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May 22, 2015

Aishwarya Rai, Karlie Kloss, Paris Hilton, Kendall Jenner, Liu Wen among celebrities at AmFAR gala at Cannes

Lucire staff/2.04

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Ian Gavan


Dominique Charriau


Venturelli

Cannes’ AmFAR Gala is the big bash during the film festival, with celebrities this year flocking to the Cinema Against Aids event at the Hôtel du Cap-Eden-Roc at the Cap d’Antibes. Over the years, the event has raised US$140 million for AmFAR’s research programmes designed to consign Aids to history.
   Celebrities attending this year included Aishwarya Rai Bachchan (wearing a mauve Elie Saab gown; husband and co-event chair Abhishek Bachchan could not be present due to work commitments), Kendall Jenner (in Calvin Klein), Toni Garrn (in Elie Saab), Irina Shayk (in Atelier Versace), Doutzen Kroes, Paris Hilton (in Yanina, with jewellery by Avakian), Selita Ebanks, Eli Mizrahi, Chanel Iman, Petra NÄ›mcová, Jourdan Dunn, Karlie Kloss (in a silver Tom Ford), Eva Longoria (in Georges Hobeika), Soo-Joo Park, Barbara Palvin, Isabeli Fontana, Antonio Banderas, Li Yuchun, Natasha Poly, Sienna Miller, Marion Cotillard, Adriana Lima, Liu Wen, Rita Ora (in Marchesa), Lily Donaldson, Dita von Teese, Lara Stone, Gigi Hadid (in Tom Ford), Noomi Rapace, Diane Kruger, Sara Samparo, Bella Hadid, and Tom Ford. Sharon Stone commemorated 20 years of supporting AmFAR at the event.
   This year’s Black and White Collection fashion show was curated by Carine Roitfeld, with music by Mark Ronson. Imagine Dragons, Mary J. Blige and Charli XCX (wearing Vivienne Westwood) performed live at the event.
   Sponsors included Bold Films, Harry Winston (who created an Epic Cluster necklace for the auction, with proceeds going to HIV–Aids research), the Weinstein Company, and Moët Hennessy.
   L’Oréal Paris treated the evening as the perfect opportunity to showcase its support of the entire Festival de Cannes, with 10 of its spokeswomen attending—promoting its Superstar line of mascaras and eye-liners and Infaillible lipsticks and foundations that have proven to be staples for celebrities this year.
















Gareth Cattermole






















Ian Gavan; Pascal Le Segretain/AmFAR15; George Pimentel/AmFAR15; Venturelli; courtesy AmFAR

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May 18, 2015

Karst is the New Zealand School of Dance’s most innovative season yet

Jack Yan/13.09

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Stephen A’Court

Top New Zealand School of Dance third-year contemporary students. Above Latisha Sparks, William Keohavong and Jadyn Burt.

The New Zealand School of Dance always puts on a stellar performance, especially with its final-year class, but Karst, its Choreographic Season for 2015, adds some unexpected and welcome twists, and puts audience members into the performance, at least during the first half.
   Arriving at Te Whaea, you’re aware something is different: instead of the waiting area that you’re accustomed to, there’s blackness. The auditorium, meanwhile, has become the new waiting area, with TV screens showing the final-year students’ faces in the centre, and the tables moved within. As the show started, we were escorted to the catwalk above the plaza, where the show takes place.
   Wind over Sand (See below) gives you a different perspective as we viewed this from above, or on the stairwell, and there was some getting used to seeing a performance while standing. However, this didn’t detract from the enjoyment at all, and, as it turned out, Wind over Sand was simply a prelude to the cleverer and more entertaining numbers that were to follow. Audience members in wheelchairs were wheeled to ground level and watched from there, but would have had the same appreciation we did.
   Felix Sampson, one of the class of ’15, motioned us comically to come down from the stairs, surrounding the stage, where Jadyn Burt danced to Exhibit: J, using a single box as her prop, positioning herself on each side as she explored it.
   Seated at what would be our vantage points for the rest of the evening, Samuel Hall and Jag Popham began their number stood at different corners of the set, one motioning ever frantically while the other stood still. Without Regard contrasted movements and styles as the pair moved closer on stage.
   Another seamless segue, as bright lights shone from the end of the building, and we were into Volume, set to Planningtorock’s ‘Public Love’, with the notes asking, ‘If you could live in that place every day? Think of the possibilities.’ But, like some of the performances in Karst, those possibilities had a catch, the choreography signalling the old adage of, ‘Be careful what you wish for.’ (Manifest) the Subliminal, similarly, strikes at the idea of balance, with backgrounds moving, essentially reiterating that the universe is structured the way it is for a reason. Upset that balance, and there is chaos. Loscil’s ‘Esturine’, with its repetitive rhythms and crackles contributed to an airy, almost lonely effect.
   Fragile Mortalities was the first number that blended visual effects as each dancer brought out a television screen with their face on it, looking cheerful, yet each began revealing their insecurities more and more, performing their internal collapses. In a similar world of paranoia, You Are My, set to the Harry Roy arrangement of ‘You Are My Sunshine’ saw cheer erupt each time the music started, but the despair soon strikes one dancer, then more and more, in different forms; words displayed at the back of the set disintegrated from hopeful to hopeless. At this point, one wondered if this reflected concerns students had about their lives in 2015; after all, who are better insights into the Zeitgeist, and more focused on the future than those who have settled in their careers?
   The 79 Bonnie Special brought the mood up slightly with the background video showing what appeared to be an old cassette-recorded programme. A tribute to New Zealand singer Connan Mockasin, using his song ‘Do I Make You Feel Shy?’, this was a comedic take, with Georgia Rudd donning a silk gown and shades, and lip-synching into a microphone, perhaps telling a tale of fleeting fame and the low-rent world that some inhabit, thinking they are on the A-list. Again, it seemed to be on the pulse of where popular culture is, in what might be deemed a post-reality-show world. Such shows still air, but in terms of the cycle, are they beyond maturity?
   Unfortunate Help, with Jessica Newman and Latisha Sparks in the main roles, see the dancers together with lengthy cardboard tubes, but pulled apart, others’ attempts at rejoining failing to unite the pair, who also fall into their darkness. At its end, Rowan Rossi emerges on stage, curious about the state of affairs, and we hear Sampson utter complete sentences for the first time, beckoning others to go as he and Rossi begin Only in Istanbul. Sampson narrates the piece, joking about Rossi and providing personal details about him, and the two come to dance in unison. Only in Istanbul is described as ‘A rigmarole’ in the programme notes, and the description fits: the movements are expert, but the story culminates in ‘Istanbul, Not Constantinople’ and the entire cast reemerges for Absent Ritual, a number that leaves Karst on an upbeat, positive note.
   Te Aihe Butler’s music, which is at the fore in Absent Ritual, actually comes through in many of the numbers, and is the effective, unseen uniting force behind Karst. It deserves special mention.
   Taken together, one does have to ask: where are society and culture today? Are we in times where we are leaving some of our citizens behind? What is the value of fame if it lacks fulfilment? If the students, who choreographed the works, are forcing us to ask these questions, then they have succeeded.
   The season is directed by Victoria Colombus, an NZSD graduate, and is the most innovative Lucire has reviewed at the venue. Colombus rightly used the space to great effect, and we hope that there will be future performances there. Removed from the traditional shape of the auditorium, the students made very effective use of their new stage, and the architectural structure helped give a scale beyond what the auditorium offers.
   Toi Whakaari: New Zealand Drama School students worked on the lighting, which also showed a youthful passion combined with professionalism, while Donna Jefferis’s costumes were the icing on the cake.
   The season runs at Te Whaea in Newtown, Wellington, till May 23, with tickets from NZ$12 to NZ$23. Bookings are available at www.nzschoolofdance.ac.nz.—Jack Yan, Publisher

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Olivier Rousteing, Kendall Jenner and Jourdan Dunn promote H&M–Balmain collaboration

Lucire staff/9.06

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Top Jourdan Dunn, Olivier Rousteing and Kendall Jenner for H&M and Balmain. Above Olivier Rousteing. Below left Ann-Sofie Johansson of H&M.

Hennes & Mauritz’s next designer collaboration, on sale November 5, is with Balmain of Paris.
   Founded by Pierre Balmain after World War II, the veritable house rode a high soon after launch, being the choice of Hollywood stars. Now under the creative direction of Olivier Rousteing, Balmain has recaptured its “must-have” nature among celebrities, and Rousteing himself, as H&M points out, headed to the Billboard Music Awards’ red carpet last night in Las Vegas, Nevada to join friends and fans Kendall Jenner and Jourdan Dunn, who are promoting the campaign alongside him.
   Using the hashtag #HMBalmaination, the two brands are signalling their collaboration on social media. ‘I want to talk to my generation: this is my main aim as a designer. H&M allows me the unique possibility of bringing everyone into the world of Balmain, get a piece of the dream and create a global #HMBalmaination: a movement of togetherness, fuelled on a hashtag. The collaboration felt extremely natural to me: H&M is a brand that everybody connects to. It calls for unity, and I am all for it,’ said Rousteing in a release.
   â€˜We are excited to have Balmain as our guest designer at H&M and create a truly involving experience for everybody,’ said Ann-Sofie Johansson, H&M’s creative adviser. ‘With its mix of couture spirit and streetwear attitude, Balmain owns a unique style, at once opulent and direct, sensual and energetic. It is also closely linked to the show business and music worlds, which adds another element of surprise.’
   The collection will hit 250 stores worldwide and online at hm.com.

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Aishwarya Rai, Natasha Poly, Eva Longoria, Svetlana Khodtchenkova: Cannes Film Festival, day 5

Lucire staff/1.49

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In our recent experience, no Cannes Film Festival is complete without Aishwarya Rai making an appearance. The actress and former Miss World graced the red carpet for Carol (the adaptation of the Patricia Highsmith novel, directed by Todd Haynes) at the Festival de Cannes with a nautical mood, with an emerald Elie Saab gown teamed with a de Grisogono cushion-cut blue sapphire ring. It marks her 14th year at Cannes as a L’Oréal ambassador. Her daughter accompanied her on the trip, as behind-the-scenes photographs from the Indian branch of the company revealed on social networks.
   Also representing the French giant on day five at the Carol première was model Natasha Poly (Natalya Sergeyevna Polevshchikova) in a distinctive Versace design, featuring a sequinned body suit with a large belted skirt, so far her most imaginative outfit on the Cannes red carpet. Poly complemented this with de Grisogono Polina black diamond earrings. Eva Longoria, who was first spotted at a gala on Friday, walked the Carol red carpet resplendent in a dark blue Versace gown with a plunging neckline, Luma Grothe went with a short sequinned dress, and Li Bing Bing shone with porcelain skin and an updo, and another glittering white gown.
   Svetlana Khodtchenkova was pretty in pink with her strapless gown, showing off her de Grisogono Boule earrings and Allegra ring. German actress Elsa Zylberstein
 also chose de Grisogono jewellery, namely the XXL green tourmaline ring and briolette-cut emerald earrings, to go with her emerald Lanvin gown.
   Despite the official selfie ban, Longoria snapped one with Rai on the Carol red carpet, reposted by L’Oréal Paris India.











L’Oréal Paris India


L’Oréal Paris

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May 15, 2015

Michelle Rodriguez, Fan Bingbing, Naomi Watts, Charlize Theron up the glamour at Cannes, day 2

Lucire staff/11.09

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Pascal Le Segretain


Venturelli

Day two of the 2015 Festival de Cannes, the 68th Cannes Film Festival, saw Michelle Rodriguez and Charlize Theron get the attention of celebrity-watchers as they walked the red carpet for George Miller’s Mad Max: Fury Road.
   Rodriguez wore a black, nearly backless Zuhair Murad embroidered lace gown with floral paillette embroidery, accessorized with a de Grisogono XXL jewel and its Melody of Colours ring set with a centre aquamarine weighing over 60 ct.
   Theron, accompanied by boyfriend Sean Penn, wore a canary yellow strapless Dior gown, with accessories kept to a minimum.
   Fan Bingbing wore a grey floral Marchesa gown with 3D floral details evoking spring blossoms, with L’Oréal Paris’s make-up artists using Superstar Mascara and Superliner Perfect Slim in black, and Color Riche 30 Years lipstick in 238, Orange After Party. Fan had flowers in her hair, too, to go with her gown, held in place by L’Oréal’s Elnett Satin Supreme Hold.
   Salma Hayek joined her co-stars for the première of Il racconto dei racconti (Tale of Tales) wearing a red floral Alexander McQueen dress. We also spotted Isabella Rossellini (whose late mother, Ingrid Bergman, features in the Festival’s publicity images this year) in Stella McCartney, Courtney Eaton in Chanel, and Sophie Marceau in Alexandre Vauthier.
   Alongside Fan were her fellow L’Oréal Paris spokeswomen, including Inès de la Fressange, Julianne Moore (in Givenchy), Katrina Kaif, and Liya Kebede. Naomi Watts was particularly memorable and glamorous—in that classic Hollywood sense—wearing a black Ralph Lauren gown.


















Tristan Fewings; Venturelli; Pascal Le Segretain; Gisela Schober; Ian Gavan

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May 12, 2015

Full Harper’s Bazaar archive joins those of Vogue and WWD, digitalized by ProQuest

Lucire staff/15.10

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With the entire Vogue US archive already available to researchers, it was a matter of time before its rival, Harper’s Bazaar, followed.
   ProQuest has announced that it is creating the first digital archive of the magazine, from 1867 to the latest issue. It joins ProQuest’s earlier digitalizations of Vogue and Women’s Wear Daily. The archives are known for their ease of search as well as their high-resolution imagery.
   â€˜We know scholars and students are using more than journals and books to conduct their research,’ said ProQuest’s senior director of product management for humanities, Stephen Brooks. ‘Digitization programmes such as this one with Harper’s Bazaar unlock valuable, historical primary sources from the confines of print, making them easy to access, text mine and use within researchers’ workflows.’
   Harper’s Bazaar, originally Harper’s Bazar, was the US’s first fashion magazine. Carmel Snow, Diana Vreeland, Elizabeth Tilberis, Alexey Brodovitch, Man Ray, Richard Avedon, Patrick Demarchelier, Andy Warhol, Daisy Fellowes, Gloria Guinness, and Eleanor Hoyt Brainerd have all featured prominently in the magazine since its inception.

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May 8, 2015

Two world premières form part of the Royal New Zealand Ballet’s Salute, ahead of an international tour

Lucire staff/2.36

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Ross Brown

Top Neil Ieremia’s Passchendaele with RNZB dancer William Fitzgerald. Above Kirby Selchow dances Andrew Simmons’ Dear Horizon.

The Royal New Zealand Ballet has revealed more about Salute, its commemoration of World War I, that premières in Wellington on May 22, with a nationwide tour after its stint there. As revealed in Lucire earlier this month, two of the specially commissioned pieces having their world première in Wellington will also be seen abroad, with the Royal Ballet hosting the RNZB in November 2015 at the Royal Opera House. Leeds, Canterbury and Roma are on the list of stops for the tour, Francesco Ventriglia, the Royal New Zealand Ballet’s artistic director revealed today.
   The two premières, both commissions by the RNZB, are from choreographers Neil Ieremia and Andrew Simmons, set to scores by Dwayne Bloomfield and Gareth Farr, respectively. The world-class New Zealand Army Band will also collaborate on Salute, touring to each of the seven centres on the national tour.
   Ieremia’s Passchendaele, with the Bloomfield score, will also feature works by Auckland artist Geoff Tune, inspired by his artist grandfather’s World War I diaries and recent visits to Gallipoli and Passchendaele.
   Ieremia said in a release, ‘The grotesque and brutal nature of war robs humans of humanity—my intention is to do what little I can to remind us of our own. From the haunting journey through the music, to the refined expression in the dancers’ bodies, encapsulating the very human impact of war—this creative process has already left an indelible mark on my spirit. I feel I have grasped a very, very small insight into something that should never be forgotten.’
   Simmons’ Dear Horizon is a new commission and his fifth for the company, and features a specially commissioned score by Farr, written for the New Zealand Army Band and cellist Rolf Gjelsten of the New Zealand String Quartet.
   Simmons said, ‘It is a very special honour to have been asked to create something for the company as part of this commemorative programme. War cannot really be celebrated and fêted, however the human aspect and participation should always be remembered. I wanted to create a work that reflects upon emotions of those affected by conflict.’
   The set and costumes for Dear Horizon have been designed by Tracy Grant Lord, who also designed the RNZB’s Cinderella (2007) and Romeo and Juliet (2004).
   As detailed last month, the Salute programme also features Johan Kobborg’s Salute and Jiří Kylián’s Soldiers’ Mass.
   Salute has been supported by the Lottery Grants Board, New Zealand Defence Force, Qantas, the Göthe-Institut, the Ministry for Culture and Heritage, national sponsor Vodafone, and Pub Charity.
   Dates for Salute are May 22–4 in Wellington; May 28–30 in Christchurch; June 3 in Dunedin; June 10 in Hamilton; June 13 in Takapuna; June 17–20 in Auckland; and June 24–5 in Napier.
   Further information can be found on the Royal New Zealand Ballet’s website at rnzb.org.nz.

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May 6, 2015

Reese Witherspoon launches her own US south-inspired fashion and lifestyle venture, Draper James

Lucire staff/23.34

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Academy Award-winning actress Reese Witherspoon is behind a new southern US-inspired retail brand, Draper James, appealing to those who would like their fashion, accessories and home décor with a touch of Dixie.
   Witherspoon has named the brand after her grandparents, Dorothea Draper and William James Witherspoon, who are said to be her greatest influences.
   Witherspoon, who grew up in Nashville, Tenn., recently moved back there, and says the brand pays tribute to her own past. It’s not retro-focused, either: Witherspoon is intent that Draper James reflects what the US south is today.
   Fashion items are feminine, bright and playful, and include dresses and separates; accessories include jewellery and handbags, and home items include stationery, manchester and cocktail napkins.
   She will work with southern artisans and items will be produced in southern factories, says the company.
   â€˜Draper James was built on the backdrop of Reese’s southern past which is both timely and relevant. Not only is the south having a cultural surge, but it has a rich ecosystem that we tapped into on every level,’ says Draper James CEO, Andrea Hyde.
   The ecommerce site launches first at draperjames.com, with a physical store in Nashville to come. Instagram and Twitter presences are up, and the company is using the #DraperJames hashtag.

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