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November 25, 2014

Absolut Vodka launches Andy Warhol limited-edition bottle into New Zealand

Lucire staff/1.39

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Absolut Vodka’s latest limited-edition bottle pays tribute to one of the greatest pop culture icons of all: Andy Warhol.
   Warhol was the first artist to create an original artwork for Absolut in the 1980s, for an advertisement simply titled, ‘Absolut Warhol’. The image has become iconic and arguably helped make the Absolut bottle recognizable to a very wide audience.
   Michel Roux, the CEO of Carillon, which imported Absolut into the US, came up with the idea to link Warhol with the bottle.
   The new bottle follows Warhol’s design, and is now available in New Zealand, retailing at leading liquor retailers for NZ$55¬∑99 for 1 l.
   The Swedish-founded vodka company now has over 800 pieces in its Absolut Art Collection, after kicking off its collaboration with Warhol. It has collaborated with Keith Haring, Damien Hirst, Louise Bourgeois, Jean-Michael Basquiat, Sylvie Fleury, David Shrigley, Annie Leibovitz, Hung Tung Lu, Dan Wolgers, Linn Fernstr√∂m, Spike Jonze, Swedish House Mafia and Icona Pop. The collection is housed in Sweden.
   The limited edition has the blessing of the Andy Warhol Foundation, which it will benefit. Michael Hermann, its licensing director, said in a release, ‘The Foundation is delighted to celebrate the launch of the Andy Warhol Edition, with a portion of the proceeds going towards the Foundation‚Äôs endowment supporting contemporary visual arts. While Warhol‚Äôs profound influence is uncontained we applaud Absolut for bottling his creativity.’
   ‚ÄėWith this limited edition, we raise our glasses to honour the partnership between Absolut and Andy Warhol‚ÄĒa collaboration that kick-started Absolut‚Äôs long-standing commitment to art and creativity,’ said Kathryn Love, marketing manager for Absolut in New Zealand.
   Absolut has launched an online campaign where visitors can re-create the painting using their own coloured image, at www.facebook.com/absolutnewzealand, before November 28. One of five Absolut by Warhol prints are up for grabs via the website.

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November 20, 2014

Expertly executed: the New Zealand School of Dance’s 2014 Graduation Season

Jack Yan/14.23

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Stephen A’Court

Top Samantha Vottari and Tynan Wood in Double Stop. Centre Wessel Oostrum’s The Speech, danced to the words of Charlie Chaplin. Here, Jeremy Beck dances. Above The challenge of dancing the Balanchine Ballet, Concerto Barocco, here with Samantha Vottari and Tynan Wood. Choreography by George Balanchine, and copyrighted to the George Balanchine Trust.

The New Zealand School of Dance’s Graduation Season for 2014, at Te Whaea Theatre in Wellington from November 19 to 29, is a must for anyone who appreciates dance and wants a glimpse of the next generation of performers.
   The six performances show vitality and variety, from the challenging Balanchine Ballet, Concerto Barocco, to the modern and energetic Trigger II: One Thing Leads to Another, created by the students themselves. While every dancer was on the money with their expertise, technique and stamina, we noted in particular Law Lok Huen in Concerto Barocco, William Keohavong in his solo in The Speech, Amanda Mitrevski in three of the pieces in the final Purcell Pieces, and Mason Kelly, who elicited spontaneous applause after his dance to Purcell’s ‘The Frost Scene’ from the opera King Arthur.
   Balanchine ballets are tough and are especially demanding with their technique, and the Graduation Season opened with one: Concerto Barocco, performed to Bach’s Concerto for two violins, strings and continuo in D minor, BWV 1043. We hadn’t expected to see a ballet but the principal dancers‚ÄĒin tonight’s case, Law Lok Huen, Megan Wright and Jack Bannerman‚ÄĒacquitted themselves expertly, especially as one of the techniques is to move “against” the music.
   In the first set, it was The Speech that captivated us, danced by William Keohavong. Choreographed by Dutch choreographer Wessel Oostrum, Keohavong’s movements were poignant, against the words from Charlie Chaplin’s finishing monologue from The Great Dictator. They were negative when Chaplin’s speech dwelled on negative subjects; more optimistic as they reflected on liberty and freedom. The words, too, seem very fitting for our times, when we question whether corporate greed is driving supposedly free societies. While Oostrom intended The Speech as a tribute to those who lost their lives in World War I, the contemporary choreography coupled with the Tramp’s monologue made it the most socially relevant performance of the night.
   Trigger II: One Thing Leads to Another got the second set off to an energetic start, with 18 dancers (from all years at the School) involved. Students appeared in dull greys and blues initially, and the costumes became more colourful and vibrant as the dance went on. This was an entertaining piece that any lover of modern dance will enjoy, thanks in good part to the direction of Malia Johnston, artistic director of the Brancott Estate World of Wearable Art award show. However, it was Val Caniparoli’s romantic Double Stop, where Samantha Vottari and Tynan Wood gave a poetic duet. We were spellbound with their dance, and it was not surprising to see Qi Huan’s credit as r√©p√©titeur. Formerly with the Royal New Zealand Ballet, Huan took up a teaching role earlier this year, after having appeared in some of our favourite lead roles over the years. Caniparoli had already created a beautiful ballet to Philip Glass’s ‘Song II’ that had premi√®red in 2011, but Vottari and Wood danced this with such passion that belied their status as students of the School of Dance.
   Excerpts from Rapt, which closed the second set, saw alumnus Craig Bary, who was in the original cast in 2011, return to teach the chosen sections to the NZSD dancers, before Douglas Wright, who created the original dance‚Äďtheatre performance, and his assistant Megan Adams (an NZSD alumna) added the nuances. Being excerpts rather than the full 80-minute work, we focused more on the nine dancers’ considered and precise execution. Once again, we were impressed.
   With two sets having gone extremely well, the third, entitled Purcell Pieces, had to be of a very high quality to keep the audience happy. The School did not disappoint. Choreographed by Nils Christie, and a collaboration between the New Zealand School of Dance, the Queensland Ballet and Singapore Dance Theatre, Purcell Pieces is set to the music of Henry Purcell, but giving each piece a modern interpretation in dance. Loose, colourful costumes designed by Annegien Sneep and Noelene Hill and flowing movements characterized these final dances, with Amanda Mitrevski’s two appearances notable for her expressiveness, and Mason Kelly conveying the sense of solitude and coldness in his performance to ‘The Frost Scene’. Kelly was the stand-out for nearly the entire audience in the third set, judging by the applause. Purcell Pieces ended with rose petals coming down onto the stage, finishing the night on a high.
   The Graduation Season runs at Te Whaea: National Dance & Drama Centre, 11 Hutchison Road, Newtown, Wellington, New Zealand, till November 29, with performances nightly at 7.30 p.m., excepting Sunday and Monday. Matinees will take place on Sunday, November 23 and Saturday, November 29, at 2 p.m. Tickets are NZ$29 for adults, NZ$24 for students and seniors, and NZ$16 for children under 13. Tickets can be booked at www.nzschoolofdance.ac.nz.‚ÄĒJack Yan, Publisher

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November 16, 2014

Kendall Jenner signed as Est√©e Lauder’s new face: social media consumers among targets

Lucire staff/11.45

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Courtesy Estée Lauder

Estée Lauder has signed model Kendall Jenner for digital, TV, print advertising and social media campaigns.
   The company sees Jenner’s personal social media following as an asset, able to bridge them with fashion and entertainment, while targeting younger consumers.
   She has 30 million fans across Instagram, Twitter and Facebook, and is believed to be the most socially connected model.
   Est√©e Lauder global brand president Jane Hertzmark Hudis calls Jenner ‘the ultimate Instagirl. We are excited to leverage her image, voice, energy and extraordinary social media power to introduce Est√©e Lauder to millions of young women around the world.’
   Jenner says she had known since Paris Fashion Week, but had to keep the news under wraps.
   ‚ÄėIt honestly feels like a dream to represent such an iconic beauty brand: it is an incredible honour and quite humbling,’ she says.
   She also features in a 13 pp. editorial shot by Patrick Demarchelier in the December 2014 issue of Vogue.
   Jenner had first walked in Marc Jacobs’ fall 2014 show, then at the Chanel haute couture show, followed by an advertising campaign for Givenchy for autumn‚Äďwinter 2014. She has since walked for Balmain, Dolce & Gabbana and Fendi. She has worked with photographers such as Demarchelier, Mert & Marcus, Mario Sorrenti and Mikael Janssen, and has appeared in Love, Vogue Paris, W, and Interview.
   She follows in the footsteps of luminaries including Willow Bay, Paulina Porizkova, Elizabeth Hurley, Gwyneth Paltrow, Liu Wen, and Julia Roberts.

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November 7, 2014

Top international hairstylist Richard Kavanagh presents Rodney Wayne’s summer ‚Äô15 looks

Lucire staff/14.43

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Top and centre The ‘Sunrise and Shine’ look from Rodney Wayne: cut and colour from NZ$250. Prep hair with Redken Rootful 06, blow-dry with a large flat paddle brush, flat iron for definition, and finish with Redken Fashion Works 12 hairspray. Above The ‘Dusk-oh’ look: cut and colour from NZ$280. For naturally curly hair, apply a generous amount of a styling paste such as Redken‚Äôs Rough Paste 12 to shampooed and conditioned, towel-dried hair. Hang head upside-down and dry with a hot hairdryer and diffuser attachment. Use a shine serum such as Redken All Soft Argan-6 Oil for a little extra polish. Finish with Redken Control Addict 28 hairspray.

Rodney Wayne’s latest campaign, breaking this month, gets a jump on summer, with a bright 1970s pop-rock vibe mixed with an androgynous, rave-culture 1990s look, harking back to the international cultural influences of those decades.
   Entitled Do Summer, the campaign is proudly New Zealand in flavour despite its international inspirations, with Rodney Wayne’s global creative director Richard Kavanagh encouraging women to make a bolder statement this coming season with a new look. ‘The smart way to go is with fabulous hair that can take you from the pool to the party and places in between. Our latest looks are designed to help you make the most of the season in individual style,’ says Kavanagh.
   Kavanagh has driven the campaign, photographed by Steven Chee, directed by Lachlan McPherson, with Rodney Wayne’s Matt Butcher, Adrine Singh, Hannah McKenzie and Christie Beard assisting on hair.
   The five looks, ‘Sunrise and Shine’, ‘Dusk-oh’, ‘Honey Dipped’, ‘Twice the Nice’ and ‘Bourdin Patrol’, pay homage to the season, all using Redken products for preparation, finishing and protection.
   ‘Sunrise and Shine’ has been inspired by Annie Lennox and the rave culture of the early ‚Äô90s, with copper shades, using a halo technique of colouring, and shorter under-layers. ‘Dusk-oh’ was inspired by the 1970s’ soul sisters, enhancing curls √† la Donna Summer and Lorde. ‘Honey Dipped’ takes its inspiration from Michelle Pfeiffer’s Elvira Hancock character in Scarface, with a centre part and honey-dipped ends. ‘Twice the Nice’ sees braids at the core, whether they are herringbonem four-strand, French or classic. Finally, ‘Bourdin Patrol’ takes its name from photographer Guy Bourdin and the 1970s’ hyper-real styles of the models in his shoots.




Top ‘Honey Dipped': cut and colour from NZ$280. Create lived-in luxury with Redken Duo Shield 07 before blow-drying hair with a large round brush. Add a little Redken Powder Grip 03 at the roots for body and texture. Carry some Pillow Proof Two Day Extender to keep your style fresher longer. Centre The ‘Twice the Nice’ cut and colour starts at NZ$280. Redken Rough Paste 12 will help control hair while it‚Äôs being braided. Blow-dry with Redken Satinwear 02 for heat protection and light control. Bottom Getting the ‘Twice the Nice’ look: set hair on a small curling iron using a heat-active texturizer like Redken Fabricate 03 for heat protection and light hold. Once hair is set and cooled, brush it out and spray generously with Redken Forceful 23 strong hold hairspray for extra shine and hold.

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October 30, 2014

The Royal New Zealand Ballet performs A Christmas Carol, the feel-good ballet of the season

Jack Yan/14.03

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Ross Brown/RNZB

The Royal New Zealand Ballet’s final season for 2014, sponsored by Vodafone, sees Charles Dickens’ A Christmas Carol brought to life. Created for the Northern Ballet, it’s a true crowd-pleaser and the perfect family outing.
   The RNZB‚Äôs Christmas performance has often been a spectacular that audiences of all ages can enjoy, and A Christmas Carol is no exception. The familiar Yuletide tunes and original music by American-born composer Carl Davis, CBE make A Christmas Carol musically accessible. Davis‚Äôs work will be familiar to television and film audiences (he scored The French Lieutenant‚Äôs Woman, the 1995 TV adaptation of Pride and Prejudice, and, most recently, an episode of the 2012 continuation of Upstairs, Downstairs), and he brings a similar lyrical, orchestral style to the ballet.
   The familiarity of Dickens‚Äô novel also helps: the characters are well known, especially to children, and this version, created for the Northern Ballet, stays close to the original Victorian setting. The humour is distinctly English: the second act‚Äôs dance between Mr and Mrs Fezziwig (played by Rory Fairweather-Neylan and Bront√ę Kelly on opening night) is Carry on in nature, while the Ghost of Christmas Present‚Äôs (MacLean Hopper) tendency to throw glitter made him the least frightening of the trio that visit Ebenezer Scrooge.
   Paul Mathews, in the lead, exuded energy and still yielded surprises despite the well known storyline, but it was the flashback scene with a pas de deux between Young Scrooge (Shane Urton) and Belle Fezziwig (Lucy Green) that was the most touching and graceful in the ballet.
   Belle, knowing the relationship had come to an end, expressed a lifelessness as she moved en pointe away from Young Scrooge, ever focused on finance.
   The loss of love between the two was poignant, and the point at which Scrooge became the miserable character at the beginning of the story. It gave an extra element, almost a humanity, to Scrooge, that was seen in the novel.
   Bob Cratchit, played by Kohei Iwamoto, was perfectly cast.
   Each set was lovingly created, with production design by Lez Brotherston, the backdrops faithful to the emerging industrialization of the Victorian era, and the lighting by Jon Buswell (presumably following the original design by Paul Pyant) was used to eerie effect on two occasions: the emergence of Scrooge‚Äôs business partner‚Äôs ghost (light streamed up in a ghostly form before the dancer playing Marley appeared) and the Ghost of Christmas Past (who appeared to float as he visited Scrooge). Transitions between sets were cleverly handled, particularly Scrooge‚Äôs grave in the last act.
   This is the first performance Lucire attended where the company sings, and young Wilson Jack, as Tiny Tim Cratchit, performs a touching solo of ‚ÄėHow Far Is It to Bethlehem?‚Äô (and never mind that it was composed outside the Victorian era). Nigel Gaynor, conducting Orchestra Wellington, excelled handling this extra dimension.
   It was the final√© that was the most upbeat of any recent Royal New Zealand Ballet season, something that could be seen not just with the lengthy applause but the smiles on the audience‚Äôs faces as members began departing the St James Theatre.
   The Wellington performances began October 30 and run till November 8 inclusive; Dunedin is from November 15 to 16; Christchurch from November 20 to 22. A Christmas Carol then returns to the North Island, in Palmerston North on November 26, Napier on November 29 and 30, Auckland on December 3 to 7, and Takapuna from December 13 to 14. Full details of dates and venues can be found on the Royal New Zealand Ballet website.
   The late Christopher Gable directed the original production for the Northern Ballet, with choreography by Massimo Moricone; Daniel de Andrade serves as producer. It is the first ballet by the RNZB performed after the appointment of its new artistic director, Francesco Ventriglia, who takes up his new position during the run.‚ÄĒJack Yan, Publisher


Bill Cooper

Above An image from the Northern Ballet’s production of A Christmas Carol.

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October 15, 2014

Out now: Chanel releases new No. 5 campaign with Gis√®le B√ľndchen, directed by Baz Luhrmann

Lucire staff/4.59

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After teasers this week, Chanel has now premi√®red its new No. 5 campaign, The One That I Want, starring supermodel Gis√®le B√ľndchen, and written and directed by Baz Luhrmann. Academy Award winner Catherine Martin oversaw the production design.
   Luhrmann directed the 2004 campaign for Chanel No. 5 with Nicole Kidman.
   In the last 10 years, Luhrmann says that the focus has changed. With the Kidman campaign, he says it was about a woman breaking free, then return to reality. Today, B√ľndchen plays a woman who listens to her heart, free to make her own choices.
   ‚ÄėThe Chanel woman can be with herself on a beach, can be with her child, can have an aspirational and fulfilling work life, and at the same time she can have a true relationship; she can have romance. And in the end, the Chanel woman chooses love,’ says Luhrmann.
   Earlier, the director explained why B√ľndchen was the perfect casting: ‚ÄėShe can be on the beach one moment and incredibly athletic. She has children. She has a very, very significant relationship. And yet, she has a career where she can create aspirational, sensual, incredibly glamorous imagery, and somehow, what‚Äôs most important to her, ‚Ķ is love, to really be fulfilled. And I think that‚Äôs what we try to convey in this little film.‚Äô
   Chanel says the new film, which is 3 minutes 23 seconds‚ÄĒand cut to 30- and 60-second versions, ‘tells the story of a woman who struggles to find space for everything‚ÄĒherself, family, career, and love.’
   The film itself is emblematic of Luhrmann’s earlier work: glamorous, romantic, with mixed historical eras and music playing a huge role.
   Chanel has also released behind-the-scenes videos, including one on the costume design and another on the locations (including Fiji, Montauk, the Queensboro Bridge, and Manhattan), as well as interviews with Luhrmann and B√ľndchen.
   Other Chanel No. 5 campaign directors have included Ridley Scott, Luc Besson, Kathryn Bigelow, Jean-Pierre Jeunet, and Martin Scorsese.
   The accompanying music is Lo-Fang‚Äôs cover of ‚ÄėYou‚Äôre the One That I Want‚Äô, composed by John Farrar.

The making-of

Baz Luhrmann

Locations

Costume design

Song

The fragrance

Interview with Gis√®le B√ľndchen




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September 29, 2014

The Royal New Zealand Ballet to perform A Christmas Carol for its Ô¨Ānal 2014 season

Lucire staff/13.15

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Ross Brown/RNZB

The Royal New Zealand Ballet will perform A Christmas Carol for its final season in 2014, in a version created for Northern Ballet in the UK. Northern Ballet’s master, Daniel de Andrade, is in New Zealand to stage the production.
   Based on the Charles Dickens story, the ballet is expected to surprise, with large sets, 650 costume elements, 75 characters and music by television composer Carl Davis that incorporates well known Christmas carols.
   De Andrade said in a release, ‘This evocative production has been a hit in the UK for over 20 years and such was its success that the BBC televised the production. The stunning sets and costumes transport audiences to Victorian England where Dickens‚Äô classic characters are beautifully brought to life by talented dancers who not only dance but sing and act. It‚Äôs a narrative masterpiece and you couldn‚Äôt find a truer Christmas ballet.’
   Christopher Gable directed the original Northern Ballet version, with choreography by Massimo Moricone, production design by Lez Brotherston, and original lighting by Paul Pyant.
   Nigel Gaynor conducts the New Zealand performances.
   The ballet opens at the St James Theatre in Wellington on October 30 and tours the country, finishing in Takapuna on December 14. Notably, the company will perform at the newly restored Isaac Theatre Royal in Christchurch for the first time, on November 20.
   The dates are: Wellington, October 30 and 31, and November 1, 2, 6‚Äď8; Dunedin, November 15 and 16; Christchurch, November 20‚Äď2; Palmerston North, November 26; Napier, November 29 and 30; Auckland, December 3‚Äď7; and Takapuna, December 13 and 14. Full details can be found on the Royal New Zealand Ballet’s website.

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September 26, 2014

The 2014 Brancott Estate World of Wearable Art awards: Supreme Award goes to Hawkes Bay

Lucire staff/11.00

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World of Wearable Art Awards

Top Kate MacKenzie’s winning Poly Nation, which took top honours at the 26th World of Wearable Art Awards; Show tonight in Wellington. Above Runner-up Gothic Habit, by San Francisco designer Lynne Christiansen.

Hawkes Bay designer Kate MacKenzie is the winner of the 2014 Brancott Estate Supreme WOW award, at the 26th World of Wearable Art Awards’ Show held in Wellington tonight.
   MacKenzie‚Äôs Poly Nation is an inventive design, telling the story of travel and made from leather and cardboard suitcases. The inspiration centred on the idea of ‚ÄėIf suitcases could talk, they would carry stories of travel, culture and integration.‚Äô It tells the story of people drawn to New Zealand with new ideas and beliefs.
   The design has netted MacKenzie NZ$30,000 in prizes.
   She also took out the Air New Zealand South Pacific section.
   MacKenzie had come third, along with Deidre Morgan, last year in the American Express Open section.
   Lynne Christiansen of San Francisco, Calif. took second place. She has entered seven times, and has won awards before, including the 2013 International Americas Award. Christiansen‚Äôs Gothic Habit was made from laser-etched felt and wood, constructed from 2,300 individually cut pieces to form a gothic cathedral. Christiansen also won the Open Section.
   In the individual categories, My Gradational Body by Zhujun Zhu of China won the Avant-Garde section; Fenced off by Luiz Fernando Sereno Penna of New Zealand won the children‚Äôs section.
   The Spark Creative Excellence section, with the Airborne theme this year, was won by Annkathrin Selthofer of Germany with her Waving Gorge design. Sebastian Denize of New Zealand won the Bizarre Bra section with Re-Decked, while Mark Dobson, also of New Zaland, won the Weta Costume and Film section (judged by Weta‚Äôs Sir Richard Taylor) with Sakana No Senshi.
   Emily Valentine Bullock of New Zealand took home the WOW Factor Award with her Sulphur Crested Frockatoo; the Shell Sustainability Award was won by Laura van Staveren of the Netherlands with Appearance. Shell also sponsored the Student Innovation Award, which was won by Tess Tavener Hanks of Australia with Baroque Living Room.
   The first-time entrant award was scooped by Ali Khan and Frida Khan of Qatar with Bling Warrior. Pop Cultural by Nicki van Asch of New Zealand won the New Zealand Design Award.
   The four Wellington International Awards, one being awarded to each geographic region, were won by Back to the Future: Chrome Queen, by Joanna Peacock of the UK, for Europe; Girl in Ribbons, by Julian Hartzog of the USA for the Americas; Odette by Lulan Huang of China for Asia; and Fenghuang (phoenix) by Svenja XX of Australia for Australia and the South Pacific.
   Wellington designers (Ross Hardie, Rachel Hardie, Hannah Goldblatt, Dylan Mulder, Kris Eriksen, Ian Loveridge, Liz Ritchie, Paula Rowan, Rénée Louie and Emily Valentine Bullock) netted the lion‚Äôs share of prizes this year, taking three section awards, four honourable mentions and one special award.
   Founder Dame Suzie Moncrieff, designer Vicky Taylor, and sculptor Jeff Thomson judged.
   Lucire fashion editor Sopheak Seng will have further thoughts from the designers as he files his report from awards‚Äô night at WOW.














World of Wearable Art Awards

Above, from top My Gradational Body, by Zhujun Zhu. Fenced off, by Luiz Fernando Sereno. Waving Gorge, by Annkathrin Selthofer. Re-Decked, by Sebastian Denize. Sakana No Senshi, by Mark Dobson. Sulphur Crested Frockatoo, by Emily Valentine Bullock. Baroque Living Room, by Tess Tavener Hanks. Bling Warrior, by Ali Khan and Frida Khan. Pop Cultural, by Nicki van Asch. Back to the Future: Chrome Queen, by Joanna Peacock. Girl in Ribbons, by Julian Hartzog. Odette, by Lulan Huang. Fenghuang, by Svenja XX.

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