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June 24, 2016

Jameson’s Caskmates launch in New Zealand, blending whiskey and stout; Stadler Form launches art-déco fan

Lola Cristall/23.23


Jameson Caskmates has launched in New Zealand, after its successful run in Ireland last year. Jameson loaned some of its Midleton Distillery casks to the Franciscan Well brewery in Cork to see what would happen to the brewery’s Irish stout, after a plan was hatched by Jameson Master Distiller, Brian Nation, Master of Whiskey Science, Dave Quinn, and Franciscan Well founder and head brewer, Shane Long when they met in Cork. The casks were then returned to the Distillery and filled with Jameson Irish Whiskey.
   The result was a Jameson Caskmates: a triple-distilled, ‘once stouted’ whiskey with a distinctive taste that features notes of coffee, cocoa, butterscotch and gentle hints of hops.
   Jameson expects that those who enjoy craft beer and whiskey will take to the blending of two disciplines, with a particularly versatile drink. Jameson Caskmates is bottled at 40 per cent ABV and goes on sale in New Zealand from July 2016, with an RRP of NZ$55·99.
   Stadler Form’s art-déco Q Fan is a stunning work of art that looks gorgeous in any part of the home. While it’s a considerably quiet fan, the strength of the three blades projects plenty of cool air. Whether the simplicity of silver or the boldness of bronze, each colour flawlessly complements its surroundings. Weighing as light as 4 kg (slightly less than 9 lb) the fan comes in three distinct speed levels, adapting according to the environment. Despite the intensity of the hot temperature, it rapidly releases cool air in a minimal amount of time. Designed by famous designer Carlo Borer, the fan is in the form of the letter Q, its stainless steel shaped into an absolute work of art.
   The brand was founded by Martin Stadler in 1998 in Zug, Switzerland. Stadler Form collaborates with renowned Swiss-based designers including Kurt Zimmerli, Fabian Zimmerli and Mathias Walker. Stadler Form has become an internationally distinguished brand, distributing its array of inventive products to more than 40 countries, including humidifiers, fans, air purifiers, heaters, dehumidifiers and aroma diffusers.—Lola Cristall, Paris editor, and Lucire staff




June 22, 2016

Aston Martin reveals Vanquish Zagato, with production limited to 99

Lucire staff/22.25



As expected, the Aston Martin Vanquish Zagato concept that was shown at the Concorso d’Eleganza Villa d’Este at Lake Como has become a production reality, with the company saying that it will produce 99 examples at Gaydon, Warwickshire, with deliveries commencing during the first quarter of 2017.
   Aston Martin says the car is an example of its collaboration with Zagato, though its press information does not say whether the model, based on its Vanquish flagship, was styled by the Italian coachbuilder or done in-house, as it had been for the V12 Vantage Zagato in 2011.
   The company notes that the new car has ‘Aston Martin’s acclaimed dynamic and material qualities with Zagato’s signature design language.’
   At the launch of the concept last month, Zagato CEO Andrea Zagato noted, ‘We pride ourselves on our strong partnership and the creation of the Vanquish Zagato Concept was a true shared experience. It represents the essence of an important design relationship that dates back over fifty years,’ but there was no elaboration on where the design took place.
   The first collaboration began with the Aston Martin DB4 GT Zagato of 1960, and it was revived under Victor Gauntlett’s leadership of the company in the 1980s with the V8 Vantage Zagato. Neither car was considered attractive on launch, though both were perceived to be future classics—which they became. The DB4 GT Zagato is now valued at over £10 million and has few critics today.
   Subsequent collaborations were the 2002 DB7 Vantage Zagato, which used a lightly modified version of the donor car’s front end so it did not have to be retested for safety; and the 2011 V12 Vantage Zagato.
   The Vanquish Zagato has an engine uprated to 600 PS, with a claimed 0–60 mph time of 3·5 s. The company says the suspension set-up will be unique to the model. It features a unique carbonfibre body that has new round rear taillights, LED technology shared with the Aston martin Vulcan supercar, a sculpted rear end that has a profile similar to that of the DB11, with a downward contour and pronounced spoiler splitting the taillights. There is a pronounced side strake, reinterpreted so it now runs more deeply down the height of the front wing aft of the wheels, and, as expected, there is the famed Zagato double-bubble roof. The Vanquish Zagato is a liftback.
   Inside, the Vanquish Zagato uses herringbone carbonfibre, and shadow and anodized bronze leather, with the option of aniline leather. The seats and doors have a Z-pattern stitch, and the Zagato Z is embossed on headrests and stitched into the centre console.















Filed under: design, history, living, London, Lucire
June 15, 2016

Bugatti, Luisa Via Roma celebrate partnership: Cecilia Capriotti, Grace Chatto, Leonida Ferrarese among VIPs

Lucire staff/12.59




Stefania d’Alessandro

Luisa Via Roma, styled LuisaViaRoma, is a familiar sight to the fashion scene: it’s one of the biggest international concept stores in Firenze and its history goes back to 1930.
   With Bugatti having extended its brand into lifestyle, using founder Ettore Bugatti’s name for its collection, Luisa Via Roma is an ideal partner for the company. The two announced their collaboration at the Bridge of Love installation on the Arno during Pitti Uomo 90 on Tuesday. The Ettore Bugatti Lifestyle Collection will be available from the Luisa Via Roma physical store in Firenze and its website. A classic Bugatti Type 51 racing car from the 1930s was there at the launch.
   Luisa Via Roma will be the first place in Italy which will retail the clothing and accessories’ ranges from the collection, beginning with the autumn–winter 2016–17 collection.
   The launch of the collaboration, entitled Underwater Love, saw VIPs including Bugatti brand manager Massimiliano Ferrari, Paolo Lao, Petite Meller, Grace Chatto of Clean Bandit, Diego Rizzi, Bugatti marketing and communications’ Elke Palmaers, Bugatti creative director Daniele Andretta, Mauro Bucco, Marlen Lissek, Marco Cartasegna, Filippo Cirulli, Federico Oggioni and Luisa Panconesi, Marco Tolentino, Leonida Ferrarese, and Cecilia Capriotti.





















Stefania d’Alessandro

June 12, 2016

Chloë Delevingne, James Blunt, Sienna Miller, Stefanie Powers, Lavinia Brennan among VIPs at Queen’s Cup Final

Lucire staff/14.30




Tristan Fewings

Cartier has again sponsored the Queen’s Cup Final, where Dubai played La Indiana at the Guards Polo Club in Egham. Cartier has sponsored polo events for 32 years, beginning in 1984 with the International Day at Windsor Great Park at Guards Polo Club. After 28 years, the company decided to sponsor the Queen’s Cup.
   Dubai was victorious at the match, which saw VIPs including Millie Mackintosh, Stefanie Powers, Beatrix Ong and Fabrizio Zappterra, Anton Mosimann, Philipp Mosimann, Mark Mosimann, Anton Rupert Jr and Tatiana Mountbatten, Arizona Muse, Carine Feniou and Laurent Feniou, Charlie Brooks, Chloë Delevingne, Edward Grant, Clementine Nicholson, James Troughton, Carlo Carello, Natasha Rufus Isaacs, Melissa Mills, Saskia Winbergh and Gunnar Winbergh, Patricia Haimes, Dean Piper, Hugo Heathcote, Malcolm Borwick, Simon Marquis, Earl of Woolton and Countess Woolton, Count Riccardo Lanza, Lady Philippa Cadogan, Melissa Mills, Francesca Schwarzenbach-Mulhall, Urs Ernst Schwarzenbach, Sofia Blunt, Taylor Manuela Londono, Lord Rothermere, Pierre Denis and Pia Denis, Sarah Stancliffe, Melanie Vere Nicoll, Lord March and Lady March, Lorraine Candy, Lord Wrottesley and Lady Wrottesley, Olivia Hunt, Marina Fogle, Lydia Forte, Lily Donaldson, Sienna Miller, Phoebe Hitchcox, John Hitchcox, Amber Atherton, James Blunt, Jamie Richards and Lavinia Brennan, Linda Reid, Jo Miller, Phoebe Vela, Johann Rupert, Lady Kitty Spencer, Katherine Baxter, Belinda delucy McKeeve, Kelly Theo, John Rendall, Katherine Baxter, Alexandra Edwards, Sacha Forbes, Amanda Sheppard, Rupert Finch, Nicholas Foulkes, Pierre Lagrange, Nina Suess, Tamara Kalinic, Pattie Boyd, Rod Weston, Tori Cook, Amber Venz Box, Drummond Money-Coutts and Sophia Money-Coutts, Ed Taylor, Gillian de Bono, Greta Morrison, Hanneli Rupert, Heida Reed and Sam Ritzenberg, Hugo Taylor, Jake Parkinson-Smith, Amanda Sheppard, Samira Parkinson-Smith, Manuela Londono, Felix Cooper, Jilly Cooper, Geoffrey Kent, Mark Vestey, and Rosie Vestey.






























Tristan Fewings

May 27, 2016

Brooklyn Decker stars in new video for Chrysler Pacifica minivan, alongside the ‘PacifiKids’

Lucire staff/21.51

Former Lucire model Brooklyn Decker, now better known for her role in Netflix’s Grace and Frankie, stars in Chrysler’s new campaign for its 2017 Pacifica minivan.
   The campaign sees Decker along with the ‘PacifiKids’, Miles (aged 11), Izzy (10) and Harper (8), explain the new model to her, which is Fiat Chrysler’s replacement for both the Chrysler Town & Country and Dodge Grand Caravan (the latter remains in production for the time being).
   A series of videos will début in advance of the US Memorial Day weekend on Facebook, according to the company. The first video can be found here.
   The PacifiKids understand technology in the way modern children can, and take the viewer through features such as the Pacifica’s tri-pane panoramic sunroof and voice-activated infotainment system.
   Decker is a new mother, having given birth to a boy on September 30, 2015.
   The Pacifica is reputed to be the best in class, keeping Fiat Chrysler ahead in the large MPV segment which it created back in the 1980s.
   Fiat Chrysler says there are two additional videos featuring the PacifiKids. The campaign was created with Chrysler’s social media agency, Society.

May 21, 2016

AmFAR Cannes gala raises $25 million: Katy Perry, Sonam Kapoor, Bella Hadid, Doutzen Kroes, Paris Hilton among VIPs

Lucire staff/13.33




Pascal Le Segretain; Gareth Cattermole; Kevin Tachman/AmFAR

The swankiest do during the Festival de Cannes is the AmFAR gala, held at the Hôtel du Cap-Eden-Roc, and presented by Harry Winston and Bold Films. The event, Cinema Against Aids, raised over US$25 million supporting AmFAR, the Foundation for Aids Research, and its pursuit of a cure for HIV–Aids. Sponsors included the Weinstein Company, Renault, and Moët Hennessy.
   Kevin Spacey MCed the event, with his impressive mimicry, playing Johnny Carson, Bill Clinton, Jack Lemmon, Al Pacino, and his Frank Underwood from the US House of Cards remake. Adrien Brody, among others, furnished artwork that was auctioned to raise funds for AmFAR; other items included a Damien Hirst sculpture and a week-long stay at Leonardo DiCaprio’s home in Palm Springs. Swiss art auctioneer Simon de Pury presided over the auction.
   Katy Perry (in Marchesa), the Village People, Sister Sledge and the Bluebell Girls performed live, and Carine Roitfeld curated a fashion collection with a disco theme featuring Karlie Kloss (who arrived in Marchesa), Jourdan Dunn, Bella Hadid, and Doutzen Kroes (who arrived wearing Tom Ford), among others. The collection raised over US$1 million.
   Celebrities attending included Brody and DiCaprio, Harvey Weinstein, Dame Helen Mirren (who, like so many of her L’Oréal Paris spokespeople attending, wore make-up from the brand), Milla Jovovich, Paris Hilton (with jewellery by Avakian), Barron Hilton, Uma Thurman, Sonam Kapoor (in Ralph & Russo), Heidi Klum, Irina Shayk (in Miu Miu), Faye Dunaway, Alessandra Ambrosio (in Redemption, with Jimmy Choo shoes and jewellery by Boucheron), Toni Garrn, Jasmine Tookes, Karolína Kurková (in Armani Privé and Harry Winston jewellery) and Archie Drury, Ana Beatriz Barros (in Ralph & Russo), Petra NÄ›mcová (in Georges Chakra with jewellery by Chopard), Barbara Palvin (in Armani Privé), Hailey Clauson, Sasha Luss, Sharam Diniz, Valery Kaufman, Izabel Goulart, Sophie Taylor, Chanel Iman, Liu Wen, Elle Fanning, Joel Edgerton, Orlando Bloom, Chris Tucker, Kirsten Dunst, Vanessa Paradis, Diego Luna, Mads Mikkelsen, Joel Edgerton, Juliette Binoche, Rosie Huntington-Whiteley, Eva Herzigova, Chloë Sevigny, Julian Lennon, Lewis Hamilton, Matt Bellamy, Adriana Lima, Nicolas Winding Refn, Nina Agdal, Elif Aksu, Mert Alas, Alina Baikova, Natasha Poly (in Roberto Cavalli), Mischa Barton, Boris Becker, Dean Caten, Dan Caten, Eva Cavalli, Anna Cleveland, Mina Cvetković, Heidi de la Rosa, Lily Donaldson, Isabeli Fontana, Georgia Fowler, Luma Grothe, Jessica Hart, Jacquelyn Jablonski, Xiao Wen Ju, Liya Kebede, Lara Leito, Maryna Linchuk, Angela Lindvall, Sasha Luss, Catrinel Marlon, Angela Martini, Stella Maxwell, Margot Moe, Mia Moretti, Hanne Gaby Odiele, Soo Joo Park, Marcus Piggott, Julia Restoin Roitfeld, Vladimir Roitfeld, Olivier Rousteing, Remo Ruffini, Dragos Savulescu, Lucky Blue Smith, Lara Stone, Daria Strokous, Kasia Struss, Jasmine Tookes, Dasha Zhukova, and AmFAR board chairman Kenneth Cole.









































































May 20, 2016

Bella Hadid, Irina Shayk, Ming Xi, Jourdan Dunn, Isabeli Fontana glam up Festival de Cannes’ day 8

Lucire staff/14.15



Venturelli

Bella Hadid grabbed plenty of attention on day eight of the Festival de Cannes, wearing a red Alexandre Vauthier custom silk wrap gown that left few of the 19-year-old’s curves to the imagination. With a deep neckline and a thigh-high slit, the gown ensured plenty of paparazzi snapped her at the première of La fille inconnue (The Unknown Girl). She narrowly avoided a revealing “wardrobe malfunction” thanks to a red thong—a moment captured by some paparazzi and camera operators. She complemented her Vauthier gown with Giuseppe Zanotti sandals and jewellery by de Grisogono.
   Also choosing to go with de Grisogono for jewellery on day eight were Shanghai-born model Ming Xi (奚夢瑤) in a sparkling silver Zuhair Murad holiday 2016 gown and Jourdan Dunn in a Ralph & Russo haute couture spring–summer 2016 white silk gazar ball gown with a hand-painted floral design and crystal and glass beading. Ana Beatriz Barros also chose Ralph & Russo, wearing an asymmetric teal chiffon gown with draped train, as did Chanel Iman that same evening at the Planet Finance Foundation Gala Dinner.
   Irina Shayk, walking the red carpet for L’Oréal Paris, went for a more subtle look up front with her black Miu Miu gown—but round the back were diamante chains and extravagant feather detail on the hems—the perfect contrast. Make-up was again very natural, with L’Oréal Paris’s make-up artists opting for lighter to medium shades in the Brow Artist Genius Kit and the Rosé shade in the Color Riche La Palette. To suit Shayk’s complexion, they chose Cushion Nude Magique foundation in Rosy Beige, and the Glam Bronze Cushion de Soleil. For the eyes, L’Oréal Paris’s False Lash Sculpt in black and Super Liner Black ‘n’ Sculpt gave her movie-star looks. Dame Helen Mirren, Soo-Joo Park and Isabeli Fontana also wowed as L’Oréal Paris ambassadors, and racing driver Lewis Hamilton joined them as the sole male for the brand.
   Rosie Huntingdon-Whiteley, like Shayk and Hadid, went for a backless gown, and chose a pleated, draped red design from Alexandre Vauthier. Liya Kebede chose an emerald green design from Haider Ackermann, while Alessandra Ambrosio wore Michael Kors.




























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

Jack Yan/14.13





Stephen A’Court

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

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


Stephen A’Court

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

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