Spring/Summer 2014
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Rambert ’s New Roosting
Masterclass
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I have always had two big loves. Dance and Fashion. From dressing up in tutus as a little girl to corsets in my thirties - not much has changed. And I’m sure I’m not alone! So, for all you dance and fashion aficionados - whether that be practising, aspiring or simply admiring, ‘The Showgirl’ is for you. Highlighting different genres of dance and their interaction with fashion, ‘The Showgirl’ is a journey. For Spring and Summer we discuss Flamenco with Spain’s leading star Sara Baras and corsets with What Katie Did creator, Katie Halford. You can even take to the floor with a basic Northern Soul routine. Prepare to be inspired! Enjoy the summer.
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Karlie Kloss is ‘vogueing’ at Jean Paul Gaultier. A hip-hop troupe have invaded the catwalk at Rick Owens. Designers and editors alike are refering to dance left, right and centre. Could dance and fashion be more loved up right now?
Photograph by Patrick Demarchelier
SPOTLIGHT partners in crime Dance fever has well and truly hit fashion. Over the last year we’ve seen Vivienne Westwood spearheading a new style English National Ballet and designers from Alaia to Riccardo Tisci designing for the ballet. Likewise, editorials are littered with dance references, from photo shoots en pointe to interviews with the brightest stars. And, this year the spectacles keep coming. Victor & Rolf will be collaborating with the Dutch National Ballet and Jean Paul Gaultier will showcase Madonna’s iconic peach corset in his first major exhibition at the Barbican. Never has a relationship been stronger. This isn’t a surprise. Über fashion forecaster Lidewil Edelkoort highlighted the influence of performance in her book “Fashion Fetishism”. “Both disciplines work with cloth, the body, semiotic codes and exploration of time, with reference to the past and present” says coauthor Dr Jessica Bugg. Indeed this is a relationship with history. Diaghilev was renowned for his collaborations with painters and designers for the Ballet Russes in the early 1900s. With Leon Bakst as designer, Diaghilev caused a sensation in Paris with the sumptuous, decadent costumes enhancing the equally erotic choreography. Tatler declared that the “extraordinary dresses, the most extraordinary colour schemes… upset all preconceived ideas concerning ballet dancing and pantomime”. Indeed by the time Diaghilev died in 1929, he had clocked up an impressive list of collaborators including Pablo Picasso, Coco Chanel, Paul Poiret, Henri Matisse and Joan Miro. What better way to communicate the genius behind a design than on a moving figure, a graceful one at that? The same thunderbolt hit Sarah Jessica Parker when planning for the New York City Ballet Gala at the same time as Fashion Week. Could it be “a curious marriage or partnership to pursue?” she wondered. And indeed it was. Last September Iris Van Herpen teamed with Black Right, Léon Baskt for Ballet Russes
Swan choreographer Benjamin Millepied, Prabal Gurung with Justin Peck, and Olivier Theskeyns with Angelin Prelijocaj. Van Herpen, no stranger to performance wear having dressed the likes of Lady Gaga and Bjork, created perhaps the most arresting display. In strapless dresses made from overlapping PVC plastic and point shoes transformed into PVC boots, it’s no wonder Marc Happel, NYCB director of costumes, was concerned. “When I first saw a diagram I wasn’t quite sure what I was looking at”. But as Millepied says “You always want to collaborate with someone who is going to take you somewhere you didn’t think about”. And with the light catching each individual layer of PVC, somewhere, or in this case “Neverwhere” as the ballet is called, must have transported the audience to a unique land of sci-fi S&M.
SPOTLIGHT
Clockwise from top, Prabal Gurung for Justin Peck, Iris Van Herpen for Benjamin Millepied, Bolero costumes by Riccardo Tisci for L’Opéra de Paris, Madonna’s corset by Jean Paul Gaultier, The Fashion Book Issue 2 by Carine Roitfield, Stevie Stewart for Michael Clarke, The English National Ballet styled by Vivienne Westwood.
This isn’t news to seasoned costume and fashion designer Stevie Stewart, who started creating costumes for choreographer Michael Clarke in 1984. “You have to create solutions to problems” she says “the choreography is very challenging, very technical and precise, so even if the costume is theatrical or tailored, it has to be able to move easily”. Marjory Fielding, wardrobe supervisor at the National Ballet of Canada agrees, “The biggest pitfall for fashion designers is that there are a lot of things they want to do that just aren’t practical. You don’t want to have too much costume, as it can be distracting.” Nevertheless, despite the challenges, the lure of a remarkable artistic collaboration remains the highest accolade, just as it did a hundred years ago. Yet, collaborations come with a warning, as Benjamin Millepied attests. “You want a costume that completely works with the music and light but is still a beautiful design in it’s own right”. The results are not always successful. Oliver Theskeyn’s designs got the thumbs down from New York Times Dance critic Brian Serbert who described the patches on the costumes as resembling “a baboon’s buttocks”. And even Valentino, who collaborated the year before, received a ticking off from dance critic Alastair Macaulay who concluded “the choreography was more interested in showing off the costumes than the dancers”. Communicating a vision is a tricky business. It’s certainly not a case of fling it on a dancer and it will undoubtedly look good. Magazines have also been subject to the dance influence. Highlighted recently by Carine Roitfield, fashion’s favourite femme fatal, who devoted the second edition of her cutting edge ‘Fashion Book’ entirely to ballet. And what an editor wants an editor gets, hence the growing trend of models that can push their physical boundaries. “It’s definitely a new thing”, says Carlos Ojeda, model manager at Elite, “Ten year ago we didn’t have that many models with dance backgrounds, but casting agents say they are more in demand than ever”. One of the reasons for this is the ever-competitive drive to produce inspirational images but also the fact that dancers are instilled with an instinctive nature to keep pushing their limits. Chris Gay, chief executive of Women Management, agrees.
“Magazines such as Pop and Purple have real avantgarde visual daring photography. It’s not just a simple, straightforward shot that’s displaying the clothes”. Karlie Kloss, Suzanne Diaz and Coco Rocha are just a few of the models with loose-limbed moves. “My ballet training was honestly the most valuable thing I could have done to prepare myself for this career’ admits Kloss “ [modelling] is about movement, about rhythm, about your body and your muscles. Ballet really taught me so much about the power of movement.” The catwalk has followed suite. Who can forget the charging tribe of synchronized women at Rick Owens Spring SS ’14 show, looking alarmingly ready for a fight? Recruited from American college step teams, jaws dropped around the catwalk with Suzie Bubble, style blogger declaring it “the most powerful and provocative statement this season”. Owens wasn’t alone. Lily Cole, swathed in a Grecian gown, performed an interpretative dance for Vivienne Westwood and in Sao Paulo ballerinas from the Sao Paulo Dance Company took the place of the models as they lunged across the catwalk for Raquel Davidowicz. It was, however, Mr. Gaultier himself who took the all encompassing dance theme to a new level. Transporting the catwalk into a ‘Strictly Come Dancing’ extravaganza, models took to the floor performing the tango in a fury of fringing, lindy hop in head-to-toe leather and salsa in thigh skimming sequins. There was even a panel of judges. And, whilst the corset was left back in the archives, Madonna’s “Vogue” was alive and kicking. Only this time the perfectly silhouetted moves belonged to the incredibly statuesque Karlie Kloss. ‘Considering I wasn’t even born when Madonna first taught the world how to ‘Vogue’... I needed a little help learning the moves.’ Is Madonna feeling the love on the back of that comment? Possibly not!
Alberta Ferretti
Chanel
Jean Paul Gaultier
Spring fling
Louis Vuitton Sonia Rykiel
From the Ziegfeld Follies at Louis Vuitton to the Zulu stampede at Rick Owens, there were showgirl looks aplenty at the summer shows. So unearth those feather boas and the tulle petticoat skirts from the dressing up box. It’s showtime!
Katie Grand @ Louis Vuitton
Julien MacDonald
Giles
Spring Summer Shows ‘14
Soul SURVIVOR
Photographs by Dean Chalkley
From Pharrell to John Newman, Northern Soul retains its position as a constant source of inspiration. And thats not just the music. From kung fu kicks to back flips, Northern Soul is ready to take on a new generation.
SPOTLIGHT
Who would have guessed that Pharrell Williams’ “Happy” tune would become a Northern Soul sensation, on account of a 17 year old from Bristol? In a video captured by her mum, Levanna McLean performs a Northern Soul jig down Staple Hill High Street, much to the amusement of passers by. With ear phones in her ears and a smile from ear to ear, it makes you happy just watching it. So happy in fact, that 200,000 people have tuned in for an injection of instant serotonin. And, one could argue, after a closer look at Pharrell’s video, that he just might have missed a trick here. This could have been an incredible opportunity to showcase some high energy Northern Soul moves and indeed add to Mr. Williams’ already bountiful street cred. Surely, he’s the maverick with the midas touch or perhaps Northern Soul had passed him by in a sea of funk, Motown and disco? Let’s big it up for the UK then. Since, with Levanna in tow, Northern Soul is making rumbles once again in the style stakes. Enter the soon to be released “Northern Soul” film by Elaine Constantine, John Newman storming the charts with inspiring soul sounds and equally inspiring “Wigan Casino” style videos. And, The Young Souls who are taking over the all-nighter mantle to include all-weekenders. “Northern Soul still lives on and is stronger than ever”, declares 4Music “and we reckon its fabulousness helped push John Newman to the top spot”. Indeed, if you’re shaking your head in oblivion, you’re forgiven. This was no ordinary music trend. It was an utterly unique moment in time where young working class folk from northern Britain encountered black American soul. An underground sub-culture emerging out of the 60’s mod movement. It was defined by its non-conformist attitude and joy over obscure Motown Tamla records. “Although plenty have tried,” says Terry Christian, “it has never been owned by an elite”. Northern Soul kept its head firmly placed under the radar. The music and dance moves proved a mystery in themselves with all-nighters characterized by beautifully dressed boys and girls performing spins, floordrops, and shuffles. It was a dance scene that amazed and intimidated. “Disco, rave and indeed what would eventually become a global homogenous dance music culture” explains Elaine Constantine. “All took their clues, either directly or indirectly from northern soul, in form if not in content”.
“Northern Soul still lives on and is stronger than ever”
SPOTLIGHT The name Northern Soul was coined by the late rhythm and blues journalist Dave Godin who ran a “Soul City” music shop in London. He was intrigued by the sudden influx of northern football fans who turned his shop upside down searching for the most enigmatic black American soul records. While the rest of his London customers sampled the current US black chart. Dave followed it up with a visit to the Twisted Wheel dance hall in Manchester. “The dancing is without doubt the highest and the finest I have ever seen outside of the USA” he wrote “in fact, I never thought I’d live to see the day where people could so relate the rhythmic content of soul music to bodily movement to such a skilled degree”. What Godin experienced that night and subsequently wrote about in his column, he termed as Northern Soul. A dance and music phenomenon that would hail ordinary venues, now long gone, such as The Golden Torch in Stoke, the Blackpool Mecca and the Wigan Casino, as the spiritual home of Northern Soul. The common theme amongst the medley of moves on the dance floor was the beat, which was fast and in 4/4 time. At the Twisted Wheel guys and girls would form a circle and shuffle to the rhythm. Then, one by one, everyone would take their turn in the centre.
As Paul Sadot explains, “The floorwork was like a solo. They were articulating themselves or showing off through their feet. They used to do a lot of things like backdrops, which they inherited from the earlier rock and roll dancers”. If you’re breaking into a sweat at just the thought of it, you’re not alone. Russ Winstanley, legendary DJ at The Wigan Casino describes how the dancing had it’s own code, formidable for any new kid on the block. “People would clap in time with the music at certain points”, he says. “When you had a couple of thousand people who clap at a key moment, it sounded like a pistol cracking”. Each club had it’s own virtues but undoubtedly the king of dance floors went to the Wigan Casino. “Its huge ballroom easily held 1200,” recalls Chris Hunt. ”The dance floor flanked on three sides by ornate balconies where the acrobatic dancers, illuminated by just two fluorescent lights suspended from the domed ceiling, could be watched on high”. By 1974 Northern Soul dancing had reached new heights. In 32-inch wide Spencers and leather soled shoes, dancers could accommodate vigorous moves taken from the martial arts arena, inspired by Bruce Lee’s ‘Enter the Dragon’. “There was a lot of flexibility in their splits and kicks”, noted Paul Sadot “which came from that area”. By the time The Wigan Casino closed down in 1981 the distinctive style of dancing had evolved into a status symbol that very few could touch.
Indeed, the new blood have a new name, The Young Souls. Like their predecessors they travel hundreds of miles to attend all-nighters, spending all they have on the thing they love. And, with conventions in Los Angeles, Hamburg, Gothenburg, Las Vegas, New York, Detroit, Tokyo and Chicago, there are a few more miles to travel than in the 60’s and 70’s. Alternatively, if you’re starting to feel the fire, take a leaf out of Levanna’s book. After attending all-nighters and honing her skill, she dances to Tesco and back. Inspiring others in her path, she sums up the words of Elaine Constantine, “The music allows you to jump inside and escape. It takes you somewhere else”.
SPOTLIGHT
NORTHERN SOUL ESSENTIALS
Fred Perry Shirt £55, Churches Burwood W Black Polished Binder £270, Respect Yourself £22.95
Hence, Chris Brick’s suggestion that Northern Soul gets “wheeled out in popular culture by advertisers who wish to attach a veneer of authenticity or edge to whatever they happen to be selling”. You can see why. Just look at Moloko’s ‘Familiar Feeling’ video, Janelle Monae’s ‘Tightrope’ and Duffy’s ‘Mercy’ a collaboration of style and slick moves. As Terry Christian aptly put it “they make the rave generation seem like Victor Meldrew on a caravan holiday”. And, whilst the challenge to reach the heady heights of Northern Soul dancing is tough - its an unforgettable and rewarding experience. ”Having been through it, having lived in it, having danced my socks off to it every day for 4 years running,” enthuses lead actor in ‘Northern Soul’, Joshua Whitehouse “I can safely say there is no other music at all that makes me feel like Northern Soul does.”
THE TUNES Frank Wilson - Do I Love You Darrell Banks - I’ll Open the Door Tobi Legend - Time Will Pass By Dean Parrish - I’m On My Way The Sherry’s - Put Your Arms Around Me
the gear
Who needs ‘happy pills’ when you have Northern Soul?
the moves Step 1 Tap your right foot behind your left while swivelling the ball of the left foot towards the left step 2 Tap your right foot to the side while swivelling your left foot back to the centre
Step 3 Kick the right foot in front of the left while swivelling the ball of the left foot to the left
step 4 Tap right foot to the side (as step 2) and transfer the weight to the right foot and repeat move
what’s hot
wanted men In a year that’s seen a bruised and bloody Joseph Mercier in Rites of Spring and Tai Chi performing monks at Sidi Larbi Cherkaoui, martial arts is the rising choreographer’s reference of choice. Meet the men who are changing the game of contemporary dance to a game of thrones. The One to Watch Joseph Meurcier (pictured left) admits he has “a deep desire to be a superhero”. So much so that when interpretating the theme of sacrifice in the ‘Rites of Spring’, he turned it into a cage fighting extravanganza. Together with bruises, ice packs and blood. Describing the plot as ‘fighters who sacrifice their bodies for entertainment”, it was named “most provocative work” of the year by The Guardian.
The Rising Star After spending several months in a Shaolin temple in China, Cherkaoui (pictured left) knows a thing or two about Kung Fu and Tai Chi. His high energy, acrobatic performance “Sutra” was based on the daily rituals of the Buddhist monks - more ‘Monkey Magic’ than the reflective image of Buddhists that we’re used to. With their flying kicks, back flips and shadow boxing, the Guardian described the moves as carrying “the aura of compelling ritual”.
The Man of the Moment Russell Maliphant (pictured left) likes to mix it up. After studying at the Royal Ballet School, he found himself drawn to other physical practices such as Capoeira, Yoga, T’ai Chi and contact improvisation. No wonder then that Maliphant’s choreography is described as encompassing “the momentum of contemporary dance with the precision of ballet”. Weapons feature largely in his complex interpretations, with swords and akido sticks brandishing the air. As does the theme of contact, which sometimes takes the form of a Capoeira style tangle of limbs.
The Maverick There are no ends to the talents of french choreographer Mourad Merzouki. Hip-hop, martial arts, circus acrobatics - anything’s possible. When his company Kafig hits Sadler’s Wells in June with the production Boxe Boxe, dancers will be punching with bright red boxing gloves in a blend of martial arts, street and contemporary dance.
what’s hot
r e c t l s a a m
Toulouse Lautrec and Degas would be proud, the English National Ballet are hosting sessions for artists (or would be artists) to sketch, doodle or paint seasonal performance rehearsals. And with Coppelia in the offing for summer, a perfect opportunity to dust off the paintbrushes. If ballet isn’t your forte, then burlesque life drawing classes are popping up in bars and burlesque venues across the country. Dr Sketchy, the Doddle Bar and Polepeople are all running workshops, so don’t be shy. And if your shuddering at the thought of it remember it’s all about the personal interpretation darling! Indeed dance is inspiring a whole new generation of artists. For Silke Otto Knapp who is currently exhibiting at
the London Camden Arts Centre, it’s not a case of frou frou tutus or ethereal arabesques but the angled structures of contemporary dance. Influenced by vintage photographic images of the Ballet Russes, her paintings take on the same silvery blue hue but her choice of movement is purposeful. “I’m often interested in quite well known, recognisable moments’, she explains “pieces of performances that are crucial or ground breaking”.
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A different kind of life drawing experience has hit town and it’s rearing its head in the most suprising places. Welcome to the the dance workshop. Not for your ballet shoes, mind you, for your pencils and pad. Dance is back as the muse du jour.
Australian artist, Loui Jover, is another to look out for. Featured in Saatchi‘s Online Gallery, his dancers perform to a backdrop of music parchment creating an altogether sponatenous energy with a contemporary feel. Katya Gridneva, on the other hand, nods to Degas with her pastel and oil off-stage ballerina. The Ukranian artist who has exhibited in the USA, Moscow, Germany and St. Petersburg creates exquisite portraits, bathed in light. A must-see for any dance aficionado. You never know, with a life drawing class under your belt, you might be next!
Rambert’s new roosting
what’s hot
Nestled behind the National Theatre on the South Bank stands the new home of the Rambert Dance Company. The last piece of a dynamic jigsaw, which has become the creative hub of London. This is no ordinary dance studio. It’s the first purpose built dance venue to open in London in the last decade. And, it’s a beauty. With a solid ethos behind its creation, it’s a work of art in itself. “Every aspect of this building has been designed with the express purpose of laying bare the process of contemporary dance,” explains Mark Baldwin, Rambert’s Artistic Director, “allowing us to create an open house that will excite and inspire audiences”. Community spirit is an important aspect to the very foundation of the building. Rambert has managed to utilize this hot spot on the London landscape, owned by social enterprise Coin Street Community Builders, with a promise to provide a dance programme to the local community and a rent of one pair of ballet shoes a year! “This building is a launch pad for contemporary dancers,“ says Iain Tuckett, Group Director, “from humble beginnings to those that can melt our souls”. The stuff of fairy tales indeed.
Great consideration has also been made towards nurturing talent, for example, the prevention and rehabilitation of dancing injuries. Facilities include treatment and body conditioning rooms and smaller studios where dancers can find their feet after injury.
“From humble beginnings to those that can melt our souls”.
After 12 years in the planning, the venue opened in all its glory in December 2013. Within its 6 stories, there are 3 main rehearsal studios. The Marie Rambert Studio is large enough to house an entire orchestra. “They [the dancers] move bigger”, laughs Mark Baldwin “they have to!” For the first time dancers and musicians have the opportunity to rehearse together. An important point considering Rambert is the only contemporary dance company with its own orchestra, who take nearly 75% of their productions on tour. “The Marie Rambert Studio exactly replicates the size of the Sadler’s Wells stage, which is a huge benefit to choreographers and dancers making and practicing work,” explains rehearsal director Mikaela Polley. The other studios are also spacious which will bring the company considerable new revenue in the form of hire and a greater capacity for classes.
History is also important. Since its creation in 1926, Rambert have been collecting an impressive archive of more than 500 costumes, 700 posters and over 650 hours of digitalized footage. Now housed in a climatecontrolled archive in the basement of the new building, it’s open to the public for the first time. But it’s perhaps the location that’s the cherry on top. “Here we are surrounded by all the inspiration of the other arts such as theatre and visual arts”, explains Mikaela. “The close proximity means we can meet easily with those involved, giving great potential for cross-art collaboration”. That collaboration is already in progress. The building itself houses commissioned artworks by Gary Breeze, Goshka Macuga, Abigail Reynolds and Catherine Yass. In terms of productions, some of the highlights for 2014 will include a new work by artistic director Mark Baldwin collaborating with visual artist Katie Paterson. And, a creation for Rambert by Shobana Jeyasingh, one of the UK’s leading independent choreographers should prove to be a very fine beginning. So, now that the final jigsaw piece is in place, let the games begin!
INSPIRATION
INSPIRATION
o ”, g ” say re in n I hen ith fi rder o w w w u “No down nd m a k wal eyes CE ” r . u A d o F y min NY r u yo FUN
INSPIRATION
“Vote for me, and all your wildest dreams will come true”. NAPOLEAN DYNAMITE
INSPIRATION
sy will u o l a e j , y, yes “Jealous you mad!” drive GE U O R IN MOUL
INSPIRATION
“Charm him? I could murder him!” LET’S MAKE LOVE
INSPIRATION
“When you g ive up your dreams, you die FLASHDA !” NCE
Photography by James Eppy Styling by Carolyn Everitt Make Up by Miranda Mercardo Gregory Hair by Sarah Gregory Models: Annia Dabrowska Mogendorff Kevin Thatcher Amanda Botterill Lee Levon Carolyn Everitt Linda Davidson
INSPIRATION
The Casting
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THE LEADING LADY: BRIGITTE BARDOT Step away from the ciggies BB, Workout Wonder by Mio is here to deal with the all the stresses and strains of pre and post workout tension. Containing Arnica, Spearmint, Horse Chestnut and Murumuru butter, this pocket size power gel is just as handbag handy as a box ciggies, just without the health hazard. Availlable from SpaceNK £21
THE SMASH HIT: BLOCH FLASH SNEAKER Ideal to accentuate the arch, Bloch’s monochrome split sole trainers also provide cushioned support so you can spin and jump to your heart’s content. Available from DanceDirect £36.50
THE FINAL CALL: PRETTY THINGS - THE LAST GENERATION OF BURLSEQUE QUEENS, LIZ GOLDWYN First a film and now book. Enter the world of the burlesque queens of the past, in this intimate portrait of the costumes, the dramas, the sequins and the life stories. A riveting read. Available from Amazon £9.09
INSPIRATION
4 THE SCENERY: EVERYBODY BALLET, TRASIERRA, SEVILLE Fancy a retreat that will inspire the inner ballerina in you, leaving you toned, supple and refreshed? Join Isabel McKeekan, former Royal Ballet soloist and founder of Everybody Ballet, on one of her biannual, week-long holidays in the orange groves of Andalucia.
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www.everybodyballet.com
Nike Dunk Low ID £85
Foot Roll, Bunheads Dance Direct £6.50
Cashmere snood Hush £65
Nike Tech Fleece Hoodie £65
THE WARM-UP
Chaturanga Yoga Vest Sweaty Betty £55
Nylon Pack Cloth Bag, American Apparel £16 Mother of Pearl track pants £195 Equipment cashmere sweater £300,Mother of Pearl shoes £250 All Net-a-Porter
Hydrate Water Bottle Sweaty Betty £15
Cotton Terry Shorts, T by Alexander Wang Net-a-Porter £140 SBS Leather Ballet Shoe Dance Direct £4.60
INSPIRATION
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THE PRODUCTION: LEST WE FORGET BARBICAN, 2-12 APRIL 2014 Honouring the 100th Anniversary of the Great War, award winning choregraphers, Akram Khan, Russell Maliphant and Liam Scarlett will create a selection of works in collaboration with the English National Ballet. For any dance devotee, this exciting fusion of contemporary and traditional ballet will be a must. And if you wish to enhance your experience further, there will be an opportunity to take class with Akram Khan and explore the choreography of Lest We Forget on the 12 and 13th April. www.barbican.org.uk
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THE WORKOUT: BALLET BEAUTIFUL BY MARY HELEN BOWERS $18.99 Not only the trainer behind Natalie Portman’s performance in Black Swan, this former New York City ballerina gave the Victoria’s Secret Angels a workout they would never forget. And if the Angels are doing it, you know the results are going to be good!
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www.balletbeautiful.com
THE EVENT: MOVE IT 7-9 MARCH 2014, OLYMPIA With over 220 masterclasses and taster sessions to experience and over 100 live performances, MOVE IT is a dancers paradise. Join Ballet Boyz, The Royal Academy of Dance, the cast of westend dance hit STOMP and The English National Ballet Youth Company, as they take to the stage. Darcey Bussell CBE will be on the couch, giving tips of the trade. And, if your in the need for a little retail therapy, top brands such as Bloch and Capezio will be on hand with the latest in dancewear. Enjoy..... www.moveitdance.co.uk
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INSPIRATION THE SHOWSTOPPER: THE GLAMOUR OF ITALIAN FASHION, The V&A 5 April - 27 July 2014 Showcased through the movers and shakers behind Italian fashion, this glamourous exhbition examines the impact of a nation renowned for it’s luxurious quality and style. With 90 ensembles and accessories on display, it will undoubtedly be a fashion affectionicado’s paradise. And with designers such as Valentino, Pucci, Gucci, Missoni, Giorgio Armani, Prada, Versace and Dolce & Gabbana on show, there just might be a few numbers calling out for a twirl. www.vam.ac.uk
THE LOOK: LISA ELDRIDGE MAKEUP TUTORIAL For a dramatic ballet look, watch celebrated makeup artist Lisa Eldridge perform her magic on Royal Ballet soloist Roberta Marquez. Inspired by the ballet La Bayedère, Eldridge uses small diamante pieces and soft pink hues, to transform Marquez into a Bollywood-esque Sleeping Beautry. The tutorials are endless, ranging from creating the perfect base to perfecting liquid liner cat’s eyes. Eldridge has worked with all the major glossies, including collaborations with No.7, Chanel and Shiseido and with over 20 years experience in the industry, they are the best tips in the business. Totally addictive! www.lisaeldridge.com From left: MakeUp Forever Graphic Glitters, Dior 5 Couleours Designer Pink Design 808, YSL Rouge Volupté
fire starter
The drama and fire of flamenco hits Sadler’s Wells this spring, with one of Spain’s most vibrant and popular stars, Sara Baras. Renowned for injecting her performances with colourful creativity and ingenious footwork, Baras brings to London a production close to her heart, “La Pepa”. Sara, what do you love about flamenco? I love the freedom of Flamenco dance. It has a wide language without having to forget your roots. ..and how do you think your style of dancing has changed over the years? I haven’t stopped learning in all that time - and I still do, of course! It’s thanks to the characters, choreographers, theatres, shows and projects that keeps the experience alive. Flamenco is different to other forms of dancing in that maturity is celebrated and revered. That must be a wonderful feeling? Yes, you feel like your growing. Your dance becomes more mature, with more sense of purpose and with more artistic weight. You have a lot more fun!
WHO’S HOT The show recreates scenes from the 1800’s until the present day, using the constutional monument in the Plaza de España as the focal point. It commemorates the horror of the war, the importance of a historical constitution - hope, happiness, life and freedom. I know your a great lover of fashion, how important are costumes in the flamenco experience and at what stage do you start thinking about what form they should take? Each person has a specific order in which they like to work. Sometimes a feeling can come right at the start of a new piece work. In my case, the first costume ideas come from the choreography, then the music, the scenotography and the lighting. For me it is very important to tie these together, it helps you to dream, and to make the audience dream!! Thank you Sara.
Do you ever feel that performing in such large venues rather than tableos affects the intimacy of the performance? No, I don’t think so. I think Flamenco can be adapted to any space. And what about spontaneity and innovation, which are considered so essential to Flamenco? Do you feel that it’s difficult to convey such attributes in a well rehearsed production? With Flamenco there’s a place for everything. Improvisation comes into play when you let yourself go, not only with your dancing but also when your singing or playing the guitar. How do you put together a production? There are so many threads - costumes, storyline, music and choreography how do you tie it all in together? The first thing is to research - to read, to travel and to dream about it. The next step is to create a script illustrating the storyline, the message, style and the texture etc. Once you’ve put together a good team it comes down to just hours of hard work and rehearsing! In previous productions you’ve drawn inspiration from historic Spanish females. Does “La Pepa” draw on the same influences? Flamenco is a very rich art form. It gives you the freedom to perform any type of character. In “La Pepa” the opinions of the citizens are represented by the main female character. So what is La Pepa about? La Pepa is about Cadiz, which is my hometown. The name refers to the Spanish Constitution of Cadiz, regarded as Spain’s first constitution. it was signed on March 19th, which in Spain is Saint Joseph’s day or La Pepa ( a nickname for Josephine).
La Pepa, Sadler’s Wells Theatre 1-8 March 2014 www.sadlerswells.com
Breasts, Burlesque and Bullet Bras
Corsolettes, torsolettes, waist cinchers and waspies, once the language of 1950’s lingerie and today the wish list for Kate, Rihanna and any budding Burlesque star. And where can one find such trapppings? What Katie Did, of course! Walking into What Katie Did, off the Portobello road, is like walking into a sumptuous sweet shop, full of luminous fineries in sherbet colours. The beautiful Marlene collection catches your eye as you open door. Bullet bras and high waisted knickers in rhubarb and custard and rails of peach sheen bring up the rear. But, this is no boudoir. There are no dimly lit tasseled lampshades or faux chinoiserie screens, there is a feel of a 1920s gentlemen’s grooming shop. All walnut wood and refined glamour. This comes as no surprise. Katie Halford, creator of What Katie Did, has single handedly turned a whim for fullyfashioned stockings into an international vintage inspired brand. Where did it all start? In a fetish shop! “One of my first (only) jobs was at a fetish store called Skin Two,” laughs Katie, “it was there that I was introduced to proper fully fashioned stockings and steel boned corsets’. It was a baptism of fire. Surrounded by other sales girls, who took the look to extremes in corsets and longer lined bras as outerwear, Katie became a keen vintage lingerie collector. But it was the stockings that really held Katie’s interest. “They are a luxury item, no one needs to wear stockings today. It’s purely your choice, and if you do wear them it says a lot about your personal style”. When Skin Two stopped importing nylons to concentrate on their own line, Katie found herself in a dilemma. “I was left without an affordable source
an affordable source of seamed stockings so decided to set up a little website which allowed me to buy at wholesale“, she explains. “ At the beginning the plan was really just for the site to pay for my expensive stocking habit, but gradually it took off”. With stockings under her belt, Katie’s obsession shifted to producing a product that defined the shape of the 1950’s the “bullet bra”. Katie recalls a colleague at Skin Two who “always wore longline bras with pointy cups. She told me that when you took them off your breasts stayed pointy for a while afterwards – I was so disappointed when I found out it wasn’t true!” The bullet bra is quite something. An ingenious piece of design, modelled so expertly by the likes of Marilyn Monroe and Jane Russell. Indeed, the whole female cast of ‘My Week in Marilyn’ were reinforced with the bullet bra. The pads, which can be added to emphasize the shape, were worn by the dancers in the 2012 Olympic ceremony, to give subtle shape. Crafty eh? From bullet bras to corsets, and corsets to merry widows, the collection grew and grew. “The 1950s was the last decade where women had curves”, says Katie, “but women’s figures have changed over the years and the challenge has been to combine a vintage look with a modern woman.” Indeed by accentuating curves, Katie’s brand became the new ‘go to’ for Burlesque performers and aficionados alike. “Burlesque did catch me unawares’ she confesses. “I never classed us as ‘Burlesque’ and in the early days didn’t use the word on the website, in case I was accused of jumping on the bandwagon. It wasn’t until we won ‘Burlesque Costumier of the Year’, in 2007, that I thought maybe it was ok to use the “B” word”. Since then the relationship between the two has well and truly been embraced. Performers have modelled What Katie Did products. Miss Polly Rae, star of the Hurly Burly show, even comes into the shop to hold “how to unpeel your stockings” workshops! For Katie, authenticity is key “Working with 1950’s style lingerie it was obvious that we needed to work with 1950’s style models and luckily they all approached me”. With that in mind Katie has set up quite a team with pin up photographer Tony Nylons, 1950’s inspired fashion designer Bernie Dexter and Katie’s burlesque models. ”Things really took off when we teamed with Tony in early 2006. He’s as obsessed with detail as we are, and as we’re all into the 1940’s and 1950’s. I think we really take the styling for granted”. Perhaps one of the most fascinating aspects of Katie’s success is how her niche market products have become the perfect prop for high-end fashion magazines and celebrity photoshoots. Katie has produced a vintage inspired brand with street cred, which is quite some feat. Her subtle but glamorous lingerie has become the stylist’s fail safe, leaving her competitors bejazzled and bejewelled versions rather lack luster. “Skin Two is to blame for everything” she smiles. Who knew fetishism could bring such fruitful rewards?