30 April 2010
Thierry Mugler, 61, launches new book Thierry Mugler: Galaxie Glamour, and new perfume Womanity, with Clarins. He is also launching a new look with fresh surgery and tattoos. Mr Mugler says: “I am suing them (Clarins) because of that book. They wanted to do a book and I disagreed. Why should we do a book now and open the door to our archives and show even more things so that people can rip us off? I don’t see the point.”
Following the launch of the Louis Vuitton iPhone cover: The hyperventilatingly new Louis Vuitton iPad Case. Available in Monogram and Damier Graphite. It is
functional, supple and light, durable (water and scratch resistant) and easy to
maintain. A combination of style and cutting edge technology, the iPad case has been designed to respect the radiofrequency norms between phone waves and metallic pieces. Prefer the Monogram, cos it looks old school.
27 April 2010
26 April 2010
25 April 2010
24 April 2010
L'Ambre is also pretty in pink wax, and mine comes in an elegant black glass container, just waiting to be turned into a pencil holder.
L'Ambre is a perfume from 1978, created by Jean Claude-Ellena for L'Artisan Parfumeur.
Have a lovely week ahead yawll...
23 April 2010
The curtain opens behind the scenes at the May 1913 premiere of the Rite of Spring at the Thétre des Champs Élysées, immediately setting the tone of the movie with its honeyed light, the syrupy amber of an old bottle of Chanel No 5. Primal and epic, the stylized groin-thrusting of Nijinsky's choreography later echoes the Klimt-elegant sex scenes. The rhythmic violence of Stravinsky's music is brought to the fore and we see, as well as feel its effect: The theatre soon boils sickeningly over, the detractors and defenders, no longer urbane Parisians, come to blows.
The film’s long opening scene is a necessary tool to transport one into the extreme magic of the movie. Because this is very much a fantasy. The long camera takes drift through the backstage tension, sneaks through the curtains onto the stage and the audience and the warm, drowsy lighting creates the sensation between waking and sleeping.
Is couture an art similar to music? The imagined (unverified) affair between the woman who was to become the Grande Dame of Couture (Anna Mouglalis)and the rebellious Russian composer (the dour and cruel-looking Mads Mikkelsen, whom TB finds 'so sexy' - I don't understand this, of course) asks this question. Director Jan Kounen creates an extraordinary set of moods throughout his film, often muted and melancholic, broken by moments of intense energy or passion. The emotional distance give the sensation of detachment from reality, exemplified by the sex scenes, which are coldly unromantic, carefully art-directed acts of stylised eroticism. They are symbols and the actors do a great job of bringing some semblance of essential life to their roles.The careers of Igor Stravinsky and Coco Chanel took a remarkably close course: The Rite of Spring was launched just as Coco opened her first shop; They revolutionised the worlds of music and fashion respectively; They died within a year of each other in 1971. The missions of composer and couturiere were similar - he set out to re-write the rulebook of classical composition, she sought to democratise women's fashion. These are the facts, the rest is fiction (the movie is based on Chris Greenhalgh's impressively researched novel) set in the tantalising imagined encounter in 1920. The ruined and exiled composer comes to stay at Bel Respiro (the Chanel perfume is named after this villa), Chanel's art nouveau villa outside Paris. The ailing wife, Katerina (a wonderful performance by Ms Morozova), and four children are emotional baggage made visible. The beautiful black and beige villa again stresses the dream-like - hardly a stage for conventional behaviour, the affair seemed fated. Stravinsky is the proverbial struggling artist, while Chanel is rich, feared and successful (also model-thin and archly elegant, in skirt suits or silk pyjamas). Under the nose of his wife, Chanel seduces Stravinsky (is this a rebound affair from the death of Boy Capel?). The beauty of the staging brings to the fore the sordidness of all affairs of the sort. It's not a sign of being fiercely independent, it's not a political gesture but a vulgar whim. That Stravinsky doesn’t do too badly out of it, depicted enjoying the benefits of a loving spouse who suffers in silence while correcting his scores, as well as the luxury of Chanel’s patronage, makes this particularly ugly.While the sets and costumes are stunning, the stylistic triumph is the cinematography. The careful, disciplined cinematography evokes the stylised Art Nouveau visuals immaculately (even the woods look like a Klimt painting!). The creation of mood and style make the film so much more than a biopic. Ms Mouglalis does not look anything like Chanel, but that makes her acting even more remarkable because she convinces as a revolutionary genius. Mr Mikkelsen delivers a chillingly repellant, yet sympathetic (why?) rendition of Stravinsky.
The film explores many issues, the clash between two 'artistic' personalities, between the artistic movements of the period, between the moral and the immoral, between the conventional and the unconventional, but I left pondering this question: Was that long segue into Grasse and the creation of Chanel No 5 quite necessary?
I think not.
22 April 2010
21 April 2010
"Rich colors are typical of a rich nature." - Van Day Truex (1904—1979)Fabric: Majorelle, by Martyn Lawrence-Bullard
Screen: Victorian needlepoint five-panel screen, mid-19th century
"Burberry, the fashion giant, said its sales had risen by 6 per cent during the first half of its year, adding that profits were now likely to come in above previous expectations of around £200m..." - The Independent
19 April 2010
(Francoise Gilot's letters from Matisse as seen in Matisse and Picasso: A Friendship in Art
18 April 2010
Photo: Corrine Day, 1990
17 April 2010
He's an eternal boy (one often forgets he's 29, not 19), tanned and toothsome, his puppy eyes promising endless chaste love. (There is something asexual about his appeal, despite the muscles glimpsed now and then in sneaky shirtless scenes which he says he hates, “I’m just not all that comfortable about showing my body off on TV or in photoshoots and I'd always go do I have to?"). There’s something ‘safe’ about Elvin, and this niceness is a big part of his appeal. He’s like a gorgeous human puppy you can ride off with to the halogen sunset of the neighbourhood mall, sucking on a bubble tea.
It’s no surprise that his Best Actor nod in this year's Star Awards is for playing Tarzan (in Together), a role that is the apogee of his type: It’s like all the good cops, valiant buddies, sweet but ineffectual boyfriends of his career had been boiled down into an essence, then poured into the gorgeous form of the hunky-but-hapless dullard with a heart of gold. "Tarzan and I have a lot in common – we’re both simple, innocent and frank and playing him has made me feel very good," admits Elvin. His only outing as a villain, in last year’s The Ultimatum was universally decried (he says sheepishly: "I wanted to try something different").
That wrinkle aside, his four years with Mediacorp has otherwise been a smooth and steady rise. “I got into the Top 10 (Male Artistes) in my first Star Awards. I have three Top 10 trophies already, one for each year in the business. Although it gets less exciting for me each year, the awards are still very important. You might hear some other artistes say it’s just a game, or it’s just a show, but I don’t think they are speaking the truth.”
Q. Do you think you will win the Best Actor Award?
A. "It would be totally unexpected if I were to win this award because I think I’m not at that level yet. I can’t even look at my own acting! I don’t even dare to think about winning this award. There is some chance, of course; I’m just happy to be seated right in front this year instead of way back. The nomination is like a Toto ticket. I have some chance but it’s likely that the award will go to one of the three veterans.
"I hope I get it of course, but I think it would be an ‘accidental’ win."
(A version of this profile, and the full interview, appears in 8 Days)
Vogue Paris May: Penélope Cruz is the guest editor for this special issue with three different covers. Carine Roitfeld celebrates the Cannes Film Festival with a star-studded edition:
One cover features Cruz, Julianne Moore, Gwyneth Paltrow, Meryl Streep, Naomi Watts, and Kate Winslet; the second cover has only Cruz and Streep; the third is devoted to Cruz and Bono. All three covers are by Inez Van Lamsweerde and Vinoodh Matadin.
- Paradis En Chine by Roitfeld/ Karl Lagerfeld, model Vanessa Paradis
- La Décadanse by Carine/ Mario Testino, models Daria Werbowy and Francesco Vezzoli
- Plage Privée by Emmanuelle Alt/ Mario Sorrenti, model Natasha Poly
- Erotica by Carine/ Steven Klein model Lily Donaldson