Lucire

Lucire: News

Share 


April 20, 2016

Get in NOW for Footnote: four entertaining dances, representing our times

Jack Yan/14.06


Courtesy Footnote

Footnote New Zealand Dance’s NOW 2016 (New Original Work) programme, which hit Wellington tonight after performances in Auckland, presents four original works by New Zealand choreographers Julia Harvie, Sarah Knox, Lucy Marinkovich and Jessie McCall. It’s a particularly enjoyable programme, mixing meanings, humour and, in the case of Elephant Skin, a lot of balloons.
   Each performance begins with a voice recording that sets the stage for the dance that follows, although viewers are still invited to make their own interpretations.
   Centerfolds (sic) begins with a humorous look at gender stereotyping, with the company’s male and female dancers wearing masks with a bun and dresses, signalling that we often take these cues and make automatic assumptions about a strict male–female duality. Marinkovich looks at roles such as waitress, housewife, heroine, songstress, supermodel, and others, questioning our conditioning; and while not every role appears as costumed characters, they are represented through the varied music choices. Masks play a part throughout, along with multiple costume changes, ensuring that Centerfolds never drags for a moment.
   Your Own Personal Exister is one of our favourites, as it examines not only existentialism but its opposite, inauthenticity. McCall does this with the notion of how, at a children’s birthday party, we feel the centre of attention when we wear our paper “crown”, but what if that crown was never removed? It’s an allegory of the selfie era, the “look at me” validation some seek. Three of McCall’s dancers don crowns, but one doesn’t, although he is unaware of this till some way into the performance. Yet this need consumes him eventually, and he joins the inauthenticity of the others.
   One of the regular techniques here had dancers opening their mouths facing upwards while recorded voices played, which worked particularly well, and the voiceover was poignant at the conclusion of the performance (which we won’t spoil here). And what happens when that crown is removed, where does that leave us? Despite the smaller number of Footnote dancers involved, this was a particularly powerful work that was danced beautifully.
   Elephant Skin takes a humorous look with balloons landing on stage at random points, sound effects creating more laughs, and a particularly brave dancer blowing up a balloon till it popped. Harvie explained in a post-show forum that she wanted freshness and tension in the performance, because as humans, we are problem-solvers, and the dance, too, should solve the problem of the randomly placed balloons. There was, of course, an overall structure which the dancers worked around, and one scene where white balloons stood in for clouds as one performer floated across the stage, before the others began popping the cloud around her.
   Harvie also noted that she has a fascination with balloons and that they have a human element to them.
   Disarming Dissent is the most energetic of the four in terms of getting the dancers to generate forceful movements, and by this time one is marvelling at their stamina. Rowan Pearce’s music reached crescendos twice as the energy built up. Dance, exercise and martial arts combine here as Knox talks about the fight we have against the system, but then how we pacify ourselves, drawn back by either that very system or our own impulses.
   The Wellington première at Te Whaea had a unique forum at the end which featured the dancers, Harvie, general manager Richard Aindow as host, and artistic liaison Anita Hunziker.
   The Auckland performances have been (April 15–16), Wellington has one more night (21st, at Te Whaea), Dunedin is on April 28 at Mayfair Theatre, and those in Invercargill will see NOW 2016 on May 1 at Centrestage during the Southland Festival. For tickets and information, head to footnote.org.nz.—Jack Yan, Publisher

New Zealand gets first Renault Zoé glimpse at Leading the Charge event in Wellington

Jack Yan/6.13



New Zealanders got their first look at the Renault Zoé last Friday at the Leading the Charge event in Wellington.
   The electric car, which has been a standard-bearer for the French company’s zero-emissions ambitions alongside its Twizy single-passenger commuter, arrived in the country only that week in right-hand drive form and made its way to the event at the CQ Hotel in Wellington.
   The Zoé posed alongside the Tesla Model S and the BMW i3, which is the subject of an upcoming comprehensive Lucire road test.
   Leading the Charge is a real-world north-to-south road trip from Cape Reinga to Bluff, New Zealand to educate people about zero-carbon motoring, to prove that it is indeed possible, even in a country like New Zealand where major cities are scattered around the landscape, with rural roads linking them.
   Better NZ Trust and EECA are behind the drive, and for Wellingtonians, guest speaker Steve West was on hand to talk about his venture, Charge Net NZ, which aims to have 100 fast-charge stations located nationally.
   Instead of the nightly charge of a car via the mains, which can take all night, these fast chargers pump electricity through in less than half an hour, making the electric car particularly viable. Presently, owners of electric cars pay no road tax.
   In New Zealand, where electricity is in part sourced from hydro sources, electric cars make environmental sense overall.
   Host CQ Hotels had installed eight electric car charging stations in its car park, as part of its social responsibility to the environment.
   The cars have made their way now to the South Island. You can follow @leadingthecharge on Instagram for the latest updates.—Jack Yan, Publisher







April 18, 2016

Fashion Cities Africa gives a snapshot of four cities on a varied, rich continent

Jack Yan/3.51

The second largest continent on the planet is, logically, home to a massive number of fashion designers and movements, although out of Africa, there hasn’t been as much recognition of them till recently. Fashion Cities Africa, the book, inspired by the exhibition of the same name at the Brighton Museum & Art Gallery that opens at the end of April, is one high-profile development which seeks to shine a light on the variety present on the continent, while on a similar note, next month’s Africa Fashion Festival in Wellington will do the same for its designers.
   Hannah Azieb Pool, who edits the new book, is a Eritrean-born, London-based journalist, who, along with Helen Jennings, has co-writing duties, resulting in a cohesive, beautifully presented book that examines contemporary fashion in Nairobi, Casablanca, Lagos and Johannesburg. It doesn’t pretend to be a fully comprehensive guide, stating from the outset it is meant to provide mere glimpses on a continent that is incredibly diverse. The foreword by Binyavanga Wainaina, a flâneur, reminds us that there are clusters scattered throughout the land that have their own tendencies, and that her favourite designer is Nigerian, Chioma Chukwulozie.
   The reader is thrown in to the colour of Nairobi, where sibling bloggers Velma Rossa and Papa Petit (a.k.a. Oliver) take one half of the first spread with their über-stylish and proudly urban Kenyan clothes, and stylists, musicians, designers, bloggers and artists profiled on following pages give slices of their lives that shake occidental sensibilities with their own palettes and ensembles. Nairobi, for the most part, emphasizes comfort, and the clothing shot on these pages by Sarah Marie Waiswa demonstrate that the city’s fashion could easily translate to other places, spanning everything from casual to luxury. Adèle Dejak has shown in Milano, for instance, and appeared in Vogue Italia with her collaboration with Salvatore Ferragamo, while John Kaveke and Nick Ondu show the sort of sartorial elegance that could easily influence menswear in other fashion capitals.
   Profiles of some of the personalities from the city follow, reminding us that Nairobi is a crossroads: Ami Doshi Shah is of Indian descent, her family brought there by the British when both countries were under Crown rule, while Ann McCreath is a Scots émigrée who fell in love with the fashion there. There’s a dose of youthful energy, too, with Anthony Mulli, a jewellery designer who started when he was 16, pointing the way forward.
   The book follows a similar structure for subsequent cities, moving on to Casablanca next.
   Lucire readers will be familiar with Morocco thanks to travel editor Stanley Moss’s writings, and Jennings’ chapter, with photographs by Deborah Benzaquen, takes us on a similar journey through the country’s largest city. It was, of course, a home for Yves Saint Laurent at one point, as well as a drawcard for many western celebrities, when a first wave of Moroccan designers became known outside of the region. A second wave, Jennings explains, emerged in the 1980s and 1990s, with Zineb Joundy a graduate of the Chambre Syndicale de la Haute Couture. A greater sense of artistic freedom and Casablanca’s position that blends Arabic, European and indigenous cultures has resulted in some looks that may seem familiar—perhaps thanks to the likes of Saint Laurent and his influence. Again the profiles are well selected, a cross-section of the highly varied cultures in the city: Amine Bendriouich, Amina Agueznay, Yassine Morabite, Saïd Mahrouf, and Zhor, Chadia and Aida Raïs each cover a very different parts of the fashion spectrum, from T-shirts to traditional caftans.
   Once the book gets to Lagos, it’s apparent that there’s a sense of “bubbling under”, with Lakin Ogunbanwo’s photographs, paired with Jennings’ words again, showing slightly more subdued looks for men, but prouder, more flamboyant looks for women. Jennings notes that civil war and Nigeria’s military juntas stalled its fashion scene for some years, before a revival when democracy returned in 1999. Foreign labels were seen as cool till recently, with the country discovering its confidence in its own æsthetic, to the point where one of her interviewees, stylist Bolaji Anumashaun, says that fashion can be one of Nigeria’s ‘greatest exports’. Anumashaun founded thestylehq.com with a pan-African fashion focus, and Arise magazine, founded in 2008, also stepped up the promotion for Nigerian designers. With Nigeria’s GDP now greater than South Africa’s, that confidence is bound to increase, and Jennings looks at Nike Davis Okundaye, who owns the biggest gallery in West Africa in Lagos, and happy to promote young talent. Others, such as Yegwa Ukpo and Amaka Osakwe, both were schooled in the UK before returning to Lagos to found their brands, while PR consultant Zara Okpara and luxury concept store owner Reni Folawiyo complete their city’s picture.
   Johannesburg completes Fashion Cities Africa, and it’s perhaps fair that Pool chose to put it last. Many mistakenly think of South African fashion when they refer to ‘African fashion’, spurred in part by the Republic’s sporting ties to many other countries in the Commonwealth. Victor Dlamini has the photographic duties here, and Pool pens the words, and she goes through the various Jo’burg neighbourhoods, noting that its fashion is more established than Nairobi’s but less self-conscious than Lagos’s. There is a western infusion here in some parts, she notes, but on closer examination there are accessories that reference Soweto streets or Zulu culture. The city even has two fashion weeks: South Africa Fashion Week and Mercedes-Benz Fashion Week Joburg, making the city spoiled for choice when it comes to giving its designers a platform. David Tlale, whom Lucire readers will have heard of, and who has shown at New York Fashion Week, hails from here, and Jo’burg designs have a greater sense of familiarity thanks to western media exposure. It oozes colour and vibrancy, much like the photos chosen for Pool’s first chapter on Nairobi, and in similar fashion (pun unintended) there are profiles from across the spectrum: designer Thula Sindi, creative collective, the Sartists, accessories’ and shoe designer Maria McCloy, and womenswear designers Marianne Fassler and Anisa Mpungwe.
   It’s our hope that we can cease talking about ‘African’ fashion and instead replace the dialogue with specific cities or countries, just as we do for smaller continents such as Europe. Just as there is no such thing to fashion observers as ‘European’ fashion, there is equally no such thing as ‘African’ fashion: it is impossible to generalize at a continental level. Both as an informative volume and a coffee-table flick-through (as it is softcover), Fashion Cities Africa succeeds, and it’s exceptionally good value with full-colour photographs (needed for its story, over 196 pp.) at £20 (available via Amazon UK here, or Book Depository here) or US$28·50, (Amazon link here). It is published this month by Intellect Books, as part of its Street Styles series.—Jack Yan, Publisher

April 16, 2016

Kasia Smutniak launches Mya special edition of Lancia’s last car, the Ypsilon, at Spazio Arôme in Milano

Jack Yan/12.09



We might as well enjoy it while it lasts, because this is the last Lancia.
   With the demise of the Delta—one of our favourites—in 2014, there’s a single model line left for the fabled Italian brand: the Ypsilon. After that, Lancias will be no more, the 110-year-old brand being consigned to history as Fiat kills it off.
   The Ypsilon is effectively the successor to the old Autobianchi superminis such as the A112 and Y10, a marque which had also disappeared, after once being the brand where Fiat tried out new concepts such as hatchbacks and front-wheel drive.
   Not even a brand that has had cars such as the Aurelia, Fulvia and Gamma coupés, Stratos and Beta Montecarlo can survive a lack of attention, and the Mya is one of the last editions of Ypsilon that will wear the Lancia badge.
   Fiat’s now busy, of course, with profitable Jeeps and the renaissance of Alfa Romeo, although it still pumped some money into an event in Milano for the Lancia Ypsilon Mya at the Spazio Arôme.
   This special edition sees Polish actress Kasia Smutniak (known to Anglophone audiences for the actioner From Paris with Love) as its spokeswoman, succeeding other Lancia faces such as Carla Bruni.
   The launch used video mapping imaging techniques behind Smutniak, projecting graphics on to real surfaces. Lancia says it sees the Ypsilon Mya as a ‘second home’, with Antonella Bruno, head of Lancia for EMEA even interviewing Debora Conti, a life coach, on the relationship between space and emotion, and Fire Cars’ Annacarla Giusti confirming that the car has style and elegance.
   Admittedly, the tipo 846 Ypsilon, which has been around since 2011, has aged remarkably well, and the shape still has a certain elegance to it. The interior features Alcantara and a denim-look fabric. The exterior sees the addition of two shades—though they are both grey. Ardesia Grey is standard, and a three-layer Lunare Grey comes as an option. Neve White, Vulcano Black and Blu di Blu are also available from the regular Ypsilon line, which sees a palette of 12 colours.
   To give it a subtle lift, there is a satin finish on the front bumper, the lower grille inserts, door mirrors, door handles, the Ypsilon badge on the tailgate, and the Mya logo on the wheel arches.
   The Ypsilon features at the Spazio Arôme this weekend, and that of April 23–4.—Jack Yan, Publisher






February 26, 2016

The Royal New Zealand Ballet’s Speed of Light: sophisticated, modern classics lead New Zealand Festival

Jack Yan/14.13



Bill Cooper


Maarten Holl

Above, from top: Selon désir, with dancers Abigail Boyle and Loughlan Prior. In the Middle, Somewhat Elevated, with Mayu Tanigaito. With tiles and cacti in Cacti.

The Royal New Zealand Ballet’s Speed of Light, kicking off the New Zealand Festival in Wellington on Friday night, comprised an enjoyable contemporary programme that showed the strength of this world-class company. The first programme put together by Francesco Ventriglia in his role as the RNZB’s artistic director, it showed how prepared the dancers were to embrace a series of challenging and inspirational modern classics just as readily as they have taken on more traditional fare. The three are united, notes Ventriglia, by the idea of light and its precision and power; to us, it’s the relevance of each of the three ballets’ themes: all different, all giving us food for thought. Ventriglia has shown a sophistication and an understanding of the deeper meanings of ballet in choosing these particular three, which we heartily recommend.
   Selon désir kicked off the evening, choreographed by Andonis Foniadakis. The RNZB had already performed this work in the UK and Italy, but tonight saw its New Zealand première. First performed by the Ballet du Grand Théâtre de Genève in 2004, this is a particularly powerful work set to Bach, with an introduction with an electronic score composed by Julien Tarride. Alayna Ng started alone, moving energetically on to the stage, loose hair flying and her body dropping to the floor, before fifteen other dancers join her in quick succession, marching on and danced with assertiveness, but carried so gracefully. The two Bach choruses—the St Matthew and St John Passions—add to the atmosphere, with the strings adding to the beauty of the movements; a pas de deux in the middle of the performance showed just how free the movements were, and how Foniadakis’s ideas of agony and martyrdom could still be danced with such grace and fluidity. The colours of the costumes—men and women in tops and skirts—are earthy, inspired by Renaissance paintings, and they were equally loose, adding to the sense of flight across the stage.
   This was in contrast to In the Middle, Somewhat Elevated, which had been commissioned by Rudolf Nureyev for the Paris Opéra Ballet, choreographed by William Forsythe, who also designed the lighting, stage and costumes. Premièring in 1987, the second ballet is very much a product of its time, with electric performances from the RNZB: turquoise leotards that showed off the muscular frames; indulgent, abrupt movements; dancers posing while others pulsed; and an electronic score by Thom Willems that shocked from its very first note. In 1987, Forsythe was fêted for In the Middle, Somewhat Elevated, with how charged it was to audiences; it still has the capacity to do that today. The theme remains classical, but it’s in the power and the challenge to classical ideas that makes In the Middle, Somewhat Elevated fresh. Every decade, certainly since this ballet’s creation, has had its disrupters; so much so that that term is now embedded as a desirable trait in entrepreneurial activity. That’s the best way to think of In the Middle, Somewhat Elevated: a ballet that inspires us to shake the establishment in our own lives.
   After such heady themes, Cacti brought a dose of humour. Swedish choreographer Alexander Ekman used his national culture’s appreciation of irony: this is a country that quietly celebrates fame, for instance. Ventriglia says that this was the work he wanted to stage with the RNZB, even before he was appointed. This postmodern work, first performed in the Netherlands in 2010, parodies the reviews of contemporary dance and the affectations therein. A spoken introduction read by Spenser Theberge samples such pretentious words, as 16 dancers arrive atop their tiles, dancing, clapping and shouting within their very restricted spaces, before a surreal scene where they each bring a cactus plant on to the stage. It’s not meant to "mean" anything—even if Theberge’s reading in artsy-luvvie terms suggests cacti truly know what comes from standing the Earth’s soil, unlike dancers who merely perform on the ground. But the meaninglessness of over-analysis is part of the beauty of it, just as the lighting rig comes down to restrict the dancers from above; or a dot-matrix sign flashes the ballet’s name from the wings. It’s designed to poke fun at clichés and of the modern media and marketing landscape. This is the wit of the ballet, made even more obvious by the pas de deux which lets us hear the dancers’ thoughts, deconstructing the complexity and beauty of ballet into almost banal statements, before a stuffed black cat is thrown from above the stage on to the floor, a shrieking meow accompanying its fall.
   The New Zealand String Quartet accompanies this final performance, with recorded music forming most of the central part. The work is more familiar here, with compositions from Haydn, Beethoven, and Schubert. Cheekily, the RNZB has reproduced the spoken-word text in the programme (a must, incidentally), as well as the stream-of-consciousness thoughts of the duet from the characters Aram and Riley. Humour aside, this was beautifully performed: the 16 dancers on their tiles kept the audience entertained despite lacking the freedom of movement of Selon désir, while the duet was cleverly executed, with the deconstruction actually enhancing one’s appreciation of the fluid movements.
   It always helps to end things on a fun note, especially as Speed of Light starts the New Zealand Festival, and the levity is bound to get audiences talking. And rightly so. This was a highly entertaining contemporary programme, and it’s heartening to note that the Royal New Zealand Ballet will take this to the Auckland Arts’ Festival as well as to the South Island next.
   Dates for Speed of Light are: Wellington, February 26 to 28 inclusive; Auckland, March 2–6; Christchurch, March 10–12; Dunedin, March 16. For booking information, visit www.rnzb.org.nz.—Jack Yan, Publisher

November 18, 2015

A masterful Graduation Season at the New Zealand School of Dance, with two world premières

Jack Yan/14.14



Stephen A’Court

Top Concerto, part of the New Zealand School of Dance Graduation Season 2015. Above Sarah-Foster Sproull’s Forgotten Things, with the unfamiliar sight of a string of fists, waving in the space.

The New Zealand School of Dance Graduation Season performances, which began tonight (Wednesday), are always a highlight. It’s the culmination of a lot of hard work from second- and third-year students, and the six performances this year offer a very entertaining mix, especially for lovers of classical ballet.
   In previous years, the NZSD has put more contemporary dance on the menu, but the mixture in tonight’s programme was equally welcome. Paquita, the grand-pas, kicked off the evening, choreographed by Anna-Marie Holmes after Marius Petipa. The students showed immense promise, and we wouldn’t be surprised to see many of them dance professionally in ballet before long. Yayoi Matches, in the title role, and Yuri Marques da Silva, who hails from Brazil, danced the role of Lucien, increasingly captivated us during the performance. The costumes were hand-made by Donna Jefferis, assisted by the students of the Diploma of Costume Construction at Toi Whakaari: New Zealand Drama School, according to the NZSD.
   Forgotten Things took us to the other end of the spectrum with an incredibly inventive contemporary performance. With bare arms and hands, contrasting the black outfits worn by every dancer, we were exposed to unusual shapes: what does a string of fists look like as they wave in mid-air like the legs of a squid in the sea, or the hands of two dozen dancers opened out in antler formation? The idea behind the dance was to show cell division, phagocytosis and metamorphosis, translating the microscopic to human size. The beauty came from the fluid movement unusual shapes that we form with our arms, legs and hands when they are put together en masse, and we’d go so far as to say this was the cleverest dance of the evening. Sarah Foster-Sproull, a graduate herself, choreographed in her fourth commission, collaborating with the students: although trained in classical dance while at NZSD, she now choreographs contemporary dance, and, based on what we saw, very successfully. The second- and third-year students here gelled, and this dance showcased their coordination. The level of rehearsal in Forgotten Things, a world première, was evident.
   Cnoditions of Entry (the misspelling is intentional) was another contemporary première, and hugely enjoyable. NZSD alumnus Thomas Bradley (class of 2012), choreographed and provided the score made up of electronica and bass noises, and even designed the costumes along with Jefferis. Bradley’s notes indicate that the dance was in two parts: the first created a mutual understanding between them; the second conveying ‘exhaustion suspension apology and defeat’. It began in darkness, with orange-hooded, androgynous dancers huddled in a group. Abrupt movements, angular, backwards steps conveyed a confusion, as though the society that had been formed was suddenly devoid of structure or rules, feeling like the aftermath of war. Rectangular lights shone on the two sides of the stage as dancers struggled to move toward it, escaping their personal prisons; the term ‘techno-dystopia’ came to mind.
   Tarantella, a George Balanchine ballet with the masterful (and new father, with a one-month-old baby) Qi Huan as the répétiteur, saw us say at the conclusion of the pas de deux: ‘Hire these two now.’ Danced by Megan Wright and Jeremie Gan, this light-hearted yet passionate ballet needed the pair to master some very quick steps and changes of directions, and while inspired by Neapolitan street dance, the foundation is classical. It is not an easy ballet but we couldn’t fault either Wright or Gan.
   Playing the game of contrasts in the programme, the contemporary As It Fades, originally commissioned by T.H.E Dance Company of Singapore and created by Kuik Swee Boon in 2011, was an energetic performance, and showed what the dancers were capable of, with strong, purposeful movements, accompanied by the strings in Max Richter’s ‘Jan’s Notebook’ and ‘November’, which painted a world struggling to understand itself. The tension sharply vanished at the end where a dancer was surrounded by the others, caught in a chair, exhausted, breathing heavily, conveying that notion of defeat and solitude. As the performance ended, the Richter score did not feel out of place in a bleak science-fiction film from the turn of the 1970s, with credits rolling as a dancer walked off-stage into the darkness, making us wonder what lay beyond the abyss. It was very clever, and got us ready for the final performance.
   That final performance was Concerto, an abstract ballet choreographed by Kenneth MacMillan after he joined the Deutsche Oper in Berlin, with a musical score by Dmitri Shostakovich (many audiences will know his work not from ballet but from the theme tune of Reilly: Ace of Spies; this was his ‘Piano Concerto No. 2 in F’), that premièred in 1966, staged here by Lynn Wallis and coached by Stephen Beagley. Two pianists provided the Shostakovich score, while the 29 NZSD dancers were resplendent in yellow, orange and red, in costumes courtesy of the Australian Ballet. How could one not feel upbeat? The three movements began with the allegro, the corps de ballet doing a well coordinated en pointe, with Yeo Chan Yee and George Liang as the central couple performing some very skilful, quick turns. By this point the classical dancers were all in the swing of things, and there was not a single hesitation as Concerto moved to the andante and a romantic pas de deux from Lola Howard and Jerry Wan, before the final movement that opened with a beautiful solo from Georgia Powley before the ensemble brought the performance to a spirited, optimistic close.
   The Graduation Season runs till November 28 at the New Zealand School of Dance at at Te Whaea: National Dance & Drama Centre, 11 Hutchison Road, Newtown, Wellington, New Zealand. Each performance is at 7.30 p.m. except for Sunday and Monday; matinees are at 2 p.m. on Sunday, November 22 and Saturday, November 28. Tickets are NZ$33 for adults, NZ$25 for students, seniors and groups of 10 or more, and NZ$18 for children under 13. Bookings are available online.Jack Yan, Publisher



Stephen A’Court

Top New Zealand School of Dance student Yuri Marques da Silva. Above Georgia Rudd and Christopher Mills.


Amber Griffin

October 24, 2015

Samantha McClung crowned Miss Universe New Zealand 2015 at Skycity Theatre

Lucire staff/13.29


Alan Raga


Bhikhu Bhula


Alan Raga

Top The newly crowned Miss Universe New Zealand 2015 Samantha McClung. Centre Crowning moment: Miss Universe New Zealand 2014 Rachel Millns crowns her successor. Above Miss Universe New Zealand 2015 Samantha McClung is flanked by runner-up Hannah Henderson (left) and second runner-up Gabrielle Manaloto (right), in gowns by Golden Gowns.

Samantha McClung was crowned Miss Universe New Zealand 2015, before a packed crowd at the Skycity Theatre, and an international audience watching the live stream at nextmissnz.com.
   McClung, 20, lives in Christchurch but spent many years of her childhood in the Marlborough Sounds. She is a qualified make-up artist who has worked in both Australia—McClung lived in Perth for 18 months—and New Zealand.
   McClung was overjoyed by the crowning but admitted it hadn’t fully sunk in.
   The title was decided by both an international judging panel and the voting public, with 50 per cent determined by each group.
   Special guest judges Ben Chan of Bench, one of the Philippines’ premier fashion labels, and MJ Lastimosa, Miss Universe Philippines 2014, flew in to Auckland to spend several days with the 20 finalists, in interviews and watching them perform live on stage. Both had the advantage of having met the finalists as part of their overseas retreat, which this year took place in the Philippines with the generous support of Bench, the Philippine Department of Tourism and the Tourism Promotions’ Board.
   They joined New Zealanders Megan Alatini, Steve Broad and Evana Patterson on the judging panel, whose scores were tallied alongside those of the voting public, who had been sending their votes since August. A sixth judge, Areena Deshpande, was unable to attend after giving birth last week.
   In addition to the crown, McClung drives away with the premier prize of a Honda Jazz RS Sport Limited, which is hers for the duration of her reign, as well as prizes from Bike Barn, New Face Laser and Cosmetic Clinic, Lipidol, Beau Joie champagne, and others.
   Presently McClung is spending the night at the Skycity Grand Hotel as part of her prize.
   She beat surf instructor Hannah Henderson, originally from the Bay of Plenty and now resident in Wellington, and mental-health nurse Gabrielle Manaloto from Auckland, who came second and third.
   McClung will now go on to represent New Zealand at Miss Universe in the United States later this year.

October 1, 2015

Ikea extends itself into fashion: you read it here first last year

Lucire staff/23.16


Ikea

September 29’s Ikea Fashion Show at Moda di Milano (hashtagged both #IKEAfashion and #IKEAtemporary) showcased work from two designers who collaborated with the Swedish-founded furniture conglomerate.
   ‘With a number of new collections that have been developed in collaboration with fashion designers, Ikea is stepping into new territory—one from which we can learn a lot,’ according to the company.
   Giltig by Katie Eary and Svärtan by Martin Bergström will see their collections retailed in 2016, but they received a boost in profile thanks to their appearance at one of the top fashion weeks in the world.
   For us, the first thing that came to mind when seeing Ikea fashion was Stefan Engeseth’s (below right) prediction, published in Lucire first last year, and later in Style.com, the Daily Mail, The Guardian and Flare, plus a number of newspapers and news websites: that fashion should be Ikea’s next industry.
   At the time, Ikea had no such plans officially, but it isn’t surprising to see another one of Engeseth’s predictions come true. He came up with the idea of Coca-Cola being served through taps at home before Coke itself actually trialled that idea, plus another, over 15 years ago, on how cellphones could connect two strangers, albeit not through an app.
   We wrote: ‘Engeseth says that Ikea’s expertise lends itself easily to the world of apparel …
   ‘He believes that fashion is in a repetitive cycle, stuck in history and needing renewal.
   ‘Ikea could offer both complete apparel items and composite parts that customers could assemble themselves, says Mr Engeseth. The parts could be “tailored” at home in inventive ways without the need for complex sewing.’
   Last year, Lucire publisher Jack Yan added, ‘This taps in to its existing fan base, and just as importantly, Ikea can make full use of its channels, outmanœuvring many existing fashion labels. Ikea has an international retail base and it has distribution down to a fine art.’
   When we asked him about the Ikea show in Milano yesterday, he had his reservations about some of the designs, but stated, ‘It’s good that Ikea takes its first step into fashion, and rewarding to see them developing the concept more now.’
   He was also buoyed by seeing that, after the show, Ikea’s official Twitter account went back to his blog post late last year about Ikea fashion, and “favourited” a Tweet about it. Engeseth even preempted the hashtag used back in 2014.
   There’s no sign that Ikea fashion will be in a composite format, ready for its customers to assemble, but Engeseth appears to have been right that the brand would extend itself into the new segment.

Next Page »

 

Get more from Lucire

Our latest issue

Lucire 35
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