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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 21, 2015

Aishwarya Rai, Araya A. Hargate, Soo-Joo Park, Karlie Kloss, Barbara Palvin hit Cannes on day 8

Lucire staff/3.07

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Andreas Rentz


Pascal Le Segretain


Venturelli

Aishwarya Rai Bachchan’s Ralph & Russo Couture dove grey silk gazar layered ball gown with crystal, feather, perspex and velvet embellishments, from the house’s autumn–winter 2014–15 collection, was the talk of Cannes yesterday, as the Bollywood star attended the première of Youth, the new film from Neapolitan director Paolo Sorrentino. She wore minimal make-up, too, with L’Oréal Paris noting that her beauty look was relatively simple: Glam Bronze in Eau de Soleil, Super Liner So Couture in black, and Color Riche 30 Years in Nuit Blanche (231). Rai Bachchan proved the old adage: it’s not what you wear, it’s how you wear it.
   Fellow L’Oréal Paris faces were there, too. Thai actress Araya A. Hargate, a huge draw for southeast Asian audiences, went for a tiered look, too, but with a more floral style as she chose Giambattista Valli for her second appearance on the Cannes red carpet. Those familiar with this season’s L’Oréal Paris products won’t be surprised to see Superstar Mascara being part of her make-up, as well as the Superstar Eye Liner; la Palette in Beige and Infaillible Mega Gloss, in You Know You Love Me (509) gave Hargate her summer movie-star looks.
   Soo-Joo Park (the platinum blonde Korean star made her first appearance for 2015), Barbara Palvin (with a more startling look this season, using bold, dark eyelashes and eye-liner, including L’Oréal’s Miss Manga Punky mascara for that extra volume), Doutzen Kroes (a classic beauty, with a more natural look, with only a very light blush complementing VML So Couture in black, the Superstar Eye Liner, and the Brow Artist Plimper; finished off with the Color Riche 30 Years in Greige Amoureux), Karlie Kloss (in Louis Vuitton, with de Grisogono Allegra ring and bracelet and tubetto Gypsy earrings), Lara Stone (in a dark metallic Versace dress), Jane Fonda, and Megan Gale were out in force, too.
   De Grisogono, still on a high since its Divine party on Tuesday night, noted that its jewellery was the choice of Izabel Goulart (in Azzedine Alaïa, with jewellery totalling 60 ct in diamonds and rubies). Chanel Iman had appeared earlier in the week wearing de Grisogono’s titanium earrings set with diamonds and pearls, and sparkled her way on to the red carpet yesterday in a red, strapless Donna Karan gown.
   Finally, behind the scenes, Eva Longoria celebrated her first decade with L’Oréal Paris, and the company threw her a party to commemorate the event.
























Ben A. Pruchnie; Andreas Rentz; Pascal Le Segretain; Venturelli; Ian Gavan; Dominique Charriau; courtesy companies

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May 19, 2015

News in brief: Taylor Swift’s Tiger ring; Otis College’s 33rd fashion show; Swiss retails limited-edition Partime watch

Lola Cristall/14.03

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Jason Merritt

One of our favourite items from Carrera y Carrera, the Tiger ring, appeared on the finger of Taylor Swift at the Billboard Music Awards at the weekend. The Madrid-based jewellery company noted that Swift, presenting her new music video for ‘Bad Blood’, wore the ring in white gold, smoky quartz and diamonds from the Bestiario collection with her white cut-out jumpsuit. Madonna, Jennifer López, and Olivia Palermo have chosen the Tiger ring in the past.
   Otis College of Art and Design’s 33rd annual Scholarship Benefit and Fashion Show at the Beverly Hilton Hotel was a lavish escape, revolving around the theme, A Celebration of Water. This year’s honorees include Carlos Alberini, the chief executive of Lucky Brand, designer Trina Turk, and Gary Schoenfeld, the president and CEO of PacSun. Mentors included: Bob Mackie, Trina Turk, Zaid Affas, Joe McCarty for Lane Bryant, Liliana Casabal for Morgane Le Fay, Mary Jo Bruno, Anne Cole, Isobella & Chloe, Heather Brown for PacSun, Ryan Keenan for Quiksilver, Alan Hardy for DC, Kesha Pomeroy for Roxy, and Urban Outfitters. Year after year, the event reflects the students’ hard work and approach to the fashion industry while being guided by a number of professional designers. Student Jessica Choi was recognized as Designer of the Year. Guests gathered to watch 100 ensembles take centre-stage.
   Finally, Swiss International Airlines is retailing a special Partime watch from June as part of its duty-free range this summer. Available only on board Swiss flights, the Partime watch is a limited edition, joining the 11 other models already offered. The complete collection will also be shown at the China Watch & Clock Fair in Shenzhen from June 25 to 28. (A video of the Partime’s movement can be seen at the bottom of this article.)—Lola Cristall, Paris editor, and Lucire staff





















Kai He; courtesy Otis College of Art and Design

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Sonam Kapoor, Nina Agdal, Eva Longoria, Andie MacDowell, Weronica Zalazinska hit Cannes’ red carpet on day 6

Lucire staff/8.17

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Pascal Le Segretain


Bruno Bebert


Gisela Schober

Sonam Kapoor was arguably the highest-profile actress (when you factor in our audience numbers) walking the red carpet at the première of Inside Out on Monday, wearing a sorbet-coloured haute couture feathered gown from Elie Saab. At the weekend, the actress had unveiled Michelin star chef Vikas Khanna’s book, Utsav: a Culinary Epic of Indian Festivals, providing the book with added international exposure.
   Eva Longoria, meanwhile, took to the Inside Out red carpet with a silver Gabriela Cadena dress with sheer side panels and a train, earning plenty of coverage as she attended on behalf of L’Oréal Paris (which announced that her look did, once again, feature the Superstar Mascara—ideal for Cannes—and the Infaillible 24h Matte foundation in Sand, the Super Liner Smokissime, and, for the lips, the Infaillible Mega Gloss in 502, Hold Me Close).
   Fellow L’Oréal signature face Andie MacDowell, wore a coral Elie Saab gown with plunging neckline, commemorating 30 years of working with the French cosmetics’ giant.
   It’s a hard act to follow for many in MacDowell’s footsteps who also appeared on day six. Weronica Zalazinska, who proves that you can blog and get L’Oréal to notice you at age 19, was only fitted for her gown in Warszawa on Friday, but made her Cannes red-carpet début on Monday. Turkish actresses Cansu Dere (in a fitted white suit and matching cape) and Fahriye Evcen (also in white, but a column dress) also appeared for the beauty brand, for their own markets.
   Spanish model Eugenia Silva chose a black Dior gown, having de Grisogono’s Boule earrings, bracelet and ring set off against her dress, Sara Sampaio wore Vionnet spring–summer 2014 with Avakian Diamond Links bracelet and Diamond Riviera earrings, while Nina Agdal went for an aquatic theme with her light aqua Gyunel dress with gauze train, complemented by de Grisogono Gypsy earrings.
















Pascal Le Segretain; Andreas Rentz; Venturelli; Gisela Schober


L’Oréal Paris Turkey

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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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May 14, 2015

Fan Bingbing, Doutzen Kroes, Natalie Portman, Karlie Kloss, Julianne Moore shine at Cannes’ opening ceremony

Lucire staff/11.16

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Pascal Le Segretain


Andreas Rentz


Venturelli

The Festival de Cannes, the 68th Cannes Film Festival, kicked off Wednesday at the Palais des Festivals, with plenty of glamour from the red carpet, as well as big names. Catherine Deneuve, the iconic French actress, stars in the opening-night film, Le tête haute (Standing Tall), and appeared before the cameras. In 1964, Les Parapluies de Cherbourg, which put Deneuve on the map, won the Palme d’Or.
   The film deals with juvenile delinquency, and was directed by Emmanuelle Bercot, the first woman to direct the opening-night film since Diane Kurys in 1987 with A Man in Love. Deneuve plays a juvenile court judge, starring with Benoît Magimel, playing Yann, a youth counsellor, Sara Forestier as the mother who cannot control her son, and Rod Paradot as Malony, the young man out of control.
   Providing even more glamour at the opening ceremony were numerous L’Oréal Paris faces: Fan Bingbing, Doutzen Kroes, Naomi Watts, Julianne Moore, Katrina Kaif, Karlie Kloss, Liya Kebede, and Leila Bekhti. John Legend represented the men’s range.
   Fan wore a custom Ralph & Russo couture silk crèpe off-the-shoulder gown inspired by 18th-century Chinese art, with 10,000 Swarovski crystals and hand-embroidered floral motifs. The company said it took 1,000 hours to make.
   Her L’Oréal Paris look complemented the traditional Chinese style, with the Infaillible 24H Matte foundation giving her porcelain skin, and the Superstar mascara and liner, along with the Infaillible Mega Gloss (in 505, Never Let Me Go, a tangerine shade) lifting her eyes and lips.
   Watts’s Elie Saab gown glittered in silver, and featured a feather-covered skirt.
   Academy Award-winning Moore, looking far more youthful than her 54 years, wore a Armani Privé gown, and gained a smoky eye effect thanks to the Superstar mascara and the Brow Artist Genius kit.
   Karlie Kloss went with one of her favourite labels, Versace, complemented by de Grisogono Sole earrings and the Onde ring; Liya Kebede wore Louis Vuitton with de Grisogono’s Allegra ring and 1 m sautoir necklace; Bar Refaeli, accompanied by Fawaz Gruosi, wore a white Roland Mouret dress with the de Grisogono cabochon-cut India earrings, and Sensuale and Allegra rings; Sienna Miller attended in a stunning column gown by Lanvin; while Natalie Portman, accompanied by her husband Benjamin Millepied, wore Dior couture for an elegant yet still dazzling look, lifted further by de Grisogono’s Gocce earrings, Jane ring, and Tubetto bangle.
   There has been a crack-down on selfies this year at the Festival, just as there had been at the Met Gala earlier this month.
























Venturelli; Andreas Rentz; Pascal Le Segretain; Bruno Bebert; Fabrice Chassery

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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 Soldier’s 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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