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Lamborghini Museum at Sant’Agata Bolognese to host Ayrton Senna exhibition from April 12


NEWS  by Lucire staff/April 2, 2017/12.43

The Lamborghini Museum at Sant’Agata Bolognese will host an exhibition honouring the late Formula 1 champion, Ayrton Senna, beginning April 12 and running to October 9, 2017.
   Ayrton Senna: the Man and the Legend commemorates Senna’s test drive at Estoril in 1993, in a McLaren MP4/8 with a Lamborghini V12 engine.
   The museum will display every type of single-seat race car driven by Senna, including a white McLaren identical to the one tested at Estoril, his first kart, two Formula Fords, the Ralt F3, a Toleman, a black Lotus JPS that he drove in his first victory, the McLaren that helped him to his wins, and his final Williams.
   There will also be a photography exhibition, entitled Ayrton Senna: the Last Night, curated by Ercole Colombo and Giorgio Terruzzi. The photos show Senna’s career, from his start in kart racing, his Formula 1 début, his key victories and defeats, his friends and rivals, his relationship with Alain Prost, his personal life and faith, to his final hours on the track.
   While Senna liked the racing car, he never got to finish the season with the engine, when negotiations fell through.
   Lamborghini chairman and CEO Stefano Domenicali will host the media presentation on April 12, along with Colombo and Terruzzi, and Mauro Forghieri and Daniele Audetto, who were present at the 1993 test drive.
   Senna died on May 1, 1994, aged 34, during the San Marino Grand Prix, when the steering column in his car failed.
   Lamborghini will also display two current models, the Aventador S and Huracán Performante. The exhibition also marks the beginning of a partnership between the museum and Pirelli.
   The museum is open daily, including Sundays, from 9.30 a.m. to 7 p.m.

Porsche launches video-based 9:11 Magazine, showcasing current range and history


NEWS  by Lucire staff/March 29, 2017/11.59

Porsche has launched a new website, 9:11 Magazine, hosted at a subdomain on its main website, 911-magazine.porsche.com.
   Unlike most web magazines, it’s predominantly video-based, with each edition focusing on a theme that ties back into the Porsche brand. In addition, the material can be freely taken for journalistic purposes.
   The website complements Porsche’s customer magazine, Christophorous.
   The first edition, themed ‘Courage’, leads with a story starring the legendary two-time world champion rally driver Walter Röhrl. A lighter story on the most daring colours of the 911 through the years follows. Front-engined Porsches, such as the 924 and 928, feature in a third story, along with the 944 and 968 that evolved from the former. Finally, there’s a story on the Panamera 4E in the Scottish Highlands. Behind-the-scenes stories are also included, along with stills from the Panamera tour.
   Five issues will be published per annum, in German and English. The theme of the second issue is ‘Pure’, dedicated to the 911.

Converse celebrates 100 years of the Chuck Taylor All Star with a series of films


NEWS  by Lucire staff/March 16, 2017/11.23





Above, from top: The Converse Chuck Taylor All Star. The All Star ’70, evoking the decade of big lapels and platform shoes. The Chuck Taylor All Star II. In black, the lightweight Chuck Taylor All Star Modern.

Converse, which began in 1908, has been making the All Star shoe, later the Chuck Taylor shoe, continuously since 1917.
   It’s the most successful type of shoe in history, with 200,000 pairs sold daily. Its nickname came after Charles H. Taylor, a basketball player for the Akron Firestones, who became one of the shoe’s biggest supporters. By 1932, with input from Taylor, it officially gained his name.
   Converse has been adding variations to the Chuck Taylor shoe over the years, including the Chuck Taylor All Star II in 2015, a premium design with more colours and a liner borrowed from parent company Nike, which bought up Converse at the turn of the century.
   There’s also the Chuck Taylor All Star ’70s model that débuts more colours for spring–summer 2017, a design that harks back to the 1970s but with more cushioning and thicker rubber. Then there’s the Chuck Taylor All Star Modern that’s lightweight, again available in an all-new version this month.
   To celebrate the centenary of the All Star, Converse has launched a digital and social media series that looks at what made the line iconic.
   Millie Bobby Brown presents a video called Chucks in Film, with excerpts showing a previous Chuck Taylor All Star appearance (Michael J. Fox’s shoes in Back to the Future) and an interview with costume designer Stephanie Collie. Long Beach artist Vince Staples, Born × Raised creator Spanto and basketball player Jordan Clarkson discuss how Los Angeles culture impacted on the Chuck Taylor All Stars’ æsthetic. Finally, model Winnie Harlow looks at the Chuck Taylor All Stars’ connection to the fashionable set and youth culture. A final film, Forever Chuck, is a nonconformist commercial that celebrates youth and the Converse brand.
   The four videos are featured below as Converse marks 100 years of its All Stars.

Opinions: what we need from media beyond ‘fake news’; looking to the stars


NEWS  by Lucire staff/March 15, 2017/21.47

We need independent media


Paul Clarke/CC BY-SA 4.0, commons.wikimedia.org/w/index.php?curid=37435469

Above: Sir Tim Berners-Lee, the inventor of the World Wide Web.

Earlier this month, Sir Tim Berners-Lee wrote an open letter expressing his concerns about the evolution of his invention, the World Wide Web. (Interestingly, he writes the term all in lowercase.)
   It wasn’t just about ‘fake news’, which is how the media have reported it. His first concern was, in fact, about our losing control over our personal data, and determining when and with whom we share them. It’s something I’ve touched on regularly since 2011, when Google breached its own stated policies over user-preference collection for advertising purposes, something that Facebook appears to be following suit with mid-decade. This was long before Edward Snowden blew the lid on his government’s monitoring, something that’s happening to citizens of other occidental nations, too.
   Sir Tim writes, ‘Through collaboration with—or coercion of—companies, governments are also increasingly watching our every move online, and passing extreme laws that trample on our rights to privacy. In repressive regimes, it’s easy to see the harm that can be caused—bloggers can be arrested or killed, and political opponents can be monitored. But even in countries where we believe governments have citizens’ best interests at heart, watching everyone, all the time is simply going too far. It creates a chilling effect on free speech and stops the web from being used as a space to explore important topics, like sensitive health issues, sexuality or religion.’
   But the one that struck me as very pertinent to publishing is Sir Tim’s second point. It’s the one that most news outlets seized on, linking it back to ‘fake news’, a term now corrupted by the executive branch of the US Government when attacking coverage that it doesn’t like. However, Sir Tim’s points were far broader than that. And it’s evident how his first point links to his second.
   It’s not hard to see that there is biased coverage on both the right and right wings of US politics (interestingly, they call it left and right), although Sir Tim points to how ‘a handful of social media sites or search engines’ show us the things that appeal to our own biases through their algorithms. ‘Fake news’ then spreads through these algorithms because they play to our prejudices. He writes, ‘those with bad intentions can game the system to spread misinformation for financial or political gain.’ These sites are able to determine what we see based on the data we’ve given them, willingly or unwillingly.
   It’s so far from the ideals of the World Wide Web that it’s sad that the medium, which was once so expansive and inspirational as we surfed from one site to the next to read and absorb information, has come to this: a tool for becoming more insular, the first path to the idiocracy.
   Google, as I wrote last year, biases itself toward larger sites, no longer rewarding the media outlet that breaks a news item. The incentive to be that maverick medium is, therefore, lessened greatly online, because the web isn’t being ranked on merit by the largest player in the search-engine business. It’s why Duck Duck Go, which doesn’t collect user data, gives search results that are generally fairer. We think it’s important to learn alternative viewpoints, especially in politics, otherwise the division that we already see in some countries will only deepen—and at worst this can lead to war. In peacetime countries, a compatriot with opposing political thoughts is not our enemy.
   Facebook’s continued data collection of user preferences is also dangerous. Even after users opt out, Facebook’s ad preferences’ page demonstrates that it will keep collecting. Whether or not Facebook then uses these preferences is unknown—certainly Facebook itself clams up—but since the site reports journalists who alert them to kiddie porn, kicks off drag queens after saying they wouldn’t, and forces people to download software in the guise of malware detection, who knows if any of Facebook’s positions are real or merely ‘fake news’? Knowing the misdeeds of sites like Facebook—and Google which itself has been found guilty of hacking—do they actually deserve our ongoing support?
   Of course I have an interest in getting people to look beyond the same-again players, because I run one media outlet that isn’t among them. But we have an interest to seek information from the independents, and to support a fair and neutral internet. We may learn an angle we hadn’t explored before, or we may find news and features others aren’t covering. Better yet, we may learn alternative viewpoints that break us out of our prejudices. Surely we can’t be that scared of learning about alternatives (maybe one that is better than what we believe), or having a reasoned debate based on fact rather than emotion or hatred? And if you are sharing on social media, do you want to be one of the sheep who uses the same click-bait as everyone else, or show that you’re someone who’s capable of independent thought?
   It shouldn’t be that difficult to distinguish fake-news sites from legitimate media (even though the line gets blurred) by looking at how well something is subedited and how many spelling mistakes there are. Perhaps the headlines are less emotive. There is a tier of independent media that deserves your support, whether it is this site or many competing ones that we’ve linked ourselves. Going beyond the same-again sources can only benefit us all.—Jack Yan, Publisher

Stars in their eyes


Chanel

Above: Chanel continues its long-running Comète collection.

Coco Chanel is known for embracing astrology. Her inspiration is reflected in many of her jewellery creations and designs years later. The star motif is highlighted within the Comète collection and while the lion, representative of the brand, is reminiscent of the city of Venezia and symbolic of her astrological sign. The designer’s influential vision comes to life within many of the intricately detailed pieces.
   To this day, astrology serves as a tool that could provide one with knowledge and even supposed explanatory perceptions. Fashion-focused entities and individuals have contemplated to what extent one’s rising sign or ascendant, representing the door to one’s identity, is correlated to one’s wardrobe and personal style. Some inquisitive individuals ponder about personalities, style and even probable futuristic outcomes in the financial field. The AstroTwins, Tali and Ophira Edut, who have been featured in a number of outlets, have given advice to a slew of celebrities. While they focus mainly on various predictions according to the stars, some have used astrology to tap in to the financial market. The Merriman Market Analyst is one of the many prominent sites that discuss and explain transformations and changes in planets that could serve in financial as well as everyday astrology. Other than the website, they have published books for international audiences, divulging and examining the planets and geocosmic aspects. According to the website’s disclaimer, ‘The hope is … it will help the reader understand the psychological dynamics that underlie (or coincide with) the news events …’ For decades, the founder continues to ponder on certain circumstances, whether on a weekly or yearly basis, leading a team of apprentices that follow in his footsteps.—Lola Cristall, Paris Editor

Documentary series coinciding with Christian Dior’s 70th anniversary starting February 9 on More4


NEWS  by Lucire staff/February 1, 2017/21.50



Top: Maria Grazia Chiuri takes a bow after her first collection. Above: From the archives, Christian Dior himself measuring a model.

With Christian Dior celebrating its 70th anniversary this year, with a feature appearing in an upcoming Lucire and an exhibition at the NGV, it’s the perfect time to take a look back at one of France’s (and fashion’s) most storied names.
   More4 will broadcast a two-part series in the lead-up to London Fashion Week, called Inside Dior, an observational documentary airing on Thursday, February 9 at 9 p.m., and the following week on February 16 at 9 p.m.
   From a house that began with one head designer, and his pioneering New Look, to a billion-dollar brand, the series examines Dior’s past and present.
   The first episode begins with a star-studded party at Christian Dior’s restored summer mansion, La Colle Noire, outside Grasse in the south of France, hosted by Charlize Theron. The Dior cruise 2017 show at Blenheim Palace and a haute couture show form the core of the episode, with behind-the-scenes footage of Dior staff getting ready for the shows, and clients who are entertained at opulent, formal dinners in Paris. It also deals with the company’s search for a new creative director to replace Raf Simons.
   The second episode follows Dior’s first female creative director, Maria Grazia Chiuri, preparing for her first collection at Paris Fashion Week (noted in Lucire issue 36). It also looks at Christian Dior’s beauty business, examining François Demachy, the company’s nose, on creating a Dior perfume, and Peter Philips, its make-up director, on creating a catwalk look. The episode ends as celebrities Kate Moss, Rihanna, and Natalie Portman arrive along with the world’s press at Chiuri’s first Dior spring 2017 catwalk show.


Above: Bella Hadid and other models walk at the conclusion of the Dior cruise 2017 show.

Mary Tyler Moore’s most famous TV shows altered lives for the better


NEWS  by Jack Yan/January 26, 2017/12.38


Jack Yan

You’re going to make it after all When visiting Minneapolis many years ago, I photographed the now-famous statue of Mary Tyler Moore doing the “hat toss” from the credits of The Mary Tyler Moore Show.

When I asked my colleague Nathalia Archila to write an obituary for Mary Tyler Moore, it reminded me of an episode of The Mary Tyler Moore Show where Mary Richards’ boss, Lou Grant, asks her to update obituaries as part of her job. It seems there are plenty of links in my life to The Mary Tyler Moore Show, a show I grew up watching.
   I have a connection with the show as a fan: I once ran the biggest email list for the series and its spinoffs. Called The Mary & Rhoda List, it was a place where other fans could discuss their favourite moments and keep up to date with the stars. It was originally run with a bunch of addresses, before I shifted it to Egroups, which later became Yahoo! Groups. For many years now, while I’m still listed as the admin, it’s been run by Sandy McLendon, a US-based fan.
   The list did catch the eye of co-star Valerie Harper, who one year sent me a nice autographed copy of her book for Christmas, along with a wee note. It was an acknowledgement of a job well done. But when Facebook and social media became the norm, the group became much less frequented.
   But why did this show have such an impact? In the 1970s, there was the backdrop of feminism, and watching The Mary Tyler Moore Show did give me the notion that women should be treated as equals to men. An underlying feminist theme existed in many of the episodes, and the absence of pay parity was directly addressed in one of them. I was too young to have noticed the references to Mary spending the night at a boyfriend’s or the fact she was on the Pill, but what I did see as a child was a Mustang-driving woman who had an independent life and a nice apartment. Why couldn’t all women do what they wanted and not be subject to what society dictated? Perhaps it appealed to my nonconformist mindset, something which I’ve had my entire life.
   I can’t be the only middle-aged man today who gained some awareness of feminism and equal rights through this show.
   I might have even gained the notion of working in the media through The Mary Tyler Moore Show—after all, plenty of people became comedy writers after seeing The Dick Van Dyke Show—and, perhaps to a similar degree, Tabitha (think The Mary Tyler Moore Show if Mary Richards was a witch living out in California).
   In reruns I discovered the snappy writing and directing of The Mary Tyler Moore Show, and when you compare it to the shows that had just gone before—The Beverly Hillbillies comes to mind—it was realistic, urban and sophisticated. American films had become more gritty around that time, and television followed. While somewhat idealized, and certainly not as downbeat as All in the Family, the successful US remake of Till Death Do Us Part, you could associate with the characters. You simply couldn’t on the other show about a Texas oil millionaire living in Beverly Hills. Showing it to my other half tonight, she remarked at how little it had actually dated: there still isn’t pay parity for women, for instance, and women over 30 are still under pressure from society and, sometimes, family, on whether they will get married and have kids. I worked out that this show aired 47 years ago, and 47’s a lot nearer to 50 than it is to 40. Half a century and we’re still not giving women their due.
   It’s a show I have enjoyed regularly, including its reruns in the late 1990s, though, interestingly, its most acclaimed episode, ‘Chuckles Bites the Dust’ (1975), isn’t my favourite. I even had the 2000 TV movie, Mary & Rhoda, recorded by friends in the US and air-mailed over here, though it was such an appalling production that I wondered if it was worth the trip.
   Again in reruns, I became a fan of The Dick Van Dyke Show. I wasn’t born during that show’s original run; instead, I had seen van Dyke and Carl Reiner’s later effort, The New Dick Van Dyke Show. And Dick van Dyke, of course, was the silver-haired man giving us fire safety messages on New Zealand TV then, presumably adaptations of US PSAs.
   The Dick Van Dyke Show gave us a look at an extremely fun job—that of comedy writers—but there was also plenty of romance between van Dyke’s Rob Petrie and his screen wife, Laura, played by Moore. Maybe that, too, was idealized, but I see elements of that in my own relationship—that if you’ve got to keep it going, you need to inject some fun. I saw myself as a Rob Petrie kind of guy, and I might never have watched the earlier show if it wasn’t for Moore’s involvement.

continued below





Jack Yan

Above, from top: Sign at the Mary Tyler Moore Table at Basil’s. The Mary Tyler Moore Table at Basil’s at the Marquette Hotel. Where the exterior shots of Mary Richards’ first house were filmed, at Kenwood Parkway. The Midwest Plaza, where the fictional WJM-TV was located.

   Naturally, when I was in Minneapolis, the setting of The Mary Tyler Moore Show, I stalked the locations of the house used in the exterior shots of Mary’s original apartment, had a jog along the Lake of the Isles, snapped a photo of where the fictional WJM-TV was, as well as visited the statue of Moore on Nicollet Mall (once Nicollet Avenue) that commemorates her "hat toss" in Reza S. Badiyi’s opening credits for the sitcom.
   I headed to Basil’s at the Marquette Hotel for lunch and sat at what is now called the Mary Tyler Moore Table—Moore sat at this table with an unnamed actor in later versions of the credits—and, naturally, I got there by Ford Mustang, the same make and model of car she drove in the show.
   When Moore’s death was announced this morning here, it gave me time to reflect on just how big a part her work had played in my life. And how the messages of her ‘two Camelots’—two highly successful, much-watched TV series—resonated with me in different ways.
   The last time I saw Moore on TV, she was in a sitcom that co-starred Betty White, Hot in Cleveland. It reunited Moore with Harper, White (who was the sexually charged Sue Ann Nivens on The Mary Tyler Moore Show), Georgia Engel and Cloris Leachman (Georgette and Phyllis on The Mary Tyler Moore Show). The fact she’s now gone means we won’t get these surprise reunions any more. However, we can still wander down memory lane, and her work is widely available on DVD.
   As we wandered in this piece, what we probably should be aware of is how hard-fought the victories of the feminist movement were. We must also realize, particularly in Moore’s own country, how there are forces prepared to undo them: their presidential elections evidenced this, with men and women quite divided on whom each group chose. Some would rather see us go back to the past, to an era even before the Petries. However, progress must continue, as we’ve more to gain from diverse voices—yet another message I recall from The Mary Tyler Moore Show.—Jack Yan, Publisher

Mary Tyler Moore, ground-breaking actress and diabetes campaigner, dies aged 80


NEWS  by Jack Yan//0.38




The two Camelots: the Petries’ living room was the hippest fictional place to be in the early 1960s, with Dick van Dyke and Mary Tyler Moore as Rob and Laura Petrie in The Dick Van Dyke Show. Ed Asner with Moore in the pilot episode of The Mary Tyler Moore Show—not the first take. The original first-season cast of The Mary Tyler Moore Show, clockwise from top left: Valerie Harper, Ed Asner, Cloris Leachman, Ted Baxter, Mary Tyler Moore, and Gavin MacLeod.

Mary Tyler Moore, the multi-Emmy-winning star and Oscar-nominated actress, died aged 80 on Wednesday in Greenwich, Connecticut.
   Publicist Mara Buxbaum issued the following statement: ‘Today, beloved icon, Mary Tyler Moore, passed away at the age of 80 in the company of friends and her loving husband of over 33 years, Dr S. Robert Levine. A ground-breaking actress, producer, and passionate advocate for the Juvenile Diabetes Research Foundation, Mary will be remembered as a fearless visionary who turned the world on with her smile.’
   Moore was born in Brooklyn, New York, on December 29, 1936. At 17, she wanted to be a dancer, with her dance training evident in one of the first roles that brought her national attention: the Happy Hotpoint elf, who danced across the screen as the mascot for Hotpoint appliances. She had a small role in Richard Diamond, Private Detective, and she guest-starred in numerous other TV shows.
   However, in 1961, Moore hit the big time when Carl Reiner cast her in The Dick Van Dyke Show. Moore saw herself as an aspiring dramatic actress, but found herself one of the most gifted comedic artists of her generation. It was Reiner’s second attempt at making the series (which he originally wrote for himself to star in), produced by Danny Thomas’s company. Thomas himself remembered Moore from an earlier role and recommended her to play opposite star Dick van Dyke as his screen wife.
   Despite an age gap between herself and van Dyke of 11 years, the two actors hit it off, and both have said since that they had crushes on each other. Her role was meant to have been a smaller one—effectively the straight man to van Dyke’s Rob Petrie character when he came home from the office—but recognizing her talents, her role began to expand.
   After a rocky first season that saw producer Sheldon Leonard approach sponsors to save the show, The Dick Van Dyke Show took off for its second season in 1962, and never looked back.
   The show was regarded as ground-breaking for showing a modern, white American couple in the suburbs, and Moore herself—as a young mother—wore capri pants as Laura Petrie, which brought her much attention, as well as complaints from less tolerant viewers. Moore’s catchphrase, ‘Ooh, Rob,’ became linked to her. She won two Emmys for her role as Laura Petrie, from three nominations.
   Van Dyke shared the clip below via Twitter on hearing of Moore’s death.

   Many of the key people on the show wanted to do other things—van Dyke had the beginnings of a movie career—and The Dick Van Dyke Show ended its run in 1966, on a high. Moore had numerous smaller roles, including one as a nun in the Elvis Presley starrer Change of Habit, but audiences still associated her with the Laura Petrie character. After appearing on a one-off van Dyke TV special, Moore and second husband Grant Tinker pitched a new sitcom to CBS.
   CBS effectively approved the sitcom based on Moore’s star power, though there were many road blocks in getting The Mary Tyler Moore Show made, as recounted in 2013 by Jennifer Keishin Armstrong in her book, Mary and Lou and Rhoda and Ted and All the Brilliant Minds Who Made The Mary Tyler Moore Show a Classic. The network had expected the show to be a flop, an early cut of the pilot didn’t find favour, and even co-star Ed Asner almost didn’t get his Lou Grant role, one that he is best known for. However, Moore, Tinker, and the team persisted, and The Mary Tyler Moore Show was one of the 1970s’ most acclaimed sitcoms, earning Moore four Emmy wins from eight nominations.
   The Mary Tyler Moore Show was, on the surface, an urban show that marked the dawn of the 1970s, after an era of rural-themed sitcoms such as The Beverly Hillbillies. But it was unheard of to show a young, single woman in her 30s forging a career and her own path in life. The show still stands up to scrutiny today for its writing and pace. Producers James L. Brooks and Allan Burns were committed to show a slice of reality—Moore could be seen repeating outfits during a season as a real working woman would—and to get a woman’s point of view, the show wound up hiring numerous female writers. It was implied in one episode that the fictional Mary Richards had stayed over a boyfriend’s, and another that she was on the Pill—both elicited viewer complaints at the time. The Mary Tyler Moore Show tapped into the US’s conscience, with the growing women’s movement. It also spawned imitators, including the short-lived sitcom Diana, with Diana Rigg, and the similarly short-lived Bewitched sequel, Tabitha. Behind all seven seasons were Moore and Tinker, who had formed their own production company, MTM Productions, Inc. MTM went on to produce numerous other shows, including spin-offs Rhoda, Phyllis and Lou Grant, as well as The Bob Newhart Show, WKRP in Cincinnati, Hill Street Blues, St Elsewhere, Remington Steele and The Pretender.
   Moore considered herself lucky to have been involved in ‘two Camelots’: two series that had broken ground in their respective times. While continuing to remain active on stage and screen, few projects were as well connected to Moore in the public mind. Moore did receive an Oscar nomination for her role in Ordinary People (1980) as a mother grieving the death of one of her sons—a situation that had a tragic parallel that year as Moore’s son, Richie, by her first husband Richard Meeker, accidentally shot himself in an accident.
   Moore and Tinker divorced in 1981, and she married her third husband, Dr S. Robert Levine, in 1983.
   Later projects included telemovie sequels to both The Mary Tyler Moore Show (Mary and Rhoda, released in 2000—and never had the spark of the original) and The Dick Van Dyke Show (2004, written by creator Carl Reiner and called its 159th episode). As covered in Lucire in 2012, van Dyke presented her with a SAG lifetime achievement award.
   Moore was diagnosed with Type 1 diabetes in her 30s and was an active campaigner for the JDRF, formerly the Juvenile Diabetes Research Foundation. She was also an animal rights’ activist and a vegetarian.—Jack Yan, Publisher, with Nathalia Archila


John Shearer/WireImage

Above: Mary Tyler Moore receives a lifetime achievement award from former co-star Dick van Dyke.

In brief: Belstaff shows autumn–winter 2017–18; Chanel previews spring ’17 advertising


NEWS  by Lucire staff/January 10, 2017/19.25




Belstaff

Belstaff has shown its autumn–winter 2017–18 collection in London, for both men and women. The Jolly Roger collection, inspired by World War II Royal Navy uniforms, even has vintage wax treatments on some designs to give them a worn look. Belstaff notes that the pea and duffle coats have been re-created, while the parka is based on a Belstaff design created for the British military in 1960. Creative Director Delphine Ninous said, ‘The formal naval-inspired pieces are contrasted with a more rugged and free-spirited look appropriate to downtime on the docks. This sense of temporary escapism is reflected in edgier elements such as naval tattoo designs and the Jolly Roger flag, giving a sense of rebellion and individuality.’ Tones are red, brown, blue and military green; base colours are charcoal grey, black and navy, with highlights in spruce teal, sanderling, cardinal red and burnished gold.



Belstaff

   Meanwhile, Chanel has previewed its advertising campaign for its spring–summer 2017 prêt-à-porter collection. The campaign itself has been overseen by Karl Lagerfeld, with contrast at its core. A pop Lolita metamorphoses into a cyberpunk; a tweed jacket has an electronic circuit board as a motif; an off-white silk and lace coat covers a black babydoll. There’s a startling modernity to the images, tying in to the Data Center Chanel catwalk show in Paris last October, which saw high-tech meet the 1990s.









Chanel

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