The Art Issue by MR H

Art or exploitation?

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some things s tay t h e same, and some change. a fresh look for L a n t e r n T h e at r e L i v e r p o o l New website coming soon KEEP U P TO DATE WITH U S ON : TWITTER - @ LTL i v fa c e b o o k - l a n t e r n l i v e r p o o l T h e at r e . Mu s i c . C o m e d y.

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Contents Arts Collective

Style Collective

Travel Collective

12 - Preview We share our pick of the very best upand-coming arts and culture based events.

32 – London Fashion Week Walk, walk fashion baby… We give you our LFW round up.

60 – Saint James Paris Let the staircase speak for itself…

14 – A Lady of Literature Alecia Marshall chats to Man Booker Prize Judge, Dinah Birch. I wonder what they talked about… 16 – David Bowie Is The man, the myth, the exhibition… Our Arts Editor discusses the fundamental problem of art. 21 – Something Old, Something New The Everyman is back! But will we recognise it? Alecia Marshall takes a look. 23 – Is Three the Magic Number? The Bruntwood Prize for Playwriting is the biggest national playwriting competition of its kind, but is the current winner worth a watch? 24 – Book Review Michelle Langan shares her thoughts on Eleanor Prescott’s, Could it be I’m falling in Love? 25 – Film Review Film fanatic Adam Scovell is ‘In The House’ reviewing two new films. 26 – Art In Print We discover the love behind the illustrations, as Kerry Jones showcases a selection of her stunning work.

35 – Which Beauty Are You? The minimalist or maximalist? 36 – Fashion by S Discover how to create a capsule wardrobe whilst Siobhan unveils her brand new accessory from Ollie & Darsh dentistry. 38 – Mad about Hair The couple behind the iconic hairdressing brand, Andrew Collinge, launch their first Collective column. 41 – Collective Predicts Meet Holly Silius, the London based artist who is making waves in fashion and beauty. 44 – Back to 2013 See what happened when Collective rocked Sudley House and paid homage to the feminist movement. Neon’s at the ready… 53 – Dion’s Column Men’s hair and grooming expert, Dion Padan, returns with his popular column. 54 – Albert Dock We deliver our favourite picks straight from the heart of Liverpool. 56 – Food Glorious Food Feeling peckish? We deliver a bite size analysis of Blakes, Restaurant Bar & Grill and 60 Hope Street. 58 – Mandarin Oriental Paris To get you in the mood for our Editors Parisian travels, take a look at this…

64 – A Truly Wilde Stay Our Editor experiences a rush of creativity as he visits the famous L’Hotel. 66 – Bonjour Le Burgundy Paris reveals its quieter side, though refuses to compromise on style. 68 – When in Knightsbridge The new hotel on the block, our Editor rubs shoulders with the London elite.

Plus… 70 - Social Page We check out Mode Training’s hair spectacular. 72 – A Cocktail With… Michelle Langan, the face behind some of Coronation Street’s funniest storylines.

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Issue 4Neon Spring

Disclaimer No part of this magazine may be reproduced without prior permission of the publisher (H of H publishing). Whilst every care is taken, the publisher can take no responsiblty for omissions or errors.

All prices and details are correct at the time of going to print, the publisher can take no respsonsibilty for change thereafter.

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Collective HQ Lee Joseph Hagan Editor -

Tis’ the season to be Neon! We do not play it safe at Collective HQ. Own that neon lipstick or get a Bowie inspired hair cut - head into spring bright and bold! I literally cannot find the words to tell you how incredible this issue is, so I will just let you turn the pages and enjoy it for yourselves. Special thank you as always to the team and contributors - especially Joe Murtagh, who stayed up till the early

So happy to welcome our Manchester readers to this issue. I would love to hear from you so please drop me a line...

“Florals? For Spring? Groundbreaking’’ – Miranda Priestly

lee@thecollectivebrand.com Twitter- @collective_mag or @mrleehagan

Siobhan Noble Fashion Editor

Alecia Marshall Arts Editor

siobhan@thecollectivebrand.com

alecia@thecollectivebrand.com

For me, the highlight of this issue was our photo-shoot at Sudley House. If you where in any doubt as to what this seasons key trends are, this issue will teach you the brighter the better! Neon, Neon, Neon!

Spring is an exciting time to work in the Arts! I am looking forward to some outdoor, promenade theatre! I have loved working on my first issue: it has been a new project for me and one I have enjoyed immensely. Let the next issue commence!

“Spring is when life’s alive in everything” – Christina Rossetti

‘’Spring is the time of plans and projects’’ – Tolstoy

Viktorija Grigorjevaite Photographer

Jmeel Allen Designer

grivicky@gmail.com www.vggv.co.uk

hello@jmeel.co.uk www.jmeel.co.uk

I hope our readers are inspired by this Neon Spring issue. I have, as always, loved shooting the different portraits included and am so excited for summer! Light is my best assistant!

Heres hoping this issue provides a welcome relief to the endless winter we’ve experienced. Lets dance...

“Colors, like features, follow the changes of the emotions.” – Pablo Picasso.

Contributors:

hours, rockin’ out to Bowie and creating the fabulous piece of art that now adorns our cover. I would also like to thank Kerry Jones, the lady behind Love Amelia Illustrations for my special Editors portrait this month. How dare she accuse me of pouting? *pouts, rolls eyes…*

Writers – Michelle Langan, Lynn Gallagher, Adam Scovell, Dion Padan, Andrew Collinge, Liz Collinge Front Cover Illustration – Joe Murtagh, www.joemurtagh.co.uk

“Spring will ﬁll the air and you will come around,With your summer love that will let me down,Where were you when I needed you, last winter, my love?” – Stevie Wonder

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The Art of Pop Video Exhibition at FACT 14 March - 26 May / FREE Entry 88 Wood Street, Liverpool, L1 4DQ fact.co.uk / 0151 707 4464

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Arts Collective

Our previews – you can’t say we didn’t warn you. Books, books and well, more books! David Bowie is... annoyed? It appears so. An Everyman for everyone. Three Birds – hit or miss? Michelle Langan knows what she’s talking about. Adam Scovell helps you pick a film. Art in Print: Kerry Jones sends you some love.

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Preview Album

Film

Book

Theatre

What: Mosquito Who: Yeah Yeah Yeahs When: 16th April 2013

What: Side Effects Who: Steven Soderbergh Where: Cinemas Nationwide

What: Damage Who: Josephine Hart When: 23rd April 2013

What: The Woman in Black Where: The Lowry When: 6th May - 11th May 2013

The New York trio are back with their hotly anticipated 4th studio album Mosquito, which follows their 2009 album It’s Blitz. If the album’s debut single Sacrilege is anything to go by, we can look forward to hearing the Yeah Yeah Yeahs going back to their grittier punk roots that we all know and love. Oh so fierce front-woman Karen O has been quoted describing the album as ‘Raw’, ‘Chaotic’ and ‘Dreamy’. The jury’s still out on the albums bold artwork; however you can bet that Mosquito will be an evolutionary enchanting record from the band that is l ong overdue. www.yeahyeahyeahs.com

Side Effects is Steven Soderbergh’s apparent final feature film and is a strong, twisting feature to bow out on. Sugar-coated with a pharmaceutical tint, it wrong foots the viewer as to its intentions on several occasions, still managing to draw them in at the same time. With a strong cast that includes Jude Law, Catherine Zeta-Jones and Rooney Mara; a cornucopia of classic Soderbergh ticks and a strong psychological drama at its core, Side Effects is an invigorating picture that shows the director at his left-field best. www.fact.co.uk

23rd April brings the return of World Book Night, a celebration of reading and books that enlists tens of thousands of passionate volunteers to circulate specially chosen and printed WBN books throughout their communities, encouraging a love for the written word. Damage is one of the 20 books chosen for 2013. An international bestseller and feature film, Hart’s debut novel still has the power to shock contemporary readers, taking them on a chilling exploration of dark, obsessive love and physical passion. Well worth a read. www.waterstones.com

Combining the power and intensity of live theatre with a cinematic quality inspired by the world of film noir, prepare to be transported into a terrifying and ghostly world. An obsessed lawyer enlists a sceptical young actor to help him tell the terrifying tale of an old curse, but all does not go according to plan... Celebrating 23 years in the West End, with over 7 million people having lived to tell the tale, The Woman in Black is of one of the most exciting, gripping and successful theatre events ever staged. www.thelowry.com

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Art

Musical

Comedy

Concert

What: Disparate Where: Fallout Factory When: 9th April – 23rd April 2013

What: The Rocky Horror Picture Show Where: The Palace Theatre Manchester When: 17th - 22nd June 2013

What: Transatlantic Fury Where: Lantern Theatre Liverpool When: 16th and 17th May

What: Alicia Keys Where: Echo Arena Liverpool When: 18th May 2013

An exciting double-header bill of political comedy. Rising star of American comedy Lee Camp (“Like Jon Stewart from the Daily Show but with sharper teeth.” –The Herald) and veteran British stand-up Nick Revell present Transatlantic Fury. Camp and Revell have performed live and on TV and radio all over the world, including four visits to the Just for Laughs in Montreal between them. Expect an evening of topical and political comedy of the highest quality.

Fourteen-time Grammy Award winning singer, songwriter and producer Alicia Keys will hit British shores next month to showcase her highly anticipated fifth studio album, Girl on Fire. Since the 2001 monumental release of her debut album, Songs in A Minor, Alicia has amassed an unparalleled repertoire of hits and accomplishments, selling 30 million albums and singles worldwide and collecting over one hundred awards. Planning to unveil ‘a brand new me’, this is one concert you cannot afford to miss.

Disparate is the collaborative exhibition of 10 international fine artists. As the name suggests, the exhibition is a concoction of different artists exploring different themes, bringing together their unique works and styles to form one fabulous show. The pieces are outcomes of long term personal projects for all of the artists, and media ranges from paint to photography, 2D to 3D. All pieces will be available for purchase, so don’t miss this chance to seize an original artwork for your wall. www.falloutfactory.co.uk

Time to dig out those suspenders! The only musical that invites its audience to be as outrages as its characters is back! Directed by Christopher Luscombe and starring West End’s Oliver Thornton, this stage classic is unlike any other musical experience. Described by the Evening Standard as ‘The sexiest and funniest show of all time’, The Rocky Horror Picture Show is certainly not one for the faint-hearted. Basques at the ready ladies (and men for that matter...)! www.manchestertheatres.com

www.thelanterntheatre.co.uk www.echoarena.com

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A Lady of Literature Literary giant, Dinah Birch, talks to Alecia Marshall about the recent Mantel controversy, her experience as a Man Booker Prize judge and why she will not be recommending Fifty Shades of Grey anytime soon...

1- Dina Birch by Viktorija Grigorjevait 2- Man Booker Prize panel 2012

Art Collective –Interview

ustled into a small conference room by a smiling secretary, politely reinforcing the strict thirty minute time slot I must adhere to, it is evident that Professor Dinah Birch is a lady with a tight schedule. Silently reciting her list of responsibilities and achievements, it is easy to understand why. ProVice-Chancellor for Research and Knowledge at The University of Liverpool; responsible for an ever growing list of critical publications including the Oxford Companion to English Literature; a regular contributor to The Times Literary Supplement and The London Review of Books and a judge on the 2012 Man Booker Prize panel, I find myself wondering how she even has time to read.Yet, flicking through The Collective’s latest issue with admiration, she seems unconcerned by what appears to be a busy day ahead.

“Well” she smiles, with the distinctive accent of an Oxford scholar, “where would you like to start?” I would like to start with Hilary Mantel. Professor Birch nods: it appears she was expecting this. Unless you have been hiding beneath an impenetrable, media-proof rock, the recent attack on double Booker Prize winner (Wolf Hall (2009), Bring Up the Bodies (2012)), Hilary Mantel, is regurgitated news. Cruelly criticised for comments made concerning Kate Middleton in a lecture titled Royal Bodies, given at The London Review of Books, Mantel has been subjected to a barrage of abuse from both press and public. A deciding force in Mantel’s second obtainment of literature’s figurative gold-medal, Professor Birch is no stranger to the author’s writing, including - I suspect – the infamous lecture.

“It is a much more subtly argued piece than you would imagine from the quotations” she sighs, “they have been the source of peoples’ indignation” - and indeed they have. Fragmented phrases describing the Princess as ‘a shop-window mannequin, with no personality of her own’, ‘her only point and purpose being to give birth’ have been pounced upon by the seemingly story-starved press, quick to transform an interesting lecture into a ‘venomous attack.’ “Most of those who are outraged have clearly not read the lecture”, continues Dinah, though pausing thoughtfully adds, “but it has to be said, it is not reverential. It is not, as one might say, completely respectful, as is very clear from the snatches that have been quoted. You can see why it is controversial but I think it’s been quite a healthy controversy.” It is evident that the Professor is keen for the public to form their own opinions on this ‘healthy controversy’, without relying on the contaminated views of competitive journalists: “The published version of the lecture as it appeared in The London Review of Books is freely available online, so anyone who really wants to think for themselves about the issue should be encouraged to look it up and come to their own conclusions”. I speculate that this advice extends to our ill-informed Prime Minister but Dinah is much too professional to concur, yet a thought strikes me: does political opinion matter in the world of literature? Will Mantel’s chances of winning a third Man Booker Prize (or indeed, any prize at all) be in some part jeopardised by this feigned media outrage?

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“I do think those of us who love reading have a bit of a responsibility to nag and bully friends and family!” 2

“Speaking from my own experience of The Man Booker Prize Panel 2012, I can tell you it does not make the slightest difference. All publicity is good publicity for an author!” She is defiant in her answer: this is not a lady who would condemn a book for anything less than its microcosmic faults. Asking if she enjoyed her time as a judge on the prestigious literary panel, I can already predict her answer: “Hugely”, she laughs, “It is not something that anyone could do regularly but it is a very absorbing experience. It’s demanding, it’s time consuming, there is a huge amount of reading to do – but for a fiction addict like me it is very rewarding”. So what sets Mantel’s Bring up the Bodies aside in an impressive short list? Is it not tediously similar to its predecessor and fellow Booker Winner (2009), Wolf Hall? Dinah thinks not. “Bring Up the Bodies isn’t just episode two: it is a very different novel – it is self-contained, takes a different approach, its much tighter. It has a much more closely managed narrative form.” Listening to Dinah talk of Mantel it is clear she is hugely impressed by her work. “One of the things I admire about Hilary Mantel as a writer is her enormous courage. She does not take into account peoples conventional expectations – she approaches the unexpected, the challenging.” I wonder if we are still talking about Bring Up the Bodies, or whether Dinah has ‘Mantel-gate’ in mind. “Mantel’s work does have a way of getting under your skin”, she continues. “She writes about things that people normally just kind of tiptoe around, which isn’t to say she is shocking or outrageous – she isn’t- but she’s very direct: she doesn’t avoid the taboos.” With Mantel’s third and final instalment of the Cromwell trilogy already in the making, could the unthinkable happen? Is a third Man Booker Prize on the...“that is impossible to predict”, Dinah cuts in. “It depends on the book and it depends on who else is in the running that year!” Teasingly, I enquire about Fifty Shades of Grey’s absence from the prestigious shortlist. After all, it is the fastest-selling paperback in history... Expecting the esteemed literary critic to deliver a scathing analysis on the pseudo-pornographic narrative, she laughingly confesses, “I’m not very well qualified to answer your question because I haven’t read it! And it’s not through any kind of aloofness” - she deliberately stresses the word – “I just haven’t got round to it. I can’t comment! One thing that I have learnt – it is the point that we have made about the Hilary Mantel lecture – if you pontificate with great confidence about things you have not read you will always find yourself embarrassed!” I am quick to deliver my own, less than flattering thoughts on what I believe to be a lack-lustre narrative with an unpalatable mixture of British idioms and American colloquialisms when she stops me,

thoughtful, carefully choosing her next words: “Perhaps people are not necessarily reaping the full rewards of fiction through this particular text but they are enquiring a habit of turning to the written word for pleasure. Once you’ve got that habit, you come to the end of the weaker book and you look for something richer – something stronger.” I am impressed by her answer. For Professor Birch, any relationship with literature is to be valued. I wonder if this extends to the Kindle. Can a narrative be fully enjoyed from a portable screen? “It is a different experience but when I am absorbed in a piece of writing, particularly fiction, I soon forget the medium – I’m somewhere else. I don’t at all want to abandon the printed book – the physical pleasures of the binding, the dust jacket, turning the page, its smell, its weight – but sometimes I find it more convenient to read from a Kindle: I travel a lot; its lighter! It will not take the place of the printed book - though it is so very handy when you’re reading in bed!” As the minute hand pushes forward, propelling Dinah to her next meeting, I deliver my final question – how can we encourage people to read, how can we encourage people to engage with a book? It’s a broad question. “It’s a good question!” she replies. “And of course you’re not the first to ask it. I do think those of us who love reading have a bit of a responsibility to nag and bully friends and family!” We laugh loudly as I recall the years spent buying my disinterested younger brother football books in the hope of awakening a literary interest, needless to say, the pages remain resolutely unturned. “I am notorious for issuing reading lists to everyone I come across!” she confesses. “It is also important not to concede the disappearance of the library, as it can be a great social focus that then does open up books to people. Book groups are thriving, literary festivals are thriving and they are obviously helping but I think it is important that those don’t - how can I put this – they don’t quire the sense of being for genteel middle class people. They must be generally inclusive. Sometimes I do feel the programmes at literary festivals don’t necessarily feel immediately inviting to younger readers or people coming from different sorts of experiences – they can seem intimidating.” As the smiling secretary returns to usher the Professor away, I notice a twitter update from @GuardianBooks: ‘Hilary Mantel adds David Cohen award to Booker and Costa prizes’. Regarded as ‘the British Nobel’, the prize celebrates the entire career of an author, awarding what must be a very pleased Mantel with £40,000 worth of time to complete future projects. Professor Dinah Birch was right. Mantel’s career will evidently not suffer. Literature operates on its own terms. It forms its own opinion.

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The Man, the Myth, the Exhibition... Alecia Marshall examines the biggest exhibition of the New Year, its iconic subject and why the man himself will not be among the celebrity visitors.

1- Album cover shoot for Aladdin Sane, 1973 Design by Brian Duffy and Celia Philo, make up by Pierre La RochePhotograph by Brian Duffy© Duffy Archive

2 -Self portrait in pose also adopted for the album cover of “Heroes”, 1978David Bowie© The David Bowie Archive 2012 Image © V&A Images

The exhibition carries a bold statement throughout each of its carefully chosen mediums: David Bowie is not simply a pop-star; David Bowie is a work of art.

Art Collective –Review

o, for those of you who haven’t heard, there’s an exhibition in London’s Victoria and Albert Museum. It’s the fastest selling attraction in V&A’s history. Tracey Emin and Christopher Kane were among the menagerie of celebrities jostling through crowded rooms to catch embryonic glimpses of over 300 authentic objects, yet to be tainted by the critics’ eye. Basically, it’s about this guy. He is an iconic pioneer in the realms of music, design and fashion. His name is David Jones.You might have heard of him as David Bowie.

With a startlingly bright career marked by continual reinvention, musical innovation and striking visual presentation, David Bowie has understandably amassed a cult following. The amalgamation of designer, artist, musician and model (including Vouge cover-girl Edie Campbell, clad in a Gucci panelled tunic and black flares), treading companionably down the orange replacement of the classic red carpet, hint at the eclectic mixture of his admirers: all eager to explore the treasures of the V&A spectacular, David Bowie is. Theatre and Performance curators of the V&A, Victoria Broackes and Geoffrey Marsh, have been granted unprecedented access to the David Bowie

Archive, piecing together the first international retrospective of the British icon’s career. A combination of original costumes and handwritten lyrics; personal instruments and album artwork; rare photography and famous live performances screened from an assortment of video installations trace the transcended boundaries of Bowie’s imagination. “We not only cover rock and pop as part of the Theatre and Performance strand,” explains Marsh. “Our broader collections also reflect the breadth of David Bowie’s influences, his artistic output and his ongoing significance across visual and virtual culture, including music, fashion, photography, graphics, film, theatre and art. For the national museum of art, design and performance, Bowie is a perfect fit.” But is the museum a ‘perfect fit’ for Bowie? The exhibition carries a bold statement throughout each of its carefully chosen mediums: David Bowie is not simply a pop-star; David Bowie is a work of art. Admiring an authentic 1972 Ziggy Stardust floral jumpsuit, courtesy of designer Freddie Burretti, the V&A justifies its claims: Bowie is a man who understands the power of the aesthetic. An obvious stage artist, enhancing performances with a theatricality that integrates seamlessly with his music, the self-styled David Bowie compliments

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the differentiation of his music through various artistic guises. The creation of Ziggy Stardust remains a seminal moment in pop history (inspired by Kubrick’s visual depiction of Anthony Burgess’s A Clockwork Orange droogs) and the exhibition is keen to highlight this through colourful costume displays and exciting video footage.Yet is there a place for the physicality of performance in the static hush of a gallery? Can a recording authentically recreate the electric atmosphere that accompanies a Bowie performance? Personal musings and visual inspirations aside, Bowie’s development of his flamboyant, flame-haired character further originates from the colourful vernacular language of Burgess’s narrative (a post-Joycean mashup of Slavic, Cockney rhyming, Gypsy and Polari) , a perfect example of the contrasting mediums drawn upon in Bowie’s creative processes. Burgess creates the language, Kubrick creates the visual, Bowie creates a man: “The whole idea of having this kind of fake language – mock Anthony Burgess-Russian speak that drew on Russian words and put them into the English language, and twisted old Shakespearean words around – fitted in perfectly with what I was trying to do in creating this fake world or this world that hadn’t happened yet. It was like trying to anticipate a society that hadn’t happened.” (Bowie, 1993). Anticipate he did. 2013 welcomes a society in which a Ziggy Stardust look-a-like can stroll down Oxford Street without acquiring a slither of attention – save a quirky fashion student enquiring over a pair of red

PVC boots with sky-scraper platform. Bowie preaches creative freedom, artistic celebration - and in turn, the V&A claims to celebrate him as an artist. Yet can a 1972 cocaine spoon, a possibly distressing stimulus for the present post-drug Bowie, be classed as artistic celebration? The curators believe so: “Drug use was part of the culture of the time, with David and his circle wearing their spoons around their necks”, counters Marsh. “The inclusion of a spoon in the exhibition is to acknowledge the role drugs played on Bowie’s career and musical output as well as the fact that David, unlike many of his contemporaries, realised what they were doing to him and became clean.” I remain unconvinced. Does the exhibition not present a man exposed? His demons revived, his iconic costumes reduced to lifeless garments on unappreciative mannequins, personal diary entries scrutinized by critical eyes? David Bowie is presents all of these questions, questions that the man himself interestingly refuses to answer. In a rare press release, Bowie was quick to diminish rumours of his personal involvement with the exhibition: ‘I am not a co-curator and did not participate in any decisions relating to the exhibition. The David Bowie Archive gave unprecedented access to the V&A and museum’s curators have made all curatorial and design choices.’ Claiming to be neither ‘devastated’, ‘heartbroken’

3- Striped bodysuit for Aladdin Sane tour, 1973 Design by Kansai Yamamoto Photograph by Masayoshi Sukita © Sukita / The David Bowie Archive 2012 4- Photograph by Masayoshi Sukita © Sukita The David Bowie Archive 1973 5- EMS Synthi AKS synthesizer purchased in 1974 by Brian Eno and used for the recording of Heroes 1977 © The David Bowie Archive 6- Original photography for the Earthling album cover, 1997 Union Jack coat designed by Alexander McQueen in collaboration with David Bowie Photograph by Frank W Ockenfels 3 © Frank W Ockenfels 3

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Yet can a 1972 cocaine spoon, a possibly distressing stimulus for the present post-drug Bowie, be classed as artistic celebration?

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6- Cut up lyrics for ‘Blackout’ from “Heroes”, 1977 David Bowie © The David Bowie Archive 2012 Image © V&A Images

7- Quilted two-piece suit, 1972 Designed by Freddie Burretti for the Ziggy Stardust tour The David Bowie Archive

nor ‘uncontrollably furious’ concerning the exhibition, the void of his opinion is yet to be filled by the appropriate adjective, leaving fans to speculate the true nature of Bowie’s feelings. If art truly belongs to the artist, has Bowie’s refusal to participate eclipsed his presence from the exhibition, casting a dull haze over a glowing promise to illuminate his career in dazzling retrospect? Posing this question carefully to the already rattled curators, I am met with a clearly scripted response: “We haven’t worked with Bowie personally on the exhibition however this is the first time a museum has been granted access to the David Bowie Archive. We have had a great deal of support from the Archive which has been fantastic. The V&A has authorship and editorial control over the exhibition which is an important part of the way we work here and we are thrilled to have been chosen to put on this exhibition

here at the V&A that reflects the breadth of David Bowie’s artistic output and influence across music, fashion, photography, graphics, film, theatre and art.” The rehearsed answer does not correlate with my rehearsed question. I try again. If Bowie himself showed up at the exhibition, what would his reaction be? I am met with exactly the same answer – verbatim. Interesting, don’t you think? David Bowie is is a spectacular exhibition, that much is unarguable; a veritable feast of Bowie to excite existing fans and attract fresh admirers. What confuses me is Bowie’s controversial distance from it. Without his involvement, is this truly a Bowie exhibition or a V&A approximate of a man? A famous Sherman Alexie quote springs to mind: ‘All art is exploitation.’

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porting a canary yellow hard-hat, high-vis jacket and steel-toed boots, I had found the perfect outfit for my first big treat of 2013. Don’t worry; I was not at London Fashion Week (though yellow is set to be big in S/S…): with the letter ‘E’ emblazoned unapologetically across my back, I set off to explore the site of what will soon become Liverpool’s new Everyman Theatre.

Art Collective –Coffee read

1- Hawoart Tompkins 2- Steve Aland

Something Old, Something New… Adjusting to change is never easy, but Alecia Marshall quashes fears that the Liverpool Everyman is lost forever to its adoring fans.

The legendary Liverpool Everyman, ever dedicated to the deliverance of daring and challenging theatre, closed its doors (- and set alight its iconic sign) on the 2nd June 2011. A major player in the careers of Willy Russell, Julie Walters and Pete Postlewaite, its reputation for fostering and developing Liverpool’s extraordinary range of creative talent speaks for itself. With a £28m budget for the re-build, I was both excited and a little nervous as I stepped onto its site. The Everyman unarguably needed work, yet the thought of a new, dauntingly modern theatre replacing what had become a comfortable, reliable old friend to avid theatre-goers was a saddening thought. Guided by Building Development Director, Robert Longthorne, what appeared at first to be a maze of steel columns and newly cemented brick, became a working theatre – of which I was an exclusive audience member. Contemplating the cavernous space that would soon become the stage, balancing tentatively on planks depicting the newly added dress circle, the layout seemed comfortably familiar. After all, this is not so much a quest as to build a new theatre, but a better one. As Robert pointed out familiar spaces and features, I began to feel that the project was more a renovation than a new-build (ok, an enormous renovation). The intimacy of its classic wrap-around auditorium will not be changed – just enhanced. The bricks that housed the old theatre will not be discarded – but mingled with the new. The interior design will remain warm and welcoming – with a touch of much-needed shine. The Everyman we know and love has not been buried beneath the masses of newly laid concrete and workman’s boots: being on site proved it was, in fact, well on its way to resurrection - as a more economical, ecological, accessible version of its predecessor. Boasting the new additions of a fly tower; a large, fully-functioning space for young creative’s to blossom; a bistro complete with wood- burning stove; a fabulous pavement café and a façade literally representing the people of Liverpool, this building will truly be an Everyman for everyone. Who wouldn’t enjoy a cup of Earl Grey from the pavement of Hope Street, immersed in the creative buzz of a working theatre? Set to open at the end of the year, with a programme of events already in the planning, you can bet The Collective will be there, ready to join the standing ovation as Liverpool’s favourite theatre begins a new and exciting era. Who will enter these famous doors unknown and emerge the next Jonathan Pryce? I, for one, am looking forward to finding out.

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tepping off the train onto a jostling platform at Manchester Oxford Road station, fragmented echoes of a song play deridingly within my head: “if rain makes Britain great, Then Manchester is greater”. The lyrical masterminds that are The Beautiful South turn out to be correct once again. It is, of course, raining. Heavily. If there is one thing Manchester is known for (apart from Alex Ferguson’s over-paid, premier league squad), it is its weather conditions. Luckily, it is also a big presence on the metaphorical map of the British Arts scene and neither rain nor over-excited football fanatics can prevent me from checking out the city’s latest theatrical contribution.

S Is Three the Magic Number? Art Collective –Review

Janice Okoh’s Three Birds has been hotly anticipated for a while. Winner of the 2011 Bruntwood Prize for Playwriting, a year of producing, programming, re-writing and rehearsing has elapsed before I find myself in The Royal Exchange Studio. Settled on the front row of a right-angled seating arrangement, I am transported to a South London, ground-floor council flat. It is clear I am not only an audience member; I am part of the wall - only this wall can talk of the dramas behind it. The narrative is suspiciously familiar to that of Ian McEwan’s The Cement Garden, though thankfully omitting the disconcerting sexual undercurrent that runs throughout McEwan’s text. However, the main plot points remain the same, as the illusion of a seemingly conventional family setting quickly becomes transparent. Tanika, Tiana and Tionne are quite literally, home alone. As eldest sibling Tiana struggles to keep the world out and their predicament in, the audience begins to feel unnerved. Why is nine-year-old Tanika kept from the bathroom, why is thirteen-year-old Tionne obsessed with obtaining a fresh chicken and industrial crop sprayer and why is sixteen-year-old Tiana nervously unpacking six-litres of vodka from a crumpled Primark bag? If their mother hasn’t left them for ‘a bloke with a second-hand Beemer’, then where is she?

Jonathan Keenan

The plot is at first a little difficult to follow: there are too many questions unanswered and too many characters asking them. Ambiguous, amateur drug-dealer, Dr Feelgood (whose credentials are questionable at best) and meddling teacher, Miss Jenkins, try to uncover the sibling’s secret to no avail and the interval is welcomed as an anticipated friend, rescuing the audience from a slow-moving plot. However, the pace dramatically improves in the second act and the narrative reaches its dramatic climax.

The Bruntwood Prize for Playwriting is the biggest national competition of its kind. Discovering, promoting and producing the very best new writing for theatre, The Bruntwood Prize has already awarded eleven writers a total of £120,000, with a chance to develop their piece with Manchester’s Royal Exchange Theatre in view of production. Our Arts Editor took a trip to the Royal Exchange to review the most recent winner, Three Birds, ahead of its London debut.

Artistic Director of The Royal Exchange, Sarah Frankcom, establishes some striking visual motifs within Okoh’s piece, as the children frequently retreat to their familiar, moth-eaten sofa, reciting dreams of a better life that become almost ritualistic. For them, a life of real Ugg boots, endless supplies of Cheestrings and a Justin Beiber-singing-fridge awaits. Frankcom is clever to associate the children’s microcosmic existence with their continual return to the sofa - an entangled trio of young bodies and angry bird slippers. Okoh’s vernacular, idiom-rich text is equally charming and awards her characters with an authenticity that evokes empathy from what could become a judgemental audience. Assistant Director, Holly Race Roughan, insists the play has a ‘sitcom vibe’, enhanced through the bursts of energetic soul music that divide each scene. She resolutely states that the audience must not be pre-warned of the play’s rather gruesome climax through every plausible medium but rather ‘revel in the shock of it.’ Personally, I disagree. The audience at times seemed a little perplexed. Is this a comedy? A farce? A tragedy? Can it possibly be a harmonious, triadic miscellany? That is the niggling question that Three Birds refuses to answer. Perhaps it depends on the individual; invited to attach themselves to the genre easiest to interpret.You have until April 20th to choose for yourself. Three Birds continues at The Bush Theatre until 20th April. To book tickets call 020 8743 5050 The 2013 Bruntwood Prize for Playwriting is currently accepting submissions. For more details visit www.writeaplay.co.uk/about

The Collective

Book review With Michelle Langan

Could it be I’m Falling in Love? By Eleanor Prescott Picking up Could It Be I’m Falling In Love? I couldn’t help but wonder if author Eleanor Prescott used her previous career as an MTV press officer as inspiration for some of the characters. There’s definitely a certain someone who springs to mind that bears a striking resemblance to the novels lead character Roxy Squires, a washed up ‘ladette’ TV presenter who can’t get to grips with the fact that her ten minutes of fame have expired. Roxy spends her days alternating between desperate attempts to persuade the paparazzi to snap her picture and shamelessly touting herself out to every reality show under the sun in a bid to get herself back in the limelight. Her attempts to bag herself a job are portrayed via cringingly funny emails - including a stinging rejection from the fictional producers of ‘Strictly Come Dancing.’ When she crosses paths with former rock star Woody (who has shunned the limelight and taken the unlikely career option of cleaning windows) she’s stunned to realise that Lavender Heath, the village she lives in, is a veritable haven of washed up tabloid has-beens - the obligatory WAG, a struggling ex-soap star, a failed model, former MP and a surplus to requirements TV weather man. The motley group of former-bes gather each week to discuss their diminished careers, and Roxy can’t help but try to get them all back where they think they belong. There’s sharp, witty dialogue aplenty in the story, and despite the desperation that seeps through every pore of Roxy, you can’t help rooting for her and her new friends to do well. It’s a funny old world that they live in on Lavender Heath, but I enjoyed escaping there. Despite the fact that it’s a long book (over 500 pages) I was pulled in and wanted to know where these hapless, yet likeable characters would end up. And would Roxy reach her life-long ambition of getting her face back on the box? Well, that would be telling, and I don’t want to spoil the story, but there’s definitely an underlying message to be careful what you wish for! Could It Be I’m Falling In Love? was an easy read that I got through pretty quickly, and the plot kept me entertained and amused up to the end. There’s a dollop of romance thrown in and loads of funny tweets that made me look at Twitter in a new light. Anyone who loves reality shows featuring random ‘personalities’ from decades ago will love this book. It makes you giggle but also brings with it a bigger, unanswered question...what exactly does happen to those celebrities once their star has stopped shining? Could it be I’m Falling in Love? By Eleanor Prescott Out Now

The Collective

Film review With Adam Scovell

Beyond The Hills

In The House

Director: Cristian Mungiu

Director: François Ozon

Romanian born director, Cristian Mungiu, goes from strength to strength in his third feature film, Beyond The Hills (2013). Following on from his Cannes Palme d’Or winning drama, 4 Months, 3 Weeks and 2 Days (2007), Mungiu presents the viewer with a reality as equally harsh as that of his previous film. The friendship between two orphan girls fails to reignite when they once again meet. Whilst one has travelled to Germany in order to escape poverty, the other has become a nun in a strict convent, hidden away in the barren outback of Romania. The pressure begins to build on their relationship as it becomes clear that Voichita (Cosmina Stratan) is unwilling to leave her religion behind for a life in Germany with Alina (Cristina Flutur).

Modern France is the home of the perpetual cuckoo in the nest in François Ozon’s latest film. In The House presents an interesting mixture of dark humour and voyeurism without being too linear or pedestrian. The film revolves around 16 year old Claude (Ernst Umhauer), who invades the house and family of a fellow pupil whilst submitting his exploits to his literature teacher, Germain, in the form of story essays. As Claude begins to try and seduce his friend’s mother, Germain (Fabrice Luchini) becomes increasingly desperate to aid Claude’s continuing invasion, recognising true talent in his writing.

The film has a stark visual palette, full of faded greys and washed out colours in a similar vein to 4 Months, 3 Weeks and 2 Days. The narratives indeed share some parallels with each other and prove an excellent contrasting pair. Both films show characters under pressure from an indoctrinated system; here it is the powerful, brainwashing effect of traditional belief, as opposed to the illegality of abortion that dominates his preceding film. Against the back drop of washed out denim skies, the film shows the stability of the monastery threatened by Alina, whose behaviour becomes increasingly erratic and violent, especially towards Priest; the head of the convent. Mungiu’s film questions the roles of belief and puts tradition in a place deliberately where it causes harm. The pace of the film is slow but this is a disarming quality of a very Bresson like nature: the fact that Mungiu uses no music throughout the film (until the end credits) hints at a subtle adherence to the Robert Bresson school of pure cinema. This is followed with some beautiful stylistic choices that include long takes, closing off the exits for character and viewer alike. In a time where so many films are edited with such emphatic speed, Beyond The Hills is a calm yet harrowing, deeply moving drama, quietly determined to set its own pace and not yield to the pressures of tradition.

Though overall a dark comedy, there are moments that become increasingly voyeuristic, not only for Germain and his art gallery director wife (Kristin Scott Thomas), but for the viewer as well. As the couple becomes increasingly interested in Claude’s invasion of the Artole household (achieved through helping classmate Rapha (Bastien Ughetto) with his maths), the film equally tricks the viewer into becoming involved in Claude’s story too. Darker happenings that occur later on in the film all of sudden reverse, as it becomes clear that Claude is distorting the reality of the events he’s supposedly recreating in truth through his essays. Occasionally the film does rely a little too much on the episodic nature of the narrative, though this is broken up with some excellent visual scenarios for the most part. The opening credit sequence of the whole school being gradually broken down, pupil by pupil, is truly excellent and is only one of a number of highly original motifs. In The House, though rather refreshing, does also wear its influences on its sleeve. The narrative shares a number of traits with Pier Paolo Pasolini’s Theorem (1968), even going so far as to name-check the director, while shots of Esther Artole’s (Emmanuelle Seigner) feet with red painted toe-nails instantly remind of Stanley Kubrick’s Lolita (1962); a film which also shares some of its narrative ideas. The method of showing the scenarios in hindsight and having them changed by the power of the film’s characters is something that is also reminiscent of Michael Haneke and though In The House is nowhere near as visceral or as powerful as Haneke’s work, Ozon’s film shows a similar interest in the power of artistic mediums and how fictional elements can be just as powerful as those born of reality.

The Collective

Art in Print Art Collective â&#x20AC;&#x201C;Feature

The hand behind our previous cover illustrations, Kerry Jones seems a fitting choice for this issueâ&#x20AC;&#x2122;s Art in Print. A successful artist and full time mum, Kerry has carved herself a niche in the industry, working as a freelance Fashion Illustrator with a passion for creating stylish images. We spend an afternoon getting to know the person behind the portraits.

The Collective

1- Kerry and Amelia 2- Reflect, Balmain

The Collective

Your name is Kerry Jones, why is your creative name Love Amelia I call myself Love Amelia for the simple fact, I love Amelia. She is my four-year-old and she is what drives me to be the best I can be. When I was 18, I was told I would never be able to have children - at the time it did not bother me as I was young, at university and excited to find out what my twenties had in store. When I found out at 23 that I was pregnant, it was the biggest shock of my life; my life went through a complete U-turn in the space of those nine months. I went from partying all weekend, styled from head to toe, to night feeds and not even bothering to dress some days! I did struggle with my identity at first, thinking I should be more ‘mumsy’ (when I was the complete opposite), believing my career ambitions were out of the window but the more my love for Amelia grew, the more it became clear I want to be a Mum that Amelia is going to be proud of when she grows up. She impresses me on a daily basis; I want her to feel impressed with who I am. She has only just realised I call myself ‘Love Amelia’: when I explained it is because everything I do is driven from the fact that I love her, she simply laughed and gave me a hug. I overheard her talking to her Dad saying, ‘everyone loves Mummy because she does such wonderful paintings of people’. What is your advice for young mums in the creative industry? My advice to other Mums is not to let motherhood encompass who you are, instead let it become the most amazing accessory you could ever dream of possessing and add it to all the other elements that make you unique. Being a Mum does not mean it is the end of your career ambitions, use it to give you a higher goal. Not only are you doing it for your own happiness/ satisfaction - but for your child too. Being freelance and working from home allows me to be full time Mum and fulfil my hectic work schedule. Once she goes to bed or school, it is work time. If I had an office job I wouldn’t be able to do that, freelance can be hard but seeing Amelia is the overall perk. What elements make a great portrait? Before I begin a portrait of someone the most important factor is their personality - looks are the second point for me. As my work is not a real like for like portrait, it is the unusual traits of a person that bring it alive. Another thing that works in my favour is my ability to illustrate people in a stylized way, exuding who they are but giving them the ultimate body they want too. All of this combined enables me to create a unique piece that can be cherished forever. When did you first discover you could draw? My ability to draw has come from a very early age; I have always loved to draw. My Mum’s favourite is, ‘you could stick Kerry in the corner with the back of some wallpaper and a pencil and you wouldn’t hear a peep out of her for hours’ (trust me, I am usually

ridiculously loud). Throughout school I have many memories of arty praise. In secondary school I was known as ‘Art Girl’ and had the freedom to not attend other subjects and sit outside and draw! This was when I started to explore my ability and personality. After GCSE’s I went to college to study Fashion, during which my style of drawing developed through to University. Drawing makes me happy, it is my favourite thing to do and that part of me will never change. How does it feel to create portraits of iconic people such as Zandra Rhodes and Paloma Faith? It has been a wonderful opportunity to illustrate such amazing people. Zandra Rhodes is probably my favourite piece as she is such a personal icon, so much style, so much personality! There are an abundance of qualities to Zandra, so working out how to reflect her so that every reader who picks up the magazine instantly notices her vibrancy was so important. I love illustrating for The Collective as I know every issue is going be exciting and different. Who would you most like to create a portrait of? This is a tricky one. I have mountains of sketch books filled with doodles of editorial images/celebrities that have been lodged in my brain over the years but I think the person I would love to illustrate the most is Amelia when she grows up. I can’t wait to see if she does one of me. At the moment she wants to be a Doctor...

3- Eudon Choi 4- Karizma Abuse

The Collective

Style Collective

LFW â&#x20AC;&#x201C; we went, but didnâ&#x20AC;&#x2122;t buy the t-shirt (far too expensive). Read the debate and choose your beauty team. Siobhan once again puts the S in style. The couple we all want to be like share their tips. Our newest prediction: Holly Silius remember the name. We wreak havoc in Sudley House... Dion is back! We choose the most stylish Albert Dock abodes. Is it time for dinner? We think so.

The Collective

Vivienne Westwood

It may be spring, but we couldn’t resist sharing with you a few of our favourite pieces from our most-loved LFW designers. Key trends to look out for this Autumn/Winter include rich textures, winter pastels, cobalt blue and - in keeping with the theme of this issue - neon! Here, we see Paul Smith putting a contemporary twist on sartorial style, Julien Macdonald offering a glamorous collection that is headed straight for the red carpet and a Vivienne Westwood explosion of colour and textures on the signature Westwood silhouette. House of Holland also offers up a vibrant collection, aptly titled ‘Nana Rave’, featuring acidic colours and daring patterns clashed with classic ladylike styles.

Style Collective –Review

London Fashion Week Round-Up – A/W ‘13

The Collective

Paul Smith

Julien Macdonald

The Collective

House of Holland

The Collective

Minimalist vs. Maximalist Which beauty are you? By Nancy Buckland For a while now beauty has really been all about glamour. Whether highbrow or huge brow, Kate Middleton or Kate Moss, it has been about long, big hair, maxi lashes and a whole lot of blush. However, things are changing and there are two new contenders in town. On one side we see the emergence of the beauty minimalist. First, let us get one thing straight. This girl doesn’t wash and go. She may look like a natural beauty but it takes a whole lot of effort. On the other side is the maximalist. She loves a beauty trend and the more colour the better. So which are you? Choose your side and dig your trench.

The Minimalist Beauty -

The Minimalist Beauty worships at the designer clad feet of Olivia Palermo, and wants to be Gwyneth Paltrow when she grows up. She loves clean lines, Narciso Rodriguez and only owns cashmere sweats. The Minimalist loves clean, sparkling skin and adores Elemis Pro Collagen Cleansing Balm (£39.50) which uses the tiniest microparticles to buff the skin. When it comes to complexion perfection The Minimalist knows there is nothing better than Creme de la Mer Moisturising Soft Cream (£100) the cult classic that gives impressive results. When it comes to beauty The Minimalist loves a natural but quietly glamorous look, playing up her natural assets. She loves the finish that Chanel Vitalumiere Aqua Compact (£35) gives her skin, giving it a light and polished finish. For maximum impact lashes she relies on Guerlain Noir G Block Mascara (£35) which comes with an in-built mirror and is the ultimate in luxury mascaras. For a sunny glow she keeps her face out of the sun and sweeps on Dolce and Gabanna Animalise Glow Bronzing Powder (£39.50) which has tones of mink, beige, bronzer and coffee. Her neutral look is completed with Aerin Holiday Style Palette (£45) which is packed full of neutral eyeshadows and a highlighter. For that just-got-back-from-Bahamas look The Minimalist knows how to fake it! She relies on Fake Bake Gold Self Tanning Lotion (£29.95) to give her a golden glow and look after her skin with its natural anti-oxidants.

The Maximalist Beauty -

The Maximalist Beauty believes that life is a cabaret and she is centre stage. She loves Cara Delevingne’s offbeat quirkiness and Rihanna’s out-there sassiness. She mixes it all up with vintage and High Street to create something that reflects her free spirit. The Maximalist loves pure and organic ingredients and needs a quick fix to pep up tired skin. After a great night out, she applies Liz Earle Brightening Treatment Mask (£14.25) which is packed full of natural goodies to revitalise dull skin and leave it looking radiant. To give skin an extra beauty treat she will apply some Clinique Moisture Surge Overnight Mask (£28) which boosts moisture levels and calms irritated skin. To make sure her youthful skin stays that way she regularly relies on Ren Keep Young and Beautiful Anti-Ageing Cream (£26) a wonder cream that lifts, firms and brightens the skin Beauty-wise, the Maximalist is all about the show. She loves experimenting with her look and loves the latest in colour and innovation. To make her skin glow she applies CK One Three-InOne Foundation (£25), a multi-tasker with primer, moisturiser, and foundation all in one product. To perk up her complexion she adores Burberry Sheer Summer Glow Palette (£42), which is the modern way to colour and contour the face. For eyes, there are no holds barred. She loves the drama and luxury of Tom Ford Colour for Eyes (£26) which give her lids a cool, metallic sheen. She adds an extra colour pop with NARS Soft Touch Pencil (£17) and NARS New Wave Eye Palette (£39.50) and doesn’t shy away from violet, chartreuse and vivid blue shades. She likes a retro feel for lips and adds glamour with MAC Archie’s Girls Veronica Lipstick in Little Girl (£15.50) a seductive plum plink.

The Collective

Style tips from our Fashion Editor– Siobhan Noble There may be snow on the ground as I write, but spring is just around the corner and with spring comes the beginning of the holiday season. Whilst we all wish for an unlimited budget and luggage allowance, chances are many of us will be heading to sunnier climates

on a budget airline, with a luggage allowance of 15kilos. However, a small suitcase is not an excuse for a fashion faux pas. The key to stylish packing is capsule pieces and great accessories…

I found my latest accessory at Ollie & Darsh Over the years I have perfected a smile/pout worthy of Victoria Beckham, which whilst being acceptable for photographs (and perfect for couture fashion shoots), absolutely, categorically does not show my teeth. It is becoming a problem. I have developed a cat like reaction when tagged in Facebook photographs: I am poised, fingers at the ready, face close to the screen - if I don’t like the smile I can de-tag in 0.25 seconds. When Viktorija, our photographer suggested I smile in my Editor Portrait, she was met with a horrified stare. Not that I have tombstone teeth or any horrendous deformity, though my teeth are slightly crooked and not that unusual crooked which can sometimes be deemed attractive. Lily Cole, I am not. My teeth have shifted slightly as I’ve gotten older, pushing my front teeth out and leaving their pearly neighbours in the shadows. So, at the age of 27, I have made the decision to fix my flaw and get my teeth straightened up. As you can imagine, there are tons of options to choose from in Liverpool when it comes to cosmetic dentistry, so when I began to research dentists I was a little overwhelmed. It was then that a friend recommended Ollie and Darsh. Based on Dale Street Liverpool, Ollie and Darsh offer a range of cosmetic and non-cosmetic dental care. I called and arranged a consultation with Suzy Gorman. From the moment that I stepped through the doors to the stylish reception area of Ollie and Darsh, I knew that it was the place for me. Picture the dingy waiting rooms of your childhood dentist: a murky sofa slouching lazily in the corner of a pokey room, accompanied by an ageing copy of Time Out, the only visual distraction from the inevitable horrors ahead. Now picture this: stylish décor and comfy leather sofa’s beckoning invitingly, original artwork adorning the walls; so beautiful in fact, you could be forgiven for thinking you had accidentally walked into a boutique hotel. That is the Ollie and Darsh experience. I was offered a drink whilst given time to browse a leather-bound book full of perfect smiles, each a testimony to the team at Ollie and Darsh. I smiled, instinctively bending my head to mask my pearly whites, assuring my self-conscious teeth that soon, they too would be picture worthy.

My consultation with Suzy was brilliant. There is an atmosphere surrounding the team here, they are genuinely attentive to your individual needs and listen to your recounted years of embarrassment with emphatic reassurance. Suzy explained the options available to achieve the results I wanted. There was no hard sell - in fact, it felt like a chat with an old friend. Warm and engaging, Suzy presented me with two options, the Six Month Smiles program or Invisalign. Invisalign is an almost invisible straightening system which uses a number of aligners to create a winning smile. Each set of aligners is created for and is unique to each individual patient. You wear each set of aligners for two weeks as they gradually move your teeth in to the desired position. Suzy patiently explained that the treatment time for this method varied for each patient, with the average treatment time being between ten and eighteen months. The Six Month Smiles system is a more visible treatment than Invisilign, but guarantees results within just 6 months. The Six Months Smiles braces are made from clear brackets and white wires, still much more discreet than your average brace. As an impatient patient, this was without doubt the option for me. I signed on the dotted line, and left my consultation full of excitement and anticipation. I have since been and had my moulds taken and am well on the way to having the smile I’ve always dreamed of. When I tell people I am having a brace fitted they often look at me like I’m crazy for undergoing dental work at my age, but my smile is the centre of my face, it’s the first thing my boyfriend, family, friends, and business clients see when I greet them. I want it to be filled with confidence. Forget the Baltique Balenciaga Tube Clutch; a great smile is the only accessory I need this summer – and for the summers of the future. That is the point, this is an investment (forget that LBD you have been saving for), an investment that will continue to uplift my confidence for years to come. To book a consultation at Ollie & Darsh contact Suzy Gorman on 0151 236 6578 or alternatively visit www.ollieanddarsh.co.uk

The Collective

Heart T-shirt £40 Dr Martens, Stella McCartney Leopard Print Linen Shorts £310, Cricket Blossom Bag by Paul’s Boutique £45 Topshop Anton Heunis Coral and Turquoise Drop Earrings £80 and Necklace £445 both www.Benna.co.uk

Carven Red Striped T-Shirt Dress £180 Cricket Denim Shorts £40 Urban Outfitters Necklace £35 Claudia Pink Bunty Bag by Paul’s Boutique £75 Topshop

Neon Animal Tank Midi Bodycon Dress £32 Topshop Necklace £35 and Earrings £20 Both Claudia Pink Floss Embellished Sandals £50 Topshop Tangerine Playsuit £30 Topshop Thursday/Friday Super Together Canvas Tote Bag £100 Cricket Jimmy Choo Preya Tan and Gold Wedges £310 Cricket

Stockists: Benna www.benna.co.uk Claudia Pink www.claudiapink.co.uk Cricket www.cricket-fashion.com Dr Martens www.drmartens.co.uk Topshop www.topshop.com Urban Outﬁtters www.urbanoutfitters.co.uk

Engine One Piece £120 Dr Martens Mini Heart Satchel £125 Dr Martens Shoe Boots £85 Urban Outfitters

The Collective

Mad About Hair

Andrew In today’s hair world, colour is the fundamental key to unlocking a new image and this spring/summer proves no exception. I’ve just returned from a UK tour with TIGI Global Colour Technician, Christel Lundqvist. Three time British Colourist of the Year, Lundqvist is regarded as the very best in the industry and I am ever confident in her predictions. Personally, I cannot wait for summer: fresh air, warmth and light nights. It seems to inspire a happier, more creative atmosphere, as well as a more social one. Enjoy! According to Lundqvist, nudes, beiges and pastels are the main story this summer. Accompany this with a sixties inspired bob and you are immediately on trend. It needn’t be sharp and geometric; the modern take is more relaxed with the same precision lines but complimented by a softer, more textured interior, giving you the versatility to change the look. If you can’t part with your length try a high ponytail instead, or go for an edgier look with a full fringe. Bowie is back and it is time to lead from example and become a little less safe with our hair. There are some fabulous products available today and your hair can be super smooth one day (TIGI Session Series Styling

Cream), then quiffed, vertiginous (TIGI Session Series Wet Look Gel) or crimped the next. This season is all about exploring texture and there are no rules. I grew up in the 70’s, when everyone experimented with their hair (just look at my photo – Bowie-esque?). For fashion and culture it was a decade of extremes that lived side by side, from Abba to Bowie, Charlie’s Angels to the Sex Pistols. Towards the end of the 70’s, whilst working in London, a great night out could always be found at the Blitz in Covent Garden. Everyone made an effort, through hair, makeup or clothes – not that that mattered when Boy George and Steve Strange turned up – who can rival them!

The Collective

This issue, The Collective welcomes creative dream team, Andrew and Liz Collinge, to our pages, as they unveil their ﬁrst Collective column. The cutting edge couple of the hair and beauty world, Andrew and Liz share the common vision of shaping and creating looks and trends that continue to place them at the forefront of their industry. Armed with an impressive combination of experience and expertise, this is one couple you would not mind having around the dinner table. Collaborating once again to impart their words (and products) of wisdom, you may want to grab a pen and make some notes...

Liz Hair and make up by Andrew and Liz Collinge

We are fast approaching summer and it is important to be prepared: the beginning of a season is the perfect time to update your entire look. Adding a few new pieces to your wardrobe simply won’t do it, so accompany them with a fresh cut/colour and a new make-up idea. The result will be instant - edgy, modern, refreshed, and summer-ready. I’ve put together a few suggestions to help you achieve a catwalk ready look, with minimal effort. For Chanel, it was all about the eyes: strong and sultry with silver brushed over the lids and into the socket. Metallic colours work brilliantly for summer and if combined with lashings of black mascara create a really stunning look. For strong metallic shades I recommend Illamasqua. Try Pure Pigment in Static £15.50. For Giles, it was all about the lips: the catwalk beauties wore the brightest of fuchsia pink lipstick offset by beautiful pale skin. To achieve a statement lip, everything else must be completely neutral. To carry this off the complexion must be beautifully prepped and the colour skilfully applied. Try NARS Radiant Colour Concealer in Chantilly £21 or The Complexion Perfector - Chanel Les Beiges Healthy Glow SPF15 £38. Now for the star of the show: MAC Pro Longwear Lipcreme in Love Forever £16.50 will create the perfect mouth. Apply with a Liz Collinge Lip Brush £5.50 to achieve extra precision.

For the skilled artistes amongst you, try the Marc Jacobs models’ cute ‘doe-eyes’. It’s 60’s inspired and all about shading, strong brows, softly defined lids and heavily shaded sockets. If you’re a fan of the retro glamour of Mad Men (a personal favourite of mine), this is the look for you. Invest in neutral greys or browns for the eye, whilst the lips should be a beige or nude colour. Benefit ‘Big Beautiful eyes’ £24.50 is perfect for working this look, as is Bobbi Brown Creamy Lip Colour in Honeysuckle £18 – the perfect product for achieving the essential subtle lip. For me, the pièce de résistance of the SS catwalk was Pat McGraths smokey, opalescent eye, stunningly paraded at Versace. An inky base and iridescent sweep of emerald green create a dramatic, exciting eye that will invigorate any outfit. NARS Eyeshaow duo in Mad Mad World £24 is perfect if you are ready to be a little more daring.

ARE YOU A RECENT GRADUATE WITH THE PASSION AND DRIVE TO RUN YOUR OWN BUSINESS? HAVE YOU GOT A GREAT IDEA THATâ&#x20AC;&#x2122;S ALMOST READY TO GO? THE ENTERPRISE FELLOWSHIP PROGRAMME CAN HELP TURN YOUR IDEA INTO REALITY OUR PROGRAMME OFFERS: n A 5-day intensive training course to kick-start your business n Tailored business support and advice n Opportunity to pitch for Enterprise Fellowship funding n Networking, introductions and co-working space (A recent graduate is from July 2008 onwards)

LJMU CENTRE FOR ENTREPRENEURSHIP 0151 231 3300 startup@ljmu.ac.uk @LJMU_Enterprise This programme is supported by the European Regional Development Fund NWEC Phase 2 project

The Collective

Collective Prediction – Holly Silius

This issue, Lynn Gallagher uncovers the London based make-up artist who’s making waves in the fashion and beauty industry with her innovative ideas and bold creations.

Style Collective –Prediction

The Collective

“My inspiration comes from a mixture of artists from stylists, to photographers and musicians. For instance, I really love Dianna Vreeland, Karl Lagerfeld, Tamara De Lempicka and Grace Jones”

t the age of twenty nine, Holly Silius has already worked with some of the most coveted clients in the fashion industry, from Florence Welch to Katy Perry, Jessie Ware to Elle. I catch up with Holly as her most recent project excites a media frenzy; Miss Sillius was the creative genius behind Beyonce’s, or should we say, Mrs Carter’s, remarkable gold nails for that O2 advert.

“I felt huge relief when I realised they were actually used!” Holly laughs. “They didn’t tell me they were even going to be used until just before the advert went live! When I finally got to see it I was so delighted - they looked exactly how I had pictured them. I felt an overwhelming sense of achievement, the reception the nails got in the aftermath of the advert going viral was incredible.” As well as being a fully qualified make-up artist, a graduate from London College of Fashion in Special Effects Make-up and an experienced professional in fashion, film, music and theatre, Holly is also a savvy business woman, the brains behind the H&H Body Adornment and Shimmer Twins Lashes brand. H&H Body Adornment is the name behind her striking 2D and 3D metal nails and I’m intrigued to uncover the inspiration behind this unique idea. “It’s funny you should ask actually”, smiles Holly, “I was working a lot with a photographer who kept asking me to do the nails for her models, even though I had never even had a manicure before, never mind taken a nail course!”. She laughs, “never one to shy away from a challenge I started doing nails for this particular photographer- I was hooked and it was only a matter of time before I started thinking of ways to make them more interesting and ‘out there’, so I started experimenting. My friend Hannah Warner was a jewellery designer so we decided to have a meeting one day and it all escalated from there”. “The whirlwind success of H&H has been surreal to say the least. I knew we were onto a good thing when our nails were used in

Thierry Mugler’s Paris show in March 2012 before the brand had even launched; that was definitely a career defining moment for me”, Holly humbly explains. “My work also gives me the opportunity to see the world - I’ve been to New York, Tokyo, Sicily and Paris.” Holly’s undoubtable passion for her art really shines through when I ask her which style icons inspire her creations. “For me, it’s not just about the people we see on the front covers, it’s the people behind them,” Holly says defiantly. “My inspiration comes from a mixture of artists, stylists, photographers and musicians. For instance, I really love Dianna Vreeland, Karl Lagerfeld, Tamara De Lempicka and Grace Jones; their work and individuality gives me the confidence to believe in my ideas and bring them to life. Becoming a make-up artist is just like being any kind of artist, it just happens to be on the face”. So what’s next for Holly Silius, I ask? “My dream project is to work with a luxury Haute Couture brand so until then I’m working on developing my brand and taking H&H to the next level.” As I leave the interview with Holly, I can’t help but feel a little intimidated by the obvious hard-work that precedes her success. Touching on the essentiality of literally putting yourself ‘out-there’, Holly warns that “you have to be prepared to work for free, in this industry there will always be someone there to take your place if you’re not prepared to do the hard work”. On that note, I was straight to back to Collective HQ to get cracking on ideas for Issue 5. For more information on Holly’s work visit: www.hollysilius.com For Holly’s 2D & 3D metal nails visit: www.holly-hannah.com Are you going to be the next Collective Predication? Whether your expertise is in fashion, beauty, arts or any other creative medium, he Collective want to hear from you. Please Contact lee@thecollectivebrand.com for more information.

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The Collective

Back to 2013 Steeped in history and traditional beauty, the stunning surroundings of Sudley House play host to our latest fashion shoot. One of Liverpool’s hidden gems, this 19th century architectural masterpiece was left to the city - along with her father’s vast art collection - by noted philanthropist Emma Holt after her death in 1944. Visit Sudley House for a trip through the fashions of the past with their latest display: Twentieth Century Chic. Twentieth Century Chic features 12 evening outfits, each representing a key period in women’s history. The changing styles, materials and colours of the garments echo the wider social issues of the specified time. In between shots I seized the chance to explore the exhibition and was struck by the beauty of the clothing on display. Items dating back from 1907 through to 1998 stand proudly on mannequins, showcasing an evolution in women’s style throughout the decades. This exhibition is truly a must see, For further information and opening times visit www.liverpoolmuseums.org.uk/sudley/

Model Niamh Ingham Boss Model Management

Photography Viktorija Grigorjevaite www.vggv.co.uk

www.claudiapink.com -

Stylist Siobhan Noble Assistant Stylist Lynne Gallagher Hair Stylist Ryan Edwards, Celebrity Locks Make Up Artist Lucy McKeown

Props

lucymc-makeup.weebly.com

www.bossmodelmanagement.co.uk

Clothing & Accessories Harvey Nichols, Manchester www.harveynichols.com

Dr Martens, Liverpool One www.drmartens.com

Claudia Pink Bold Street, Liverpool

Collage Collectables & Fine Art, The Basement, 1847even, 16 Newington, L14ED

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Helmut Lang, Leather Jacket - £1085 Hervé Léger, Faith Bandage Dress - £1,165 both Harvey Nichols Necklace - £45 Charm Bracelet - £30 Gold and Silver Spike Bracelet - £25 Multicoloured Spike Bracelet - £25 Ring - £18 all Claudia Pink Sunglasses - Stylists Own

MSGM Tassle Tee - £180 Alexander McQueen Zip Embellished Grained Leather Skirt - £570 both Harvey Nichols Boots Dr Martens 1460w - £90 Earrings - £18 Bracelets - £25 each both Claudia Pink

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Helmut Lang Backless T-shirt - £125 CUT25 Printed Crepe Shorts - £225 Both Harvey Nichols Dr Martens Yasmin Silver Studded Heel -£90 Necklace (worn backwards) - £40 Studded Bracelet - £25 Multicoloured Bracelet - £25 Claudia Pink

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BCBG Dress Guiseppe Zanotti Sharon Leather Platform Sandals - ÂŁ470 both Harvey Nichols Ring -ÂŁ18 Claudia Pink

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Helmut Lang Leather and Stretch Linen Blend Jacket - £650 Helmut Lang Printed Stretch Jersey Leggings - £250 SophiaWebster Multicoloured Neon Sandal - £525 Sophia Webster Fluorescent Clutch - £495 all Harvey Nichols Ring -£18 Claudia Pink

The Collective

There is no denying that when you look good, you feel good, but sometimes we need a little helping hand to achieve the results we desire. Fortunately, help is available in the form of Lip Doctor Aesthetics...

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Style Collective –Advertorial

Lip Doctor Aesthetics is a clinic based in Maghull, Liverpool and is owned and ran by Dr Fab and Lisa Equizi. Dr Fab was previously a General Practitioner and has over twelve years experience in aesthetic practice. The clinic specialises in a great number of treatments ranging from lip augmentation and dermal fillers to more advanced procedures such as the ‘non-surgical nose job’ and the ‘virtual facelift’. Consultations are completely free of charge and there is no obligation to go ahead with any treatments. But once you do decide on a procedure our aim is to make

your experience with us as comfortable as possible, including using a combination of numbing cream and dental anesthetic injections before your treatment begins. We also ensure your satisfaction by booking you in for a complimentary check up appointment to assess if any ‘tweaks’ are required, giving our clients peace of mind so that they return time and time again.

Treatments Amalian LASHES

Botox Treatments

One of the latest products that we offer is Amalian LASHES, which is available exclusively to Lip Doctor Aesthetics. Now you can revitalize and improve the appearance of your lashes, making them look longer, darker and thicker.

Botulim Toxin is a purified protein produced by the clostridium botulinum bacterium. It is a non-surgical treatment that can temporarily reduce lines caused by over expression of certain muscles such as frown lines, between the brows and crows feet. During the treatment, very small amounts of Botulim Toxins are administered using a very tiny needle directly into the muscles. It works by blocking the signals from nerves into the injected muscles therefore reducing the activity of the muscles (temporary paralysis) that cause those lines to form.

The treatment is designed to nourish and boost your own lashes and is formulated without alcohol and preservatives – so it comes without the sting too. Amalian LASHES has been clinically reviewed by dermatologists and ophthalmologists and is non-allergenic, so there are no reports of ocular irritation or iris or eyelid hyper pigmentation. The treatment is easily applied with an eyeliner brush once a day, preferably in the evening. You’ll see full results – real and natural enhancement of your lashes – in just a few weeks

Lip Plumping and Shaping Lip plumping and shaping is achieved by injecting filler along the lip margin (vermillion border) and into the body of the lip until the desired shape and lip volume is attained. There are a variety of injection techniques that can be used, for example we can run filler behind the lips to enhance pout. Your lips will be entirely numbed first so you can rest assured that the procedure will be totally painless. Lips may be initially swollen or possibly bruised but this should subside within 48 hours. Your new pout lasts for six months (less if you smoke) but subsequent treatments may last for nine months to one year. We can also improve the appearance of gummy smiles using small quantities of botulinum toxin in the top lip. This will also help lip lines, although filling the lines is usually preferable.

Treatments take about 10 – 20 minutes and are usually painless. No recovery time is needed and you should begin to see an improvement within 3 – 4 days and the results usually last up to 4 months. Treatment with Botulim Toxin will not dramatically change your facial appearance or make you look totally expressionless. The muscle activity that causes the forehead frown lines is simply reduced, so you will still be able to frown or look surprised without the wrinkles and creases between your brows.

Dermal Fillers For deeper folds and facial contouring we use Radiesse or Ellanse. These are a longer lasting filler (approx 18 months) and are ideal for such areas as nasolabial folds (nose to corner of mouth) and marionette lines (corner of mouth to chin). They can also be used to sculpt your cheekbones to give you a more defined look, or for virtual face lifts and non-surgical nose jobs. For virtual face lifts Radiesse or Ellanse is used in volume areas along the jaw line in association with botox to give the effect of a lift. For a non-surgical nose job it can be used to even out an uneven bump, make an unsymmetrical nose look straighter or to lift the tip. All these treatments plus many more (including – face peels, dermal roller treatments, carboxy therapy and Dracula Facelifts) are available at Lip Doctor Aesthetics, so call for your free consultation today to get the look you desire.

Lip Doctor Aesthetics Ltd, 171-173 Liverpool Road South, Maghull, Merseyside L31 8AA

T: 0151 520 3070 E: lisa@lipdoctor.co.uk www.lipdoctor.co.uk

M: 07801 281504 / 07770 234000 E: fab@lipdoctor.co.uk

EVENT HIGHLIGHTS

WWW.ECHOARENA.COM | BOX OFFICE: 0844 8000 400

15 May £35.00 - £55.00

Ft Kerry Ellis and Rory Taylor

27 April £26.50-£35.00

MARK KNOPFLER AND BAND Ft Tim Minchin, Melanie C and Chris Moyles

19 May £35.00 - £85.00

30 October3 November £50.00

FA M ILY

15 October £30.00-£65.00

Back In The Game Tour 12 November £24.50

LIKE US: WWW.FACEBOOK.COM/ECHOARENA | FOLLOW US: TWITTER.COM/ECHOARENA

...NOW THAT’S ENTERTAINMENT! All ticket purchases are subject to a ‘per ticket’ booking fee and a handling fee. Tickets are subject to availability.

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Dion is back with his hair, style and male grooming trends for Spring. pring has finally arrived! This has to be my favourite time of year – and not only because the days are getting longer – jampacked with events, festivals (Glastonbury is back) and holidays, there is excitement in the air and the promise of a new wardrobe looms. I’m also having so much more fun in the salon, as I’m finding clients are more open to change and are getting sick of looking like all their friends - some are even starting to add touches of colour to brighten their hair in time for summer!

The whole 90’s look is going to be huge. With the success of brands like Kenzo and Boy London, it appears slogan tops are back once again! The season seems to be a complete mismatch of patterns, with military making its way back to the catwalk for the umpteenth time (does it ever go away?), floral prints everywhere you turn (Topman’s floral denim shorts are ace!), and tie-dyed tops and stone washed jeans jostling for their newly reclaimed position. Just because we’re all going 90’s doesn’t mean we’re going to be wearing our hair in greasy centre partings with bad highlights. It does mean we will be wearing our hair a bit messier though, ‘the undone look’. This kind if haircut is perfect for festivals and holidays: low maintenance and easy to style.You can get away with using a dry shampoo like Kevin Murphy Fresh Hair instead of washing it, adding texture and accentuating the ’lived- in’ look!

Dion Recommends...

Kevin Murphy Fresh Hair www.kevinmurphy.com.au

Pastel colours are also huge this season. Reiss have totally embraced this trend. They have some amazing jumpers and their suits are stunning! I have had my eye on one of the suits which is out of this world...it’s a shame I have no excuse to splash out! To compliment a smarter look you don›t necessarily need to change your hair cut, it can be something as simple as working gel into your hair when it›s damp and styling it with a parting or using a totally different product to give it a different finish. Ask your stylist for tips on how to make your hair look different for those special occasions.

Sitting on the Dock of the Bay. Looking for an afternoon activity? The Albert Dock has just the place. Planning an anniversary surprise? The Albert Dock houses just the venue. Need to take a client to lunch? The Albert Dock is ready and waiting... Can you see a pattern emerging? With a host of galleries and museums, restaurants and bars, all situated within the stunning architectural setting of the UKâ&#x20AC;&#x2122;s largest collection of Grade One listed buildings, The Albert Dock offers something for everyone. After a rainy weekend on the waterfront, The Collective team reveal their favourite picks, straight from the heart of Liverpool.

Photography by Richard Lackey

The Collective

Tate Liverpool -

The most visited gallery of modern and contemporary art outside London, Tate Liverpool is home to the National Collection of Modern Art in the North of England. An artistic palette of twentieth century art and specially curated exhibitions, Tate Liverpool is a favourite to locals and visitors alike (including our Arts Editor, who spends most of her spare time drinking tea in the gallery café, pretending to be working). Currently showcasing Glam! The Performance of Style, the multi-installation exhibition is the first of its kind, exploring the style and sensibility of the glam era through a variety of different mediums. Running until May 12th, there is plenty of opportunity to catch Tate Liverpool’s most recent artistic offering.

The Spice Lounge -

A treat for the taste buds, this stylish, spicy venue offers a delicious array of modern Indian cuisine. As our Editor embarked on an evening dinner date, steeled against the uninvited guest of snow, he was surprised to find the restaurant full. Tasting his meal, his surprise melted away. The Spice Lounge uses only natural flavour’s within their food and each dish is made from fresh herbs and spices to give the diner a truly authentic taste of India. Daunted by the extensive rice list (is rice not just, well, rice?) the assistance demonstrated its excellence as a dish was chosen by the staff, tailored to our Editor’s specific taste preferences!

Merseyside Maritime Museum -

Baby Blue Comedy Central -

Vinea -

If you enjoy a touch of education with your recreation, the Maritime Museum is for you. Discover the story of the Titanic, learn about the Battle of the Atlantic and marvel at Liverpool’s maritime past. Seized! The Border and Customs Uncovered exhibition, allows eager visitors to explore the world of smuggling and tax evasion, protest and war – don’t worry it’s all above board…

For those of you looking for an alternative evening of entertainment, the awardwinning Baby Blue is an intimate live performance venue, nestled beneath the Blue Bar and Grill in a beautiful 19th century basement vault. Comedy Central hosts live comedy every Thursday, Friday and Saturday night, featuring the best stand-up comics that the city has to offer. With an accompanying basement bar, we wouldn’t complain if there happened to be a lock-in…

Latin for vineyard,Vinea is a wine bar, shop and delicatessen, offering a unique experience to its extensive clientele. Concentrating on the finest wines of the world (many of which are sourced from small vineyards and not otherwise commercially available), our Editor can often be found looking out over the docks, sipping a glass of Chateau Deville Rouge. With a selection of wine tasting events and courses at your disposal, that trip to Bordeaux you were planning can be put on hold.

Gusto -

Le Crepe Rit -

Miller & Carter -

Examining the apt definition of this beautiful restaurant, it is safe to say it lives up to its name. A favourite of the whole Collective team, Gusto is a restaurant to which we return again and again. Perfect for both client lunches and family occasions, the open plan dining experience that accompanies the excellent Italian food affords guests a warm, relaxed atmosphere. Its statement ‘Con Amici’ table seats up to 40 people, perfect when trying to get all of your friends together in one place (no wobbly tables pushed clumsily together here!). With a menu that boasts an extensive range of pizza and pasta, seafood’s and salad’s, there is something for everyone – yes, all 40 of them - in this stylish setting.

Fancy a taste of France without using up your air miles? The Albert Dock has just the place. Le Crepe Rit is a French-style café, specialising in delicious crepes and other French fancies, all delivered with efficient service and a friendly smile. Translated as ‘The Pancake Laughs’, Le Crepe Rit has been established for nearly 20 years, amassing an impressive reputation along the way.

Miller & Carter claim to know a thing or two about steak. After a Chateaubriand to share, we believe they do. Every West Country steak is aged for exactly 28 days, guaranteeing a richness of flavour that is unparalleled throughout the city. A fantastic atmosphere is cemented by warm, attentive staff, constantly on hand to bring another bottle of red should it be needed (isn’t it always?). There is always the danger of mediocre quality within a chain restaurant, but Miller & Carter avoids this deterrent successfully with both excellent food and service – all accompanied by a very reasonable price tag.

The Collective

Restaurant review

Blakes

60 Hope Street

It is a common misconception that only those staying at the Hard Day’s Night Hotel can dine at Blakes, and one that needs to be amended quickly. People continue to stroll past Blakes stone steps, heading for a less appetising meal and missing out on one of the best restaurants in the city’s commercial district. This is by no means your average hotel eatery, with unimaginative chefs relaxed by the promise of overnight diners, Blakes stands alone as a unaided fine dining experience.

60 Hope Street has been a big name on Liverpool’s restaurant scene for over a decade now. Spread across three floors of authentic Georgian town house, basking in its own architectural delight, this is a restaurant that Liverpudlians are proud of – myself included.

If you’re a Beatles fan, the fascinating photographs of the Fab Four will act as a refreshing starter to your meal, though for those brave enough to admit a certain indifference to the Scouse songbirds, the expected memorabilia is rather tasteful – a portrait of Ringo will not be looming over your starter. Easily tempted by the A La Carte menu, a trio of salmon was promptly ordered, arriving with cumber and chilli dill. How have I not been here before? It is simply delicious - though not as delicious as the main. Ordered to share (and warned it would take 30 minutes to cook), the cote de boeuf, with gallette potatoes and garnishes was sublime and well worth the wait. With attentive, smartly dressed staff at your constant assistance, Blakes expels the myth of shoddy hotel restaurant service. Travel Inn, this is not. However, I must issue a strong warning. After filling up on the restaurant’s beautiful food, slipping upstairs to sample one of the equally beautiful rooms is highly tempting. After all, who wants to tread the long road home on a full stomach? www.harddaysnighthotel.com/blakes-restaurant

With an ever changing menu of seasonal British food, all sourced from the British Isles, 60 Hope Street has been a long established favourite of mine, offering fresh, delicious food with a side of impeccable service. Even so, there is always that niggling doubt when walking into any eatery – is it as good as I remember? At a time when a restaurant’s popularity cools as quickly as its plate’s, can one of Liverpool’s earliest fine dining offerings live up to its own reputation? Of course it can. As my guest and I tuck into warm potted Southport shrimps, it is clear that 60 Hope Street will not be out of fashion anytime soon. There is a ‘relaxed formal’ atmosphere here that is not easy to create: you can get away with the elementary mistake of using the wrong knife or the incorrect pronunciation of an unusual wine without feeling self-conscious. The waiting staff are consistently on-hand to provide an extra napkin or refill an empty glass (a little annoying when you really should have stopped after the second) and most importantly, look happy to do so. Devouring the slow cooked English rose veal cheek, with mash and carrot purree, I remember why I love this place. It has confidence in its food, resulting in unique, intriguing meals that leave the consumer furiously disappointed as they swallow their last few bites – disappointed for eating too quickly, for not savouring each morsel. As for dessert, well, those of you whom have dined here before will know there is only one option – the deep fried jam sandwich. 60 Hope Street’s signature dessert, the two have a lot in common: both completely unique, both hard to forget! www.60hopestreet.com

The Collective

The Restaurant Bar & Grill I can think of little better ways to spend my time than a meal at The Restaurant Bar & Grill Liverpool, accompanied by John Shield. A truly luxurious establishment with a truly interesting dinner guest was just the right recipe for an evening of delicious food. Located in Halifax House, at the heart of the bustling commercial district, The Restaurant Bar & Grill Liverpool is only a short distance from John’s Liverpool based office and thus the perfect venue for a post-work unwind. Despite the corporate grandeur of the former old banking hall doors, business was the last thing on our minds as as we enjoyed a bottle of Pinot Grigio which appeared alongside two crystal glasses, begging to be filled. With the eye-catching cocktail bar situated centre stage, standing between the rows of signature glass wine racks dividing the main dining areas; it would have been rude not to sample a Mojito or three. Seated at the bar, it is easy to appreciate the reinvention of the location. What was once an old building society headquarters is now among the list of beautiful city centre buildings that have been thoughtfully transformed into Liverpool’s most stylish hangouts. Attractive and modern, The Restaurant Bar & Grill is sure to be a hit with locals and visitors alike. Seated on comfortable leather benches, the serious business of ordering began. Menus at the ready, we scanned the list of starters with a ravenous eye. With grilled asparagus at the top of both of our wish lists, we took a calculated risk: if the dish was awful, we would

bear the burden together. Thankfully, the asparagus was light, crisp and tasty – the perfect starter. After ordering mains from the signature menu it became evident that lawyer and editor have a lot in common: I’m not just talking about our taste in starters. A partner at JST lawyers, John’s interests in the art and fashion world are a fundamental part of his job. With clients including British artists and designers, curators, galleries and collectors, there is little this man does not know about the arts scene.Yet tucking into my braised daube of beef (“naturally reared on farms carefully selected” – to quote the menu), talking was the last thing on my mind. Served with garlic puree potatoes, smoked bacon and red wine my attention turned from John to my plate. Luckily, his grilled seabass, dressed with a flavoursome mint yoghurt had equally captured his eye. Never too full for a desert, I opted for dark chocolate fondant with green tea ice-cream (full of antioxidants I can only assume) and the taste was as decadent as its description. Mouth-wateringly good, I restrained myself from ordering another, picturing my already heavily exceeded daily calorie count looming around my waist. John’s mandarin cheesecake and blood orange sorbet was consumed with rave reviews and the food was declared delicious as we recounted our feast. Rounding off the evening with full stomachs and interesting conversation, I uttered those three words that can only ever be used after a successful dinner: “two espressos, please”.

www.individualrestaurants.com/bar-and-grill/liverpool

The Collective

It is a Sunday afternoon in Paris and I have constructed a fabulous outfit - even if I do say so myself. Dressed up, feeling great, I am ready for a walk across La Seine and a quick tour of Mandarin Oriental Paris, you know, whilst I’m in the area. Ten minutes later I am steps away from the Louvre and surrounded by haute couture. Darlings, I have arrived! As the impeccably dressed concierge runs from the doors to greet me, I remove my sunglasses and smooth back my hair. Now this is more like it. It is clear that only the important enter the doors of Mandarin Oriental – I hastily replace the glasses, aloof and mysterious once again. Mandarin Oriental is famed for its suites, restaurant and spa and I am eager to see why. After staying in so many beautiful Parisian hotels, will Mandarin Oriental prove a cut above the rest? It is a daunting task but as I am ushered into a Superior Suite, containing a bathroom bigger than most living rooms, I begin to spot the signs. Two plush white dressing gowns, adorned with gold embroidery hang either side of an enormous mirror; a freestanding bath sits beneath a wall of delicately painted butterflies and a spacious wet-room, complete with mirror turn television (yes, really), stands proudly in the corner. So that’s the bathroom covered... The suite is completely soundproof, cutting off its inhabitant from the bustle of Paris whilst making a noisy statement of its own: this is a room in which to relax. Decadent but warm with heavy fabrics, modern prints and a vast, deliciously comfortable bed, a light siesta is highly desirable but curiosity aroused, I head for the spa. The first thing I notice are the butterflies, gently decorating this Oriental oasis with their miniature wings and beautiful colours. The 14 metre sunken pool is not quite as dainty, but equally beautiful in its tranquillity. Four single treatment suites await - each with private facilities and steam showers, whilst couples have the option of a similar private suite with secluded vitality pool. It is little wonder that the Mandarin is hoping to achieve ‘Palace’ status this year. An accolade that so far only exists in France, the coveted title distinguishes hotels from their other luxury competitors, simultaneously boosting France’s reputation as the most stylish destination in the world. Criteria to obtain the palace label include the hotel’s location, historical significance, room comfort, personalised service, multilingual staff, and health and spa facilities. Although I have been here for little more than an hour, it is clear that Mandarin Oriental ticks the relevant boxes. As we make our way toward the restaurant, presided over by award winning chef and culinary director, Thierry Marx, I am only too aware of my growing appetite and expectations. Offering ‘cutting edge’ cuisine, I order soy and oyster risotto, served with black truffle. I am expecting a culinary voyage, guided by colour, texture and temperature: what I receive, is the wrong meal. The restaurant seems to let out a collective gasp of shock. The waiting staff blanche. A tall man with a horrified expression whisks away the cooked beef culprit. Half way through a bottle of something or other from the south of France, I cannot help but be amused. The beef looked quite nice. I wasn’t particularly offended by the mistake, though a thin couple on the table adjacent shoot me sympathetic glances, shaking their heads in disgust. The intensity of this place is remarkable. If something goes wrong (such as a tiny-weeny table mix-up) the whole hotel stops, scolds itself and carries on with more vigour, more attentiveness. A palace in the making, I suppose it has to. As my orange cheesecake and ice cream dessert is served with an accompaniment of yet more apologies, I once again spot a miniscule butterfly, beating against the ramekin. Mandarin Oriental is a lot like its butterflies: beautiful, elegant and flawless. www.mandarinoriental.com/paris

Mandarin Oriental Paris Travel Collective –Paris

The The Collective Collective

Travel Collective

The Saint James welcomes you to Paris. Fancy a walk on the Wilde side? We uncover the beauty of Le Burgundy. Londonâ&#x20AC;&#x2122;s calling! Better make a stop.

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The Collective

Saint James Paris Lee Joseph Hagan asks can a trip to this stunning Parisian hotel cure an ailing man? I do believe it can...

Travel Collective –Paris

t’s Tuesday evening. I have a bout of sinusitis that is so truly awful; I am considering self-decapitation. I have just landed in Paris. I want to go home. Fashion capital of the world, I am simply not in any position to put my best face forward. Get me to a hotel and let me sleep. Someone just get me a taxi.

I pull up outside a hotel – The Saint James Paris to be more precise. I suddenly feel a little better. Parisian chic, here I am. An 1892 neoclassical mansion situated in the elegant sixteenth arrondissement, I can feel my spirits lifting. Strolling towards a duo of traditional entrance pavilions, grandly situated across a private courtyard adorned with central fountain, the last place I want to be is home. The only château-hôtel in Paris, Saint James has a rather unique history. The site of the first Montgolfier hot-air balloon launch in 1783 (essentially the world’s very first ‘airport’), Madame Dosne-Thiers was the woman responsible for its next historical phase. The widow of Adolphe Thiers, President of the French Republic, Dosne took over the site in 1892, constructing a building known to all as the ‘Thiers Foundation’: created for the most intellectual scholars in the country as a fitting memorial to her late husband. Now, with neither hot-air balloon nor student in sight, I stand before a breathtaking hotel, embodying a style in keeping with that of a country-estate - a venue to recharge your batteries, right in the heart of the hustle and bustle of Paris.

A riot of ruby toile wallpaper, crimson drapes and faux leopard skin upholstery awaited my unbelieving eyes.

Greeted by Director,Yves Monnin, the excellent exterior was matched with an excellent service. Evidently impressed as I talked him through a recent copy of The Collective (so impressed in fact that our fourth issue will be available in the main reception area). Shortly after, I was upgraded to a Superior Suite. Now it has to be said, if the spectacular entrance hall is an indication of the rooms above, it is clear I am in for one major treat. Interior designer Bambi Sloan has clearly waved her magic wand over the interiors at the Saint James: an act that has resulted in a palatable mixture of rich colours, bold contrasts, sumptuous fabrics and well-chosen antiques. The initial effect upon visitors’ is marked. I watch as more than one immaculately dressed guest walks into the entrance hall, observing the swirling velvet drapes and lofty balustrades with murmurings of appreciation. Balloon print wallpapers and colourful curtains scream of the Hotel’s history in a uniquely stylish testimony. Climbing up the richly carpeted staircase and stepping onto a tradition black and white checkerboard floor, I cannot imagine I will be disappointed with my humble dwelling. Humble dwelling that includes

complimentary champagne and a piano... Did I ever feel unwell? Nothing that a soak in a marble roll-top bath filled with Lanvin products won’t sort out, I’m sure. My room - or should I say, Superior Suite - is divine. A riot of ruby toile wallpaper, crimson drapes and faux leopard skin upholstery awaited my unbelieving eyes. The apparent parquet floor is actually a ‘woodeffect’ carpet, thick and sumptuous beneath my feet. Dimming the wall lights fashioned from turquoise crystal, this is a room for relaxation, for escaping from the world, for fighting off sinusitis... Alas, there is always work to do and setting my MacBook onto an antique writing desk I searched in vain for my charger. Apparently, it remained in England. I suppose it’s time to run that bath... Recounting the sorrowful tale to Monsieur Monnin the next morning, he insisted that ‘of course’ a new charger would be sourced, bought and sent to my room. Really? Again - ‘of course’. I’d like to think I am particularly special but actually, every guest is equally important in this luxurious hotel. Nothing is too much; everything is ‘of course’. This, is France

The Collective

Ushered into the dining room for breakfast, the high, painted ceiling and exquisite wooden wall cabinets are a feast for the eyes. The buffet table is no less tempting. The efforts of Chef Virginie Basselot (previous Premier Sous Chef for Eric Frechon) the table before me heaves with plates of ham, fresh mango, freshly made breads and brioche and smoked salmon. Before I can leave my chair a pot of coffee and carafe of fresh orange juice are brought to my table. A flawlessly presented waiter, dressed in black was keen to attend to my every need. At Saint James, ‘buffet’ does not mean serve yourself, its presence acts simply a visual menu. There is a genuine attentiveness about the waiting staff: replenishing a half-full glass, replacing an empty plate of fruit with its full counterpart.

Nothing is too much; everything is ‘of course’. This, is France.

With the authentic hospitality of a château alive in the beautiful setting of Paris, this is a hotel not to be simply driven past en route to the Eiffel Tower. Staying at Saint James is a French attraction in itself. Unique, elegant and accommodating, the hotel is the perfect anecdote for those on a hectic business trip, those desperate for relaxation and those, very unfortunate people, with a sinus infection... www.saint-james-paris.com

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A Truly ‘Wilde’ Stay... Travel Collective –Paris

Oscar Wilde, Salvador Dali, Elizabeth Taylor - is there a room for our Editor? he place to be seen in Paris, L’Hotel is situated on the arty Left Bank of the city, amidst the cultural riches, bohemian soul and high fashion of St Germain-des-Pres. L’Hotel’s most prestigious inhabitant, Oscar Wilde, lived at the hotel until his death in 1900, famously remarking, ‘I am living beyond my means’. A once incredible writer with a faltering literary career, his final metaphorical musings were restricted to the hotel’s interior landscape: ‘My wallpaper and I are fighting a duel to the death. One of us has to go’ – history suggests the wallpaper won. I am intrigued to know if the decor has since been changed or if other guests have faced a similarly gruesome death-bywallpaper.

However, upon arrival, it is clear that L’Hotel is much more than a fin-de-siècle relic. An opulent boutique hotel, with twenty theatrical suites to chose from, a glamorous underground pool, Michelin-starred restaurant and a bar beloved of the French capital’s style set, this truly is the place to be. Standing in the lobby, with its leopard-print carpet, antique screens and original Jean Cocteau artwork, L’Hotel wears its arty heritage on its paint-stained sleeve. Naturally, I was staying in one of the hotel’s ‘Chic’ rooms: 35 square meters of warm colours, velvet upholstery and trompe l’oeil wall-coverings. Christened after Mistinguett (the highest paid French entertainer of her time) the room drips with the social, cultural and artistic dynamism of the 1920’s – ‘les années folles’, as the French would say. As a set down my bag my reflection glints back at me from the mirrored bed frame, sculpturesque in its decadent glamour. Figurative artworks glance at me haughtily from the walls. The Art Deco ornaments and furniture

There is an atmosphere about this place; I am sized with the irresistible urge to tuck a pencil behind my ear and carry around a leatherbound notebook, plotting my artistic musings.

are said to have belonged to Mistinguett herself and their obvious authenticity validates the claim. I can’t say I particularly mind having her cast-offs. A complimentary segment of private seclusion in the underground hammam pool and steam room was enough to tempt me from my room - after all, it is an essential part of the experience L’Hotel affords. Entering the cylindrical hotel atrium, swimwear in hand (though I was conspiratorially assured I needed none...) I descended a spiral-staircase into the depths of the hotel. With heavy velvet curtains, terracotta floors and rough stone columns, I was transported to a traditional Roman bath. Sadly, the hotel did not provide a muscular, oiled Roman man to complete the authenticity of the picture; a note for the suggestions box perhaps... At €14 per glass of wine, the significantly stronger €15 Euros margarita seemed the only way to swallow the wincingly high prices. The €50 scallop starter is equally pricey (for scallops! Really?) and a little budgeting is necessary for those of us without deep, deep pockets. It is little wonder Wilde felt he was ‘living beyond’ his means. However, this is easily forgiven when immersed in the wonderful surroundings of this creative haven, with superb service at hand around the clock. There is an atmosphere about this place; I am sized with the irresistible urge to tuck a pencil behind my ear and carry around a leather-bound notebook, plotting my artistic musings. Gilt frames containing black and white portraits of Wilde can be found throughout the hotel, reminding guests of its creative heritage. I am actually thankful not to have stayed in his room, I would be halfway through writing a play by now... www.l-hotel.com

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Bonjour Le Burgundy

The Collective Editor, Lee Joseph Hagan, uncovers a lighter dimension to Parisian life at Le Burgundy Paris. Travel Collective –Paris

ow this is something different. After the vibrant, decadent elegancy of the Saint James and L’Hotel, designed with an air of French flamboyance and artistic flair, Le Burgundy is a soothing antidote that I did not expect. That is not to say it isn’t elegant and artistic – it is the desirable marriage of both - but there is something a little muted about the hotel, it is quietly chic: modest in its achievements.

are complimented by light and space: a Parisian rebellion of subtle modernism.

Delicately poised in the heart of Paris, the hotel sits silently in the wings of Les Champs Elysees. Le Burgundy is restful; the continuous artistic buzz of L’Hotel is counteracted here with an elegant Guy de Rougemont puzzle, spanning the ground floor’s blackmarble. Paintings, lithographs and black-and-white photographs recount hushed stories from the muted walls. Contemporary furniture and luxurious cloths

A barely hinted at wellness centre and spa can be found within the depths of the hotel, a literal blue lagoon of tranquillity and peace, but for me, my room is enough. I replace lengths at the pool with a soak in my deep marble bath, accompanied by a soggy-edged copy of French Vouge. Bed-time? Yes please.

My room is a veritable haven. Modern and refined, with soft armchairs, beige wall tones, full-lead crystal lamps and textured materials, the room is a kind of physical lullaby. Room-service is defiantly on the agenda, I am far too relaxed to contemplate dinner arrangements.

www.leburgundy.com

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When in Knightsbridge... Travel Collective –London

During LJH’s trip to LFW he finds himself at Thompson Hotels latest offering, Belgraves London. urning away from the alluring displays of Ferragamo and Prada, calling to me seductively from their glittering windows, I reluctantly turned the corner of Sloane Street and arrived outside a sweeping, 1970’s building. Anything that prevents a quick mooch around Gucci had better be good, and this significant new address in the world of London hotels was about to be put to the test.

Their first foray outside of the US and Canada, Thompson Hotels presents ‘Belgraves’, a European version of their design-led chic hotels residing throughout the more stylish locations of America. Stepping into a lobby

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dotted with contemporary furniture and eye-catching modern art, a glass-enclosed fireplace quashed any lingering thoughts of Gucci’s horsebit leather loafer. The only designer on my mind was Tara Bernerd, the ‘It’ girl of London’s interior design scene. Picking up the hotel’s resident glossy (not a patch on The Collective), an interview with the lady herself revealed a long felt desire to get her hands – and her stamp – on what was the former Sheraton Belgravia: a hotel well past its sell-by date. Responsible for the restrained, cosy sophistication that the Belgraves exudes, it is clear Bernerd has succeeded: New York chic, welcome to London! In the city for London Fashion Week, a purple velvet sofa, smoked glass bathroom and selection of traditional Penhaligon toiletries’ were all I needed after a hard days trend-spotting. Thank you, Belgrave! Staying in a King Deluxe room, a Tracey Emin limited-edition hung proudly on the wall, whilst spectacular views of the London skyline provided an alternative visual delight. An evening of relaxation, aided by a few drinks in Mark’s Bar – an inviting, laid-back approximation of a cool, book-lined Manhattan loft – was swiftly added to my schedule. The Belgraves boasts a number of features for those looking for a little more than relaxation, including an on-site fitness centre, eighty-seat restaurant (headed by the talented Mark Hix) and outdoor terrace. A smoking garden accompanies the extensive cigar menu displayed at the bar, providing the hotel with its very own ‘gentleman’s club’ vibe. The news of Donatella Versace’s arrival – staying in the penthouse, naturally - created a notable buzz around the otherwise muted hotel, cementing my belief that the Belgraves would quickly become a base for the creative; a welcome addition to the Belgravia area. Even from my short stay it is clear that the new neighbourhood hotspot has arrived, with regular guests including Charles Worthington and Trinny Woodall. However, its celebrity status is accompanied with a high-end price tag. With a £15 a day internet charge and a cup of coffee costing an eyebrow raising £8, the Belgrave is careful to counter its costs with an excellent, charming service that warrants every penny (well, pound) spent. As the Fashion Week madness drew to a close, my velvet sofa seemed much more appealing than a Sunday evening soiree. Ordering a medium steak and a bottle of Bordeaux to my room (cooked to perfection, as expected), I donned a plush white robe and settled down to a date with Mr Selfridge. All in the name of research, of course... www.thompsonhotels.com/hotels/london/belgraves

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Collectiveâ&#x20AC;&#x201C; Events

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On the 19th March, The Collective attended a stunning showcase of student skill, talent and creativity, as Mode Training presented ‘Spectacular Spectacular’. Unveiled at Liverpool’s Grand Central Hall, the unusual venue was aptly fitting for the veritable skills-circus. Five competitive events encapsulated four connected themes: Pirouette, Mouling Rouge, Burlesque and Cirque. Impressed? We were!

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A cocktail with... Style Collective –Interview

Our Editor, Lee Joseph Hagan, enjoys a cocktail with writer Michelle Langan at her new favourite place, Camp and Furnace. So Michelle, what are you loving about Camp and Furnace? I think it’s a lovely space and I really like the fact that an old warehouse has been transformed into a fresh, creative place. They always have a diverse range of activities here and it seems to be a hub for interesting, creative people – reminds me of London. How are you finding the transition from hectic London life to the slower pace up North? It was a little difficult at first, because I spent ten years of my life there. After spending such a long time in London I built up a really good base of contacts, so coming back has meant starting all over again. Saying that I have met so many people here - really creative, interesting people. Everyone kind of knows everyone in Liverpool, which has a domino effect.You begin with one creative contact and are introduced to so many more! How did your path lead you to writing for National television? From my early school days, I have always loved writing. I did English A level and loved making stories up and being imaginative. I am also really nosey, which made journalism the perfect job for me, as I loved interviewing people and finding out more about them. That led to work with various titles including Smash Hits, More, Just 17 and Bliss. Unfortunately, lots of them have closed now and once those magazines started closing I began thinking: maybe this is a sign for me to go down a different path? I’ve always loved television and have always dreamt of maybe one day writing my own pieces for screen. Which you have now achieved! How did writing for Coronation Street come about? Well, that’s interesting actually as Coronation Street has always been my favourite soap. I loved it throughout my childhood - I used to sit with grandparents and watch it. I never imagined that one day I would be working there. It came about by chance, as I came across an open advert on the ITV website a couple of years ago looking for creative people to possibly join the story team. Although I didn’t believe I would ever get through, I applied and out of 2000 people I got down to the final five. It was a massive accomplishment and since then I have been asked back many times. Have your stories been aired onscreen? (Smiles) Yes, loads of them! I story lined ‘Kirky’s turkey’s’ which was one of the character’s (Kirk) not so bright ideas to make money resulting in him being left with a load of stolen turkeys and having to float them down the canal. I find I get given a lot of the comedy story

Portrait by Viktorija Grigorjevaite

lines which I am sure comes down to my Northern sense of humour. The biggest storyline I have been involved in aired recently: the big fire story. I am really proud of that as it will go down in Coronation Street history. So tell us more about your Northern humour, is it based on family members and real life character’s you have known from growing up in Liverpool? Absolutely. I love the scouse humour, there are so many times when someone will tell me a story in casual conversation and it is so funny that I store it. Older Liverpool women are the best - the way they tell stories full of spirit and humour, it just cracks me up. I would love to see a reality show about older scouse women, I think it would be a massive hit. Did you ever get star-struck interviewing for the big magazines? I initially specialised in music journalism and I was probably most star-struck when I interviewed Snoop Dog – he was smoking a joint when I interviewed him! Interviewing the American stars is pretty nerve wracking. I mean, I’d interviewed Girls Aloud a million times, McFly, all the British artists, but Snoop Dog was different – he came with a different level of fame and a much bigger entourage. Turns out he totally got my humour and, believe it or not, he was a big Coronation Street fan and knew a lot about the show. Tell us about Clapperboard and the work that they do? Clapperboard is a charity organisation run by a lady called Maureen Sinclair. Each year they collaborate with schools in Liverpool and Manchester and make a selection of short films with young people. The film that I worked on with my group tackled cyber bulling and it was chosen to be screened at two different festivals: an international film festival in Germany (which we went to the screening of) and a BBC festival. The work that they do is incredible and I am really proud to be part of it. So to finish off, what’s next for Michelle Langan? At the moment I am working on a musical called Shoebox with a musician from Liverpool called David South. We have a preview of the songs from the musical taking place at the Bluecoat on the 6th June and I would love for it to be performed at the Everyman theatre once it re-opens. It has always been a special place for me and I have visited the theatre from a really young age. I can’t wait to see it all done up!

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