompanied the six dancers, the standout of whom was George Liang. Liang had previously been at Canada’s National Ballet School, and we had seen him perform last month at the Republic of China’s National Day celebration. There were no opening-night jitters from any of the six, who instantly transported us to an alpine society, celebrating springtime love, courtship and playfulness.
   The all-male He Taonga—a Gift was an energetic and intense performance where drumbeats from Whirimako Black’s ‘Torete te Kiore’ soundtrack sparked sudden moves, a demonstration of control and strength from the 14 dancers. Choreographed by Taiaroa Royal and Taane Mete, He Taonga was created for the School in 2009 and reprised tonight.
   Opening the second section, Laura Crawford and Yuri Marques were like delicate dolls in their pas de deux from The Sleeping Beauty, Act III, with the choreography after Marius Petipa. Marilyn Rowe, OBE staged and coached, while Qi Huan was répétiteur. This was a tough ballet piece to get right and the pair got stronger as they performed, gaining confidence and drawing us into their romance.
   Taking a complete tangent into modern dance was the solo performance of Glitch, a new work from NZSD tutor Victoria Columbus, whose talents we most recently saw at the World of Wearable Art, where she serves as director of choreography. The movements themselves were created by graduate Connor Masseurs, who performed the dance, playing the part of a “glitching” robotic man short-circuiting on stage with skilful, shuddering movements. Masseurs completely absorbed us with his solo: it wasn’t just his limbs that Masseurs controlled, he extended the idea to facial movements, inventively finding new ways to glitch. Masseurs first performed the dance at the Grand Théâtre at the Maison de la Culture de Tahiti as part of a gala at the Académie de Danse Annie Fayn.
   Incant was mysterious, brooding, and ethereal: this all-female work saw dancers come together to generate new shapes, conveying to us notions of clouds, trees in a forest, or tunnels, at times passing a lit sphere between them. Haines’s choreography was meant to question traditional notions of beauty and got us successfully focusing on the collective moves of the dancers. ‘This world,’ she notes in the programme, ‘invokes a mesmerizing state of collective consciousness and celebrates the power and luminous beauty of shared intention.’ A captivating work, it ended the second set of dances.
   Dance Gallantries was another more traditional work, with 10 dancers telling more playful stories of romance, complemented by Otto Bubeniček’s colourful costume design and solo violin music by J. S. Bach.
   A group of 12 performed an extract from Political Mother, the evening’s one political work with jarring music and clever choreography by Hofesh Shechter. A couple merrily folk-dances in a town square, happy to be part of their society, but are they genuinely happy or manipulated by the state? Their expressions seem to suggest the latter, fooled into believing that all is well and happy in their naïveté. The action moves on to a prison, where the music is muffled and dancers ape being restrained by either arms or ankles. The final scene, with a large group of dancers back in the town, show that the entire society has succumbed to the illusion, raising their arms in acceptance. It makes you question about the times we live in, and whether intellectual discourse is suppressed in favour of simpler ideas, a population told to be happy without really knowing why.
   Finally, Tchaikovsky’s music from The Nutcracker was excerpted for the upbeat Tempo di Valse, with the NZSD returning to a ballet to finish the evening. The ‘Waltz of the Flowers’ was instantly recognizable, the 15 dancers showing classical movements. Nadine Tyson choreographed, while the colourful traditional costumes were designed by Donna Jefferis.
   Depending on the show, the pas de deux from The Sleeping Beauty may be replaced by Jack Carter’s Pas de deux romantique, with music by Rossini; while Glitch may give way to The Wanderer, choreographed by Columbus and perforned by Liang.
   The season runs from November 16 to 26 at Te Whaea in Wellington, New Zealand, with prices ranging from NZ$18 to NZ$33. Tickets can be booked at the New Zealand School of Dance, or online at nzschoolofdance.ac.nz/book-tickets. We’d rate it another must-see, especially to catch some rising stars—we understand that some are off overseas, already snatched up by dance companies.—Jack Yan, Publisher

Gillian Saunders takes top honours at 2016 World of Wearable Art Awards’ Show, with Supernova


NEWS  by Lucire staff/September 23, 2016/11.00




WOW

New Zealand designer Gillian Saunders has scooped the Brancott Estate Supreme Award at tonight’s World of Wearable Art (WOW) Awards’ Show. Saunders, who had entered 15 garments before her winning entry, Supernova, has won eight awards prior to 2016, but this is the first time she has taken out the top prize.
   Saunders, who was born in England, has been involved in television and theatre for most of her working life. She was trained in Yorkshire, and went on to Christchurch, New Zealand, where she worked as a props’ maker for the Court Theatre.
   ‘I had been making stage props for theatre and TV for years. WOW was the perfect challenge—could I make props for the body as well?’ she said.
   Supernova was inspired by ‘Thierry Mugler’s Chimera dress [from the autumn–winter 1997–8 collection], … the iridescent spiny fins of the Hippocampus from the Percy Jackson movie The Sea of Monsters, and some incredible NASA images taken by the Hubble Telescope,’ she noted. ‘Once all these elements were combined, Supernova was brought to life.
   ‘The large gems represent new stars being born and the dark shadows represent deep space. Each scale has been individually cut, shaded with marker pens and then hand-sewn on to the garment. Each gem has had its sticky backing removed and then glued on by hand.’
   Saunders also won the Avant-Garde section in this year’s competition, judged by WOW founder Dame Suzie Moncrieff, Zambesi’s Elisabeth Findlay, and sculptor Gregor Kregar.
   Dame Suzie said, ‘Supernova has the design innovation, the construction quality and vibrant stage presence in performance to win WOW’s top award.’
   Saunders’ 2013 design, Inkling, won the Weta Creature Carnival Award and an internship for her at Academy Award-winning Weta Workshop. It is currently part of the WOW international exhibition, touring around the world, and presently at the EMP Museum in Seattle, Washington, where it will be displayed till January, after which the exhibition will head to the Peabody Essex Museum in Boston, Mass.
   She also won the Avant-Garde section in 2007 with Equus: behind Closed Doors, while in 2009, Tikini was second in the Air New Zealand South Pacific section.
   Designers from New Zealand, China, India, England, Australia, and the USA won awards in each section.
   The American Express Open section this year saw Renascence, by Yuru Ma and Siyu Fang of Shanghai take first place. The Spyglass Creative Excellence section was won by Mai (I), by Pritam Singh and Vishnu Ramesh of Gujarat. Queen Angel, by Adam McAlavey of London, won the MJF Lighting Performance Art section.
   Baroque Star, by Natasha English and Tatyanna Meharry of Christchurch, won the Weta Workshop Costume and Film section, netting the duo a four-week internship at Weta Workshop, plus travel, accommodation, and prize money.
   The Wellington Airport Aotearoa section was won by Maria Tsopanaki and Dimitry Mavinis of London, with their creation Princess Niwareka. The World of Wearable Art and Classic Cars Museum Bizarre Bra section was won by Julian Hartzog of Tarpon Springs, Fla., with Come Fly with Me.
   Of the special awards, Dame Suzie chose Incognita, by Ian Bernhard of Auckland, as the most innovative garment, giving it the WOW Factor Award. Renewal, by Alexa Cach, Miodrag Guberinic and Corey Gomes, won the First-Time Entrant Award. The Knight by Jiawen Gan of the Beijing Institute of Fashion Technology won the Student Innovation Award. The Sustainability Award, recognizing the protection of our environment and the use of materials that would otherwise be discarded, was won by Bernise Milliken of Auckland, for Grandeer. Digital Stealth Gods, by Dylan Mulder of Wellington, won the Wearable Technology Award. The Wellington International Award, given to the best international entry, was won by Daisy May Collingridge of Woldingham, Surrey, England, for Lippydeema. Collingridge also won the UK–Europe Design Award with this entry.
   Khepri, by Miodrag Guberinic and Alexa Cach of New York, NY, won the Americas Design Award. Yu Tan of Shanghai won the Asia Design Award with The Renaissance Happens Again, while Cascade, by Victoria Edgar of Geelong, Victoria, won the Australia and South Pacific Design Award.
   The David Jones New Zealand Design Award was won by Voyage to Revolution, by Carolyn Gibson of Auckland.
   The Cirque du Soleil Performance Art Costume Award, chosen by Denise Tétreault, Costumes Lifecycle and Creative Spaces Director of the Cirque du Soleil, was won by Digital Stealth Gods, by Dylan Mulder. Mulder receives prize money, flights and accommodation for a one-month internship at Cirque du Soleil’s headquarters in Montréal, Québec.
   WOW runs in Wellington, New Zealand, through to October 9, and will be seen by 58,000 people live during its run. It employs over 350 cast and crew.
   This year, 133 entries by 163 designers (some worked in pairs) were received, competing for a prize pool of NZ$165,000.



WOW


Renascence, by Yuru Ma and Siyu Fang, Shanghai.


Mai (I), by Pritam Singh and Vishnu Ramesh, Gujarat.


Queen Angel, by Adam McAlavey, London.


Baroque Star, by Natasha English and Tatyanna Meharry, Christchurch, New Zealand.


Princess Niwareka, by Maria Tsopanaki and Dimitri Mavinis, London.


Come Fly with Me, by Julian Hartzog, Tarpon Springs, Fla.


Incognita, by Ian Bernhard, at AUT, Auckland.


Renewal, by Alexa Cach, Miodrag Guberinic and Corey Gomes.


Grandeer, by Bernise Milliken, Auckland.


Digital Stealth Gods, by Dylan Mulder, Wellington.


Lippydeema, by Daisy May Collingridge, Woldingham, Surrey.


Khepri, by Miodrag Guberinic and Alexa Cach, New York.


The Renaissance Happens Again, by Yu Tan, Shanghai.


Cascade by Victoria Edgar, Geelong, Victoria.


Voyage to Revolution by Carolyn Gibson, Auckland.

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