160g’s team is happy to announce our collaboration with the launching UK designer label Red Vatican.

I approached the Lucian Freud exhibition at the National Portrait Gallery with much anticipation, having lapped up the absorbing “Man with a Blue Scarf” by Martin Gayford, who sat for the artist and wrote about the experience.

It didn’t matter at first that I didn’t know where to start looking at the exhibition, if I was approaching it the wrong way round (sure enough I did, starting in the middle, heading out to the end and then back through the middle to the beginning). The paintings exist in their own time, you peer at them and start to feel the passage of time that each one encompasses. The Benefits Supervisor who’s been posing so long she has become one and the same with the straining couch there to support her. Her large pillows of flesh echoing the creases and bulges of the upholstery.

The exhibition covers seven decades of his work and as I went back through time I felt I could not give these immense and intense works the concentration they deserve. As the cramped gallery space filled up with fellow peerers, bobbing about trying to catch a glance, I was reminded of something someone said of the exhibition lately: they weren’t all meant to be seen hung together.

Now, away from it all, I am questioning the usefulness of massive retrospectives such as this. There’s never a lack of blockbusters, crowd-pullers, and they are always ‘must-sees’. However, would not a slice, just one decade or two, be more representative of the intensity of Freud’s vision? Or if seven decades are to be represented, edit each one, and tell the story in a way that flows along through time, instead of presenting such an overwhelming volume of work without any real narrative.

There remains no doubt, however, of the strange intensity, life and power of these works, and for that reason alone this exhibition is a(nother) must-see.

In 1986, Madonna released the album ‘True Blue’, inspired by vintage 50′s and 60′s aesthetic. Personal experiences, a more mature look and a lot of famous singles took part of this record: from ‘Live to tell’ to ‘True blue’, from ‘Papa don’t preach’ to ‘Open your heart’. Jean Baptiste Mondino, the fashion photographer and music video director, worked with Madonna for the first time in this project, where the diva and young male model Felix Howard dressed up in grey suits, a closed shirt and a hat. Vogue UK recently launched its June issue, showing a ‘London Pride’ editorial by Alasdair Burns, with Ian McKellen, Vivienne Westwood, and Edie Campbell among others. One picture features Pixie Geldof and Rafferty Law, son of Jude and Sadie, both dressed as Madonna and Howard on the now classic music video.

Snow White is in the air: the movie Mirror, Mirror, with Julia Roberts as the stepmother, the less colorful approach in Snow White and the Huntsman, starring Charlize Theron and Kristen Stewart and the TV series Once upon a time with Ginnifer Goodwin as the fairest of them all.

However, four years ago, and ahead of a global trend, one of France’s most successful choreographers, Angelic Preljocaj, created an award winning dance adaptation of the Brothers Grimm’s fairytale.

Performed by a company of 25 dancers, it came to London, to the Sadler’s Wells Theatre, at the beginning of May this year. With a dark and poignant atmosphere, stripped of any sweetness, the production had an emotionally charged lighting by Patrick Riou and a haunting set design by Thierry Leproust that worked together to perfection. The score was set to Gustav Mahler, with added electronic strokes by 79D. As for the costumes, Jean-Paul Gaultier designed them all: bondage attires, corsets, fringes and straps, and kinky black leotards.

Preljocoj’s characterically physical choreography bridged from classical to contemporary, finding its identity towards the second half of the piece. The mirror scene was masterly achieved, both with the set design and the performances. The romantic softness of Virginie Caussin as a graceful Snow White was full of virtuosity. The aerial entrance of the seven dwarves, the awakening kiss duet and the warped dance sequence around the poisonous apple stood out as the most arresting scenes.

Erevos Aether ‘s Look Book ”M45 Pleiades”

So as to celebrate Erevos Aether’s one-year launch, the brand proudly presents their new collection that caters exclusively to women. This season, Erevos Aether travelled as far as the middle of our Galaxy to meet the Seven Sisters, the Pleiades as well as the daughters of Atlas. A galactic voyage through the stars that incarnates their seven looks for the Autumn Winter collection 2012/13.

For more information & additional material please contact:

www.erevosaether.com

info@erevosaether.com

press@erevosaether.com

T. +44 (0)20 798 798 64

M. +44 (0)79 756 544 90

Baltimore duo Beach House

Beach House are a dream-weaving alt French-American pop duo, and Bloom is their next tour de force, expected for release 15 May. After reading that Alex Scully, the American half of the band, describes the album as “a huge crystal, spinning in a cave with Star Wars figurines.” I immediately knew I had to find a leak. Had to.

The duo has been a force to reckon with in the indie-alt scene for years. Their first release, a self-titled exploration of chilly, relentless beats from a drum machine, and Victoria Legrand’s incomparable vocals, is the least accessible and most experimental of their albums. The albums to follow, 2008’s Devotion and 2010’s Teen Dream are saturated with radio-play-ability. This sort of pattern begs the question, is the music off Beach House intrinsically what the band intended to create, but fell off their path for the sake of commercialism and the No. 17 spot on Rolling Stone’s 30 Best Albums of 2010? Or have Beach House simply perfected their sound, naturally attracting a fan base including both Jay-Z and Beyoncé? (Remember that time the two of them were spotted at a Grizzly Bear concert?) Relax, there’s no more need to extrapolate! 2012 has marked the release (or, leak) of Bloom, the band’s fourth studio album, and there is much to discuss.

Beyoncé and Jay-Z Tastemakers of Coachella, via Brooklyn Vegan

On 8 March, the band poked and prodded their massive following with a single-track release. I found myself on my daily one-hour commute with this song, “Myth”, constantly on repeat. It is one song amongst many in their repertoire that immediately leaves the listener wondering how merely two individuals can produce such a full sound, and more importantly, how on earth do they pull this off live? It opens with what we would expect- a tinny beat that, in my opinion, is worthy of their first album. Ethereal arpeggios take over, followed by Legrand’s hazy and breathy vocals, and suddenly, the track sounds like Teen Dream! I mean, don’t get me wrong, I love Teen Dream. I can’t tell you how many times I’ve listened to Teen Dream (I just opened my itunes, and it seems I’ve listened to Teen Dream a solid 800+ times). However, I would equate this to the sort of filler tracks of Teen Dream, which are few and far between. Let’s just say, it’s no “Zebra”, which begins as a simple riff, paired with introductory sighing from the two, and builds to crashing cymbals and bending vocals. “Myth” is Teen Dream lite. At this point, it seems that Beach House have found their equation for success, and they’re not afraid to use it.

I can remember vividly the first time I listened to the second track, “Wild”, because I felt such a strong sense of disappointment, and almost embarrassment. One of the most unique vocal techniques that Legrand uses is “vocal bending”, mentioned above in reference to “Zebra”. This involves making a half or hole tone step up or downwards extremely obvious, emphasizing all tonal steps in between. Usually, this technique is awesome, and used in unexpected ways. It’s like a welcome shock to the ear, which simultaneously demonstrates vocal prowess. However, as part of the new Beach House equation for success, this technique appears once every two bars of each verse in this track. Bummer! Definitely overdone, definitely obvious, definitely not cool.

Track 3, “Lazuli”, begins with electronic arpeggios, something a little different, which comes as a pleasant surprise. But then, the vocal sighing begins, this time almost identical to that of Teen Dream’s “Norway”, more evidence that Beach House have become accustomed to what works for them. I don’t mind the recycling, but what I do mind is the lyrics to this piece that literally make me cringe.  Remember that introductory survey art history course you took? An that lecture, during which you learned about blue pigment coming from Lapis Lazuli, which was mined from a single cave in Afghanistan, thus, the stuff was worth more than gold! I’m pretty sure I told everyone I knew, thinking this was intellectual gold (or Lapis Lazuli? Did I really just go there?). Because, as we all know, “There’s nothing like Lapis Lazuli”. Seriously, Beach House? Pure disappointment here.

On a positive note, “Other People” has the really amazing riff that is reminiscent of something from a John Hughes movie- not Ferris Bueller, but something with Molly Ringwald. Its closest reference in my mind is Cyndi Lauper’s “Time After Time”, which is really great. One feels immediately transported to some American prom in the mid-80′s which, come on, is where you want to be.

Following a bunch of filler tracks, including the likes of “The Hours” and “New Year”, comes a single saving-grace, a follower of the success-equation, but different enough to elude that sense of emotion that we’ve been waiting for, “Wishes”. The introduction to this song is so soft and celestial, that upon listening, it always summons an image of oneself, flying. Go on, close your eyes and listen to it. Eventually, the guitar gets a little harder in this song, then soft again, and its this dynamic variety that is unique amongst the other Bloom tracks.  Success is followed by another success, “On the Sea”, which begins with a tiresome piano riff that is reminiscent of seasickness and restlessness. This song is like a welcomed sanctuary in its simplicity, a sort of calm before the storm that is the last track, “Irene”. This is the sort of epic outro one would expect from some progressive rock-opera album. The repetition of the phrase “It’s a strange paradise” is not only tiresome, but it comes across as mantra-esque, as if the listener needs a moment to calm down and reflect upon what they have just experienced. But is this really necessary?

The issue with Bloom is what the band have created versus what fans expect from them. I suppose all of the positive feedback they received for Teen Dream must have triggered something, whether consciously or not. To refer once again to Alex Scully’s own description of the album, a huge crystal, spinning in a cave with Star Wars figurines, I suppose I would have to disagree because, not only are there zero Star Wars references, but this is also definitely not worthy of one huge crystal. Maybe several, small crystals. In a desert.

Fear not, Beach House fans! Believe me, as much as I can pick out problems with this album, I’ve still been listening to it regularly. The light at the end of the tunnel is, of course, the duo’s massive tour coming up! Having opened for the likes of Grizzly Bear (there they are again!) and Vampire Weekend, Beach House have honed their live act to perfection. With Scully sitting down, managing his guitar with his hands and pedals with his feet, and Legrand, master organist and vocalist with her massive hair in her face, usually accompanied by some sparkly prisms, followers know that if they cannot rely on their newer tracks to be as innovative and fresh as their previous work, that their live act will be as energetic and moving as it has always been.

L-R: Alex Scully, Sparkly Prism, Victoria Legrand

Beach House will be performing at Village Underground 24 May, and Roundhouse 2 November.

One thing comes to mind when we are getting ready for summer: swimsuits. A retro piece, a modern bikini or the hot item this season, a bandeau bikini, are great choices, but fashion magazines are ready to show us what’s next for designers swimsuits. In this corner, Dolce & Gabbana kings have an embroidered and jeweled one piece bathing suit with a strong 40′s inspiration, and Karolina Kurkova for Vogue Turkey have the chance to strike a pose for the occasion. The contender, non other than Prada with a purple jewelled design also inspired by old school divas, worn by Daria Werbowy in a similar pose. ¿Who’s the winner for you?

Sunday April 29th, under the French sun of Hyères, the Fashion Festival has crowned its designers. - The “Grand Prix L’Oréal professionnel” has rewarded three Finnish designers aged between 24 and 27 years old : Siiri Raasakka, Tiia Siren and Elina Laitenen. They won over the jury with their joyful, eccentric and colourful menswear collection. Beside the prize of 15’000 euros, the  young ladies will be given the opportunity to present their next showroom at the L’Oréal Académie during the 2013 Summer/Spring Fashion Week.

The “Première Vision award” went to the Estonian Ragne Kikas, thanks to her fabulous womenswear collection called “Dress Code Defensive”.  Her black and silver silhouettes, entirely hand knitted, and her sensitive play with shapes and texture seduced the jury. The “Fashion Public award of the city of Hyères” also crowned this promising designer.

The “Chloé award” went to Steven Tai. The young Canadian created a silhouette in the spirit of the Parisian brand. The fluid pastel trousers, matched to a beige sweater and a sporty jacket made him the winner of the competion.

Marilyn Monroe, the most famous blonde movie star of all times, said goodbye to the world in 1962. Six weeks before her death, the famous photographer Bern Stern immortalized her in a naked photoshoot for Vogue, known as ‘The Last Sitting’, the title of the book published in 1982. Outtakes and contact sheets were also included among the pictures, including the one that shows Monroe playing with a pink sheet and a classic pearl necklace. Her biting the necklace was channeling a classic 1956 William Klein shoot; that year, the photographer and movie director took ‘Barbara in the 20′s’, his own version of a flapper through the portrait of Barbara Mullen, his muse, biting a pearl necklace.

For 65 years already, the Edinburgh International Festival has been one of the most significant festivals in the cultural scene. 2012 is a particular year due to many other events taking place in Great Britain: the Olympic and Paralympics Games, the World Shakespeare Festival, the Edinburgh International Cultural Summit and the Year of Creative Scotland. Such coincidences were fully profited by the festival organizers; we can see this from the solid program proposed, including around 3000 artists from 47 countries.

As usual, theater is one of the strong aspects of the festival. The piece Waiting for Orestes: Electra, performed by the Suzuki Company of Toga is an audacious mise en scène taking Hugo von Hofmannsthal and Euripides’ original versions as the basis for the play. TR Warszawa performs 2008: Macbeth, a radical version of Shakespeare’s famous play. Gulliver’s travels performed by the Radu Stanca National Theatre of Sibiu, Romania, gathers cultural and social aspects of contemporary society and explores themes of voyage, dream, exile, immigration and solitude. Leaving the rigor and coming into the fun, Meine faire Dame – ein Sprachlabor, is a clever and humoristic play directed by Christoph Marthaler, one of the most acclaimed and influential directors in Europe.

Dance is probably the second most important discipline of the festival. The Ballet Preljocaj, the Deborah Colker Dance Company, Juilliard Dance, the Marinsky Ballet are some of prestigious dance companies gathered for this occasion. Regarding opera, Leos Janacek’s The Makropulos Case is one of the high points of Edinburgh’s festival. Also, the London Symphony Orchestra conducted by Valery Gergiev and the popular Virgin Money Fireworks Concert performed by the Scottish Chamber Orchestra are medullar points.

A world premiere will be NVS’s Speed of light, a remarkable fusion of innovative public art and sporting endeavor: a visual display of hundreds of runners wearing specially commissioned light suits, moving across Arthur’s Seat the iconic mountain of Edinburgh. Concerning France, the festival director, Jonathan Mills, said in a special event at the British ambassador’s residency being enthusiastic of having again some of the most talented French artists in the festival. Arianne Mnouchkine et Le Théâtre du Soleil, Les Arts Florissants, Les Vents Français et L’Orchestre du Champs Elysées, the vocal ensemble Dialogos, are some of the French participants in the festival.

More info at: www.eif.co.uk