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September 25, 2014

News round-up: Stella McCartney’s Jaguar XE; Ralph Lauren shifts €22,000 Rickys; Perriam launches new brand

Lucire staff/23.59

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Ralph Lauren has been shifting its €22,000 crocodile skin Ricky bags at an event at its Amsterdam store, and gifted one of them to the Netherlands Museum of Bags and Purses. The bag, says the Museum, is regarded as an icon, on a par with the Hermès Birkin and the Chanel 2.55. The company also showed a Ricky bag with a USB port and LED lighting on the inside, which will be released worldwide in December, and sold on order.
   On Monday, Stella McCartney did indeed show her version of the Jaguar XE, as part of the Feel XE campaign for the Indian-owned company’s new compact executive saloon. The McCartney XE features her spring–summer 2015 ‘Superhero’ print, and a fleet of the cars will be seen on the streets of Paris on Monday to coincide with her new collection. The next reveal of the XE will be at the Salon de Paris on October 2.
   We’ve been fans of Otago designer Christina Perriam for years, and she will unveil a new luxury lifestyle brand, Perriam, in October. The label will adorn New Zealand-made merino clothing and a summer 2015 catwalk launch will take place for the line on October 18 in Bendigo. An online shop will go live at the same time, at perriam.co.nz. Perriam will begin with Woman and Little with Sleep ranges, and Man and Home will be added in 2015.
   And don’t forget the features that appear in the main part of the Lucire website. Jack Yan has tested the BMW 435i, the car that has attracted the most attention out of anything we’ve featured in our pages; Elyse Glickman tries the NutriBulletRx; and Stanley Moss takes in the 500th anniversary commemoration of Magellan’s voyage around the world, in Vicenza. We also had webcast the Miss Universe New Zealand grand final from Sky City Theatre last week, which you can still watch as an archived stream. The best way to keep up with the latest articles is to follow us on Facebook, Twitter, or Google Plus.



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September 9, 2014

Jaguar launches XE in London, with David Gandy, Stella McCartney, Eva Herzigova, Laura Whitmore

Lucire staff/1.28

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Jaguar has launched its most important car in years with the brand-new XE, a saloon that sees the Indian-owned company tackle a segment dominated by the BMW 3er and Audi A4. The XE also marks a new generation of Jaguars powered by the company’s new series of Ingenium engines, and features a first-in-segment aluminium-intensive monocoque structure for lightness and strength.
   Jaguar Land Rover, which has seen its profits soar in recent years, spared no expense with the XE’s launch in London, bringing celebrities including Stella McCartney, David Gandy, Eva Herzigova, Sir Stirling Moss, José Mourinho, Laura Whitmore, Damian Lewis, Ruben Cortada, David Blakeley, Sam Riley, Sienna Guillory, Steve Redgrave, Brian Johnson and Gary Lineker together at an event that saw Emeli Sandé, the Kaiser Chiefs, Eliza Doolittle, the Royal Ballet, Max Milner (The Voice), and members of the London Philharmonic Orchestra perform, and John Hannah narrating.
   While many saw the helicopter delivery of the red XE into London on Monday, Jaguar formally kicked off the launch event that evening at Earls Court with its VIP audience, with the performances evoking models from the company’s past, including the SS100 of 1935.
   Sandé composed a ‘Feels Like’ track for the event that had been inspired by the public via social media and the hashtag #FeelXE. The song received its première live on a floating stage on the Thames in a 45-minute set later in the evening, with the London Eye and County Hall as a backdrop.
   The performance was complemented with a projection-mapping show on London’s County Hall, showing the public’s messages that inspired the composition. Red flares lit up the London skyline in red to match the hero colour of the new car.
   McCartney will reveal her Parisian Feel XE experience later this month, while Idris Elba will reveal his Feel XE project afterwards.
   Earlier in the day, employees at Jaguar’s Solihull plant—where 1,700 jobs are expected to be created—formed an XE shape as the Red Arrows flew past, and the car was airlifted by helicopter toward London. It was placed on a high-speed landing craft on the Thames to Chelsea Harbour.
   In another nod to its past, Jaguar then had the new XE escorted by two 1960s Mk II police cars from Battersea Bridge to Earls Court.
   The “delivery” was intentional: Jaguar wanted to signal that the XE is the spiritual successor to the Mk II, still considered by many fans to be the quintessential Jaguar close-coupled sporting saloon, and the car that arguably pioneered the segment in which the new model now competes.
   One car from Jaguar’s past that was not mentioned was the X-type, the company’s turn-of-the-century attempt to tap into the compact executive market. Younger buyers rejected that model partly because of its unadventurous styling, overseen by Jaguar’s then-parent company Ford. The X-type was also hampered by its front-wheel-drive transmission on cheaper models, something that Jaguar has avoided repeating by giving the XE rear-wheel drive. It is also the most aerodynamic Jaguar made, with a drag coefficient of 0,26.
   The cab-backward fastback look of the XE takes styling themes established by the XJ and XF, and features a short front overhang and a low driving position. The car looks more aggressive and taut than the larger models, which should appeal to buyers in the segment.
   ‘Our mission was to create an exciting and dynamic design clearly reflecting the XE’s positioning as a serious driver’s car. The cab-rearward proportions and tight packaging achieve that and give the XE the appearance of movement even when it’s standing still. It bears a strong family resemblance to the F-type and will stand apart in the crowd,’ says Jaguar’s director of design, Ian Callum.
   The aluminium components also mean more effective recycling, and in a world first for cars, Jaguar has specified RC5754, an aluminium alloy made from recycled material.
   The high-tech features extend to Jaguar’s new electric power steering, which is more efficient than a traditional hydraulic system, and what the company calls All Surface Progress Control (ASPC), which works as a low-speed cruise control that can control the brake system and powertrain for the best traction in slippery conditions. The XE also features a laser head-up display, nearly a third lighter than existing systems. Jaguar also débuts a new InControl infotainment system, which is claimed to be more intuitive, especially with a pioneering plain-speech voice control. The car is also a wifi hotspot for internet-enabled devices, and both Apple Iphone and Android users can control various functions remotely.
   Full details of the XE range will be released at the Salon de Paris on October 2. The range will be topped by a supercharged V6 delivering 340 PS, while the two-litre Ingenium diesel is claimed to deliver 75 mpg (Imperial) with carbon dioxide emissions of 99 g/km. Prices are set to begin at £27,000.















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August 14, 2014

Mana Wahine: a powerful celebration of womanhood and history

Jack Yan/4.40

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Alex Efimoff

Mana Wahine, which had its première in June in Rotorua for Matariki, arrived in Wellington last night with the first of a brief series of performances (until August 16), with a powerful celebration of womanhood by the Okareka Dance Company.
   Mana Wahine tells the story of Te Aokapurangi, who was captured in battle but returned later to save her people from slaughter.
   The production began with the image of the storyteller, Tūī Matira Ranapiri-Ransfield, a descendant of Te Aokapurangi, appearing on the curtains prior to the show, a foretaste of the clever use of lighting and imagery projected on the dance floor and walls. Her evocative waerea incantation from the first scene led to powerful, purposeful choreography performed by five dancers, Bianca Hyslop, Maria Munkowits, Nancy Wijohn, Chrissy Kokiri and Jana Castillo.
   Graceful and strong, the quintet were chosen for their experience as women and those from whom they have descended.
   Mana Wahine blends different genres of dance, captivating the audience between its sets so seamlessly, and is a beautiful tribute to Te Aokapurangi while shining a light on the proud people in our country’s past.
   Even without knowing the historical aspect one has to admire the authentic and sincere performances of the five dancers.
   The production was inspired by a conversation between cousins Tui Matira Ranapiri-Ransfield and Okarewa artistic director Taiaroa Royal, on their ancestry and the Ngāti Ohomairangi of Te Arawa, namely the matriarch Kearoa and Te Aokapurangi of Ngāti Rangiwewehi and Tapuika. Both women were responsible for saving their people, demonstrating in New Zealand’s history the power and role of women.
   Ranapiri-Ransfield researched the story, and wrote the lyrics and composed the music for the karanga, waerea and patere, and it is her voice that the audience hears. Victoria Kelly composed the rest of the score. Malia Johnston, with her extensive choreographic experience, co-authored Mana Wahine. Taane Mete directed Mana Wahine, calling it one of the ‘most rewarding experiences I have ever encountered.’ The collaboration between the talents, including technical production manager Jonny Cross, producer Rachael Penman, rehearsal director Natalie Clark and administrator Jesse Wikiriwhi, have resulted in a real, enriching production.—Jack Yan, Publisher

Mana Wahine runs till August 16, with daily performances at 7.30 p.m., and one matinee on Saturday at 2 p.m., at Te Whaea, New Zealand National Dance and Drama Centre, 11 Hutchison Road, Newtown, Wellington. Tickets are $20–$40, plus booking fees. Bookings can be made by telephone on 0800 BUY-TIX or visit www.eventfinder.co.nz.

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August 6, 2014

Retrospectives: great moments in Parisian fashion history, with YSL, McQueen, Galliano, Gaultier

Lucire staff/14.05

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What are some of the great fashion moments in recent history? You’ll have seen these videos run on Lucire TV, and we’ve singled them out for an additional focus. In French and English.

1. The departure of Yves Saint Laurent
In January 2001, Yves Saint Laurent retired from the house that bears his name, with the brand’s final haute couture show and retrospective at the Hotel Inter-continental in Paris. Two thousand people were invited to the Centre Pompidou to see Saint Laurent’s 300 greatest classics, and models included Claudia Schiffer, Carla Bruni, Jerry Hall, and Naomi Campbell. In the finalé, 40 tuxedos paraded to a song performed by Laetitia Casta. Catherine Deneuve, a long-time friend of the designer, was in tears. Saint Laurent died in 2008.
   Saint Laurent says, ‘I tried to prove that Paris was still the city of light and of haute couture, and haute couture made like this was necessary for people’s imaginations. I like seeing my models evolve and seeing how the public react and actually in that moment I feel really close to the public. I still get nervous in this profession. I’m still not used to it after 42 years. I’ve tried again to perfect this style that has now become really important in fashion, this style that I created and to which I remain loyal, as fashions pass but style stays. It’s a part of me, it’s my life. I wouldn’t know what to do; I wouldn’t be able to live if I didn’t make dresses.’

2. The shows of Alexander McQueen
Lee Alexander McQueen was known for his extravagant shows, and had come to most people’s attention after he succeeded John Galliano at Givenchy in 1996. He was later hired by the Gucci Group, joining the group in 2000. Gucci had bought a controlling stake in McQueen’s own label. An extraordinary creator, McQueen was depressed after the death of his mother, and committed suicide in 2010. The video looks at some of his greatest hits.
   Said McQueen: ‘After I left college I went to Paris to look for work, like every student does, and I went to see Martin but he couldn’t afford to pay me, and then I went to Gaultier and then there was some nasty queen on the front door to Gaultier. And I thought f*** this. I was supposed to be there for five days I was back in five hours, because there was no one else I wanted to work for apart from Margiela and Gaultier …
   ‘I call myself very schizophrenic; I have so many different, you know, personalities.’
   Katy England notes in the video below, ‘He’s just got a very clever mind, and he doesn’t follow fashion, he’s not that interested in the trends. He just suddenly thinks of something that’s really really imaginative, he might be inspired by art or … he just has a very strange vision of things which suddenly comes to life. He’ll explain an image and you’ll think wow, that’s very very strong, and that will then in turn inspire a collection. I’ve never met someone else who thinks of these things, it’s just exciting really.’

3. John Galliano at Christian Dior, haute couture spring–summer 2002
One of John Galliano’s most controversial haute couture collections was for spring–summer 2002, where he showed one inspired by the homeless, paying tribute to the ‘ingenuity shown by the underprivileged in the way they dress,’ with unstitched dresses, jacket arms held on by pegs, the layering of trousers and torn effects. Galliano said, ‘There’s the new cut but it’s also to show the work, the delicacy of the Dior atelier’s work, and also to show that this house is a laboratory of ideas where you can thrive off the rest of the house, the ready-to-wear fashion, the collection and the accessories … that’s why I’m there, to inspire the house. I cut it up a bit, a little bit crazily and expressively … They took the dress upstairs and they made the whole patronage and everything and they came back down with the same expressive cutting which blew me away, me and Stephen [Jones] couldn’t tell the difference.’

4. Madonna models for Jean Paul Gaultier
Madonna, who had been friends with Jean Paul Gaultier since 1989 when he made the costumes for her Blonde Ambition tour, went to Paris in September 1994 to model the designer’s spring–summer 1995 collection. The show was memorable for both Madonna and Gaultier, for a body corset with a conical bra.
   Looking back, Gaultier says, ‘That exact date in 1989. I knew her from that, professionally because I made the costumes for the Blonde Ambition tour, so that was really fun, it was one of my most beautiful experiences I have to say. An then obviously she modelled for me. First, she modelled in a charity show in LA in support of Aids, and the second time she modelled, you recorded her, at the Musée des Arts Forains, that must have been around ’96. There you go!
   Marie-Christiane Marek summarizes the influence: ‘Madonna produced a visual shock, leaving a mark on her era and captivating a fascinated public from the end of the ’80s. She presented corseted silhouettes with conical bras, or more Jean Paul Gaultier men’s suits. Madonna, therefore, embodied the Parisian designer’s success, heralding a new feminine era with a stamp of sex appeal.’

Le départ d’Yves Saint Laurent (version française)

The departure of Yves Saint Laurent (English dub)

The shows of Alexander McQueen

John Galliano at Christian Dior, haute couture spring–summer 2002

Madonna défile chez Jean-Paul Gaultier (version française)

Madonna models for Jean Paul Gaultier (English dub)

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July 23, 2014

News round-up: Dilmah hosts high teas in New Zealand; Trish Peng searches for new face

Lucire staff/22.50

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Dilmah Tea New Zealand

Dilmah Tea hosted a series of high teas around New Zealand, promoting its socially responsible message along with the rising interest in tea mixology.
   Its Wellington stop on Tuesday, hosted by Dilmah founder Merrill J. Fernando and his son, Dilhan C. Fernando, the company’s chief marketing officer, and in the presence of Her Excellency Zodwa Lallie, South African High Commissioner, was a particular treat, with a menu designed by Dilmah Real High Tea Gold Medallist Laurent Loudeac, executive chef of the Museum Art Hotel.
   Held at the hotel’s famed Hippopotamus restaurant, guests were treated to everything from ora king salmon sashimi—which we would label as our favourite of the afternoon—to lap sang souchong yoghurt panna cotta and a lychee-infused jasmine tea and rosewater caviar, complemented by various Dilmah teas.
   The selection included Dilmah’s Ran Watte Single Region Ceylon tea, its green tea with jasmine flowers, and its rose tea with French vanilla.
   The highlight was the address given my Merrill J. Fernando, after a video looking back through the history of Dilmah and how his famed catchphrase, ‘Do try it,’ was created by a New Zealand agency.
   He spoke of how Dilmah goes beyond the requirements of Fair Trade with its ethically made tea, because those who grow the tea share in the equity. The value-added components of Dilmah are not done by international traders, but by Sri Lankans, and the company constantly puts money back into the community, funding education, health care, cultural and even business activities.
   Some rivals force down the prices that tea farmers can sell at, keeping them poor, while profiting from the value-added components in the marketing and production chain.
   Mr Fernando also stressed that Ceylon tea is the finest, and that Dilmah, to preserve that integrity, does not mix its teas with those from other countries.
   Through a Trade Me auction, the Merrill J. Fernando Charitable Foundation is also raising money for a culinary centre in Sri Lanka which will train people living with disabilities or have been disadvantaged, so that they can find employment to support themselves.
   They can be found on Trade Me, with the auctions closing on July 27. Items include Parawa Estate Ingalalla Grand Reserve 2007 wine, valued at over NZ$1,250; an individually numbered caddy of a very rare tea, FBOP 1, from the Dilmah Opapa Estate in Sri Lanka; a night for two at the Langham Hotel in Auckland; and two nights for two at the Museum Art Hotel in Wellington.
   In other New Zealand news, new label Trish Peng is running a Fresh Face modelling competition as part of her New Zealand Fashion Week début next month, with the help of L’Oréal Professionnel and Vanity Walk.
   New Zealand women are invited to enter via the Trish Peng Facebook page. Peng and Vanity Walk, a modelling agency, will judge from the uploaded photo and details.
   Entries close August 2. The winner becomes the face of the next Trish Peng campaign, opens Peng’s fashion week show, receives a modelling contract with Vanity Walk, and wins a year’s supply of L’Oréal Professionnel products.—Jack Yan, Publisher, with Lucire staff


Felicity Anderson/Trio Communications



Dilmah

Top Dilmah founder Merrill J. Fernando with Lucire publisher Jack Yan. Centre Dilmah chief marketing officer Dilhan C. Fernando and South African High Commissioner, HE Zodwa Lallie. Above Museum Art Hotel proprietor Chris Parkin with HE Zodwa Lallie.

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June 7, 2014

Destination datelines: Catalina, Paris, Gurgaon, Punta Ala

Lucire staff/13.57

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©1964 Bettmann/Corbis


©1966 Hulton–Deutsch/Corbis

Top The Beatles in A Hard Day’s Night, 1964. Above George Harrison marries Pattie Boyd in 1966.

Catalina Island, California
Hard to believe it’s been a half-century since the première of A Hard Day’s Night. To commemorate the date, the Catalina Island Museum will mount a special 50th anniversary screening of the legendary movie starring the Beatles on Sunday, July 6 in Avalon’s Casino Theatre at 7 p.m. Lucire loves the vintage déco interior. On hand to take questions will be author Pattie Boyd (right), who you can surely interrogate about her life and times as wife of George Harrison, Eric Clapton, and her best-selling memoir, Wonderful Tonight. Pattie exudes energy and personality, and loves to laugh. Watch for her in a famous scene which takes place on a train: she’s the blonde girl in a school uniform, who flirts with George.


Paris, France
A new website has launched this week which could simplify the task of finding lodging in this capital city: www.myboutiquehotel.paris/fr/. It looks like a pretty cleverly designed and attractive site, listing over 250 boutique hotels. You can select by price, star rating, location, nearby landmarks, areas of interest, but the kicker is the promise of a real live human being person available on the phone to assist you. We’d be interested to learn of anyone’s experiences with this site. Good luck with your launch!

Gurgaon, Haryana, India
While the city, population 20 million, stews under a layer of world-class pollution (mostly the by-product of wood fires), the problem of traffic compounds the subject. Gurgaon excels in congestion, and this week some like-minded technology companies are rolling out Folksvagn, a cheekily-named ride-sharing solution in the Palam Vihar and Sector 22–3 area. It’s also a vote of support for Gurgaon start-ups like our friends at Nagarro, one of a group deploying modern mindsets in the interest of transforming urban mobility with programmes like this. If you’re looking for a sustainable and socially responsible ride to work in Gurgaon, this may be your answer.

Punta Ala, Italy
This week, Baglioni reopens La Vela, a classic architectural monument originally known as a swinging disco in 1965. You can see its signature roofline on the very exclusive beach here. A glorious renovation transforms the space into a 160-seat restaurant and spa. Ideally situated among a cypress grove, with astounding views of the nearby islands Elba, Capraia and Pianosa, the airy infinity terrace promises to be an ideal location for sunset beverages and prime people-watching. GM Luigi Magnani promises ‘a soft club’ experience for evenings.—Stanley Moss, Travel Editor


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May 29, 2014

A tribute to Massimo Vignelli, a design legend

Jack Yan/10.14

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RIT

Massimo Vignelli, who passed away on May 27, was a hero of mine. When receiving the news shortly before it hit the media in a big way, from our mutual friend Stanley Moss, this title’s travel editor and CEO of the Medinge Group, I posted immediately on Facebook: ‘It is a sad duty to note the passing of Massimo Vignelli, one of my heroes in graphic design. When I was starting out in the business, Massimo was one of the greats: a proponent of modernism and simple, sharp typography. His influence is apparent in a lot of the work done by our brand consultancy and in our magazines, even in my 2013 mayoral campaign graphics. A lot of his work from half a century ago has stood the test of time. There was only one degree of separation between us, and I regret that we never connected during his lifetime. The passing of a legend.’
   This Facebook status only scratches the surface of my admiration for Vignelli. There have been more comprehensive obits already (Fast Company Design rightly called him ‘one of the greatest 20th century designers’), detailing his work notably for the New York subway map, and—curiously to me—glossing over the effect he had on corporate design, especially in the US.
   Vignelli, and his wife Lella, a designer in her own right and a qualified architect, set up the Vignelli Office of Design and Architecture in Milano in 1960, which had clients including Pirelli and Olivetti. In 1965, they moved to New York and Vignelli co-founded Unimark International (with Ralph Eckerstrom, James Fogelman, Wally Gutches, Larry Klein, and Bob Noorda), where he was design director. It was the world’s largest design and marketing firm till its closure in 1977.
   The 1960s were a great time for Vignelli and his corporate identities. He worked on American Airlines, Ford, Knoll, and J. C. Penney, and the work was strictly modernist, often employing Helvetica as the typeface family. Vignelli was known to have stuck with six families for most his work—Bodoni was another, a type family based around geometry that, on the surface, tied in to his modernist, logical approach. However, there were underlying reasons, including his belief that Helvetica had an ideal ratio between upper- and lowercase letters, with short ascenders and descenders, lending itself to what he considered classic proportions. The 1989 WTC Our Bodoni, created under Vignelli’s direction by Tom Carnase and commissioned by Bert di Pamphilis, adheres to the same proportions.
   Although my own typeface design background means that I could not adhere to six, there is something to be said for employing a logical approach to design. American corporate design went through a “cleaning up” in the 1960s, with a brighter, bolder sensibility. Detractors might accuse it of being stark, the Helveticization of American design making things too standard. Yet through the 1970s the influence remained, and to my young eyes that decade, this was how professional design should look, contrary to the low-budget work plaguing newspapers and books that I saw as I arrived in the occident.
   When the Vignellis left Unimark to set up Vignelli Associates in 1971 (and later Vignelli Designs in 1978), their stamp remained. The MTA launched Vignelli’s subway map the following year, and like the London Underground map by Harry Beck in 1931, it ignored what was above ground in favour of a logical diagram with the stops. Beck was a technical draftsman and the approach must have found favour with Vignelli, just as it did with those creating maps for the Paris Métropolitain and the Berlin U-bahn.
   New Yorkers didn’t take to the Vignelli map as well as Londoners and Parisians, and it was replaced in 1979 with one that was more geographically accurate to what was above ground.
   In 1973, Vignelli worked on the identity for Bloomingdale’s, and his work endures: the Big Brown Bag is his work, and it continues to be used by the chain today. Cinzano, Lancia and others continue with Vignelli’s designs.
   Ironically, despite a rejection of fashion in favour of timelessness, some of the work is identified with the 1960s and 1970s, notably thanks to the original cut of Helvetica, which has only recently been revived (a more modern cut is commonplace), and which is slightly less popular today. Others, benefiting from more modern layout programs and photography, look current to 2010s eyes, such as Vignelli Associates’ work for the Museum of Fine Arts, Houston.
   The approach taken by Lucire in its print editions has a sense of modernism that has a direct Vignelli influence, including the use of related typeface families since we went to retail print editions in 2004. Our logotype itself, dating from 1997, has the sort of simplicity that I believe Vignelli would have approved of.
   Vignelli was, fortunately, fêted during his lifetime. He received the Compasso d’Oro from ADI twice (1964 and 1998), the AIGA Gold Medal (1983), the Presidential Design Award (1985), the Honorary Royal Designer for Industry Award from the Royal Society of Arts (1996), the National Lifetime Achievement Award from the Cooper–Hewitt National Museum of Design (2003), among many. He holds honorary doctorates from seven institutions, including the Rochester Institute of Technology (2002). Rochester has a Vignelli Center for Design Studies, whose website adheres to his design principles and where educational programmes espouse his modernist approach. It also houses the Vignellis’ professional archive.
   He is survived by his wife, Lella, who continues to work as CEO of Vignelli Associates and president of Vignelli Designs; their son, Luca, their daughter, Valentina Vignelli Zimmer, and three grandchildren.—Jack Yan, Publisher

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May 18, 2014

Cannes day four: Freida Pinto, Jennifer Lawrence, Eva Longoria, Isabeli Fontana, Natasha Poly

Lucire staff/12.47

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Gisela Schober


Tim P. Whitby


Venturelli

Fashionistas closely followed one of Saturday’s films at the Festival de Cannes: the second bio-pic on the late French fashion design legend Yves Saint Laurent.
   The first, simply titled YSL and directed by Jalil Lespert, was released in January to largely positive reviews, particularly from the former partner of Saint Laurent, Pierre Bergé. Critics said it glossed over Saint Laurent’s own genius.
   The second, directed by Bertrand Bonello and entitled Saint Laurent, had mixed reviews. The Guardian’s Peter Bradshaw called it superior to YSL, but ‘it is no less forgiving, no less respectful, no less convinced of Saint Laurent’s importance as a popular artist, and really no better at persuading the non-fashionista laity, which I confess includes me.’ Guy Lodge in Variety, who also preferred the Bonello effort, noted, it was ‘considerably more spectacular, but also less practical, with its baroque ornamentation and slip-sliding chronology.’
   It received support from François-Henri Pinault, the owner of the Yves Saint Laurent brand, but not from Bergé. Both films claimed “official” status.
   Relatos Salvajes, another film that premièred on Saturday, is a tale of numerous revenge fantasies, produced by Pedro Almodóvar and directed by Damian Szifron, received more even acclaim from critics at the Cannes Film Festival.
   The winner of the Palme d’Or at Cannes for best picture is announced on May 24.
   Caught on the red carpet at Saint Laurent and around Cannes were Freida Pinto, Eva Longoria, Isabeli Fontana, Natasha Poly, Léa Seydoux, Aymeline Valade, Grazi Massaferi, Taís Araújo and Leïla Bekhti. Julianne Moore appeared as part of the cast of The Hunger Games: Mockingjay Part 1 alongside Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth and Donald Sutherland; while on the red carpet for The Prophet were Salma Hayek, Jean Paul Gaultier, Tonie Marshall, Francois-Henri Pinault, and Mika. Jessica Chastain and James McAvoy were at the première of The Disappearance of Eleanor Rigby: Them, while Mads Mikkelsen and Eva Green—seen together in 2006’s James Bond reboot Casino Royale—were at The Salvation’s red carpet.
   Also among our videos: Tommy Lee Jones and Hilary Swank give a press conference for The Homesman, Salma Hayek gives an interview for The Prophet, discussing Chime for Change, women’s rights and the recent kidnapping of young girls in Nigeria, and Cate Blanchett presents Chopard trophies to Adele Exarchopoulos and Logan Lerman.

Saint Laurent red carpet

Saint Laurent press conference

The Hunger Games: Mockingjay Part 1

The Prophet

The Disappearance of Eleanor Rigby: Them

The Salvation

The Homesman press conference

Salma Hayek

Cate Blanchett presenting Chopard trophies

Red carpet round-up of the day





Andreas Rentz/Getty Images


Tim P. Whitby


Tim P. Whitby



Andreas Rentz/Getty Images




Vittorio Zunino Celotto/Film Français

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