Stephen A’Court

Giselle has become one of the Royal New Zealand Ballet’s signature productions since this version was conceived by Ethan Stiefel and Johan Kobborg in 2012, and each season—this is the third in New Zealand—brings with it a different energy, as well as newfound elements to enjoy. The cast changes this time bring with them a more youthful take, while the production values and design give Giselle a sense of depth and quality.
   Opening night’s Mayu Tanigaito, in the title role, is no stranger to Giselle, having taken the role in the 2016 season on occasion opposite Daniel Gaudiello, though that time Lucy Green and Qi Huan took the leads on opening night. Qi is still missed as one of the great ballerinos of the company, but in his place tonight, Laurynas Vėjalis has the required regal manner to carry out the role of Albrecht.
   Tanigaito is a seasoned dancer yet exudes a youthful quality as Giselle—a perfect casting—and her solo seeing her en pointe with a series of fouettés brought spontaneous applause from the audience at the Opera House in Wellington. Vėjalis and Tanigaito were convincing as young lovers in their pas de deux in the first act; Vėjalis’s solo is happy, upbeat and confident. It’s hats off to Paul Mathews who brought real energy to Hilarion, who is frustrated and hurt by Giselle’s love for Albrecht. Being a taller dancer than Vėjalis, and executing large moves on stage, you could feel Mathews’ Hilarion trying to demonstrate desperately his feelings for Giselle—and one would almost be forgiven for sympathizing with him, if his character hadn’t also brought out a knife at the first sign of feeling he had been jilted.
   We had seen Tanigaito perform the role of Myrtha, queen of the Wilis, in 2016, and it remains a role that has a dominant presence in Act II. Sara Garbowski’s solo at the start of the second act was a skilful and beautiful piece of classical ballet, and there is a beauty to the sight of the veiled Wilis, resplendent in tulle. It’s in this act that the principal roles really shine in this production: Hilarion is consumed by the forces of the Wilis and shows a vulnerable side, while Albrecht dances for his life more passionately than the assured aristocrat of the first act. This is a more touching, emotional act, performed successfully by the principal dancers.
   When you see the minor roles—such as the group of 12 Wilis—you realize that there is plenty of young talent in the company and its future seems assured.
   Special mention must be made once again to Howard C. Jones’s scenic design, and lighting design by Kendall Smith. Natalia Stewart’s costumes remain as exquisite as they did when we first viewed this ballet in 2012. Clytie Campbell, who herself had performed in Giselle in 2012, faithfully staged the revival with Stiefel and Kobborg’s supervision, as neither was able to travel to New Zealand.
   Hamish McKeich faultlessly conducted Adolphe Adam’s music, more than ably performed by Orchestra Wellington, who give the impression of a bigger score.
   After Wellington (May 12–15), Giselle heads to Palmerston North (May 19), Napier (May 22–3), Auckland (May 27–9), Christchurch (June 4–5) and Dunedin (June 9). Hamish McKeich conducts the Adolphe Adam score with Orchestra Wellington, the Auckland Philharmonia Orchestra, and the Christchurch Symphony Orchestra in those centres, with the Wellington recording used elsewhere. More details can be found here.—Jack Yan, Founder and Publisher

Stephen A’Court

The Chicago Athenæum’s Good Design Awards have honoured Germany’s Nomos Glashütte six times for its watches, and now the Green Good Design Awards, which focus on sustainably produced products, have highlighted the company once more for its Tangente Update watch in its product design category.
   Its latest incarnation, the Tangente Neomatik 41 Update, features a ring date at the edge of the dial, with two red markers that frame the current date. It is available with both a white and a midnight blue dial.
   It’s those little things that Nomos Glashütte does that build up the sustainable picture. The cooling oil, metal filings and used brass blanks from the production process are returned to the suppliers to be converted back into raw materials. The water used to rinse newly produced parts is purified and returned to the wider supply. The majority of parts are produced on-site and in-house, shortening supply chains and reducing emissions.
   Find out more at nomos-glashuette.com.

It seems coupé crossovers, low-slung fastbacks riding on big wheels, are the trendy shape for cars now, after a decade dominated by the boxier variety, if Auto Shanghai’s débutantes today are any indication.
   Ford showed its Evos crossover, with hints of the Mustang Mach-E—a car, based on its development code, that started off as a Focus crossover. The new car looks more substantial, and Ford has been clear that it isn’t the model that will replace the Fusion and Mondeo.
   Inside is a “coast-to-coast” screen spanning the entire cockpit width, from the driver’s to the passenger’s sides. All up, the display measures 27 inches, with 4K definition, comprising digital instrumentation, infotainment, and an additional screen for the passenger. AI and a hands-free driving assistance program complete the high-tech package.
   SAIC’s Roewe brand, meanwhile, showed a coupé crossover of its own—with the same colour scheme of white with a black roof, which must be the other automotive trend presently. The Jing (鯨), the Chinese word for whale, has a large grille that is supposed to recall the mammal. It’s part of Roewe’s ‘emotional rhythm’ design philosophy, and the Jing is supposed to ‘accelerating the process of brand rejuvenation, personalization and promoting brand upgrading,’ says SAIC. The shape isn’t as sleek as Ford’s, and the company says it is a concept.

Time really has flown, with GHD (Good Hair Day) celebrating its 20th anniversary. The company commemorates this milestone with a limited-edition Hair-itage Couture collection.
   In its 20 years, GHD’s R&D laboratories have developed tools for hair heat styling that are now used by 200,000 stylists around the world, and sold in over 30 countries. GHD sells 2 million tools every year, and has won over 300 beauty awards.
   The tools maintain a consistent 185°C heat, which is the optimum temperature for styling without compromising hair health.
   It wasn’t just the stylists who told us that GHD was on to a winner, but those early adopters who then told their friends—we hadn’t seen any stylers get that level of word of mouth. When Lucire published its first print editions, GHD was there as a major supporter, directly from its head office in the UK—people who recognized that the two brands were in sync.
   And no, this isn’t a paid spot—we’re as excited about this 20th anniversary as they are.
   The Couture range comprises the Platinum Plus styler (NZ$410 with chrome heat-resistant bag), the Helios hair drier (NZ$340) with 30 per cent more hair shine versus naturally dried hair; the Gold styler (NZ$350, also with chrome heat-resistant bag); and the Style gift set (NZ$59), an exclusive chrome wash bag with mini paddle brush, travel-size Bodyguard heat protect spray, and two GHD silver clips. All are available through GHD élite salons and ghdhair.com/nz.

William Crozes/Continental Productions

Is this the future of the CD- and D-segment family car? Citroën has unveiled its C5 X, the third generation (if you don’t count the C5 Aircross) of the C5 line, blending saloon, estate and SUV ideas.
   Sales of conventional saloons and estates in this segment have been dropping for some time. Ford has already said it will not replace the Mondeo after 2022, bringing to an end a line that could be traced back to the Consul Cortina of 1962. There have been suggestions that Opel, Citroën’s sister brand, will replace the Insignia with a crossover, possibly a car closely related to this one.
   The lines are certainly more blurred with the C5 X. Traditionally, a crossover would have meant something like a Subaru Forester, a station wagon format more raised than a traditional car, but lower than an SUV. Here Citroën takes influences from numerous genres. It is a sleek, two-box shape, that if viewed without the 19-inch wheels, could be taken to be a shooting brake, an estate car with less loading capacity because of a sloping rear—think Mercedes-Benz CLS or even the Audi Q8. The six-light glasshouse even recalls Robert Opron’s Citroën CX (and specifically the CXperience concept of 2016), which no doubt will please Citroënistas. Up front are thin LED headlights that give a V shape when lit, a Citroën design signature that started with the 2020 C4. The bespoilered rear deck emphasizes that this isn’t a regular estate; curiously, when viewed from some front three-quarter angles, the D-pillar looks upright, and even recalls the outgoing C5 break.
   Happily, the C5 X has an airy glasshouse, doing away with the massive C-pillars that have plagued car design for a decade. This helps with bringing light in, while also aiding visibility. One can only hope that it is the beginning of the end of the cocoon, which may have emerged in times of great uncertainty, where people wanted to feel enveloped and secure. If Citroën’s trend-watchers have it right, we might come to feel more open and embracing of the outside world again.
   Those 19-inch wheels raise the car’s stance, but in an age where the crossover and the SUV are not niche vehicles, but mainstream ones, they do not look oversized. Interestingly, Citroën’s French rival Renault may have contributed to that, with intentionally large wheels for the Scénic and Espace, with a similar philosophy of blending genres with an eye to courting mainstream SUV buyers who want a more commanding driving position. More opportunity, then, for a future designer to claim a successor is ‘lower, wider, longer’, the romance of postwar US design.
   Its sleekness is perhaps only compromised by the transverse front-wheel-drive layout, which necessitates the position of the front wheels, a design compromise evident on the Citroën C6 in China, but better hidden here. One might think that Citroën has gone adventurous here—though not to the level of the DS—because of its recent poor sales in China. When in doubt, design your way out—it worked for Chrysler and its LH sedans in the 1990s.
   Under the skin is active suspension, with Citroën claiming (not for the first time in its history) a “magic carpet” ride. There are what the company calls its Progressive Hydraulic Cushions that relax the suspension more. Handling isn’t the top priority here, having an interior that’s lounge-like and floating is.
   The interior emphasizes width (externally the car measures 1,865 mm in this respect, which is probably typical for a grand routier of this age). Citroën says its Advanced Comfort seats are particularly capacious in the second row, while the boot has a 545 l capacity. There’s more refinement, the company points out, with the plug-in hybrid version running in pure-electric mode, which it can do for 50 km, up to 135 km/h. Acoustic-laminated front and rear windows keep things insulated further.
   There is a head-up display that Citroën says is a step toward augmented reality, driving assistance features, a new infotainment interface powered through a 12-inch central touchscreen, voice recognition, and a customizable display. Safety systems use the radar, cameras and sensors. There is level 2 autonomous driving, with Highway Driver Assist, using the adaptive cruise control with Stop & Go and lane-keep assistance. And as one would expect in 2021, rear cross-traffic alert, a 360-vision display that plots the area around the car on the touchscreen to aid man, and hands-free access.—Jack Yan, Founder and Publisher

William Crozes/Continental Productions

It seems to be the trajectory of brands such as Hyundai and Kia: offering ever more stylish, premium models on the basis that even people who indulge in luxury like value for money.
   Kia’s rise has been particularly marked after its appointment of Peter Schreyer as head of design, before being named one of the company’s three presidents. Schreyer worked his magic on the Audi TT, and he has been behind such hits as the original K5 (Optima in New Zealand) and Stinger.
   The latest Sorento benefits from similar design philosophies: whereas Japanese marques often veer toward either a domestic (e.g. Honda Civic) feel or a mid-Atlantic one, Kia looks west and bridges the gap between Korea and the occident. The Sorento is no exception and its latest entry, the Sorento PHEV Premium, blends the luxury appointments of the range’s flagship with a plug-in hybrid powertrain—not to mention all-wheel drive, seven-seat capacity, and 1,988 ℓ load space when the second and third rows are folded down.
   Its all-electric range is 57 km, and carbon emissions are at a low 36 g/km—thanks to its 13·8 kWh lithium-ion polymer battery pack mated to a 1·6-litre turbocharged engine, developing 265 PS (195 kW) and 350 Nm of torque.
   There’s the trade-mark “tiger nose”, 19-inch machine-finished alloys, and a premium cabin that’s marked by two digital displays (12·3 inches ahead of the driver, 10¼ inches for the central infotainment screen), and includes a panoramic sunroof, a wireless smartphone charger and a Bose 12-speaker surround-sound system. The power leather seats are 14-way for the driver, with four-way lumbar support and cushion extension, while the front passenger gets a 10-way. You can expect the usual conveniences for a premium model: lane-keep and lane-follow assist, smart cruise control, sat-nav and life traffic updates, and seven USB charging ports.
   Warranty is for four years’ or 40,000 km scheduled servicing for the hybrid and plug-in hybrid models, complementing a standard five-year warranty and five-year roadside assistance (unlimited kilometres) plan.
   This premium machine retails in New Zealand for NZ$89,990 plus on-road costs.—Jack Yan, Founder and Publisher