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August 11, 2016

A renewed energy for the Royal New Zealand Ballet’s Giselle

Jack Yan/14.51


Stephen A’Court

Every opportunity to see the Royal New Zealand Ballet’s Giselle is a renewed pleasure. First performed in 2012, and garnering a great review from this publication for its outstanding choreography and production. Conceived in Wellington four years ago by then RNZB artistic director Ethan Stiefel, with Johan Kobborg, Giselle has become one of the company’s signature ballets, performed in China, the US, the UK, and Italy.
   What was astonishing was being able to enjoy Giselle as though we had never seen the 2012 première: there was a freshness about the latest performance, despite our being familiar with the story. On opening night, Qi Huan, who had retired from the RNZB to teach at the New Zealand School of Dance, returned to take up the role of Albrecht, which we saw him perform in 2012. The years since his 2014 departure haven’t diminished his skills one iota: the ballerino still has a star quality that places him a cut above so many, and his entrechats in the second act showed the power and grace that we have come to expect from someone who has mastered his craft. Also performing Albrecht on other occasions is Daniel Gaudiello, former principal dancer of the Australian Ballet, who is similarly acclaimed.
   Lucy Green took the title role on opening night and it was her youthfulness that gave Giselle a fresh take; the drama of Giselle descending into madness in the first act was so well done that one couldn’t help but sympathize with her character’s pain. Her pas de deux with Huan were exquisite and romantic.
   Also of note was the extensive pointe work by the Wilis in the second act, which demonstrated that the RNZB remains on top of its game.
   Jacob Chown’s Hilarion and Mayu Tanigaito’s Myrtha deserve mention in supporting roles: the dancing by both performers was integral to the story and Chown’s battle with the Wilis was emotionally done; Tanigaito kept the pace of the less plot-driven second act going with intricate skill till we saw what had happened to Giselle and Albrecht. Tanigaito also plays Giselle in performances where Gaudiello is Albrecht, and it’s not hard to see her take on the role with aplomb.
   Stiefel returned to Wellington to fine-tune the production, working with his successor, Francesco Ventriglia, who was responsible for the casting of Huan and Gaudiello.
   Marc Taddei conducted Orchestra Wellington, also giving the performance a new energy, performing the full-length score by Adolphe Adam. He will also conduct the Christchurch Symphony Orchestra, the Dunedin Symphony Orchestra and Auckland Philharmonia Orchestra when Giselle reaches those cities.
   Giselle opened in Wellington on August 11, before touring to Napier, Christchurch, Dunedin, Auckland, Rotorua, and Palmerston North, where the season concludes on September 9. Full details are at the Royal New Zealand Ballet’s website, rnzb.org.nz.—Jack Yan, Publisher

June 30, 2016

Letter from Venezia: a survival guide for summer ’16

Lucire staff/22.13




Paula Sweet

Above, from top: Venezia has legendary picture-perfect palaces all along the Grand Canal. Cruise ship departs, photographed from San Marco Square. Luna Hotel Bagioni’s Canova Restaurant.

Greetings from La Serenissima, where the sultry days of summer have descended as the lanes grow thick with eager visitors. It’s late June, and temperatures already read in the low 30s (high 80s for our US readers), humidity hovering around 65 per cent. By midday, as the sun burns through the Adriatic haze, gelato sellers enjoy a thriving business. Lucire has some insider tips to make your visit a happy one.
   1. Arrive mid-week to avoid the extreme crowds. The city has finally limited the number of cruise ships—at one time 15 a day were allowed—now held to three a day. The behemoth vessels arrive on Friday, depositing 15,000 extra day-trippers loosed into the ancient city on weekends. The city can be more navigable on Tuesday, Wednesday or Thursday.
   2. Expect higher prices. Venezia is old and delicate, and tourists a captive audience. There’s an old maxim for travellers, ‘Take half as many clothes as you think you need and twice as much money.’ This holds true for Venezia. As an example, a friend and her daughter sat down at one of the outdoor tables facing the Grand Canal, ordered two small pizzas and two bottles of water. Cost €50. Don’t be surprised!
   3. Wear a hat and keep hydrating. The heat is deceptive, so cover your head and don’t overdo it. If you want to help preserve Venezia, buy an Italian-made straw fedora from a street vendor in support of the local economy. It’s the most functional headgear for the weather and you won’t regret the stylistic flourish you take home. You may also find an afternoon siesta in your hotel room another strategy to beat the heat.
   4. Have a meal at an outdoor restaurant on via Giuseppe Garibaldi. Venezia’s best-kept-secret neighbourhood, where prices may be lower than Rialto or San Marco. A very typical quarter where you will see real Venetians going about their daily business. An easy 15-minute walk from San Marco, along the waterfront, just beyond Arsenale, facing the Lido and the open sea.
   5. Visit the Ghetto. 2016 commemorates the 500th anniversary of the founding of the historic district, located very near the train station. There on March 29, 1516, Jewish residents were granted exclusive sanctuary and permitted to live and do business. While no official celebrations are planned, the area has fascinating architecture, shops and exhibits.
   6. Explore fine dining at Venezia’s great hotels. During the summer, reservations at Venezia’s well known restaurants can be difficult to score. But many of the five-star hotels have great kitchens ready to show you the best of the lagoon’s catch, and new twists on classic preparations in their signature restaurants.
   There’s good news in this category from the Luna Hotel Baglioni, a favourite property located just off San Marco, which upholds an incomparable standard of hospitality and comfort. The hotel’s outstanding Canova Restaurant will soon have outdoor tables adjacent to the entrance, where lunch and dinner can be enjoyed on a quiet passage facing a little-known gondola landing. Fine cuisine, prime location and impeccable service are the hallmarks of this great restaurant.
   While we’re on the subject of the Luna, another new addition to the service package is the introduction this season of dedicated butler service, included with Junior or Senior Suite bookings. Maurizio, a career hospitality professional, brings the full complement of high-grade personalized service and acts as your primary contact to the Luna’s team and the outer world. His mission in life: to make any request come true.
   Hot tip: at the Luna, request Room 407, smaller in size, but with a balcony view of the Grand Canal and Doge’s Palace and a light-filled white marble bathroom. Highly recommended.—Stanley Moss, Travel Editor



Paula Sweet

Above: Butler Maurizio adds to the Luna’s premium package.

June 29, 2016

Oh, pretty woman!

Elyse Glickman/21.06



It’s hard to believe that it’s been 27 years since Julia Roberts’ career and her character in the film Pretty Woman were transformed in the confines of the Regent Beverly Wilshire Hotel. It also speaks volumes that Julia Roberts and this storied Beverly Hills property (now under the Four Seasons umbrella) still turn heads after all these years.
   Just as Julia Roberts has kept herself up to date, so has the hotel’s spa with some new additions. It was only fitting that the crowd-pleaser movie was playing in the background as beauty bloggers and journalists made the rounds to experience sample treatments including products from just added lines Évolué (officially styled in all lowercase, évolué) and Elemis.
   Évolué, created by Beverly Hills-based Jean Seo, features products integrating nourishing and luxurious ingredients sourced from around the world that mimic what the body naturally produces and loses with age. Besides her bubbly personality, Seo’s other top selling point is that her products are tested actresses and models rather than animals. Although Elemis is one of the UK’s top spa skin care brands, the Spa at Regent Beverly Wilshire will be one of the few US spas to feature the new Elemis Biotec system into several treatments. The focal point of the spa experience is a machine combining five technologies that are scientifically proven to increase cell energy for optimum skin function.



   With the event staged from 5 to 8.30 p.m., we could not think of a better way to spend happy hour, with beauty indulgences replacing food. However, as there were so many treatments in so little time, we each had our own differing sets of treatments. As there are usually drinks during happy hour, this event did not disappoint. Invitees were offered champagne or cold pressed juices by LA Juice to stay refreshed (though water consumption was also recommended.)



Elyse: After starting the evening with a manicure where I went outside my comfort zone, colour-wise (a robin’s egg blue by Creative Nail), I signed up to have a practitioner give my face a workout with a light, effervescent Brightening Antioxidant treatment. Next, I balanced things out with an oxygen facial with Natura Bisse products from Spain, and an indulgent Time Reversal Facial using a cocktail of products from Évolué. Between each 15-minute facial session, I enjoyed experimenting with essential oils by Dõterra (officially, dõTERRA) and had a blissful foot massage expertly handled by a cheery member of the spa staff. The practitioner at the Dõterra display claimed that the nose is a conduit to the psyche. After she guided my nose to the right scent suiting my mood and personality at the moment, she handed me a book and turned it to a page that explained how the aromatic oil could put me in a happier state of mind.

Leyla: I enjoyed the Time Reversal Facial, which uses Évolué’s simple, organic formulations. After removing a day’s worth of foundation, powder and eyeliner with their pure jojoba oil cleanser, they gently exfoliated my skin with a natural and less invasive alternative to microdermabrasion. The Évolué Resurfacing Grains, made with oat and milk powder, gently softened my skin without creating unsightly red patches. The treatment was topped off with a mask of face-plumping elastin and collagen. Next, I treated my face to the Biotech Firm-a-Lift by Elemis, which uses a combination of plant stem cells and hyaluronic acid to nourish the skin and reduce fine lines.
   The æsthetician also used an ultrasonic device to oxygenate the skin and stimulate cell growth. I appreciate the fact that Elemis’s products are steeped in scientific research. They do not make any claims without clinical trials. I followed this with a mini-version of the spa’s Elemis Amber and Orchids body wrap. The æsthetician massaged sweet orchid oil into my tired hands, and wrapped them in warm towels. The fragrance stayed with me for several days. For the final touch, I went to the Lea Journo Hair Salon adjacent to the spa for a lesson in contouring my face, “Kardashian-style”.

Jody: After already indulging in a couple of lovely mini-facials, I pondered whether I should sample another. OK, twist my arm! And lucky for me I did, because the Hydrafacial was my favourite. In a nutshell, it is a soothing hydra-dermabrasion procedure that combines deep cleansing, exfoliation, extraction (that’s right—it replaces painful extractions), hydration, and infusion of antioxidants. The result is skin that is clearer and more luminous without the discomfort or down time. It is an all-in-one facial wonder suitable for all skin types, and the cool mist topping it off is a perfect summer pick-me-up.

   Although the schedule was tight for all the guests, everybody found time to be treated to deliciously cool under-eye “gold” or “diamond” masks by Knesko. Better still, they sent everybody home with a gift bag that itself was the spa “to go”. The care package included a generous envelope with Knesco masks for face and neck, full-sized products from Évolué (Resurfacing Grains and Cleanser) and Elemis’s Biotech Skin Energizing Cleanser and Day Cream, featuring electrolytes and minerals our skin thirsts for. Of course, to maintain those benefits, it’s always good to provide incentive to return and leave it to the pros to work their magic.—Elyse Glickman, US West Coast Editor; Leyla Messian and Jody Miller, LA Correspondents

June 20, 2016

News in brief: La Roche–Posay shows Anthelios and My UV Patch innovations; stand-outs from ISPA press event

Lucire staff/19.38



While summer may be just around the corner in the northern hemisphere and folks Down Under are heading toward cooler temperatures, French dermatologist-based skin care brand La Roche–Posay is spreading the word about the importance of year-round sun protection with their SOS, Save Our Skin, campaign. Atop a high-rise overlooking bustling downtown Los Angeles, media attendees enjoyed a breakfast seminar while discovering their most recent Anthelios sun care innovations and the new pioneering My UV Patch. Available in stores in June, the patch is the first stretchable skin sensor designed to monitor UV exposure. The Patch has photosensitive dyes that change colour when exposed to UV rays. Using a scanner-equipped cellphone and La Roche–Posay’s app, you can find out your personalized level of exposure and get advice on what to do to protect your skin this summer.
   La Roche–Posay’s Skinchecker 2·0 video (see below) takes full advantage of our culture’s love of viral animal videos to get an important message across.
   Just a few miles down the road at the ultra-posh Montage Beverly Hills, the International Spa Association hosted their annual press event showcasing spas and resorts that not only pamper the body, but nurture the spirit and promote holistic health and wellness. While indulging in selected mini-treatments, attendees learned about each brand’s latest offering and unique philosophy. Though too numerous too mention, we thought there were a few stand-outs.
   The raw grandeur of Crystal Lake is the setting of Reno’s Atlantis Resort Spa, which features a Brine Inhalation Light Therapy Lounge and a whole body healing Rasul Ceremonial Chamber.
   On the banks of a sacred river in Wisconsin, the Aspira Spa takes guests on a quest of mind and spirit. Their spa is a place of profound harmony with customized light and sound therapy and bathing experiences. You can even get a mani-pedi beside a crackling fire gazing under a starlit sky.
   Débuting a sleek new logo, updated colour scheme and an organic body care line, national chain Massage Envy shows that wellness can be affordable and accessible.—Jody Miller, LA Correspondent

June 16, 2016

From supermodels to film: celebrating the work of Peter Lindbergh at Kunsthal Rotterdam

Lucire staff/13.41




Top: An image that kicked off the 1990s, with supermodels Naomi Campbell, Linda Evangelista, Tatjana Patitz, Christy Turlington and Cindy Crawford in New York, appearing on the cover of British Vogue in January 1990. Copyright ©1990 by Peter Lindbergh (courtesy of Peter Lindbergh, Paris/Gagosian Gallery). Centre: Wild at Heart, with Cindy Crawford, Tatjana Patitz, Helena Christensen, Linda Evangelista, Claudia Schiffer, Naomi Campbell, Karen Mulder and Stephanie Seymour, Brooklyn, 1991, appearing in Vogue. Copyright ©1991 by Peter Lindbergh (courtesy of Peter Lindbergh, Paris/Gagosian Gallery). Above: Kate Moss, Paris, 2015, wearing Giorgio Armani, spring–summer 2015. Copyright ©2015 by Peter Lindbergh (courtesy of Peter Lindbergh, Paris/Gagosian Gallery).

An exhibition on Polish-born, French-based photographer Peter Lindbergh, entitled Peter Lindbergh: a Different Vision on Fashion Photography, opens at the Kunsthal Rotterdam on September 10 at 5.30 p.m., running through February 12, 2017. It marks the first Dutch exhibition of Lindbergh’s work.
   Some of the most iconic fashion images of the past generation have been shot by Lindbergh, whose work is regularly seen in various editions of Vogue, and in The New Yorker, Rolling Stone, Vanity Fair, Harper’s Bazaar, The Wall Street Journal Magazine, Visionaire, Interview and W. Exhibitions of his work have been held around the world beginning with the V&A in 1985. Lindbergh’s black-and-white 1990 Vogue photograph of Naomi Campbell, Linda Evangelista, Tatjana Patitz, Christy Turlington and Cindy Crawford was one that helped cement the reputation of the supermodels, if not arguably kicking off the era itself. Lindbergh’s work gave a sense of reality about his subjects, with his humanist, documentary approach.
   Said Lindbergh in an Art Forum interview earlier this year, ‘A fashion photographer should contribute to defining the image of the contemporary woman or man in their time, to reflect a certain social or human reality. How surrealistic is today’s commercial agenda to retouch all signs of life and of experience, to retouch the very personal truth of the face itself?’
   The exhibition features over 220 photographs and includes exclusive and previously unseen material, including personal notes, Polaroids, storyboards, films and prints. It is divided into nine different sections, representing the different themes in Lindbergh’s creative development: Supermodels, Couturiers, Zeitgeist, Dance, the Darkroom, the Unknown, Silver Screen, Icons, and an exclusive Rotterdam Gallery. This final section contains Lindbergh’s work for the October 2015 issue of Vogue Nederland, with Lara Stone and Elise Hupkes at the Port of Rotterdam.
   Lindbergh’s critically acclaimed Models: the Film (1991) will be screened, along with interviews with Grace Coddington, Nicole Kidman, Mads Mikkelsen, Cindy Crawford and Nadja Auermann.
   Guest curator Thierry-Maxime Loriot points out that the exhibition is not chronological, but a narrative about the photographer.
   The Kunsthal Rotterdam noted, ‘Peter Lindbergh introduced a new realism into photography. His timeless images redefine the norms of beauty. Lindbergh’s visual idiom is influenced by the language of film and by playing with the type of the strong, self-willed woman, from the femme fatale to the heroine, but also the female dancer and the actress. His œuvre is characterized by portraits that radiate a certain lack of inhibition and physical grace.’
   The exhibition is accompanied by a hardcover monograph, Peter Lindbergh: a Different Vision on Fashion Photography, retailing for €59,99 (link at Amazon.de), US$69·99 (link at Amazon.com) or £44·99 (link at Amazon UK), curated by Loriot, designed by Paprika of Montréal, and published by Taschen. The introduction has been authored by Kunsthal director Emily Ansenk, while the book features an essay on Lindbergh’s work by Loriot with commentaries from, inter alia, Jean Paul Gaultier, Nicole Kidman, Grace Coddington, Cindy Crawford and Anna Wintour.

May 20, 2016

An extensive Scope: NZ School of Dance blends Choreographic Season pieces into thoughtful, cohesive work

Jack Yan/14.13





Stephen A’Court

Above, from top: Connor Masseurs. A scene from Scope. Kent Giebel-Date and Christina Guieb. Christina Guieb.

The New Zealand School of Dance’s Choreographic Season for 2016, Scope, blended its 10 performance so seamlessly, and with related themes, that it worked well as a single, larger piece, despite the many talents and styles involved in choreography, music and dance.
   Each time we attend an NZSD performance, we’re always impressed by how they mix things up. Sometimes, it’s in the style of dancing or the changes to the venue. This time, they’ve surprised us yet again by not having breaks between each work, allowing them to flow naturally. Other than at the beginning, when half-dressed dancers emerged on stage in a row, only to have their neatly folded outfits fall from the sky, there were also no costume changes.
   Scope’s notes hint at the related themes, all centring on the energies that drive life on Earth, and how humanity can be destructive, but also how it can unite and bring people together. The flow did mean it was sometimes difficult to see when one performance finished and another started—this is not meant as a negative criticism, because the effect is that the audience became particularly engrossed.
   The performances flowed so seamlessly thanks largely, we believe, to the collaborative processes by the 10 graduating students of the New Zealand School of Dance, who created and performed their own works, cooperating with lighting and sound designers as well as fellow students in following years. It was particularly immersive, more so than the 2015 season that Lucire thought very highly of.
   In a release, the show’s coordinator, Victoria Colombus, herself an alumna, noted, ‘This year the New Zealand School of Dance students and Toi Whakaari students are cultivating a very collaborative working process. They have been working together to investigate overriding themes and how they can utilize different elements of stagecraft and performance to sew together these common threads.’ It worked.
   ‘Trophics’, choreographed by Tristan Carter with music by Te Aihe Butler, involved the entire cast, essentially evolving. The first scene showed them essentially running on to the stage but as they progressed, their moves became more complex, as though they discovered they had more limbs and abilities. This evolved into the next performance, printed in the programme with a blank box and the cubed sign as its title, with the introduction of white boxes as props but signifying that we can find peace among our busy lives. Christopher Mills’s ‘Box Cubed’ (for ease of typesetting here) concluded with female dancers calling out to others scattered among the audience, the matriarchy evolved into the patriarchy with ‘Obelus’, a male-exclusive performance that mixed martial arts with the flow of dance, examining themes of rivalry, the toppling of leadership, and the resulting power vacuum. There was thoroughly enjoyable choreography by Jag Popham.
   From here the performances became more otherworldly—and one can see the evolutionary theme continue into a more technical arena. ‘The Private Sphere’ introduced themes of contrast: ‘Plastic fruit and tending flowers. Air freshener and painted landscapes,’ read the programme, but we saw it as humanity’s attempt to introduce technology, but not always in a pleasant way. Dancers mimicked robotic movements as they portrayed artificial materials; could the theme have been the draining of humanity from our everyday lives? From Isaac di Natale’s ‘The Private Sphere’, we moved into Breanna Timms’s ‘Atlas of Intangible’, where the movements became fluid again, almost to show that advancements can see us claw back our humanity. Timms’s idea was to show the connections between all life through energy, how the actions of one influence another, and this was done with great beauty and more tradition in the choreography, helped with music such as Estonian composer Arvo Pärt’s ‘Summa for Strings’.
   Samuel Hall’s ‘Come along and Feel the Kairos’, a reference to that perfect moment, involved audience members in the front row (Lucire’s second-row seat meant the note-taking continued), who became part of a mass performance. Dancers in the centre connected while one remained outside the lines formed by the audience and their guides; and despite the presence of amateurs on stage there was a flow that held our attention.
   ‘Blight’, choreographed by Tiana Lung, had many layers that tied back to earlier themes of technology and humankind’s attempts to quell nature as a result; a dancer representing new life is controlled and quashed by existing life forms. ‘Shaving a Cactus’, choreographed by Holly Newsome, again introduced a technological theme (helped by Crooked Colours’ ‘Step (Woolymammoth × Tsuruda Remix)’ as the soundtrack) and synthesized voices which dancers. Te Aihe Butler’s music editing for Jessica Newman’s ‘XXX’ took us back to the start thematically, with sound effects that were basic and raw. The whole cast returned for an energetic finalé in Isabel Estrella’s ‘Temenos’.
   Scope, the New Zealand School of Dance’s Choreographic Season for 2016, runs from May 20 to 28 at Te Whaea, the National Dance and Drama Centre, in Newtown, Wellington. Tickets are priced from NZ$12 to NZ$23; bookings and further information can be found at the NZSD’s website at www.nzschoolofdance.ac.nz.—Jack Yan, Publisher


Stephen A’Court

Above: The third-year contemporary students at the New Zealand School of Dance for 2016.

May 17, 2016

Indie Beauty Expo (IBE): Hollywood’s “independents’ day”

Elyse Glickman/14.23



Clinique, Lancôme and L’Oréal may have been staples on our vanity tables for decades, but there is something about trying the best invention nobody’s heard of yet. The Indie Beauty Expo (IBE), staged at the the Shrine Expo Hall (best known as a venue for rock concerts and award ceremonies) was the place beauty bloggers needed to be to Tweet, Instagram and buzz about the latest and greatest skin, body care, and make-up maverick brands around the globe.
   The Shrine Expo Hall, under the direction of co-founder Jillian Wright (whose client roster includes Kim Kardashian, Ivana Trump and Kristen Wiig) was a feminine garden of delights. The harvest of fresh picks ran the gamut from colour cosmetics to hair care, professional spa lines, anti-ageing remedies, exotic indulgences (of the do-it-yourself home spa variety), vitamin supplements, fragrances and a smattering of gadgets designed to make the daily beauty routine cleaner and more sanitary (Potty Mints, for example, and Spongelle Spongelle Beyond Cleansing soaps, regulars at Doris Bergman’s always fabulous awards season parties).
   While many attendees are not old enough in our estimation to consider and compare the benefits of different anti-ageing remedies, we agree it never hurts to learn what’s out there and start spreading the news!* And with that, we present our picks for the most interesting and innovative goods in this garden among the 150 brands on display (twice as many as 2015, according to sources behind the event).
   Given current beauty trends, we saw a lot of organic oils and locally harvested products, bringing the farm-to-table mood from the restaurant to the vanity table. From argan to moringa, the event was a wellspring of beautifying oil, and with so many new brands vying for our attention, it was inevitable that a few stood out from the pack.

· Be Biotin, bebiotin.com.
· Circ-Cell, designed by a Wyoming entrepreneur for the rigours of mercurial weather: we think this line could be come more relevant in the wake of global warming.
· Cosmedicine: they had us with the rose-flavoured macarons, but we also admired the simply packaged, and user-friendliness of the product designs.
· Crème Collective: move over, Estée Lauder conglomerate! This line brings together definitively 21st century brands including Rituel de Fille.
· Florapy: conceived in California and made in Korea, this line of therapy facial masks (some for emotional well being and others for facial improvements) are made with organic coconut.
· Georgie Beauty: smaller is better, and this line for eyes is as focused as things get, with organic lashes, glues and liners. The founder is now making a portable cream blush, but she knows what she’s looking at in terms of the audience she hopes to reach.
· Glisodin Skin Nutrients: a collection of elaborately well thought-out vitamins and nutritional supplements that stress the importance of beauty from the inside out.
· Kesh: we love argan oil, as well as the direct pitch behind the line’s elegant packaging.
· Meder Beauty Science USA: we admire the way this Swiss line connects the dramatic results of professional in-office treatments with post-treatment home care.
· The Miracle Cream: many companies produce miracles in a jar, but we’re looking forward to testing out this all-body, all purpose cream with its blend of essential oils.
· MSteves: a few years ago, we covered the launch of Mally Steves Chakola’s sweet and simple rose hip oil-focused line, and are pleased she is still going strong.
· Native Atlas Botanical Skincare, handcrafted in small batches with ethically sourced materials gathered from all over the globe. The built-in plant-sourced vitamins and minerals nurture the mind, body, and spirit. Our pick from the line is the Liquid Exfoliant, which helps to refine and restore a clear complexion with blend of black willow and thyme and has been shown to enhance skin cell turnover.
· Nelson J Beverly Hills: one of our favourite local salon owners and colourists launches his own hair care line.
· Pacifica: the packaging is lust-worthy—we admit it. We look forward to trying the to-go make-up removers.
· Patyka, a renowned Parisian beauty house, converted old-school French luxury into exciting new ideas with certified organic formulations, making it the expo’s most elegant offering. The Huile Absolue Skin Booster Serum is the brand’s signature product. The 100 per cent natural serum for face, body and hair is carefully formulated with a powerful concentrate of 12 organic essential oils and plant extracts which effectively help regenerate new skin cells, boost the skin’s youthful resilience and restore a radiant glow.
· Revival Body Care: this collection brings the carefree, feelgood vibes and aromas of the beach anywhere with their collection of scrubs.
· Scentered: many companies are packaging perfectly lovely essential oils, but we love the way this UK company takes the concept to the next level, putting balanced blends into a solid, spill-proof and goof-proof format.
· UnWash turns the shampoo ritual on its head, with the conditioning step coming first.
· Ursa Major: simple, no-nonsense skin care for men and women with bracing aromas.
· Volanté Skincare: many product lines are promising clinic-like results at home, but we were impressed with how well prepared founder Elizabeth Vanderveer was in presenting the befores and afters with her products.
· Yuni is absolute genius. While the line was devised for active people who integrate workouts into their busy day, it is also ideal for transcontinental fliers and workaholics. Pop-up sheets, lotions and muscle relaxers allow you to feel fresh at a moment’s notice. It’s almost like having your entire home bathroom with you. All products combine natural ingredients, modern convenience, and mood-enhancing attributes into some very unique products. The No Rinse Body Cleansing Foam really caught our eye—a waterless solution to instantly refresh and foam away sweat, dirt and odour when you’re in a rush or a shower isn’t available. A blend of neem extract and alœ vera vanishes instantly with no rinse needed. Skin feels pristine and soft. A light aromatic blend of calming essential oils releases stress.—Elyse Glickman, US west coast editor, and Jody Miller, correspondent

* New York beauty sleuths will have their opportunity to survey a variety of emergent beauty brands and products on August 25 at the Waterfront in Manhattan. For more information, visit indiebeautyexpo.com/attend.









May 11, 2016

Indulging in nostalgia: new Catalina Island Museum opening

Lucire staff/13.26



Copyright Bunny Yeager/Galerie Schuster

Top: Architect’s rendering of the new Catalina Island Museum façade. Above: Bettie Page on the Florida beach, 1954.

Day trippers appreciate the southern California destination Catalina Island, easily accessible from Los Angeles. You take the ferry boat from Long Beach, cross the channel, and in about an hour, land in the car-free heritage hamlet of Avalon Harbor. There, nothing has changed for years. Long a haunt of Hollywood celebrities and their international guests, Catalina thrives on the tourist trade. In days of yore the allure was deep-sea fishing and exhibition games at the summer home of the Chicago Cubs baseball team. Today the menu includes boutique shopping, dining and people-watching, nature trekking, mountain biking, zip lines and excellent snorkelling.
   The big news this season is the grand opening of the Ada Blanche Wrigley Schreiner Building, new home of the Catalina Island Museum, located at 217 Metropole Avenue, an easy walk from the ferry terminal. Two gala weeks of celebration will occur from June 18 to July 4. A gem of a museum, the institution is devoted to art, culture and history, and the sparkling new facility houses a fine collection of cultural artifact, ceramics, rare photography and nostalgia. A launch exhibition features recently discovered photos of pin-up model Bettie Page, taken in Miami by photographer Bunny Yeager in the 1950s. Other events scheduled include VIP receptions, and Tibetan sand-painting in the skylit atrium. A very reasonable membership to the Museum brings a host of benefits, well worth the charitable contribution. For more information visit www.catalinamuseum.org.—Stanley Moss, Travel Editor




Above, from top: A young Norma Jean Baker lived on Catalina in the years before she became Marilyn Monroe. The Chicago Cubs (Stan Hack and Barney Olsen, pictured in 1941) delighted crowds in the summer months. Winston Churchill managed to land a California marlin during a visit.

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