Lucire


  latest news   fashion   beauty   living   volante   print and tablet   tv
  home   community   shopping   advertise   contact

TAG Heuer celebrates 50 years of the Monaco watch at Grand Prix, with Bella Hadid, Winnie Harlow, Jourdan Dunn

Filed by Lucire staff/May 26, 2019/23.22




David M. Benett

TAG Heuer has held a three-day celebration over the Grand Prix de Monaco weekend to celebrate the 50th anniversary of its iconic Monaco watch, the first water-resistant square watch and the first with an automatic-winding chronograph movement.
   On Friday, the company unveiled the first of five new Monaco collector watches at the Key Largo Villa, hosted by CEO Stéphane Bianchi and chief strategy and digital officer Frédéric Arnault. VIPs included Max Verstappen from the Aston Martin Red Bull Racing Team, who delivered the new watch by helicopter, and Bella Hadid, Winnie Harlow, Patrick Dempsey, Kai Lenny and Molly Payne, and musician Guy Berryman. Magician Laurent Beretta entertained guests at the dinner.
   The new watch, the TAG Heuer Monaco 1969–1979 Limited Edition (169 pieces) has a brown leather strap with holes lined in light brown, a green dial with brown and yellow features, and a Côtes de Genève finishing. The hands are coated with SuperLuminova. The back is engraved with the original Monaco Heuer logo, and ‘1969–1979 Special Edition’ and ‘One of 169’.
   A display at the villa showed a Porsche 917K in Gulf livery, along with photos and a racing suit from Steve McQueen’s car racing movie Le Mans, where he wore a TAG Heuer Monaco watch. TAG Heuer has been the official watch of the Monaco Grand Prix since 2011, tying in to the grand prix that gave the watch the name in 1969.
   TAG Heuer hosted a 1970s-themed cocktail party and dinner to tie in with the Monaco watch’s first decade.
   On the second day, the company took guests on a private tour of the Monaco Top Cars Collection Museum, including a retrospective on the Monaco timepiece, followed by a track and pit-lane tour, and viewing the qualifying sessions from the TAG Heuer lounge. Christian Horner, team principal of Red Bull Racing Formula One, gave a debrief.
   That evening, it hosted a party with cocktails and dinner on the TAG Heuer Yacht moored in Monaco, again with Hadid, Harlow, Dempsey and Lenny, and Jourdan Dunn, racing driver Jean-Éric Vergne, Richard Madden and Daniel Brühl. DJ Bob Sinclair performed live.
   On race day, guests enjoyed access to the Grand Prix itself. Lewis Hamilton had pole position and won the race.











David M. Benett












































David M. Benett; Jean-François Galeron

 


Karl Lagerfeld dead at 85, according to French media

Filed by Lucire staff/February 19, 2019/12.26


Top: The most recent photo we have on file of Karl Lagerfeld, with model Adut Akech Bior (photo courtesy Chanel). Above: Karl Lagerfeld in 2015. Left: Karl Lagerfeld and the closing bridal gown at the Chanel autumn–winter 2012–13 haute couture presentation at the Grand Palais.

Reports are emerging from France that Chanel and Fendi creative director Karl Lagerfeld has died at the age of 85.
   Paris Match reported that Lagerfeld was rushed to hospital on Monday night and died on Tuesday morning.
   As reported in Lucire KSA’s March 2019 issue, Lagerfeld did not take the bow at the Chanel spring–summer 2019 haute couture shows, forcing the house to issue a release saying the designer was tired. Virginie Viard took his place.
   Lagerfeld had been directing the preparations for the Fendi autumn–winter 2019–10 show at Moda di Milano, scheduled for Thursday.
   Born in Hamburg on September 10, 1933, and moving to Paris at 14, Lagerfeld first came to the notice of the fashion industry when he came second to Yves Saint Laurent in a competition sponsored by the International Wool Secretariat. He was hired by Pierre Balmain as an apprentice, before moving to Jean Patou, where he designed the haute couture collections. In 1963, Lagerfeld went to Tiziani, where he remained till 1969. He also worked for Chloé from 1964, and collaborated with Fendi from 1965, and briefly with Curiel in 1970. Other collaborations were with Charles Jourdan, Isetan, Ballantyne, Diesel, and H&M. He also worked in theatre and film.
   Lagerfeld became the creative director of Chanel in 1983, where he achieved his greatest fame. He launched his eponymous label a year later. In 2015, he was honoured with the Outstanding Achievement Award at the British Fashion Awards.
   As a skilled photographer, he shot many of Chanel’s campaigns, even into his 80s, as well as editorials for major fashion magazines.
   In 2001, Lagerfeld famously lost 42 kg, saying he wanted to wear clothes designed by Hedi Slimane. The diet, later published in a book, took him 13 months.

This is a developing story.

 


Extraordinary insights promised in new Mary Tyler Moore biography, to be released January 25

Filed by Lucire staff/January 21, 2019/23.05

To be released on the second anniversary of her passing, the new biography, Mary: the Mary Tyler Moore Story, offers new insights into the acclaimed Golden Globe and Emmy Award-winning actress who portrayed two of television comedy’s most beloved characters, Laura Petrie on The Dick Van Dyke Show, and Mary Richards on The Mary Tyler Moore Show. Moore also won a Golden Globe and was nominated for an Oscar for her dramatic role in Ordinary People, and an Emmy for the TV movie Stolen Babies.
   Jacobs/Brown Press will release the book, penned by Herbie J. Pilato, on January 25, 2019.
   Pilato examines not just Moore’s success, but deeper issues such as childhood sexual abuse, alcoholism, juvenile diabetes, cosmetic surgery, her strained relationships with parents and spouses, and the tragic deaths of her son, brother and sister. He also examines Moore’s advocacy for animal rights, and difficulties with co-stars such as Rose Marie. There are exclusive interviews with Ed Asner, Gavin MacLeod, Larry Matthews, the late Carol Channing, and breast cancer survivor Betty Rollin, whom Moore portrayed in the 1978 TV movie, First You Cry.
   While younger readers may not know of the significance of Moore’s work, it is fair to say that her Mary Richards character was ground-breaking. She was one of the most iconic characters on 1970s television, with former US First Lady Michelle Obama noting, ‘She wasn’t married; she wasn’t looking to get married; at no point did the series end in a happy ending with her finding a husband—which seemed to be the course you had to take as a woman.’

 


David Gandy, Isabeli Fontana, Hugh Jackman, Lawrence Wong attend Montblanc’s SIHH stand

Filed by Lucire staff/January 16, 2019/8.33





Julien Hekimian; Daniele Venturelli

David Gandy, Isabeli Fontana, Hugh Jackman, Lawrence Wong, designer Juan Avellaneda, Aldo Comas, Saul Nanni, Sveva Alviti, Numan Acar, and Blanda Eggenschwiler were among the celebrities attending Montblanc’s display at the Salon International de la Haute Horlogerie at Palexpo in Genève. The Montblanc stand connects the brand back with nature. Wood, plants and rock dominate the area, with a large backdrop displaying a mountain face. The watches themselves are displayed in wood and glass cases.
   Its new collections, entitled TimeWalker, Star Legacy, and Heritage, are complemented by new 1858 timepieces inspired by Minerva watches from the 1920s and 1930s that were conceived for military use and exploration.
   â€˜Exploring this environment is an opportunity for our visitors to experience the spirit of exploration that inspired 1858, a line built for explorers and anyone who dares to venture out into nature to find new perspectives. The Montblanc space at this year’s SIHH serves as a reminder of the importance finding inspiration by reconnecting through nature, which becomes increasingly important in our fast-paced way of living,’ said Nicolas Baretzki, Montblanc’s CEO.
   Also representing Montblanc at the event were Davide Cerrato and Stephanie Radl.
   Minerva, a storied Swiss watch brand, is now part of the same group that owns Montblanc. The display paid tribute to the brand, from its founding in 1858 by Charles-Ivan Robert.
   Montblanc continues its support of CREA Mont Blanc (Centre de Recherches sur les Ecosystèmes d’Altitude), donating funds to them instead of providing guests with giveaways.

















Julien Hekimian; Daniele Venturelli

Display and atmosphere










Julien Hekimian; Daniele Venturelli

 


Gottschalk’s graphical message to Russia: simplicity

Filed by Lucire staff/October 3, 2018/5.35


Fritz Gottschalk meets attendees following his presentation.

TREND, the largest conference on graphic design in Russia, welcomed Fritz Gottschalk, founding partner of Gottschalk + Ash International at its recent Moskva event. Australian brand superstar Ken Cato, Canadian film documentarian Greg Durrell, and Swedish marketing outlaws Fredrik Öst and Erik Kockum were among the other presenters rounding out the two-day conference held at the Vegas Centre. Fritz Gottschalk’s remarks, entitled Endurance and Craft, were heard by a full house of over 1,500 attendees, who listened to thoughts by the Zürich-based designer of the iconic Swiss passport, and elder statesman of the International Style.
   Gottschalk’s unconventional presentation technique—he went twice rapidly through his 75 slides silently before speaking a word to the audience—radically contrasted with the offerings of other speakers. Younger internet-savvy designers relied on booming music tracks, short videos and flashy disco visuals to make their points. One Russian speaker created a mini-flash mob, fist-pounding and urging attendees to flock to the stage.
   But Fritz Gottschalk’s meticulous analysis of the 1985 Swiss passport, and his measured descriptions of technique and craft, carried the event and swept the audience to a standing ovation for the quality of the remarks and projects shown. While others spoke of what they had done, Gottschalk used his time to describe how he had executed his impeccable designs. Showing a range of print, wayfinding, packaging and digital solutions, the octogenarian Gottschalk, who still actively works at his office, demonstrated an enduring and energetic enthusiasm for graphic design and thoughtful process. Admiring Instagram posts began to appear during the speech. Judging by the crowds of young designers who crowded around him following his remarks, even after a half century the master still has his touch.—Stanley Moss, Travel Editor


Greg Durrell


Above, from top: Fritz Gottschalk and Stanley Moss in Moskva, Russia. Admiring fans photographing him following his talk. A half-hour after the presentation they were still looking at samples of his work.

 


Royal New Zealand Ballet’s Strength & Grace marks 125 years of women’s suffrage with four poignant premières

Filed by Jack Yan/August 17, 2018/11.56


Ross Brown

The Royal New Zealand Ballet premièred four new works tonight at the State Opera House, marking 125 years of women’s suffrage in New Zealand, the first country where women won the right to vote.
   Introduced by artistic director Patricia Barker, who had personal connections with each of the choreographers, the Strength & Grace season runs only for two nights in Wellington, on August 17 and 18. Barker brought together an international, eclectic group of choreographers—Penny Saunders (USA), Sarah Foster-Sproull (New Zealand), Danielle Rowe (Australia), and Andrea Schermoly (South Africa)—to create works commemorating women.
   With four female creators behind the scenes, each introducing their works with a video, the audience was in for a treat, with both classical and modern ballets as part of the programme.
   Saunders’ So to Speak examined the conversations that took place between women and men in the nineteenth century, as women campaigned for equality. The set, with two chairs, a table, and a lone light, complemented clothing reminiscent of the era. She recognized that while there were suffragettes campaigning publicly, private conversations took place in the home. The dance centred on a wife and husband (performed by Kirby Selchow and Loughlan Prior), and introduced a third character, a daughter (Caroline Wiley), beginning with a pas de deux of the couple, before introducing the additional energy of their child.
   The story is powerful: where the husband might have stopped his wife from her desire to vote through his narrow-mindedness, he could not stop his daughter, who held the hope that her generation would, at least, find a more balanced relationship with her partner. While retelling a historical story, Saunders says she was inspired by modern youth in her country, such as those campaigning for gun control, finding that they were far quicker to change than earlier generations whose willingness to change seemed ‘glacial’ by comparison.
   Foster-Sproull’s Despite the Loss of Small Detail was perfectly placed as the second work: a modern ballet that brought in contemporary dance elements. We had delighted in her Forgotten Things, performed as part of the New Zealand School of Dance graduation seasons in 2015 and 2017, where Foster-Sproull used fists and arms to create unfamiliar shapes and creatures on stage. There is an evolutionary link between Forgotten Things and Despite the Loss of Small Detail as Foster-Sproull played with visual forms here—Abigail Boyle (sharing the lead with Loughlan Prior) enhaloed by other dancers’ hands, for instance—but the overall result was distinctive: dancers in lilac with fur jackets, with abrupt and sharp changes breaking in amongst traditional moves. It was essentially two linked ballets: the first showing off the dancers’ strength as a group; the second a story about the mutual support and the sharing of strength between them.
   Foster-Sproull was inspired by the strength of pioneering feminists, notably Kate Sheppard and the members of the women’s suffrage movement.
   Eden Mulholland’s specially composed electronica score contrasted the first ballet’s more classical and lyrical music, and proved more abstract.
   Rowe’s Remember, Mama began with the notion that behind every great man is a great woman, and sometimes, that great woman is his mother. Again this was two linked ballets in the space of one: the first told a story of a boy who turns into a man, who breaks free of his mother’s influence as he finds his independence, to return later in life to care for her as she ails; the second about the sisterhood of women and the strength in numbers they find. The childhood story was appropriately paired with Mozart’s ‘Twelve Variations on “Ah vous dirai-je, Maman”’. The mother was skilfully played by Nadia Yanowsky, who injected emotion and poignancy into her role; the son, in his different ages, was performed by Shaun James Kelly, Fabio Lo Giudice and Paul Matthews. Lo Giudice’s teenage portrayal, and his rebellion, was arguably the most touching, bringing forth both the love each had for the other, while accepting that we all have to find our own way in life.
   Schermoly’s Stand to Reason was best placed to be the finalé: this was a triumph of feminine power, with eight ballerinas showing off their power and strength—the costumes made sure we saw the muscle tone in their arms—but also making a statement about how women, to this day, still have to explain themselves in a world where pay inequity and other injustices continue to exist. The dancers were, at points, expressing the pain of not being heard, of effectively having their hands bound behind their backs, out of sheer frustration of not having the most simple things understood by society at large.
   Schermoly’s inspiration was a leaflet circulated by the Women’s Christian Temperance Union at the time of the suffrage movement, stating why women should vote. The leaflet was sent to every member of the House of Representatives in 1888, and, in the performance, was attributed to Sheppard. The reasons seem ridiculous today, yet 125 years is only five generations. The first two were: ‘1. Because a democratic government like that of New Zealand already admits the great principle that every adult person, not convicted of crime, nor suspected of lunacy, has an inherent right to a voice in the construction of laws which all must obey.
   â€˜2. Because it has not yet been proved that the intelligence of women is only equal to that of children, nor that their social status is on a par with that of lunatics or convicts.’
   The reasons were projected in a typewriter style on to the background, and the performance concluded with a list of countries where women still cannot vote, and a reminder that there are still archaic laws and norms in many societies denying women the most fundamental freedoms and rights.
   This was the most raw and direct of the four in many respects, and a fitting way to conclude Strength & Grace, with a powerful high.
   One further performance takes place at the Opera House, Wellington on August 18 at 7.30 p.m.—Jack Yan, Publisher

 


« Previous PageNext Page »

 

Get more from Lucire

Our latest issue

Lucire 40
Check out our lavish print issue of Lucire in hard copy or for Ipad or Android.
Or download the latest issue of Lucire as a PDF from Scopalto

Lucire on Twitter

Lucire on Instagram