EYE OF THE STORM ST KIDS Spring / Summer 2012
contents
03
Spring / Summer 2012
Right: Thunderbirds’ Lady Penelope. Below right: Steve McQueen with his son, Chad. Below, Sophie wears: navy and white dress, £15, river island. Blue socks, £19, Caramel. White sandals, £34, Clarks
On the cover: Photography: Stefano Azario. fashion editor: Kate Van Der Hage. Suede waistcoat, £35, Their Nibs. Shirt, £49, Millie Manu. Jeans, £73, Guess Kids. fringed cardigan (on the ‘mystery arms’), from £118, Antik Batik
30
22
42
EDITORIAL Editor Joanne Glasbey Deputy editor arabella Dickie Chief copy editor Chris Madigan Senior copy editor Gill Wing Copy editor Sarah evans Contributing editor Daisy Bridgewater (trends) DESIGN Senior art director Ciara Walshe Picture editor Juliette Hedoin Editor in chief Peter Howarth Creative director ian Pendleton COMMERCIAL (UK) Executive director Dave King Publishing director toby Moore 020 7931 3350 Director of fashion and luxury Carley ayres 020 7931 3328 COMMERCIAL (ITALY) K.Media Srl Via Cavalieri Bonaventura, 1/3 20121 Milan, italy +39 02 29 06 10 94; kmedianet.com
Stefano azario; GLoBe PHotoS
SHOW MEDIA 020 3222 0101 Ground floor, 1-2 ravey Street, London eC2a 4QP info@showmedia.net www.showmedia.net Printing: Polestar Chantry (polestar-group.com) Colour reproduction: fmg (wearefmg.com) St Kids is designed and produced by SHoW MeDia LtD for the telegraph Media Group. all material © Show Media Ltd and telegraph Media Group. reproduction in whole or part without written permission is strictly prohibited. While every effort is made to ensure the accuracy of the information contained in this publication, no responsibility can be accepted for any errors or omissions. the information contained in this publication is correct at the time of going to press.
07 growing pains A birthday party is the
highlight of a child’s year – but it’s more of a bane than a boon for parents, says Viv Groskop
11 trends Olympics-inspired, quirky British style in a patriotic palete; plus nostalgic Seventies prints and traditional shapes
14 news Liberty’s new kidswear department; the return of Paddington Bear; Rococo eggs
22 helter skelter Rocking out in leather, denim and fake fur. Accessorise with atitude
30 punch line On the 350th birthday of
a certain seaside sideshow star, Robert Ryan traces the history and popularity of puppetry
32 daily bread Take the fuss out of family meals with the new cookbook from Planet Organic founder Renée Elliot
16 children’s storeys The doll’s house gets
34 sunny delight Spring heralds a burst of
19 the house of fun The V&A Museum of
42 telling tales The life lessons actor/producer
a revamp (not to mention a lif and balconies)
Childhood marks its 140th year
bright colours and togs to get out and about in
Chad McQueen learnt from his father, Steve
growing pains 07
Illustrations Katherine Streeter
GAME ON
Children’s birthday parties, says Viv Groskop, are part bank raid, part bake-off, part batlefield. Have fun
Aren’t children’s parties just the most exciting events? A chance for your litle darlings to have the time of their lives with their adorable litle friends, having all their favourite food and treats, beaming up at you with gratitude and all the innocence of childhood. See how the children squeal delightedly as the affordable, fun entertainer regales them with some hilarious, Mr Tumble-style anecdotes! Marvel as they dance with wild abandon to the Steps soundtrack with the infectious joy only a four-year-old can muster! And pat yourself on the back as they provide you with the photo opportunity you have been waiting for all your life as a parent. A picture that shows them at their most content, calm but infused with joy. Or not. Because who has ever seen a children’s party that looks anything like that? It’s more like Armageddon with chocolate fingers, a ripped Spider-Man costume and the not-so-faint smell of someone who is pretending to be a bit beter poty-trained than they actually are. The overpriced, double-booked village hall usually resembles a small-scale re-enactment of the raid on Lidl in last year’s riots. Children who usually dine exclusively on Abel & Cole organic fruit and veg have overdosed on sugar like junkies on their dealer’s first day back from holiday. And your own offspring
08 growing pains
are the ringleaders in increasingly violent and uncontrollable physical dares. And the wincingly expensive entertainer, who smells vaguely of alcohol and disappointed showbiz dreams, is complaining that he needs to leave in half an hour to get to another gig where they’re paying him in cash, hint, hint. This is the reality – painful, insane-making and more stressful than the most frightening board meeting. Unless someone vomited on to the boardroom table and screamed, ‘It’s not fair. I wanted a pink cup.’ We must love children’s parties as a nation, though, because we remortgage our souls to afford them. A recent survey by Holiday Inn found that the average annual parental spend on parties is £269. This adds up to a self-loathingly eyewatering £5,000 spent on parties before a child reaches the age of 18. And, remember: that is the average. Some people are spending a lot more. It’s almost impossible to avoid being caught up in the madness – unless you don’t mind your child becoming a social pariah and accept no invitations so you do not need to hold any parties in return. Heaven knows, I have considered it. I even tried to ban presents from my own children’s parties because I was so
‘The overpriced, double-booked village hall resembles a re-enactment of the raid on Lidl in last year’s riots’
distressed by them receiving 20 gifs at once. The other parents branded me cruel and refused to comply. It’s all very well pretending you’re above these things and won’t play along. Good luck with that. I still remember how I laughed at unfortunates before I became a parent myself. Oh yes, back in the good old days – I’m remembering a time when cheese and pineapple sticks were just a distant memory and I had never heard of Haribo, much less restructured my entire life around the avoidance of it – whenever friends told me what they had paid for a children’s entertainer. ‘£200 sounds like a lot of money,’ they protested feebly, ‘but it’s so worth it.’ I almost wet myself with hilarity at their stupidity and profligacy. Within three years, I was on the phone in tears begging for the extortionate entertainer’s phone number. Parenting makes chumps of us all, and parties are the ultimate in lowering yourself to the level of the person you swore you’d never be. The party bag is the final humiliation. The survey says the average cost is £3.77 per bag. If only. Have you tried filling a bag with things a child would actually want for less than £5? I have tried everything: mini-packs of raisins and yoghurt-covered fruit snacks, homemade mini cakes, discarded Christmas cracker toys. It’s like a task on The Apprentice – designed to make you look like an idiot. ‘So why bother?’ a devil voice whispers to me every time a birthday rolls around. And then I hear the rival tones of my child’s future therapist: ‘So, your mother let you have parties but there were never any party bags? That sounds painful. And there was a ban on presents? Tell me more.’ You try to keep costs down – along with the pressure to create The Greatest Day of Your Litle Life So Far, Beloved Child! – but there is no geting away from it: this is the familial equivalent of Judgement Day. And by your cake-baking skills shall ye be known. The only consolation is that they grow out of parties by about age six or seven – although, then, you have to take small groups of them on special trips to cinemas, bowling alleys and places where you can do paint-balling instead. Which is even more expensive and only marginally less stressful. At the last party we hosted – and I really hope it is the last party – the turning point came when I turned to my husband and atempted to shout above a sound resembling that which resonates within the seventh circle of hell: ‘How far’s the nearest A&E?’ I had spent so long calculating the correct numbers of miniature Smarties packs, individually iced fairy cakes and Fair Trade brownies (no nuts, of course!) that I had neglected the only really salient factor in organising a children’s party: will you cope when (not if) there is a concussion incident? I guess I probably will host another children’s party. But not before I have graduated from a St John’s Ambulance First Aid course. And that is not going to happen for a very long time. Viv Groskop writes for Red and Harper’s Bazaar; and is a stand-up comedian and BBC Radio 4 regular. She has three children aged between one and eight
trends
11
1 2
Words Daisy Bridgewater Illustrations Jess Wilson
3
hazy nostalgia
6
5
With their fingers in their ears and their eyes tightly shut, designers thoughts this season have drifted stubbornly back to memories of their own childhoods in
4
search of inspiration for a distinctly nostalgic take on dressing. Refusing to acknowledge the bleak state of the grown-up world, they have immersed themselves in a rose-tinted version of a Seventies childhood, casting aside memories of union strikes and civil unrest to dwell on childish motifs and storybook images. Cue vintage florals, muted colours and innocent silhouettes that hark back to a time when everything seemed so much simpler. There is no better time than now to dress your child as a child should be.
7
13
8
1 Animal cushion, £30, Wu & Wu. 2 ‘Zoo’ bag in canvas with leather handles, £315, Gucci. 3 ‘Summer Swirl’ print top (4-10yrs), from £70, Paul Smith Junior. 4 ‘Daisy Pear’ petticoat skirt (2-14yrs), from £22, Mini Boden. 5 Floral cotton sun dress (6-14yrs), £57.50, Guess Kids. 6 Faded denim jumpsuit (4-12yrs), from £155; crochet bag, £72; and leather belt, £44, all Bonpoint. 7 Floral-print ‘Ribbon’ bikini (4-13yrs), £39, ilovegorgeous.
8 Floral-print hooded coat (12mths-7yrs), from £16, Marks & Spencer. 9 Short-sleeved Hawaiian shirt (3-12yrs), £14, River Island. 10 Floral-print retro sunglasses, £4, Marks & Spencer. 11 ‘Genesia’ sandals, £42.50, Primigi. 12 ‘Mariposa’ bag, £19.90, Lelli Kelly. 13 Floral-print cotton jumpsuit (2-8yrs), from £178; floral-print cotton dress (2-8yrs), from £188, both Armani Junior
9
10
12
11
12 trends
1
flying the flag
2
With a high five to the Olympics and a curtsey to the Queen, this is the season to hang out the bunting, get in on the party and celebrate being British. Children’s wear designers everywhere have been unable to resist the appeal of red, white and blue. There’s a patriotic edge to everything from beach to formal wear. Never were red shorts more appropriate, nor deck shoes more now. Tie your colours to the mast and team stripy blazers with
10
white trousers and panama hats. The rebirth of Cool Britannia rules the waves – and the sand,
3
and anywhere else kids want to play.
9
12
11 0
4
8
5
13
6
7
1 ‘Jubilee’ dress (2-13yrs), £88, ilovegorgeous. 2 Stretch gabardine jacket, £230; cotton twill shirt, £155; stretch gabardine trousers, £155 (all 4-12yrs); belt with double G buckle, £100; silk bowtie, £60; suede moccasins (sizes 27-33), £190, all Gucci. 3 Cotton and cashmere jumper (2-14yrs), from £29, Mini Boden. 4 & 5 ‘Union Jack’ helmet, £24.99; ‘Brit Pop’ scooter, £119.99, both Kiddimoto. 6 ‘Cailor’ cardigan, £62; ‘Tarlet’ top, £36; ‘Pilary’ shorts, £53; and ‘Bowrain’ boots, £53, all SuperTrash at Childrensalon. 7 Cotton striped shorts (2-14yrs),
from €70, Il Gufo. 8 Jacket, £130; white T-shirt £55; shorts £45; navy t-shirt £55; shorts £45; blue and white stripped T-shirt £45; white chino trousers £70; all Hackett. 9 Junior Docker shoes (s8-l3), £24.95, Joules. 10 Striped cotton blazer, £246; linen shirt, £112; cotton and linen trousers, £118 (all 1-7yrs), all Simonetta. 11 Cotton ‘Phoebe’ dress (3mths-12yrs), from £69, Caramel Baby & Child. 12 Bow jacket (3mths-6yrs), from £15, Next. 13 ‘Guards’ suitcase, £25, Cath Kidston STOCKISTS DETAILS ON PAGE 42
14 news
Words Arabella Dickie
make and do
thE bEar is back
an EyE for stylE
One of the most enduring children’s
Fans of British eyewear brand Oliver
literary characters, the duffle-coated
Goldsmith can now spread the love to
Paddington’s earnest good intentions
the whole family, following the launch
and humorous misadventures have
of OG Mini Icons – a sunglasses collection
delighted fans for 50 years. Hot on the
for children aged 4 to 14. Protect little
heels of the new app and picture book,
eyes without compromising on style with
Paddington Goes for Gold (HarperCollins,
exact replicas of some of the company’s
£10.99), is a brand-new illustrated novel
most popular adult designs, such as
from master storyteller Michael Bond.
‘Sophia’ and ‘Car’. Scaled down for the
The highly topical Paddington Races
fashion-savvy adolescent, the high-end
Ahead (HarperCollins, £10.99, published
shades are neither gimmicky nor too
littlE wondEr
26 April) sees the nation’s favourite
grown-up. Choose from ‘Mini Carl’,
Liberty’s third floor has been transformed
marmalade-lover getting into all sorts
‘Sophia’, ‘Lord’, ‘Bude’ and ‘Glyn’, available
into a whimsical children’s wear
of scrapes in a sports-crazy London.
in four vibrant colours, priced £95.
department, showcasing an eclectic mix
harpercollins.co.uk
olivergoldsmith.com
of toys, gifts, accessories and books. Spanning more than 2,000sq ft, Little Liberty is dotted with candy-striped rugs, crocheted pouffes and larger-than-life handmade felt toys, and has an interactive play space – and the whole thing is overlooked by a vast nature-scene mural. The new space features stalwart Liberty brands such as Stella McCartney, Paul Smith, Barbour and Chloé, as well as playing host to kids’ clothing debuts from Folk and Oliver Spencer. liberty.co.uk
bridging thE gap Following in Stella McCartney’s footsteps, Diane von Furstenberg has launched a range for GapKids and babyGap. The spring 2012 collection, for 2- to 14-year-olds, priced from £9.95, is described as a ‘little girl’s dream wardrobe as imagined by an icon of American women’s fashion’. It’s brimming with mini versions of the classic DVF wrap dress and leaf-motif prints, as well as summer wardrobe classics that include T-shirts, cropped trousers, swimwear, sunglasses and espadrilles – the perfect mix of pretty and roughand-tumble essentials. gap.eu
Globetrotting parents looking for savvy advice for travelling with tots n tow can now rely on the trusty beacon of Little Luxe City Guides, £4.99. Launching with Hong Kong, Singapore and soon Bali, the new, pocket-sized spin-off from the adult Luxe guidebooks offers the lowdown on the finest family-friendly hotels, activities, restaurants and shopping in sharp reviews by resident writers (with children) who know their cities. luxecityguides.com
i should (ro)coco Rococo Chocolates has a feast for the eyes as well as the taste buds this Easter, in the shape of hand-made treat-filled eggs, produced in collaboration with quirky designer-of-the-moment Donna Wilson. Wilson’s animal characters are painted on white chocolate backed with a thick dark chocolate layer. They’re almost too beautiful to eat. From £17.50. Available from Rococo and SCP stores
HACKETT.COM
LITTLE BRITONS
16 plaything Words Arabella Dickie
children’s storeys New York-based design firm Brinca Dada – from the Brazilian ‘brincadeira’, meaning ‘game’ – has revolutionised the concept of the doll’s house. Eschewing the usual gaudy, plastic monstrosities, as well as stuffy and antiquated Victorianstyle structures, the toy company has created a range of miniature architectural gems that would be a welcome addition to any style-conscious household. There is certainly no place for Barbie and Ken in the Bennett House, designed with minimal colours and strong lines in the tradition of the Schröder House by Dutch architect Gerrit Rietveld, a pioneer of the 20th-century De Stijl movement. The trendy toy townhouse features a two-storey living room, lift, rooftop pool and glass-railed balconies off the bedrooms. Not just a pretty face, the Bennett House is made using eco-friendly wood and non-toxic, lead-free paints and stains, so it is easy on the environment, too. Just try to share it with the kids. Bennett House, $599 (36in x 21in x 21in), brincadada.com
y r a n i d r o a r t x e an
e r u t n e v ad
books
Best Selling Telegraph Children’s Books SAVE £5
The Quite Right Stories Robin Page – full five-book set only £29.95 In a style reminiscent of Rudyard Kipling’s iconic Just So Stories, Robin Page now brings us The Quite Right Stories, illustrated by some of Britain’s best artists and illustrators. These popular stories make the British countryside come alive for all readers aged between six and 106. Meet the fox, hedgehog, rabbit, reindeer and heron – with a smile on every page.
With each full set purchased, 50p will be donated to the Red Squirrel Conservation The hugely successful Why the Squirrel Hides its Nuts has now been reprinted and is available at £5.50, also with a 50p donation to charities and voluntary bodies that are helping to save red squirrels.
The What on Earth? Wallbooks With more than 1,000 illustrations depicting millions of years of evolution, these wallbooks provide an exhilarating and unique journey through the past. Including the story of the plant, life and humanity, the books chart the rise and fall of civilisations, groundbreaking scientific discoveries,
the top 100 battles and the people that have shaped the Earth’s story of across the millennia. This is an entertaining and delightful representation of natural and human history that both children and adults will enjoy and can either refer to again and again or admire on the wall.
SAVE £7.50
£15 each - save £2.50 Or buy both for £27.50 and save a total £7.50
Call 0844 871 1514 or visit www.books.telegraph.co.uk Please add 99p p&p for orders of £9.99 and under, or £1.25 p&p for orders of £10 and above (call for overseas rates). Please add an extra 25p p&p for any additional books. Lines open Monday to Friday 9am-6pm; Saturday 9am-5.30pm; Sunday 10am-4pm. Calls cost no more than 5p per minute from BT landlines (other networks may vary). Post cheque to Telegraph Books, Orders Dept, PO Box 582, Norwich NR7 0GB. Products are purchased from, and your contract is with, Bertrams Group Ltd, not Telegraph Media Group Limited.
culture
19
the house of fun
Words Arabella Dickie Illustrations Luke Best
For 140 years, the V&A Museum of Childhood has chronicled the stuff of youth for the enjoyment and education of old and young alike
Celebrating its 140th anniversary this year, the V&A Museum of Childhood, in Bethnal Green, east London, is one of London’s much loved institutions – a treasure trove of artefacts that captivates the 400,000 visitors that pass through its doors annually. The cathedral-like space is arranged into four galleries, hosting a programme of temporary exhibitions as well as one of the world’s finest permanent collections of children’s games, clothing, toys and furniture, spanning the 1600s to the present day. It is impossible not to fall into a nostalgia-fuelled reverie as you meander through the first-floor Creativity and Moving Toys galleries, nose pressed to glass cabinets that house the classics of playtimes past. A timeline of dolls, puppets and action figures starts with a wooden figure made from a paddle in 1300BC and includes a doll from the court of King James II, 200-year-old Japanese puppets, Native American rag dolls and 20th-century favourites Sindy, Barbie and Action Man as well as Star Wars merchandise. Sons and fathers alike, meanwhile,
are invariably drawn to the cabinets crammed with Lego, Meccano and Stickle Bricks before the Sixties Scalextric track in the Circuits & Motors section beckons. Occupying the second floor is clothing, furniture and baby paraphernalia. Yet it is the village of doll’s houses from the Georgian, Victorian and Edwardian periods that draws the crowds. It includes Ron Arad’s Kaleidoscope House from 2001 and the Nuremburg House, built in 1673 ‘to teach girls how to run a household’. Precious items aside, the museum isn’t all glass cases and ‘No Touching’ signs. As well as offering arts and crafts activities, it has storytelling corners and interactive displays, including a giant ‘beach’ sandpit and a sensory pod with audio vibrations, textured surfaces and visual effects. While it’s the contents that steal the show, it’s also important to look beyond them, because the aircraft hangar of a glass-and-iron building in which they’re housed can lay claim to a history as colourful as the objects it
20 culture
‘It’s important for people of all ages to rediscover the magic of childhood and ponder what it’s like to be a child’
contains. Its story begins with London’s Great Exhibition of 1851 – a vast international trade fair of culture and industry that was the brainchild of Prince Albert and the future inaugural director of the V&A, Henry Cole. Surplus objects were housed in the new South Kensington Museum, a temporary corrugated-iron structure. Nicknamed the Brompton Boilers for its tripartite shape, one newspaper described it as a ‘huge, lugubrious hospital for decayed railway carriages’ whose ‘ugliness is unmitigated’. Aesthetics aside, it was a success, and permanent buildings were gradually added alongside it – the origins of today’s V&A, Natural History and Science Museums. In 1864, in an attempt to motivate the foundation of community museums, each of the three ‘boilers’ was offered to neighbourhoods in north, east and south London. Only the east showed interest. Construction began on a plot in Bethnal Green and, in 1868, the entire iron frame was transported there by teams of horse-drawn carts. The new Bethnal Green Museum was opened in June 1872, yet its purpose remained vague and few locals were interested in assisting in its running. The inaugural exhibition included food and animal products from the Great Exhibition of 1851, an anthropological collection loaned by the Pitt Rivers Museum in Oxford and Sir Richard Wallace’s 18th-century French paintings, which would
later form the Wallace Collection. And London’s press wasted no time in satirising its siting in what was one of the poorest and most uneducated slums in London. It wasn’t until 1922 that the formation of the Museum of Childhood inadvertently began. Head curator Arthur Sabin was tasked with reorganising the collection and, noticing it was frequently filled with bored youngsters, sought to make it more child-friendly. A classroom was built and the sourcing of relevant objects began – even Queen Mary donated her toys. Over the next 20 years, the collection grew steadily in popularity and size. Sabin’s vision was fully realised in 1974, when the new director of the V&A, Roy Strong, instigated the reopening of the institution as the Museum of Childhood. Then, in 2004, a £3.5m grant from the Heritage Lottery Fund gave it the financial boost it had desperately needed for so long. Under the guidance of architects Caruso St John, the interior was revamped, lifts and a teaching space were added and a new entrance space was built. Henry Cole would have been pleased to note that the museum continues to nourish and support its east London home on a daily basis. ‘The profile we give to our community work is extremely high,’ confirms director Rhian Harris. A display near the entrance showcases just such projects – a recent installation entitled The Stuff of Nightmares explored the darker side of fairy tales and featured a sinister forest, designed by children with the help of local artists, which was filled with the more menacing toys from the collection. Eighty per cent of adults visit the museum with children, yet Harris is keen to stress that it should cater equally to old as well as young. ‘It’s important for people of all ages to rediscover the magic of childhood and ponder what it’s like to be a child. Adults need to feel comfortable here, too – after all, we are the National Museum of Childhood, not a children’s museum.’ This perception is perhaps one of the institution’s greatest challenges, though schemes have recently been put in place to ensure its wider appeal. A recent exhibition of photographs by Julia Margaret Cameron was evidently aimed at a more mature audience, and themed adult evenings and talks have been introduced to up the intellectual agenda. For Harris, there is still much to be done. One ambition is to explore the more controversial elements of childhood. ‘We focus on the history of play and do so very well, yet we need to present a more rounded view of childhood.’ he says. ‘Serious and poignant displays are just as important as those that are fun and nostalgic. It’s about getting the right balance between the two.’ With that in mind, it’s perhaps unsurprising that his favourite item from the collection is a Victorian memorial album made by the parents of a boy who died of croup shortly before his 10th birthday. Not currently on display, it opens with a photograph of the boy as a baby and finishes with images of his grave. ‘The way we access history now is through personal stories,’ says Harris. ‘We learn a lot about ourselves through learning about the past of others. The wonderful thing about childhood is we can all identify with it. Whatever class or century we were born into, it resonates with all of us.’ To mark the museum’s 140th anniversary, a photographic exhibition depicting its history is on display until 8 July; vam.ac.uk/moc
ST promotion
21
BRIGHT SPARKS Zingy colours and cool styles from River Island
With the summer months ahead, River Island has exploded into a burst of colour with an S/S12 kidswear collection for ages 3 to 12 that is ablaze with rainbow-bright shades, playful motifs and on-trend styles. There are cool prints and patterns-a-plenty for the girls, with designs ranging from floral embellished tunics to Aztec-inspired print leggings and lace detailed tops. Boyswear offers the perfect rough-and-tumble essentials including slouchy slogan tops and cargo shorts, teamed with a vibrant selection of colour pop plimsolls, printed desert scarves and bright checked shirts. Thanks to River Island kick-starting summer style, young ones can look cool even on the hottest day.
To view the full collection and for your nearest store visit riverisland.com
Above, left to right: Jacket, £20; dress, £20; plimsolls, £14. Stripe T-shirt (from an Aztec/Stripe two-pack), £12 per pack; chinos, £15; plimsolls, £14. Right, from left: Check shirt, £12; T-shirt, £6; denim shorts, £12; denim cap, £7; plimsolls, £14. T- shirt, £10; shorts, £15. Hoody, £12; stripe T-shirt (from an Aztec/Stripe twopack), £12 per pack; shorts, £12; trilby, £8; espadrilles, £8. Floral waistcoat, £20; vest, £10; floral jeans, £20; shades, £14; bag, £14, all River Island
Rip this joint From left, Italo wears: Dark grey ‘High Woods’ print T-shirt, from £33, Scotch Shrunk at Selfridges. Blue denim jeans, £73, Guess Kids. Cotton jersey snood, £7, River Island. Black boots, £35, Next. Alex wears: Grey cotton waistcoat, £64, and T-shirt with American flag appliqué, £29, both Scotch Shrunk at Selfridges. Striped navy and cream trousers, £115, Bonpoint. Grey felt hat, £30, Rokit. Esme wears: Striped nylon vintage jacket, £45, Their Nibs. Denim flared ‘Jet’ jeans, £53, Stella McCartney Kids. Red canvas pumps, £12, River Island. Jeffery wears: Black waxed jacket with Union Jack lining, £149, Barbour at Harrods. Blue and white striped ‘Eddie’ shirt, £40, No Added Sugar
HELTER SKELTER With a nod to the evolving styles of The Beatles and The Stones, kids can mix up folky waistcoats and coton trousers with rocking leather jackets and printed T-shirts PhotograPhy STEFANO AZARIO FaShIoN EDItor KATE vAN dER HAgE
Another girl Opposite, Esme wears: Blue and white striped cotton jacket, £163, Bonpoint Midnight rambler This page, Alex wears: Green leather vintage jacket, £60, Their Nibs. Blue floral-print shirt from £78, Paul Smith Junior. Striped blue and silver silk tie, £60, Armani Junior at Harrods. Navy and cream striped trousers, £115, Bonpoint
Dancing with Mr D Sophie wears: Pink and brown knitted cotton fringed cardigan, from £118, Antik Batik. Beige gold-print T-shirt, £29, Scotch R’Belle at Selfridges. Denim embroidered ‘Hula’ shorts, £71, Stella McCartney Kids. Blue knee-high rib socks, £19, Caramel. Red leather sandals (just seen), £34, Clarks. Dominic wears: Vintage tan suede fringed waistcoat, £35, Their Nibs. Brown and cream cotton shirt, £49, Millie Manu. Jeans, £73, Guess Kids. Shoelace worn as bolo tie, stylist’s own
A day in the life Alex wears: Striped green cotton jacket, £142, Bonpoint. Striped cut-off T-shirt, £10, River Island. Grey skinny ‘Beau’ trousers, from £68, Caramel. Black boots, £35, Next
I wanna hold your hand Italo wears: Blue and white striped shirt with ‘Guess’ appliqué, £57 Guess Kids. Sophie wears: Clear thick-framed glasses, £49, American Apparel. Peach embroidered Fifites-style vintage shirt, £30, Their Nibs.
Jumpin’ Jack Flash Italo wears: Black leather jacket, £315, Diesel. Denim waistcoat, £20, and printed T-shirt, £10, both River Island. Dark denim jeans, from £95, Armani Junior at Harrods. Red leather vintage Dr Martens, £45, Rokit STOCKISTS DETAILS ON PAGE 42 Hair Brent Lavett at Art Department Digital by Dario Catellani Models Italo and Esme; Sophie at Model Club; Alex, Jeffery and Dominic at Generation Model Management Production/casting The Production Factory
PUNCH LiNe
Britain’s favourite bad boy first showed ‘the way to do it’ 350 years ago, starting a puppet dynasty that, despite technological advances, remains as strong today WORDS ROBERT RYAN
The hero of the show is not conventionally handsome, to say the least, but his looks are pretier than his actions, which are those of a full-blown sociopath. It begins with a shocking defenestration: he tosses his baby out of a window. It continues with the callous bludgeoning to death of his wife, the murder of a neighbour’s servant and, subsequently, a doctor and other establishment figures. Yet, even when caught and tried for his horrendous litany of crimes, he cheats the hangman: by hanging the executioner. Next, he beats the Devil himself and finally, he manages to kill Death. This is a character who makes Norman Bates look like a momma’s boy. These days, we would call him an anti-hero, but you’ll know him best as Mr Punch. And it’s his birthday. At least, it’s his nominal birthday. Trying to pin down the origins of this amoral puppet is not easy. A hook-nosed character with a truncheon appeared regularly in Greek theatre around the fifh century BC, portrayed by a human actor. A similar Lord of Misrule was disrupting the action in Italian plays some 700 years later. What became of this troublesome figure afer that is sketchy, until the 15th century, when the Neapolitan farces of the commedia dell’arte ofen involved a clown or a buffoon. The most popular of these was the hook-nosed, hunch-backed Pulcinella, Mr Punch’s Italian ancestor (also begeter of France’s Polchinelle, Germany’s Kasperle, Turkey’s Karagöz, Spain’s Don Cristóbal, among many others). While the original Pulcinella was not a marionete, the theory runs that several companies puting on the comedies found popular clowns were demanding exorbitant wage rises and realised it
was cheaper to have puppets – or, to give them their current politically correct name, ‘constructed actors’ – as the stars of the show. By the time Mr Punch made it over to Great Britain, he certainly came with strings atached. One of his first recorded sightings was by Samuel Pepys in Covent Garden on 9 May, 1662, as part of the festivities surrounding the restoration to the throne of Charles II. The puppet troupe was led by a ‘Signor Bologna’ and featured the disruptive, anarchic Punchinello. The day on which Pepys recorded he had seen ‘an Italian puppet play, which is very prety’ is now celebrated as Mr Punch’s official birthday, making him a sprightly, and still lethal, 350. At that stage, Punchinello was a character in many puppet dramas; within 20 years, his name was truncated and he was the star of his own violent soap opera, complete with Mrs Punch (originally
called Joan, not Judy), the baby, the hangman and the Devil. Soon, crocodiles and policeman also crowded onto the tiny stage and a real dog ofen got in on the act, too. By the middle of the 18th century, he’d crossed the Atlantic and was big in America, although his star faded afer the Revolution, probably because he was associated with perfidious Albion. However, when he was 140 years old or so, Mr Punch seems to have undergone a mid-life crisis and cut his ties to his operator. Around 1800, he changed from being a marionete to a glove puppet. Why? One theory is that mayhem and bodily harm are easier to portray with a glove puppet, which can not only hold a bigger cudgel, but can manipulate objects easier. The competing theory: marionetes are complex, expensive and require a skilled puppeteer, while glove puppets are comparatively cheap and easier to produce and operate. This new version of Mr Punch cemented his fame. The railway bringing the masses to the seaside led to the appearance of hundreds of ‘Professors’ (as a Punch & Judy man has been known since Victorian times) and their ‘botlers’ (who would collect the money and provide music, voices and characters). The show became a children’s entertainment, losing some of the political subtext and the lampooning of the great and the good. It was as if Private Eye had become The Beano. Still, he had traded satire for immortality. But Mr Punch hasn’t been the only puppet show in town over the past 350 years. During the 18th century, there were four puppet companies in the West End, as well as a Chinese shadow-puppet troupe. The marionete theatres of Venice, Munich,
alamy; allInarI archIveS/getty ImageS; munIch cIty muSeum; rex featureS; yI lu/corbIS
puppets
Salzburg and Prague were also offering highbrow entertainment, with complex scripts, scores and special effects. Czech puppeteers Jan Jiri Brat and Matej Kopecky became renowned across Europe for their elaborate shows and there were even those, like German playwright Heinrich von Kleist, who argued that marionetes were preferable to real people, who were too ‘self-conscious’. In Russia, Sergey Vladimirovich Obraztsov popularised the puppet show and created new forms. In Japan, meanwhile, a highly stylised form called bunraku was developed in Osaka towards the end of the 17th century, using puppets, musicians and singers on stage together, and, by the mid-18th century, there were hundreds of such troupes across the country. Although modern audiences have thrilled to the innovative use of puppets in plays such as the version of Equus that starred Daniel Radcliffe and, especially, War Horse, this conjunction of the living and the wooden is hardly new. ‘It’s up-to-the-minute, 17th-century technology,’ admits Basil Jones of the South African Handspring Puppet Company that worked on War Horse. In fact, many of the Czech strolling-player companies that moved around Europe in the 18th century used a combination of actors and puppets to produce variations on stories such as Faust or Don Giovanni. Later, Ravel and Colete created an opera, The Child and the Enchantments (1925), which included singing furniture and objects that come to life. Salvador Dalí’s interpretation of Salomé in 1949 incorporated puppets, while director Julie Taymor is best known for The Lion King, which mixes puppet techniques with live action and masks – a technique she used in earlier productions of The Tempest in 1986 and Oedipus Rex six years later. But it is War Horse that has convinced many puppet agnostics that constructed actors can have an emotional impact. In many ways, the play shows puppetry is returning to its theatrical roots afer a long flirtation with television. In the Fifies, puppets were a cheap way to create children’s programmes. Whole generations of British kids were brought up on Muffin the Mule and Bill & Ben, then the Gerry Anderson oeuvre: Twizzle, Torchy, Four Feather Falls, Supercar, Fireball XL5, Stingray, Thunderbirds, Captain Scarlet and Joe 90. Roberta Leigh’s Space Patrol was a sci-fi rival to Anderson and Jan and Vlasta Dalibor’s Pinky and Perky proved remarkably resilient from their debut in 1957 onwards. Harry Corbet was regularly humiliated by his bear glove puppet in The Sooty Show, as was Rod Hull by Emu. Basil Brush became a national treasure and provided a once-ubiquitous catchphrase. Cheeky Roland Rat saved TV-am, although lovable Monkey failed to prevent ITV Digital sinking. The much-loved show Rainbow, featuring Zippy, George and Bungle, ran from 1972 to 1992. Over in the States, the work of Jim Henson on Sesame Street gave rise to one of the best-loved of all puppet franchises, The Muppets, whose enduring influence can be seen in the hit musical Avenue Q,
31
which has kept puppeteers around the world in work since 2002. Henson and Frank Oz also gave us Yoda from Star Wars, who a puppet clearly is. In the Eighties and Nineties, Spiting Image brought back the satirical use of puppets, to ofen devastating effect – more than one politician and entertainer became convinced their latex lampooning had damaged their careers. Currently the techniques and skills of puppetry are being applied in innovative ways, even if conventional puppets are not directly involved. Harry Poter and the Deathly Hallows: Part 1 has a brilliant animation sequence that owes everything stylistically to shadow-puppet theatre. The popular TV meerkat Aleksandr Orlov is a combination of old-fashioned puppetry, stop-motion and clever digital manipulation. The ‘motion capture’ used with actors in The Lord of The Rings trilogy, The Adventures of Tintin and the forthcoming The Hobbit, which involves manipulating the ‘captured’ characters in real time, is now increasingly called ‘digital puppetry’. So, where does this leave Mr Punch and the dying kiss-me-quick industry? Well, as that cash cow dried up, like any good entrepreneur, he moved into other, more lucrative markets: children’s parties, village fêtes, stately homes, county fairs. However, you can still find him on the prom – Broadstairs, Brighton, Paignton, Weston-super-Mare, Clacton and
Opposite: an illustration of a Punch & Judy show by George Cruikshank, 1828 This page, from top: a Fifties Punch & Judy booth; an actor plays Pulcinello, Italy, 1870; a Chinese shadow puppet; Kasperltheater by Georg Emanuel Opitz; Thunderbirds’ Lady Penelope; The Muppets, 1976
In his 1662 diary, Samuel Pepys recorded seeing ‘an Italian puppet play, which is very pretty’ – it featured the disruptive, anarchic Punchinello Weymouth have all had recent summer sightings. It is estimated there are up to 150 Punch & Judy shows operating in the UK today, and two organisations strive to keep Mr Punch and his pugilistic tradition alive and well: the Punch & Judy College of Professors and The Punch & Judy Fellowship. You can see members of both out in force at the Covent Garden May Fayre and Puppet Festival in London on 12 and 13 May, with the main bash in the churchyard of St Paul’s, Covent Garden, on the Sunday. It will be celebrating that day, 350 years ago, when the red-nosed rapscallion was spoted by Pepys. Expect multiple P&J shows, processions, magic tricks, clowns, food and drink. As Mr Punch might say: that’s the way to do it. Punchandjudy.org; thepjf.com Robert Ryan is the author of 14 novels. His latest, Dead Man’s Land (Simon & Schuster), is due out early next year
daily BREAD
Feeding the family needn’t be an ordeal, according to Planet Organic founder Renée Elliot, whose new cookbook makes good food do-able WORDS AMY RAPHAEL
From me, You & the Kids, too bY renée elliott © Commissioned PhotograPhY bY dan Jones / dunCan baird Publisher
food
Renée Elliot’s passion for food is ridiculously infectious. We talk on the phone in February, when she has been snowed into her Tuscan home for almost a week. She talks of the artichokes and asparagus that will start to grow once the soil warms up, of the nearby markets overflowing with locally grown, seasonal food. She is so enthusiastic, in fact, that when she casually says I should drop by for dinner if I’m ever in the Monte Amiata area, it’s all I can do to stop myself booking a flight there and then. As the founder of Planet Organic, the UK’s leading organic supermarket, it should come as no surprise that Elliot is enthusiastic about eating well. Born in Mississippi, from the age of 10 she grew up in Massachusets in a house with the kitchen at its heart. Her mother was from New Orleans and much of her cooking was Creoleinspired. ‘Food was abundant. We always sat down to eat as a family and everything was home-cooked. A lot of what we ate was grown in my dad’s huge vegetable garden and every night my mum made enough to feed an army.’ And now, with three young kids of her own and an awareness of the very different pressures on the family unit, Elliot has come up with a simple but ingenious way to feed both children and adults. Her new cookery book, Me, You & the Kids, Too, shows how to create several meals in one, so you can use the same ingredients to whizz up a purée for a six- to 12-month-old, supper for an older child and dinner for the adults. ‘I remember struggling to get a meal together when we lived in London. The kids would eat early and my husband, Brian, who was MD of Planet Organic, would eat when he came home much later. We rarely ate together – I always put the kids first and regularly ended up not having a clue what to make for myself.’ In late 2008, Elliot persuaded her husband to move to the house they’d bought in Tuscany five years earlier. Initially, she suggested six months off and then, well, they just never lef. ‘We went from making a very good living to living a very good life. And, these days, we eat virtually every meal together. Children always eat more widely when they sit down as part of the family.’ As she writes in Me, You & the Kids, Too, Elliot is hardcore about some aspects of diet. As well as advising minimal sugar and salt, she says our digestive systems aren’t designed to process cows’ milk. She urges us to eat quality, grass-fed meats and says the best fish – both for us and for the planet – are sardines. She is enthusiastic about whole grains, which are full of vitamins, minerals and protein. I feel guilty when she talks about always choosing brown rice over white and reluctantly admit I give my seven-year-old, a cautious eater, white pasta several times a week. She gently suggests I introduce wholemeal or gluten-free corn versions – a small change that would be much healthier. Elliot has no formal training in the food industry. She didn’t cook alongside her mother as a child and her mother wasn’t interested in healthy food – back then, in the
Seventies, it was all about the taste. She studied English at university, moved to England in 1986 and became a journalist. She met Brian on a night bus. In 1991, they did a leadership course in the US, where she had her epiphany. ‘I was shopping in this fantastic organic health-food store. There was nothing like it in Britain at the time. I thought, “I’m going to take this idea back to London.”’ Planet Organic opened in Noting Hill on 5 November 1995, but it didn’t exactly start with a bang – discovering Anita Roddick had decided not to advertise the Body Shop when it first opened, Elliot opted for a similar word-of-mouth approach. For the first few months, ‘no one came’. Then, in February 1996, during the BSE scare, the company got press coverage on the back of selling organic meat certified by the British Soil Association and customers who came in to buy it bought other produce too. Planet Organic now has five shops and an online shopping service, and it’s fair to say it paved the way for the Whole Foods stores that have since opened across London. Elliot gave up meat at 19 and started eating fish again when pregnant with her second child. She thought long and hard about what the children – Jessie, 10, Nicholas, seven, and Cassie, four – should eat. ‘I give them fish because I worry about their intake of faty acids and protein. I’m very knowledgeable about nutrition and cook everything from scratch, but you need a lot of time to get it right.’ While she still maintains her role as ‘guardian of the brand’ at Planet Organic, alongside her contributions to food-related blogs, Elliot’s day-to-day life is now very much centred on the three kids, food and writing books about food for kids. I ask if her children are good eaters and she laughs. ‘That’s a loaded question! Jess is amazing because she was the first and I had time to develop her palate. Nicholas is slowly blossoming and I’m hoping Cassie, who is the least adventurous, will do the same.’ In no way does Elliot present herself as a superwoman. Indeed, she despairs of her own children on occasion. One day, the two youngest may eat quiche (made with yogurt rather than milk), but the next, she has to tempt them with vegetables cut into interesting shapes to dip into humous and tahini. She is desperately worried about childhood obesity. ‘The Forsyth Report, published last year, concluded that 15 per cent of boys and 13 per cent of girls aged two to 10 in England are obese. It’s terrifying.’ Jamie Oliver is, she says, ‘a hero’ and the Soil Association’s Food for Life campaign, aimed at schoolkids, is valuable. But it’s not enough. ‘We have to be saying more than “Don’t eat junk or processed foods.” We have to encourage people to jump straight to wholegrain and adopt other healthy habits.’ Before she goes off to prepare a food parcel for snowed-in neighbours, I ask if she has any tips for my own cautious daughter. ‘I sit my kids down sometimes, blindfold them and put 10 different foods in front of them. Some are those I know they like, some those they say they don’t and others are ones they haven’t yet tried. I tell them to stop eating with their eyes and to actually taste the food before dismissing it. It works a treat.’ She pauses. ‘When you come for dinner, why don’t you bring your daughter with you?’ If the blindfolding doesn’t work, I might just do that. Me, You & the Kids, Too is published by Duncan Baird, priced £12.99; planetorganic.com
33
‘We eat virtually every meal together. Children always eat more widely when they sit down as part of a family’
Above: Renée Elliott shows how to feed different age groups with the same ingredients
sunny delight Spring brings a fresh palete of daffodil yellow, seaside blue and cherry-blossom pink in ruffles, prints and deckchair stripes. Who said that practical can’t also be prety?
PhotograPhy Joanna Paterson FaShIoN EDItor Julie Vianey
Flight of fancy Bibi wears: Chiffon blouse (age 6-16), from ÂŁ16, Marks & Spencer Limited Collection. Chiffon skirt (age 4-13), from ÂŁ19.95, Gap Kids
And so to bed Davide wears: Cotton jacket, £188, Armani Junior. Pyjama top (part of a set), £54.95, Harrods. Cotton quilted trousers, £140, Stone Island Junior. Wool scarf, £40, Hackett. Plush toy mouse, £68, Chloé Sleeping beauty Ruby wears: Wool-mix boy’s jacket, from £184, Boss Kidswear. Cotton pyjama top (part of set), £30, Sogoodnight. Tulle skirt, £100, Paul Smith Junior. Metallic Lycra leggings, £21, American Apparel. Leather woollined boots, from £55, Timberland
Pot luck Opposite, Maya wears: Cotton-knit jumper (age 4-13), from £19.95, Gap Kids. Cotton shirt (size S- L), from £69, Ralph Lauren. Crochet shorts (age 4-16), from £46, Dino e Lucia. Socks (size S5-L5½), from £2.99, H&M. Leather sandals (size S7-L1½), from £32, Start-rite Cherry amour This page, Jo Lee wears: Silk dress (age 2-14), from £145, Little Marc Jacobs. Hat, stylist’s own
Horse play This page, Poppie wears: Silk top (age 4-14), from £109, Burberry. 100%-organic cotton dress (age 2-12), from £36, Stella McCartney Kids. Leather belt, £42, Sunchild. Socks (size S-L), from £10 for 6 pairs, Gap Kids. Sandals (size S7-L2), from £60, Bosabo Star in stripes Opposite, Mariah Skye wears: Jersey top (age 2-16), from £48, Junior Gaultier. Cashmere shorts (age 2-10), from £54, Mushkane. Cotton scarf, from £37, Wafflish Waffle
Shelf conscious Opposite, Maya wears: Jersey top (size 4-14), from £39, Scotch R’Belle. Jeans (age 4-16), from £59, Finger in the Nose. Socks (size S5-L5½), from £2.99, H&M. Sandals (size S5-L2), from £112, Bonpoint Water feature This page, Mariah Skye, left, wears: Cotton dress (age 2-6), from £116, Il Gufo. Socks (size S6-L3.5), from £6 for 5 pairs, Next. Leather shoes (size S4-S12½), from £39, Start-rite. Jo Lee wears: Cotton dress (age 3-6), from £18, Next. Socks and leather shoes, as before
Set stylist Petra Storrs Grooming Claire Ray Photographer’s assistants Natasha Alipour-Faridani, Kim Min Seok Stylist’s assistant Hanna Isaksson Set stylist’s assistant Tash Dean Models Bibi, Maya, Jo Lee, Poppie, Mariah Skye Props from SCP (scp.co.uk) STOCKISTS DETAILS ON PAGE 42
42 telling tales
Clockwise from left: Steve McQueen gives Chad a ride in his Porsche during the filming of Le Mans; the actor took his children wherever he could, whether he was filming or racing; father and son at home in 1963
acceleration. For a while he took his hands off the wheel and I was actually steering a 917. That was a definite turning point for me. People still call my dad ‘the King of Cool’, but to me he was just my dad. But I was very aware of the power he had. It was at a time before paparazzi and cell phones, but we couldn’t go anywhere without 40 people turning up. I realised he was a different human being from the rest of us. Everything I am I learnt from him, good, bad or indifferent. How to work on things mechanical, how to ride, how to drive, nothing too exotic. When I look back on hanging around on the set with actors like Jacqueline Bisset, Faye Dunaway; if I think about the directors I met – John Sturges, Sam Peckinpah – I was really brought up in a rarefied air. I didn’t realise it fully until a few years ago. I even had martial arts lessons from Bruce Lee! It was after Bruce had made The Green Hornet and dad hired him as a trainer. He said to me, if you want a lesson, go ahead; I was lucky enough to piggyback on his sessions. My dad took me everywhere. I got to see sides of him that people will never see in the movies. What people don’t realise is he had a wicked sense of humour. For example, I remember that Bruce Lee racing cars later, after he passed, but he
would come over to the house and he
mother didn’t want to be a mother, so she
sowed the seeds there too. I was always
was frustrated his career wasn’t making
abandoned him. He was in a place called
reading my dad’s car magazines.
headway. Then he returned to Hong Kong
the Boys Republic – a community and
I remember when he made Le Mans.
and his career took off; he called my dad
school for troubled kids – and that made
I was 10 and you know how impressionable
to tell him how much money he was
him. I still do a car show to raise money
10-year-olds are. Being on set with Derek
making. My dad sent him a signed photo
for them. I think that maybe my dad was
Bell, Jean-Pierre Jabouille, Masten Gregory
saying: ‘To my biggest fan’!
more attentive to my sister and me than
and David Piper was amazing – I was
many fathers, and I believe it was because
always around all the great drivers.
he’d been orphaned. So, wherever he
So there we were at Le Mans, filming,
He taught me so many things and I hope I can pass some of that on to my kids. My eldest is already acting – he’s in The
would work and wherever he would go,
and I’d been bothering my dad for three
Vampire Diaries – my younger son has raced
there was room for us.
months: ‘Give me a ride. I don’t care if it’s
go-karts successfully, though he just got
for one minute, just give me a ride!’ During
too tall. and my daughter wants to become
vision and I was fortunate that maybe a
this take the Porsches are coming down
an actress – God, I hope not! Though if
little rubbed off. People still talk about him
the Mulsanne straight – you know how
that’s what she wants to do, I’ll fuel it.
and it’s 31 years since his death. He still
cars move around at speed. Then they turn
resonates so much today. He was different.
around on the Mulsanne corner to film
acting and cars and bikes. If he said
He had a lot of knowledge and a clear
But he taught me more than about
another take and on the way back he pulls
something he meant it. That’s so rare today.
six and he had me racing them at nine.
up and opens the door and waves me
So many people look you in the eye and say,
t 12, I won the World Mini Grand Prix for
over. I got in and sat on his lap and put my
‘We’re going to do something’ and it’s bull.
motorbikes. It was never something that
hands on the steering wheel and we pulled
He taught me about how you treat people;
he pushed; it was something that I looked
away. First gear – waaahh – my back on
how you respect people. and if they don’t
up to and wanted to emulate. I started
his chest; second gear – waaaah. I felt the
respect you, you clobber them!
He taught me to ride motorcycles at
STOCKISTS A American Apparel americanapparel.co.uk Antik Batik antikbatik.fr Armani Junior armani.com Ash ashfootwear.co.uk B Bonpoint bonpoint.com Bosabo audouin-bosabo.com Burberry 020 8964 8605 C Caramel Baby & Child caramel-shop.co.uk Cath Kidston cathkidston.co.uk Chloé groupcwf.fr Clarks clarks.com D Diesel diesel.com Dino e Lucia boutique-dinoelucia.com F Finger in the Nose alexandalexa.com G Gap Kids gap.eu Gucci gucci.com Guess Kids guesskids.com H Hackett hackett.com Harrods harrods.com H&M hm.com/gb I Il Gufo ilgufo.it Ilovegorgeous ilovegorgeous.co.uk J Joules joules.com Junior Gaultier jeanpaulgaultier.com K Kiddimoto kiddimoto.co.uk L Lelli Kelly lellikellyshop.co.uk Little Marc Jacobs marcjacobs.com M Marks & Spencer marksandspencer.com Millie Manu milliemanu.com Mini Boden boden.co.uk Muskhane bobokids.co.uk N Next next.co.uk No Added Sugar noaddedsugar.com P Paul Smith Junior paulsmith.co.uk Primigi sarenza.co.uk R Ralph Lauren ralphlauren.co.uk River Island riverisland.com Rokit rokit.co.uk S Scotch R’Belle scotch-soda.com Selfridges selfridges.com Simonetta simonetta.it Start-rite startriteshoes.com Stella McCartney Kids stellamccartneykids.com Sunchild sunchild.fr SuperTrash childrensalon.com T Their Nibs theirnibs.com W Wafflish Waffle littlefashiongallery.com Wu & Wu wuandwu.com
CaMERa PRESS; GLOBE PHOTOS; SCOPE FEaTURES
Actor, producer and racing driver Chad McQueen learnt a lot from from his father Steve, the King of Cool
My father never knew his dad, and his