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June 30, 2016

Letter from Venezia: a survival guide for summer ’16

Lucire staff/22.13




Paula Sweet

Above, from top: Venezia has legendary picture-perfect palaces all along the Grand Canal. Cruise ship departs, photographed from San Marco Square. Luna Hotel Bagioni’s Canova Restaurant.

Greetings from La Serenissima, where the sultry days of summer have descended as the lanes grow thick with eager visitors. It’s late June, and temperatures already read in the low 30s (high 80s for our US readers), humidity hovering around 65 per cent. By midday, as the sun burns through the Adriatic haze, gelato sellers enjoy a thriving business. Lucire has some insider tips to make your visit a happy one.
   1. Arrive mid-week to avoid the extreme crowds. The city has finally limited the number of cruise ships—at one time 15 a day were allowed—now held to three a day. The behemoth vessels arrive on Friday, depositing 15,000 extra day-trippers loosed into the ancient city on weekends. The city can be more navigable on Tuesday, Wednesday or Thursday.
   2. Expect higher prices. Venezia is old and delicate, and tourists a captive audience. There’s an old maxim for travellers, ‘Take half as many clothes as you think you need and twice as much money.’ This holds true for Venezia. As an example, a friend and her daughter sat down at one of the outdoor tables facing the Grand Canal, ordered two small pizzas and two bottles of water. Cost €50. Don’t be surprised!
   3. Wear a hat and keep hydrating. The heat is deceptive, so cover your head and don’t overdo it. If you want to help preserve Venezia, buy an Italian-made straw fedora from a street vendor in support of the local economy. It’s the most functional headgear for the weather and you won’t regret the stylistic flourish you take home. You may also find an afternoon siesta in your hotel room another strategy to beat the heat.
   4. Have a meal at an outdoor restaurant on via Giuseppe Garibaldi. Venezia’s best-kept-secret neighbourhood, where prices may be lower than Rialto or San Marco. A very typical quarter where you will see real Venetians going about their daily business. An easy 15-minute walk from San Marco, along the waterfront, just beyond Arsenale, facing the Lido and the open sea.
   5. Visit the Ghetto. 2016 commemorates the 500th anniversary of the founding of the historic district, located very near the train station. There on March 29, 1516, Jewish residents were granted exclusive sanctuary and permitted to live and do business. While no official celebrations are planned, the area has fascinating architecture, shops and exhibits.
   6. Explore fine dining at Venezia’s great hotels. During the summer, reservations at Venezia’s well known restaurants can be difficult to score. But many of the five-star hotels have great kitchens ready to show you the best of the lagoon’s catch, and new twists on classic preparations in their signature restaurants.
   There’s good news in this category from the Luna Hotel Baglioni, a favourite property located just off San Marco, which upholds an incomparable standard of hospitality and comfort. The hotel’s outstanding Canova Restaurant will soon have outdoor tables adjacent to the entrance, where lunch and dinner can be enjoyed on a quiet passage facing a little-known gondola landing. Fine cuisine, prime location and impeccable service are the hallmarks of this great restaurant.
   While we’re on the subject of the Luna, another new addition to the service package is the introduction this season of dedicated butler service, included with Junior or Senior Suite bookings. Maurizio, a career hospitality professional, brings the full complement of high-grade personalized service and acts as your primary contact to the Luna’s team and the outer world. His mission in life: to make any request come true.
   Hot tip: at the Luna, request Room 407, smaller in size, but with a balcony view of the Grand Canal and Doge’s Palace and a light-filled white marble bathroom. Highly recommended.—Stanley Moss, Travel Editor



Paula Sweet

Above: Butler Maurizio adds to the Luna’s premium package.

June 20, 2016

News in brief: La Roche–Posay shows Anthelios and My UV Patch innovations; stand-outs from ISPA press event

Lucire staff/19.38



While summer may be just around the corner in the northern hemisphere and folks Down Under are heading toward cooler temperatures, French dermatologist-based skin care brand La Roche–Posay is spreading the word about the importance of year-round sun protection with their SOS, Save Our Skin, campaign. Atop a high-rise overlooking bustling downtown Los Angeles, media attendees enjoyed a breakfast seminar while discovering their most recent Anthelios sun care innovations and the new pioneering My UV Patch. Available in stores in June, the patch is the first stretchable skin sensor designed to monitor UV exposure. The Patch has photosensitive dyes that change colour when exposed to UV rays. Using a scanner-equipped cellphone and La Roche–Posay’s app, you can find out your personalized level of exposure and get advice on what to do to protect your skin this summer.
   La Roche–Posay’s Skinchecker 2·0 video (see below) takes full advantage of our culture’s love of viral animal videos to get an important message across.
   Just a few miles down the road at the ultra-posh Montage Beverly Hills, the International Spa Association hosted their annual press event showcasing spas and resorts that not only pamper the body, but nurture the spirit and promote holistic health and wellness. While indulging in selected mini-treatments, attendees learned about each brand’s latest offering and unique philosophy. Though too numerous too mention, we thought there were a few stand-outs.
   The raw grandeur of Crystal Lake is the setting of Reno’s Atlantis Resort Spa, which features a Brine Inhalation Light Therapy Lounge and a whole body healing Rasul Ceremonial Chamber.
   On the banks of a sacred river in Wisconsin, the Aspira Spa takes guests on a quest of mind and spirit. Their spa is a place of profound harmony with customized light and sound therapy and bathing experiences. You can even get a mani-pedi beside a crackling fire gazing under a starlit sky.
   Débuting a sleek new logo, updated colour scheme and an organic body care line, national chain Massage Envy shows that wellness can be affordable and accessible.—Jody Miller, LA Correspondent

June 16, 2016

From supermodels to film: celebrating the work of Peter Lindbergh at Kunsthal Rotterdam

Lucire staff/13.41




Top: An image that kicked off the 1990s, with supermodels Naomi Campbell, Linda Evangelista, Tatjana Patitz, Christy Turlington and Cindy Crawford in New York, appearing on the cover of British Vogue in January 1990. Copyright ©1990 by Peter Lindbergh (courtesy of Peter Lindbergh, Paris/Gagosian Gallery). Centre: Wild at Heart, with Cindy Crawford, Tatjana Patitz, Helena Christensen, Linda Evangelista, Claudia Schiffer, Naomi Campbell, Karen Mulder and Stephanie Seymour, Brooklyn, 1991, appearing in Vogue. Copyright ©1991 by Peter Lindbergh (courtesy of Peter Lindbergh, Paris/Gagosian Gallery). Above: Kate Moss, Paris, 2015, wearing Giorgio Armani, spring–summer 2015. Copyright ©2015 by Peter Lindbergh (courtesy of Peter Lindbergh, Paris/Gagosian Gallery).

An exhibition on Polish-born, French-based photographer Peter Lindbergh, entitled Peter Lindbergh: a Different Vision on Fashion Photography, opens at the Kunsthal Rotterdam on September 10 at 5.30 p.m., running through February 12, 2017. It marks the first Dutch exhibition of Lindbergh’s work.
   Some of the most iconic fashion images of the past generation have been shot by Lindbergh, whose work is regularly seen in various editions of Vogue, and in The New Yorker, Rolling Stone, Vanity Fair, Harper’s Bazaar, The Wall Street Journal Magazine, Visionaire, Interview and W. Exhibitions of his work have been held around the world beginning with the V&A in 1985. Lindbergh’s black-and-white 1990 Vogue photograph of Naomi Campbell, Linda Evangelista, Tatjana Patitz, Christy Turlington and Cindy Crawford was one that helped cement the reputation of the supermodels, if not arguably kicking off the era itself. Lindbergh’s work gave a sense of reality about his subjects, with his humanist, documentary approach.
   Said Lindbergh in an Art Forum interview earlier this year, ‘A fashion photographer should contribute to defining the image of the contemporary woman or man in their time, to reflect a certain social or human reality. How surrealistic is today’s commercial agenda to retouch all signs of life and of experience, to retouch the very personal truth of the face itself?’
   The exhibition features over 220 photographs and includes exclusive and previously unseen material, including personal notes, Polaroids, storyboards, films and prints. It is divided into nine different sections, representing the different themes in Lindbergh’s creative development: Supermodels, Couturiers, Zeitgeist, Dance, the Darkroom, the Unknown, Silver Screen, Icons, and an exclusive Rotterdam Gallery. This final section contains Lindbergh’s work for the October 2015 issue of Vogue Nederland, with Lara Stone and Elise Hupkes at the Port of Rotterdam.
   Lindbergh’s critically acclaimed Models: the Film (1991) will be screened, along with interviews with Grace Coddington, Nicole Kidman, Mads Mikkelsen, Cindy Crawford and Nadja Auermann.
   Guest curator Thierry-Maxime Loriot points out that the exhibition is not chronological, but a narrative about the photographer.
   The Kunsthal Rotterdam noted, ‘Peter Lindbergh introduced a new realism into photography. His timeless images redefine the norms of beauty. Lindbergh’s visual idiom is influenced by the language of film and by playing with the type of the strong, self-willed woman, from the femme fatale to the heroine, but also the female dancer and the actress. His œuvre is characterized by portraits that radiate a certain lack of inhibition and physical grace.’
   The exhibition is accompanied by a hardcover monograph, Peter Lindbergh: a Different Vision on Fashion Photography, retailing for €59,99 (link at Amazon.de), US$69·99 (link at Amazon.com) or £44·99 (link at Amazon UK), curated by Loriot, designed by Paprika of Montréal, and published by Taschen. The introduction has been authored by Kunsthal director Emily Ansenk, while the book features an essay on Lindbergh’s work by Loriot with commentaries from, inter alia, Jean Paul Gaultier, Nicole Kidman, Grace Coddington, Cindy Crawford and Anna Wintour.

May 11, 2016

Indulging in nostalgia: new Catalina Island Museum opening

Lucire staff/13.26



Copyright Bunny Yeager/Galerie Schuster

Top: Architect’s rendering of the new Catalina Island Museum façade. Above: Bettie Page on the Florida beach, 1954.

Day trippers appreciate the southern California destination Catalina Island, easily accessible from Los Angeles. You take the ferry boat from Long Beach, cross the channel, and in about an hour, land in the car-free heritage hamlet of Avalon Harbor. There, nothing has changed for years. Long a haunt of Hollywood celebrities and their international guests, Catalina thrives on the tourist trade. In days of yore the allure was deep-sea fishing and exhibition games at the summer home of the Chicago Cubs baseball team. Today the menu includes boutique shopping, dining and people-watching, nature trekking, mountain biking, zip lines and excellent snorkelling.
   The big news this season is the grand opening of the Ada Blanche Wrigley Schreiner Building, new home of the Catalina Island Museum, located at 217 Metropole Avenue, an easy walk from the ferry terminal. Two gala weeks of celebration will occur from June 18 to July 4. A gem of a museum, the institution is devoted to art, culture and history, and the sparkling new facility houses a fine collection of cultural artifact, ceramics, rare photography and nostalgia. A launch exhibition features recently discovered photos of pin-up model Bettie Page, taken in Miami by photographer Bunny Yeager in the 1950s. Other events scheduled include VIP receptions, and Tibetan sand-painting in the skylit atrium. A very reasonable membership to the Museum brings a host of benefits, well worth the charitable contribution. For more information visit www.catalinamuseum.org.—Stanley Moss, Travel Editor




Above, from top: A young Norma Jean Baker lived on Catalina in the years before she became Marilyn Monroe. The Chicago Cubs (Stan Hack and Barney Olsen, pictured in 1941) delighted crowds in the summer months. Winston Churchill managed to land a California marlin during a visit.

May 4, 2016

Royal New Zealand Ballet’s The Wizard of Oz: a family-friendly feast

Jack Yan/14.29



Ross Brown

I truly hope Francesco Ventriglia’s The Wizard of Oz will be performed all over the world, because this family-friendly ballet has all the ingredients for first-time and seasoned watchers alike. What we saw at the world première tonight in Wellington were skilful dancing, moments of contemplation, beautiful staging and design, and a masterful matching to the music of Francis Poulenc.
   Based on the book The Wonderful Wizard of Oz by L. Frank Baum, rather than the 1939 MGM film, The Wizard of Oz, audiences are helped by the familiar storyline, which is common to both. Ventriglia keeps the basic idea but takes some different parts from the book compared to the well known film, and in the adaptation to a ballet enhances certain scenes. The structure is of a classical ballet, as are many of the dance moves, including some neatly executed lifts and catches in two pas de deux in Act II, between the Prince and Princess of Porcelain (William Fitzgerald and Laura Jones on opening night), and the Wizard (Fitzgerald again) and Dorothy (Lucy Green).
   Ventriglia forgoes the cyclone in favour of a simpler Dorothy in hospital with a coma, watched over by her Uncle Henry (Sir Jon Trimmer), but once she is deposited in the land of the Munchkins, you know that the action has started. The use of this device is very personal to Ventriglia, and can be traced back to when he was five years old in Genova, when he noticed that a girl in isolation in a children’s hospital had gone from her bed one day. His mother told him that she had gone to the Emerald City in the Land of Oz.
   A blue sky backdrop links each scene with Dorothy, and on its first appearance in Act I, lights up one’s mood. Gianluca Falaschi, The Wizard of Oz’s designer, approaches the set with both creativity and sensibility. Doors open up revealing different scenes behind the sky set, depending on the context, but it works well, giving the stage additional depth. Watch out for both the Emerald City, which borders on a bright discothèque—and no, there are no shades of 1974’s film The Wiz here—and the Kingdom of Porcelain, which is revealed in the second act. There is one beautiful touch near the close of the second act where the Wizard offers to take Dorothy away, but the fear of revealing spoilers prevent me from telling you just what Falaschi has created.
   The costumes deserve extra mention. Glinda, the Witch of the North, danced by Abigail Boyle with plenty of movements en pointe, sparkled with a bright white costume that featured 1,000 sequinned butterflies, giving her an other-worldliness; this contrasted Dorothy’s simpler farm dress that Falaschi says took its cue from the film. Dorothy’s multiple costume changes—her "saucer tutu" for the Porcelain scene, for instance—hint at the chequered pattern of her original dress, so audiences are clear that Green is dancing in the same role. The Witch of the West (Mayu Tanigaito) only has the Flying Monkeys for her allies in this version, but she enters the stage looking sinister, her outfit having connections to more adult themes but considerably toned down for a family audience. The Flying Monkeys, meanwhile, are bare-chested but masked while they are under her spell, wearing large, black skirts. Elaborate, dominating movements convey their evil intent, while the chandeliers and prison cage on the set contrast with the simplicity of the blue sky of Dorothy’s world.
   Scarecrow (Loughlan Prior) deserves additional mention since he is the first character to follow Dorothy and, therefore, has a greater role on stage; Prior’s floppy, soft movements convey his character’s construction neatly. Tin Man (Massimo Margaria)’s metallic detailing on his outfit wasn’t as easily seen and almost looked as though he was wearing a body colour, but thankfully this newer interpretation allowed the ballerino much freer movement. Jacob Chown got into his Lion character from his first moment on stage, right through to when he took a bow.
   Felipe Domingos, as the Guardian of the Emerald City cut a distinctive figure with his flowing movements, and shone in his first scene; Harry Skinner’s Yellow Cat, chasing after the mice played by Linda Messina and Tonia Looker, was a particularly likeable comedic performance (though one wonders why the cat is bigger than the dog: Toto is a stuffed toy in this version). Watch out, too, for a tap-dancing scene as Green dons red shoes instead of the Silver Shoes from the book.
   Falaschi is inspired by 1930s bathing costumes, flapper dresses and cloches, and a bellhop’s uniform for the Guardian, all of which he works in to give The Wizard of Oz, a visual feel that is its own. In all, 37 new costumes were created for the production.
   Jason Morphett’s lighting was particularly clever, as Falaschi’s box set forced him to use lights in the corner. He based his concepts on Poulenc’s music, which lent itself well to visuals thanks to its lyrical nature. I tend to find lyrical scores can paint a scene better than those founded on sound effects, and the compilation of various Poulenc compositions, compiled by RNZB pianist Michael Pansters from two dozen recordings, worked well as a complete ballet. Ventriglia calls the score ‘very cinematic,’ and that seems a very apt description.
   As detailed in our preview, the ballet began life as an unperformed, single-act ballet, which Ventriglia first conceived when artistic director of Maggio Danze in Firenze. There is an additional meaning here, as Ventriglia, who hails from Italy, has had to ask himself just what ‘home’ means, as Dorothy had to discover: ‘My conclusion is that home is where you feel grounded and comfortable within yourself,’ he writes in the programme. ‘For me that place is the dance studio.’
   The work, he writes, has been adapted to the dancing style of the company and the new inspirations he has found in New Zealand since his arrival a year and a half ago.
   The Wizard of Oz achieves its aim of being a big-story ballet that appeals to everyone, and audiences will be delighted at this latest production.
   The Ryman Healthcare Season of The Wizard of Oz kicks off in Wellington on May 4, and will visit nine centres around New Zealand: Christchurch, Invercargill, Dunedin, Blenheim, Rotorua, Auckland, Palmerston North, and Napier. Further information can be found at the Royal New Zealand Ballet website, www.rnzb.org.nz.—Jack Yan, Publisher


April 6, 2016

New Zealand photographers examine human impact in New York City exhibition

Lucire staff/13.39





Above, from top: Andrew B. White: Single Tree Fog. Claire Price’s L’Enfer VI. Jonathan Pilkington: Piopiotahi 1 & 2. Nichola Clark: Merania.

With opening night tonight, the Ora Gallery at 51 Seventh Avenue, New York, NY 10011, is showing Anthropocene Vision: Photography by Four Artists, exhibiting works by four New Zealanders: Nichola Clark, Jonathan Pilkington, Claire Price, and Andrew B. White.
   The images show ‘nature and interiors that conceal—or reveal—vestiges of a human presence,’ noted the gallery. Anthropocene refers to our present era, one where humans have had a permanent impact on Earth. The works being shown attempt to ‘capture, influence, understand, and form a spiritual connection with the world we inhabit.’
   Each photographer covers a different part of the main theme, with Clark exploring land and belonging, looking at Hiruhārama, New Zealand and the Ngāti Hau people, Pilkington examining the relationship humans have with stone; Price studying how humans can manipulate and destroy nature; and White photographing Prospect Park in New York as he studies an urban park and the human presence concealed within his images.
   The exhibition runs till April 29.

April 5, 2016

Royal New Zealand Ballet announces world première of The Wizard of Oz

Lucire staff/12.08


Ross Brown

The Royal New Zealand Ballet released more news about its much-anticipated première this year of The Wizard of Oz, conceived by its artistic director Francesco Ventriglia.
   Based on the 1900 novel by L. Frank Baum, the ballet will be in two acts and will stay true to the source material.
   It began its life in Firenze in 2013 as a one-act ballet but was never performed. Ventriglia took the opportunity to re-create it for the Royal New Zealand Ballet, with the music of French pianist and composer Francis Poulenc. Poulenc’s style is melodical, with the production using the music from his jazz age, earlier in his career. Ventriglia says the score is ‘a greatest hits of Poulenc,’ compiled by RNZB pianist Michael Pansters.
   Said Ventriglia in a release, ‘This story is very close to my heart. I loved it as a child and feel that it holds many truths that are too easily forgotten or overlooked in adulthood. I’m delighted to choreograph this ballet for my New Zealand dancers and to have its world première in New Zealand—my new home.’
   He added, ‘Each character has their own dance vocabulary—classical pointe work, barefooted contemporary ballet, and even some ruby slipper tap dancing.’
   Sets and costumes were designed by Gianluca Falaschi in Italy. Ventriglia said, ‘There’s tutus for the porcelain world, Munchkins in 1930s-style bathing suits, bare-chested flying monkeys, butterfly-gowned Good Witch, exaggerated bustle and black corset for the Wicked Witch and of course loads of green sequins, red glitter and gingham.’
   The Ryman Healthcare Season of The Wizard of Oz kicks off in Wellington on May 4, and will visit nine centres around New Zealand: Christchurch, Invercargill, Dunedin, Blenheim, Rotorua, Auckland, Palmerston North, and Napier. Further information can be found at the Royal New Zealand Ballet website, www.rnzb.org.nz.

April 3, 2016

Gala honours Naomi Campbell, with guests Lena Gercke, Catherine Hummels, Eva Padberg, Franziska Knuppe

Lucire staff/12.49




Gisela Schober

Gala magazine in Germany celebrated its 20th anniversary Spa Awards at the Brenners Park-Hotel & Spa in Baden-Baden, awarding the best names in the cosmetics and hotel industries.
   Supermodel Naomi Campbell was named Beauty Idol of the Year, with the judges citing her various careers in modelling, acting and authoring, and her support of social projects.
   A Special Prize was awarded to Prof Michael Braungart, founder of environmental consulting institute EPEA and a supporter of conservation and the cradle-to-cradle principle.
   Other awards went to Givenchy for its Le Soin Noir Masque Dentelle (Luxury Concepts award), Dr Grandel for Beautygen Renew Body (Innovation Concepts), Weleda for Skin Food Hautcreme (Cult Concepts), Skinceuticals for Metacell Renewal B3 (Men Concepts), Börlind for Beauty Shots Intensiv Konzentrate (Organic Concepts), Clarins for the Art of Touch (Treatment Concepts), Royal Mansour of Morocco (Luxury Hotel City–Resort), and the Four Seasons Maldives at Landaa Giraavaru (Innovative Spa Concepts).
   Guests at the event included Eva Padberg, Stephanie Stumph, Ursula Karven, Catherine Hummels, Julia Dietze, model Lena Gercke, Dagmar Kögel and her daughter Alana Siegel, Jochen Llambi and Motsi Mabuse, Jorge Gonzalez, Franziska Knuppe, Stefan Konarske, Lisa Martinek, Erol Sander and Caroline Godet, Jochen Schropp, Carolina Vera and Birthe Wolter. Barbara Schöneberger was MC and singer Philipp Dittberner performed live at the event.
   Other sponsors included BMW, Cadenzza, Emcur Bio Matcha, Fabletic, Moroccanoil, Pommery, Talbot Runhof and Und Gretel.

























Gisela Schober, Axel Kirchhof

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