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May 22, 2015

Superb and deeply meaningful: the Royal New Zealand Ballet’s Salute: Remembering WW1 impresses

Jack Yan/12.27

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Ross Brown

Above Dancer Joseph Skelton in the core image used for Salute: Remembering WW1.

Three years in the planning, the Royal New Zealand Ballet’s Salute: Remembering WW1 commemorated the Great War in a memorable, respectful, and meaningful way, with a mixed programme that saw two world premiùres tonight.
   Gareth Farr’s specially commissioned score for Andrew Simmons’ Dear Horizon opened proceedings, with what could be described as a cinematic theme with a strong melodic base as the action unfolded on stage. Tracy Grant Lord’s backdrop, of barbed wire barriers used in World War I, loomed over dancers lying on the stage, as a lone ballerino walked among them. Lighting came on gradually, Jason Morphett’s design using shadows and darkness to build tension. This sombre start gave way to a beautiful, haunting and contemporary choreography, with an underlying bleakness, as Simmons highlighted the loss suffered in war. Costumes were grey, further emphasizing the sense of despair and focusing us on the dancers’ movements. The solo cello by Rolf Gjelsten gave a sense of minimalism that contrasted other elements of the brassy, powerful Farr score. While composed for the ballet, and only complete with the action, it’s not hard to imagine the work released on its own for lovers of ballet and cinematic scores.
   An all-male cast of twelve followed in Soldiers’ Mass. The genius behind Jiƙí KyliĂĄn’s choreography was how it conveyed emotion: a highly energetic and graceful ballet where the dancers move in a unified way, into battle constantly, pulling each other from the front and yet, still confronting, then falling to, the enemy. The score, by Bohuslav MartinĆŻ, set to the text by Jiƙí Mucha, was played back, and one scene sees the men lip-synching proudly to the Czech lyrics, yet with a sense of what they knew would follow. The ballet finishes as it started, with 12 backs to us, each dancer dropping his shirt in another representation of death as well as the annexation of the Sudentenland by Hitler in World War II. Shirtless ballerinos, incidentally, seemed to elicit greater applause from the audience as they took their bows. This restaging was by Roslyn Anderson, who had helmed the 1998 RNZB production of Soldiers’ Mass, with lighting design by Kees Tjebbes.
   After the interval, Johan Kobborg’s Salute injected comedic moments into a classical ballet, set to the score by nineteenth-century composer Hans Christian Lumbye. It saw the return of live music after the recording in Soldiers’ Mass, performed by the New Zealand Army Band. These skilful musicians adapted themselves easily to the lighter atmosphere, with Sgts Riwai Hina and David Fiu, and Pvts Joseph Thomas and Tom Baker rearranging Lumbye’s music to the Band. Natalia Stewart’s costumes (jackets with epaulettes for the men, red peplums and plenty of tulle for the women) shone on stage in a very cheerful ballet involving different sets of dancers, highlighting different aspects of love, from shyness and confusion to overconfidence and partnership; as well as the inevitable farewells as men went off to war.
   The battle vignette, with the General leading the charge, was equally enjoyable, interspersed with the long waits the women endured back home, before the conclusion as the soldiers returned home. Created for the University of North Carolina School of the Arts in 2010, Kobborg intended it to be a reflection of what happens when young people come together; the RNZB dancers showed their expressiveness in a ballet that injected a light-heartedness to the evening. Salute was staged by Florica Stanescu, with Morphett again behind the lighting design, with a brightness and cheer in contrast to his earlier work.
   While the RNZB often picks the cheery production number to end on, it chose Neil Ieremia’s Passchendaele, a world premiĂšre, which gave this reviewer initial fears that the infamous battle would leave audiences on a down note. The fear was unfounded, because of the scale of Ieremia’s ballet, involving 19 dancers, and the superb execution in dance of this tragic battle, notable for being the day on which more New Zealanders had died or had been wounded than on any other day. Dwayne Bloomfield, formerly of the New Zealand Army Band, composed the score, which the band performed: the moments of martial music signalled the flawed advance by the New Zealand Division under Gen Haig. The dancers moved with great pace at times, in groups, on- and off-stage, representing the power of the soldiers and artillery, through impossible conditions. At other moments they recalled memories of home, contrasting with the loss that families suffered. Geoff Tune’s backdrops, in red and black, signified the blood on the battlefields, and his first one hinted at skulls, shifting gradually to other scenes of burned trees and desolation. The end of Passchendaele was chilling, after the soldiers each fell, their loved ones releasing them, as knocks were heard around the St James, representing the messenger bringing home to 845 New Zealand families the worst news they could receive.
   Ieremia was ingenious in how his choreography brought so much emotion and energy to the performance that the house was left in admiration. The message was indeed cautionary, telling us about the human tragedies of war, but the RNZB and the NZAB brought it to life with such conviction that Passchendaele received the greatest applause of the evening. It was a high note after all, but one that was more absorbing. Salute: Remembering WW1 is a superb programme, and a fresh way of appreciating the messages in the ongoing centenary commemorations of New Zealanders fighting ‘the war to end all wars.’—Jack Yan, Publisher

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 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. The Royal Ballet will feature the UK premiĂšre of Passchendaele in November. Further information can be found on the Royal New Zealand Ballet’s website at rnzb.org.nz.

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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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David Gandy and Jodie Kidd lead Jaguar’s Mille Miglia line-up; Bentley fields 1930 Blower

Lucire staff/12.09

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Top The nine Jaguars taking place in this year’s Mille Miglia. Above Almost Bondian: the 1930 Bentley 4Âœ-litre with a Vanden Plas Open Sports four-seat body and a supercharger by Amherst Villiers competing in the 2015 Mille Miglia.

British car makers are taking this year’s Mille Miglia seriously. Jaguar is taking part with a large heritage line-up, and has enlisted, once again, the help of model and motorhead David Gandy, who competes in an XK120 as he did two years ago along with Jodie Kidd, who must equal Gandy both in the modelling and motorhead stakes. Bentley will field an original 1930 4Âœ-litre Blower, in an attempt to complete what it could not do back then: complete the race.
   Jaguar’s fleet consists of nine, including three C-types, three D-types, an XK120, an XK140, and, the most unusual of this group, a Mark VII—although one had won the Monte Carlo Rally in 1956. One of the C-types is NDU 289, which competed in the original Mille Miglia in 1953, driven that time by Mario Tadini and Franco Cortese. Jaguar engineer Mike Cross drives the car in the 2015 event.
   Other C-types are PUG 676, which was raced by Ian Appleyard, Jaguar founder Sir William Lyons’s son-in-law, this time driven by RAC motoring committee chairman Ben Cussons; and KSF 182, formerly raced by Jimmy Stewart and Jackie Stewart between 1953 and 1955, and owned now by Adam Lindemann, driven this time by five-time Le Mans winner, Derek Bell. The D-types are the ex-Ralph Lauren NCV 260, which had competed in the original Mille Miglias, driven by current owner Simon Kidston; RSF 303, the Ecurie Ecosse car that was second in Le Mans in 1957 and competed in the Mille Miglia in 1957 and 1958, driven by Jaguar design director Ian Callum and enthusiast Clive Beecham; 393 RW, the Reims winner for 1956 and the sixth-place-getter at Le Mans that year, setting the lap record, will be driven by Saturday Kitchen’s James Martin.
   One XK120, nicknamed Betsey, will be driven by Jodie Kidd and David Gandy, as noted: she had driven the car in the 2014 trial. The XK140, TAC 743, was once raced by David Hobbs; it will be driven by Elliot Gleave, a.k.a. Example, and his father Michael. The Mark VII will be driven by Charley Boorman.
   Bentley, meanwhile, will field a 1930 British racing green 4Âœ-litre Blower with a Vanden Plas Open Sports four-seat body and a supercharger by Amherst Villiers—not unlike the one driven by James Bond. The Bentley Boys, the Hon Sir Henry ‘Tim’ Birkin and Bentley chairman Woolf Barnato (right, at Le Mans in 1929), were the first British drivers to compete in the Mille Miglia, using the No. 2 Birkin Blower, a 4Âœ-litre supercharged model. However, they were unable to complete the race.
   Bentley is aiming to do what it could not 85 years ago, using an equivalent model and seeing if its director of royal and VIP relations, Richard Charlesworth can complete the race in the 2015 event. It is the Blower’s fifth entry.
   Between May 14 and 17, 2015, racers will depart from Brescia and drive 1,000 miles, including through Roma, and return to Brescia.



Top The XK120 to be driven by Jodie Kidd and David Gandy. Above The famed 393 RW Jaguar D-type, which set the lap record at Le Mans in 1956.

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May 1, 2015

It’s full circle for style.com: back to its origins in fashion retail

Jack Yan/14.17

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Top Earlier today, attempting to get into Style.com meant a virus warning—the only trace of this curiosity is in the web history. Above Style.com is back, with a note that it will be transforming into an e-tail site.

If there’s one constant in fashion, it’s change. The other one, which we notice thanks to a number of our team being well schooled on fashion history, is that trends always return, albeit in modified form. Both have come into play with Style.com, which announced earlier this week that it would become an ecommerce site.
   When Lucire started, we linked to style.com, but it wasn’t in our fashion magazines’ directory. It was, instead, in our shopping guide.
   In 2000, that all changed, and it began appearing under our fashion magazine links, where it was until today. An attempt to log in to the home page was met by a virus warning, preventing us from going further. We figured that this was part of the transformation of the website as it readied itself for the next era, discouraging people from peering. However, having had these warnings splashed across our own pages two years ago courtesy of Google’s faulty bot, when our site was in fact clean, there was a part of us taking it with a grain of salt. In either case, given the impending change, it was probably the right time to remove the link.
   This evening, Style.com is back and virus-free, with an overlay graphic announcing that the website will be changing. Plenty of our media colleagues have analysed the closure over the past week: the Murdoch Press has gossiped about how the layoffs were announced, WWD suggests editor-in-chief Dirk Standen didn’t know it was coming, based on rumours, while Fashionista puts it all into context by analysing just where ecommerce is within the fashion sector, and that content should be the answer over clothing sales.
   What is interesting is no one that we’ve spotted has mentioned how the style.com domain name (we’ve carefully noted it in lowercase there) has effectively come full circle. Perhaps we really are in the age of Wikipedia-based research, as this fact is not mentioned there at all.
   When Lucire launched in 1997, style.com was the website for Express Style, later more prominently, and simply, branded Express, a US fashion retailer. It’s not hard to imagine that had Express remained at the URL, it would have become an e-tailer; it has, after all, made the move into ecommerce at its present home, express.com. Like a fashion trend that comes back two decades later, style.com has gone back to its roots: by the autumn it’ll be e-tailing.
   The omission from the above paragraph is the sale of the style.com domain name by Express to CondĂ© Nast in the late 1990s. We never completely understood the need to start a new brand to be the US home of Vogue and W; for many  years, typing vogue.com into the browser in the US would take one automatically to Style.com. Then, somewhere along the line, CondĂ© Nast decided that vogue.com should be the online home of Vogue after all.
   But having made the decision to forge ahead with Style.com, CondĂ© Nast did it with a lot of resources, and took its site to number one among print fashion magazine web presences in a remarkably short space of time. It devoted plenty of resources to it, and it’s thanks to Style.com that certain things that were once frowned upon—e.g. showing off catwalk collections after the show—became acceptable. Designers used to enjoy the fact that we and Elle US delayed online coverage, the belief being that the delay ensured that pirates could not copy their designs and beat them to the high street.
   To get itself known, CondĂ© Nast bought advertising at fashion websites that were better known, including this one (yes, in 2000 that really was the case), at a time when online advertising cost considerably more than it does today.
   The muscle from the best known name in fashion publishing changed the way the media interacted with readers. Designers figured that if they wanted coverage, they would have to accept that their work would be shown nearly instantly. We became used to that idea, so much so that we now have to show the catwalk videos live in the 2010s.
   In some ways, the change makes sense: we’re talking about an Alexa rank in the 4,000s, which translates to plenty of traffic. The name is known, and most shoppers will make some association with Vogue. The official word is that Franck Zayan, formerly head of ecommerce for Galeries Lafayette, will helm the revised website, and he’s reporting that brands are coming on board rapidly.
   One shouldn’t mourn the loss of Style.com as a fashion news portal, since the content we’re all used to is bound to appear at Vogue. And in all the years we had it in our magazines’ directory, it was listed under our Vogue entry anyway. We await the new site to see what CondĂ© Nast will do with it, and it may yet return to the spot where it once was in the 20th century, in the shopping guide.—Jack Yan, Publisher

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February 23, 2015

Sponsored video: Bambi Northwood-Blyth and Dan Single help reinvent Impulse for the mid-2010s

Lucire staff/23.53

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A Lucire special promotion


‘If a man suddenly gives you flowers, that’s Impulse,’ has been one of the most famous catch-phrases of the last generation, since FabergĂ© introduced it in South Africa in the 1970s. Variations on the theme have come and gone, and in 2015, Impulse moves to a new generation with Bambi Northwood-Blyth—one of Lucire’s newsmakers of 2013—and her husband Dan Single, formerly of Ksubi, fronting its latest campaign.
   Northwood-Blyth has been securing campaigns, including fashion label Ba&Sh, because she somehow taps into the Zeitgeist. She also has her own fashion line, B.BAM, and her sense of style and levity have made her more real and endearing to her fans. At Impulse, she joins former Lucire cover girl Zippora Seven and Erin Heatherton and was even placed in charge of the brand’s Instagram for one week.
   The new video, which broke for Valentine’s Day, is not just about the day itself, but embracing love, life and friendship every day. It’s unusual in featuring a real-life married couple who are very much in love, and Northwood-Blyth’s popularity among fashion cognoscenti, plus her social media following, bring it right into the mid-2010s. Gone is the “flowers” theme in favour of the couple on a getaway, and emphasizing that true love isn’t just about that initial “impulse” that drove the original, and perhaps dated advertising. It’s about a real partnership between a couple, in everything they do.
   Like Northwood-Blyth’s other appearances, there is a genuine feel to it, even though the Impulse campaign is more stylized than her own social media, which have shown more behind-the-scenes material. It’s bound to earn her even more fans, while helping to reinvent Impulse as less fanciful, and more part of a real, lasting, romance.


Post sponsored by Unilever

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January 12, 2015

Paris shows solidarity in Sunday’s March for Unity

Lola Cristall/5.08

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Lola Cristall

The March for Unity that took place today in Paris was announced as the largest demonstration in the history of France, with an estimated 1·5 million to 2 million on the capital’s streets. The interior ministry believes that there had not been so many since the liberation of Paris in August 1944. A number of people from around the world, politicians and celebrities walked the streets throughout the afternoon.
   Lucire’s Paris editor Lola Cristall took these photographs as she joined others to commemorate and celebrate the victims of Paris’s terror attacks last week.
   The deaths included staff at the satirical Charlie Hebdo, where cartoonists Charb, Cabu, Tignous et Wolinski (the pen names for StĂ©phane Charbonnier, who was also editor, Jean Cabut, Bernard Verlhac and Georges Wolinski) and police officers Franck Brinsolaro and Ahmed Merabat were slain in a massacre on Wednesday. Police officer Clarissa Jean-Philippe was killed the following day in a related attack, and four civilians were killed in a siege on Friday.
   â€˜While my domain is predominantly the luxury and entertainment sector, the pictures might be of interest to some people to see how so many came together in the city to support the innocent journalists, artists and victims,’ said Cristall.
   â€˜The city is coming together as one. They were phenomenal artists,’ she added.
   Those in the march chanted, ‘On est tous Charlie’ (‘We are all Charlie’) and ‘Charlie Charlie Charlie,’ holding up banners and placards, reading everything from ‘Je suis Charlie’ (‘I am Charlie’), which began trending on the day of the massacre on Tumblr and other social media, and ‘Nous sommes Charlie’ (‘We are Charlie’) to ‘Je suis Muslim’ (‘I am Muslim’). French flags, hearts and Charlie Hebdo covers were also seen in the march.
   World leaders also participated in the march, including French president François Hollande, HM Queen Rania of Jordan, German chancellor Angela Merkel, Spanish prime minister Mariano Rajoy, Palestinian president Mahmoud Abbas, Israeli prime minister Binyamin Netanyahu, British prime minister David Cameron, Malian president Ibrahim Boubacar KĂ«ita, Polish prime minister Ewa Kopacz, Turkish prime minister Ahmet Davutoglu, and Ukrainian president Petro Poroshenko. Russian foreign minister Sergei Lavrov, Egyptian foreign minister Sameh Shoukry, US attorney-general Eric Holder, European Council president Donald Tusk, and UK opposition leader Ed Miliband were also present.
   Reporters sans frontiĂšres were critical of the presence of Davutoglu and Shoukry, as their countries had restricted press freedoms.
   Public transport was free in Paris to discourage private car use for the march.
   Earlier in the week, Jean Paul Gaultier and his staff posed for a photograph where they held up ‘Je suis Charlie’ print-outs, showing unity with the fallen journalists.


Jean Paul Gaultier

Above Jean Paul Gaultier and his staff with ‘Je suis Charlie’ banners, showing solidarity with the fallen at the massacre at Charlie Hebdo. Below More scenes from Paris on Friday and during the March for Unity on Sunday.












Lola Cristall

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December 10, 2014

News in brief: Chanel’s Paris–Salzburg collection; Lady Gaga, Eva Longoria in NYC; Anja Rubik launches perfume

Lucire staff/10.59

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Karl Lagerfeld has unveiled the 13th Chanel MĂ©tiers d’Art collection in Salzburg, Austria, recognizing its historical connection with Gabrielle Chanel (she got the inspiration for the Chanel jacket there, at the Hotel Schloss Mittersill, then owned by Baron Hubert von Pantz, with whom she had a fling). Lagerfeld discusses his collection in the video clip below, which showcases the Paris–Salzburg collection, featuring Cara Delevingne, who not only closed the show, but is the face of the collection itself.
   The presentation, at the Leopoldskron chĂąteau, showcased the fine work of the feather-workers, milliners, tuckers and bootmakers. Lagerfeld took inspiration from traditional Austrian clothing, revisiting the dirndls and lederhosen, using loden, tweed, felt, leather and satin cashmere mix, taffeta and lace. Evening dresses featured pin-tucked fronts, frills, pleats and voluminous sleeves.
   â€˜You can take inspiration from the apron, from the sleeves, from all the little details, but you have to forget it all and we do it in a new way,’ said Lagerfeld. ‘The star of Salzburg is about the jacket, but what I like is the craftsmanship, the embroidery with all the feathers. There is an unbelievable craftsmanship in all those clothes: most of the embroidery includes stones and many feathers, it’s like fur, it’s like flying fur. If you look at them closely, it’s quite unbelievable; when you see them or you touch them. So I tried, with beautiful fake pearls, to make interesting pearl jewellery that looks like embroidery. It’s the updated version of what I think it should be, could be, and had to be today.’
   In New York celebrity sightings, Lady Gaga has been spotted wearing the Blake wide-brim hat in oyster felt with pearl trim from Eugenia Kim’s fall 2014 collection last week, while Eva Longoria wore a Ralph & Russo spring–summer 2014 white silk crĂȘpe cap sleeve embellished jacket with structured peplum, pencil skirt and black alligator belt to the ninth annual L’OrĂ©al Women of Worth event.
   L’OrĂ©al Paris notes that Longoria’s look uses True Match liquid foundation in C2 Rose Vanilla, the Volume Million Lashes Excess in Extra Black, Color Riche Le Kajal in 501 Oriental Black, the Super Liner Brow Artist Plumper in medium to dark, and the Elnett Volume Excess hairspray. Blake Lively, very much this year’s L’OrĂ©al Paris celebrity with all the attention she garnered at Cannes, was also at Women of Worth, her look accomplished with True Match in N3 Creamy Beige, the Glam Bronze Powder Duo in 101 Blonde, the Flash Lash Butterfly in Intenza, Txt Wave Creating Spray, and the Nude Rose Color Riche La Palette.

   Polish model Anja Rubik, 31, meanwhile, has released her new perfume, Original. At Colette in Paris, she discusses some of her beauty tips from her career, including using eyelash curlers and moisturizing your skin. Rubik also reveals that Brigitte Bardot is her ‘ultimate beauty’, and rates Charlotte Gainsbourg and Patty Smyth highly.
   The perfume scents are those that have followed her over the years, namely white lilies and green tea, while the black-and-white imagery was inspired by her love of black-and-white photography and the work of Robert Mapplethorpe.
   Carrera y Carrera is going from strength to strength: the Madrid-based luxury jewellery brand has opened a boutique in Macau, as a first beach-head into China. Manuel Carrera, a fourth-generation descendant of the Carrera family who founded the brand, was on hand with CEO Svetlana Kupriyanova.
   Finally, in the main part of our site, travel editor Stanley Moss fits museums and great food into 48 hours in Torino, while publisher Jack Yan tests the BMW X1 Sdrive18d—readers might like the title.


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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 Fernström, 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’s endowment supporting contemporary visual arts. While Warhol’s profound influence is uncontained we applaud Absolut for bottling his creativity.’
   â€˜With this limited edition, we raise our glasses to honour the partnership between Absolut and Andy Warhol—a collaboration that kick-started Absolut’s 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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