Calling all conscious consumers: the Body Shop has gone back to nature and created a cruelty-free hair care range, using natural and organic ingredients that leave out all the nasties. Formulas contain natural oils, butters and purées that are 100 per cent vegetarian and encompass purifying and nourishing propitiates that step in place of silicon. The Body Shop has you covered for happy, healthy hair, naturally.

Fuji Green Tea Refreshingly Purifying Cleansing Hair Scrub (NZ$51·95)
Green tea is renowned for detoxing and cleansing your body, and Fuji Green Tea Scrub is here to do exactly that for your hair. The blend of Japanese green tea, mint menthol, salt crystals and honey (Community Trade, of course) works a charm to purify your hair and scalp. Impurities are whisked away, whether it be sweat after the gym or styling products after a night out—this gentle scrub leaves your hair feeling clean without drying it out. Massaging with this scrub stimulates blood flow to make for a healthy shine and releases the minty fresh scent. Go clean and green with this nature-powered product that provides the ultimate refresh.

Banana Truly Nourishing shampoo and conditioner ($19·95 each)
Feed your hair with the goodness of banana. This dynamic duo works wonders for your hair, truly nourishing it root to tip. The shampoo gently cleanses, followed by the deeply nourishing conditioner that leaves soft, shiny hair. With bananas sourced from Ecuador, you are sure to delve into the tropics with this fruity fusion pair.

Coconut oil (NZ$29·95)
Hair care is another one to add to the long list of things coconut oil is beneficial for. The Body Shop coconut oil is 100 per cent vegan and uses Samoan coconuts that are cold-pressed to release their divine coconut scent. This hair oil has multiple uses, including a rise-off pre-shampoo treatment, leave-in treatment, and it’s perfect for reviving dry ends. This coconut hair oil is highly nourishing and will have you saying ‘Bye-bye dry,’ leaving you with strong and silky-smooth hair.—Portia Gascoigne

Top photo: Stephen A’Court; above: Ross Brown

Since announcing he would be leaving the Royal New Zealand Ballet as its artistic director in November 2016, it became evident that Romeo & Juliet, the new ballet that had its world première in Wellington tonight, would be Francesco Ventriglia’s love letter to the company. It takes all the talent that the company (and Orchestra Wellington) can muster, dials it up a notch, and Ventriglia injects his own artistry and connections to make this not only a wonderful, classical reinvention of the Shakespearean tragedy, but one that is visually and dramatically authentic.
   It wasn’t a simple matter of staging and choreography: Ventriglia worked with dramaturge Mattia Mario Giorgetti to get the historical and social context of fifteenth-century Verona right; and Academy Award winner James Acheson (Dangerous Liaisons, The Last Emperor, and Restoration) was asked to re-create an authentic Verona with colourful costumes that, in Ventriglia’s words, ‘are as true as possible to the Renaissance as ballet costumes, created in the 21st century, can be’. Jon Buswell (lighting designer), Gillian Whittingham (choreographic assistant), and Frédéric Jahn (guest ballet master) were part of the ‘dream team’, but special mention must be given to fight coordinator Carrie Thiel, whose knowledge of stunt work and swordplay gave Romeo & Juliet an extra edge. There were 13 scene changes and over 90 costumes: Romeo & Juliet was not just the RNZB’s biggest production of 2017, it could well be its grandest over the last several years. It fills its three hours (three acts, two intermissions) with extravagance; lovers of classical ballets will indulge in it.
   Acheson’s work was immediately evident with a bright, summertime Verona set that had more depth and detail than many other productions’; his sets also rotated and moved, easing the audience into each different scene. There was a beauty to these sets as well as a modularity, something that hadn’t been attempted successfully in previous ballets we’ve reviewed. Renaissance-inspired art featured in Juliet’s bedroom and in the church. Acheson is on top of his game, and the costumes and sets lent Romeo & Juliet a world-class flair.
   Opening night saw Joseph Skelton as Romeo and Madeleine Graham as Juliet, a well cast pair: both had caught our eyes in previous ballets. Skelton had an innocent quality as a young man falling in love; Graham gave her Juliet a mix of a childish wonder and determination. Let’s hear it for the boys: Massimo Margaria was on form as Romeo’s friend Mercutio, and his easy Italian charm almost stole the show; while Paul Mathews had a chance to showcase his villainy in Tybalt.
   While ‘villainy’ might be a strong word in some cases (but Sergei Prokofiev’s ‘Dance of the Knights’ certainly conveyed that in a masked ball scene taking place within the Capulet’s palazzo), it seemed to work here: the swordplay mentioned earlier took audiences from classical ballet to a fight scene in the first act that had the spectacle of Errol Flynn’s 1938 outing as Robin Hood; Ventriglia offered concessions to modernity by "freeze-framing" part of the action while allowing the central characters to continue, with Buswell’s lighting playing along, before gradually speeding it up again—something, we might add, that can only be accomplished with decent ballet dancers.
   Nevertheless, this isn’t a simple tale of good versus evil, but a love story. The pas de deux between Romeo and Juliet at the end of Act I was touching and tender, beginning with Juliet and her nurse preparing for bed in an upstairs room (another clever touch from Acheston), and Romeo performing some remarkable lifts once Juliet joined him.
   The always welcome Sir Jon Trimmer played Friar Laurence, and the church set was another triumph for Acheson with its simplicity and its crucifix (after Giotto) at its centre.
   Juliet’s solos were particularly moving: Graham’s performances in Act III were particular memorable, if tinged with sadness, when Romeo departs her bedroom after their secret wedding night; her contemplation of whether to take the Friar’s potion; and her despair on discovering that he had taken his life after thinking she had taken hers.
   Ventriglia gives a glimpse of the lovers gazing at each other before the final curtain, leaving the ballet on a more positive note, signalling that they are together in the afterlife. Some members of the opening night audience offered ovations to the cast and to Ventriglia, Acheson, Giorgetti and others. As a ballet that began life in October 2016 while Ventriglia was artistic director, it was a fitting valedictory work.

Twenty-two performances have been scheduled from the première on August 16 till September 24, in Wellington (with Orchestra Wellington), Christchurch (with the Christchurch Symphony Orchestra), Auckland (with the Auckland Philharmonia Orchestra), Rotorua, Dunedin (with the Dunedin Symphony Orchestra), Invercargill, Palmerston North, and Napier.
   The season is sponsored by Ryman Healthcare. More information can be found at www.rnzb.org.nz.—Jack Yan, Publisher

Alan Raga

Harlem-Cruz Ihaia was crowned Miss Universe New Zealand 2017 at Skycity Theatre before an international audience in 51 countries, including a national television audience watching live on Bravo TV in New Zealand and a stream right here at Lucire.
   The 19-year-old bilingual kohanga reo teacher from Napier won both the Entrepreneurial Challenge, where she raised more for Variety—the Children’s Charity than any previous entrant, as well as top honours before a judging panel comprised of actress Teuila Blakely (Filthy Rich), music legend Frankie Stevens, make-up guru and cosmetics’ brand owner Samala Robinson, former Miss Universe New Zealand director and current director of the Talent Tree Evana Patterson, boutique PR agency boss Anna Jobsz, and motivational speaker Areena Deshpande.
   Mark Leishman and Holly Pollock (The Café) MCed the Grand Final, which returned to free-to-air television for the first time in New Zealand in a generation.
   Members of Ms Ihaia’s whānau performed a haka for her after her crowning in honour of her win.
   Speaking with Ms Ihaia after her win, she said she was overwhelmed, saying her victory was unexpected.
   She had entered to break stereotypes of both Māori and of beauty pageants. Her motto is, ‘Be yourself, everyone else is already taken.’
   Brooke Houia of Auckland was runner-up, and Shekinah delos Santos, also of Auckland, took the second runner-up position.
   Dr Sarah Hensby-Bennett and Holly Waghorn took fourth and fifth positions respectively.
   Performances from the soulful Lavina Williams, new talent Razé, and illusionist André Vegas kept the evening’s entertainment fun and lively as the Top 20 became the Top 10.
   This year’s finalists have helped Miss Universe New Zealand raise over $140,000 for Variety—the Children’s Charity, with many of the finalists sponsoring deserving Kiwi kids.
   International couturier Sidney Eculla flew in from the Philippines to create a collection for the finalists, while the students at Sewtec had the finalists model Pacific Fusion designs, showcasing emerging talent.

Joerg Koch; Gisela Schober

Marc O’Polo celebrated its 50th anniversary (hashtagged #MOP50 and #MOPxRobbie) at its flagship store on Theatinerstraße in München, with special guests Robbie Williams, his wife Ayda Field Williams, Mads Mikkelsen, and DJ Marcus Kavka. The four held a panel discussion that was live-streamed via Facebook.
   The Williamses had worked with Marc O’Polo on its Iconic Capsule Collection, and presented the 50th anniversary designs live at the store.
   The collection comprises 20 contemporary–casual pieces, including sweatshirts, a hoody dress and a bomber blouson for women, and a hoody, crew-neck sweater, and tracksuit top for men. Williams’s signature is embroidered on the sleeves, while the women’s sweatshirts feature the words ‘Love my life’ and ‘Come undone’, taken from his song titles.
   Williams has opted for pink for one of the men’s designs. Peter Lindbergh shot the campaign imagery.
   Hennes & Mauritz (H&M) has announced that it will open a second New Zealand retail store, in the country’s capital, Wellington. The opening is set for late 2017, and will be located at the Queensgate mall in Lower Hutt. No other details were on hand.
   The first store in the country, at Sylvia Park in Auckland, opened successfully in 2016.

Joerg Koch; Gisela Schober

Robbie Williams and Ayda Field Williams on Marc O’Polo by Lucire

Marc O’Polo celebrates its 50th anniversary by Lucire

Ross Brown

The most anticipated ballet of the year in New Zealand, the Royal New Zealand Ballet’s production of Romeo and Juliet, set to the music of Sergei Prokofiev and choreographed by the company’s outgoing artistic director, Francesco Ventriglia, has its world première on August 16 in Wellington. The sets and costumes have been designed by three-time Academy Award-winning designer James Acheson (who won for Dangerous Liaisons, The Last Emperor, and Restoration).
   Other talents behind the full-length, three-act ballet are dramaturge Mario Mattia Giorgetti, choreographic assistant Gillian Whittingham, and guest ballet master Frédéric Jahn. The New Zealand Symphony Orchestra’s associate conductor Hamish McKeith will conduct orchestras in Wellington, Christchurch, Auckland and Dunedin.
   The company’s biggest production of the year, there will be 13 scene changes and over 90 costumes.
   It is Ventriglia’s second full-length ballet for the RNZB, with work beginning in October 2016. His successor, Patricia Barker, has started as the new artistic director as the reins are handed over, noting, ‘It’s a very exciting time to have joined the RNZB—this production promises to be exquisite while it transports us to the heart of Verona. The energy in the studio is captivating. I have enjoyed getting to know the RNZB dancers and I’m looking forward to seeing them inhabit these iconic characters.’
   Ventriglia said, ‘To create a brand new classical ballet of one of the greatest stories and the most beautiful scores is so invigorating. I’m taking great care to respect Shakespeare and Prokofiev’s great works plus drawing inspiration from Franco Zeffirelli’s 1968 multi-Academy Award-winning film. I’m also working with a dream team of collaborators and the very talented artists of the RNZB, who I’d like to thank for their incredible work.
   â€˜James Acheson’s magnificent sets make me feel right at home, like I’m in Verona in the height of an Italian summer. All of the costumes are exquisite. We have been very true to the Renaissance period and I know audiences will also be transported to the time and place where our star-crossed lovers meet.’
   The production promises to be ‘epic’, with 22 performances scheduled from August 16 to September 24 in Wellington (with Orchestra Wellington), Christchurch (with the Christchurch Symphony Orchestra), Auckland (with the Auckland Philharmonia Orchestra), Rotorua, Dunedin (with the Dunedin Symphony Orchestra), Invercargill, Palmerston North, and Napier.
   The season is sponsored by Ryman Healthcare. More information can be found at www.rnzb.org.nz.

Andrei; modelled by Henry Humphreys, hair by Lauren Gunn/Colleen, make-up by Lochie Stonehouse/MAC Cosmetics

Deadly Ponies Man has launched its latest collection for 2017, inspired by the ocean, using Ink bovine leather and shearling, and brass highlights. It’s meant to convey the idea of a ‘moody seascape’ and an ‘intrepid voyager’, which the promotional images suggest. That’s interpreted with classic items such as the Phantom duffle (now a weekender with zips going right down the side) and a range of travel accessories; and if the seascape idea isn’t evident enough, a notebook inside Deadly Ponies Man’s compendium has pastel blue and white hues resembling water washing up on beaches.

   Bread & Butter by Zalando previewed its second festival of style and culture in Berlin, with the theme of Bold. Jefferson Hack moderated the evening, with Dame Vivienne Westwood the VIP of the evening. Others who spoke included Zalando brand marketing VP Carsten Hendrich; and a panel featuring Aitor Throup, Adwoa Aboah, Erika Bowes, Fergus Purcell and MikeQ. A light show, an interactive mirror installation, and a real-time face-projection mapping photo booth followed, with a live performance by Abra and DJs Zora Jones, Bambii and Why Be concluding the night. Other guests included Marie Nasemann and Peaches. The main event takes place September 1 to 3 at Arena Berlin, with more updates via Bread & Butter’s Instagram and Facebook.
   Patricia Barker is the new artistic director of the Royal New Zealand Ballet, and takes up her post this month, succeeding Francesco Ventriglia. Barker is a former prima ballerina and, most recently, artistic director of Grand Rapids Ballet in Michigan. Ventriglia has programmed the RNZB’s 2018 national tours and Barker will realize these. Ventriglia is the guest choreographer for the company’s major commission, Romeo and Juliet, for which rehearsals begin now—the company says this will ensure a smooth transition with the outgoing and incoming directors working side by side for two months. RNZB board chair Steven Fyfe noted, ‘From a large number of excellent applications from New Zealand and all over the world, the board was greatly impressed by Patricia’s vision for all aspects of the RNZB’s activities, together with her experience as an artistic leader. Her knowledge of both contemporary and classical repertoire, as a dancer, coach and director also makes her an outstanding fit for the RNZB.’
   Barker is the RNZB’s 12th artistic director and the second woman to hold the position (after Una Kai in 1973–5).

Isa Foltin; Alexander Körner

Above: Tory & KO. will offer jewellery, cosmetics and home fragrances at its new store, opening Friday.

Jewellers Tory & KO. have announced a new luxury boutique on the ground level of the Old Bank Arcade in Wellington, New Zealand, and are introducing two bespoke home fragrances, as well as a range of mineral-based, cruelty-free, Canadian-made cosmetics, a hand cream, and candles to be sold at the new premises.
   The new store, focusing on jewellery, cosmetics and giftware, will have Stella branding and complements the existing store, which remains on the mezzanine floor of the Old Bank Arcade. It opens on Friday, June 9.
   Co-founder Victoria Taylor notes that the Stella by Tory & KO. range has been part of the company for some time. Stella is the company’s contemporary line, with many of its designs having a celestial theme. The jewellery uses gold, silver, champagne and galaxy diamonds, and deep blue midnight sapphires. ‘It’s precious jewellery, and nothing synthetic has been used,’ she adds.
   It grew from the main range and attracted such widespread support from the company’s clients that Taylor and co-founder Kirstin O’Brien felt it was time to launch its own concept space.
   â€˜We wanted to create a luxurious experience for our customers, where they can enjoy the excitement of our ever-growing Stella by Tory & KO. brand and enjoy the additional sparkle provided by our new cosmetics range and bespoke, in-house created candle and home fragrances,’ says O’Brien.
   Stella is named for O’Brien’s daughter.
   The upstairs atelier continues to offer bespoke and one-off pieces, says Taylor.
   Tory & KO. can count the Duchess of Cambridge among its wearers, along with Amber Valletta, Robin Tunney, Evangeline Lilly, and numerous other celebrities. It also received a commission from the Governor-General of New Zealand on the occasion of HM Queen Elizabeth II’s 90th birthday.
   The new store is open 9 a.m. to 6 p.m. on Monday through Thursday, and till 7 p.m. on Friday. On Saturday, the opening hours are 10 a.m. to 4 p.m.; Sundays and public holidays, 11 a.m. to 3 p.m.—Jack Yan, Publisher

Mana Dave of Auckland, New Zealand salons Blaze and Pony Professional, is now Redken’s artistic director for New Zealand.
   Dave’s role will see him direct the growth of Redken’s New Zealand team, shape the salon creative programme, and offer creative direction for New Zealand Fashion Week shows and seasonal fashion trends.
   He already facilitates classes at Redken Fifth Avenue in New York, and has worked alongside colourist Tracy Cunningham and Redken artistic education director Sam Villa.
   â€˜Within New Zealand I have the vision for our team to be seen by the industry as the lead team for high-impact education and fashion-forward hair trends,’ he said. ‘Our artistic team is working with some of New Zealand’s premier fashion partners like Stolen Girlfriends’ Club, Zambesi, Knüfermann and Huffer on a variety of projects and ultimately I want to see more of them on the international stage showcasing their amazing work.’

PangeaBed is all about quality, creativity and luxury. Bobby Shamsian, president, and co-founder Martin Regueiro, seek to provide customers with stable and highly well constructed pieces intended to deliver both restful nights and elegance to a room. The copper-infused 100 per cent pure Talalay Latex offers a comfortable sleep, directly adapting to the body. Each layered material aims to target a certain element, increasing a peaceful state of mind while decreasing considerable strain and tension brought about from stress. The Latex creates a cooling effect with an antibacterial factor; the cool gel dramatically decreases heat, reducing the tossing and turning throughout the night, the quilted cover is luxuriously lavish for a cozy and snug sleep. The overall concept intends to create a night of ease, relaxation and absolute tranquillity.
   Presented in an elongated box, the mattress easily unravels and inflates to the proper size. The brand stands by its motto, ‘The world at rest.’—Lola Cristall, Paris Editor