There’s nothing like good friends, food and fresh, sea air to bring you out of a slump. I had a bit of a bad start to the weekend after having a mini crisis of confidence in my new writing class (putting myself out there + public speaking= no fun). Luckily things ended on a much better note with wine and sunset gazing at the beautiful pier in Albert Park. It’s nights like these that make me realise how much I love living in Australia. Even when you’re at your lowest, you’ll come across something so heart-stoppingly stunning that you realise how small your problems really are.
I also got to check out Carsten Höller and Jean Paul Gaultier at The National Gallery of Victoria. Getting stuck into a bottle of bubbles in the tea room meant we were super late for the exhibition and were the last ones in. Being a stickler for schedule, I was anxious for everyone to get a move on but as it turned out, this meant we got the place to ourselves and even spotted model Andreja Pejić having a low-key moment with her family. Sometimes a plan falling apart is the most wonderful stroke of luck!
Going home to me is always tinged with a slight sadness along with so much joy to see my family and friends. These shots are from a wedding that meant so much to me as the bride and groom actually introduced me to my husband and have been our very cherished friends for a long time. Not to mention it took place in Stoke Newington where we have so many happy memories from living in and around the area, not to mention our own nuptials two years ago.
As the wedding party walked from the church to The Londesborough, I couldn’t resist asking Alex to play the photographer as I stood in front of one of the gorgeous terraced houses. I loved this look, despite debating whether it was appropriate to wear a full white skirt to someone else’s wedding. I think the contrast of the black top and multi-hued bolero, plus the fact it was quite an informal affair, meant it worked. And I could pull the jacket off later in the night for more of a party look.
‘But you are home,’ cries the Witch of the North. ‘All you have to do is wake up!’ The journey is hard, for the secret place where we have always been is overgrown with thorns and thickets of ideas, of fears and defences.
Peter Matthiessen’s “The Snow Leopard
Skirt – Zara, Top – Seed, Bolero – vintage, Bag – Vintage, Shoes – Windsor Smith
If the world is a stage and the street is a catwalk then it makes sense that the ballet is a runway. Tonight the New York City Ballet will debut a brand new collaboration with designers Mary Katrantzou, Alexander McQueen, Carolina Herrere and Thom Browne at their opening gala.
Sarah Burton, Alexander McQueen
The idea was the brainchild of Sarah Jessica Parker, who is bringing a high-fashion edge to her role as NYCB board vice chair. Each designer was paired with a choreographer to create a look for a dance piece, adapting their signature style with second-skin fabrics and free-flowing lines that allow the dancers to move.
I love these looks from Mary Katrantzou and Sarah Burton for Alexander McQueen for their sense of drama, texture and playfulness. You can really see the negotiation between attention to detail and the all-out glamour that stage costumes inherently require. Hopefully this spells the renewal of the long love affair between ballet and fashion.
City breaks may have some serious style and culture appeal but sometimes it takes having absolutely nothing to do to really be on holiday. Not that you can do nothing just anywhere… there’s an art to it. For me sickly sweet cocktails by the pool of a personality-lacking resort just won’t do it. Call it the egomaniac creative in me but I prefer to while-away summer days in a place of serious beauty with lashings of authenticity.
I could write a guide of things you absolutely must-do in Cinque Terre but wouldn’t that defy the point of taking it easy? I will say this, find a spot by the harbour where you can read a good book with your feet dangling in the water. One sunset a fellow traveller kindly offered to take a picture of me and my hubble sitting on a rock watching the sunset as it struck her as really beautiful. I thanked her but declined feeling that it wouldn’t have been a perfect moment if we’d have taken a picture.
From its winding streets to its Renaissance masterpieces and incredible food, Florence might just be one of my new favourite places. There’s a real sense of history to the city that I’ve really missed living in Australia. Looking at buildings and streets that have barely changed in hundreds of years, it’s all too easy to let your imagination run wild with the plots, intrigue and decadence this city has seen over the centuries.
Florence is small enough that you can probably throw away the guide book and lose yourself in the twisting, mostly car-free streets. If you’re a foodie like me though, there’s a few spots you’ll probably want on your radar so here’s my suggestions…
Florence is famed for having the best gelato in the world so you won’t be short of options. The only way to fit them all in is to have at least two servings a day, which is alright with me! If in doubt look for a queue and you probably won’t be disappointed but I loved Vestri and Carabé for authentic flavours that live up to the hype.
On my first day me and the hubby rushed off to the central markets for lunch to check out some local produce and the famed Da Nerborne, which usually has lines around the block. Unfortunately it was shut for the summer holidays (an occupational hazard of Italy in August). As we headed upstairs to console ourselves at the bar we inadvertently found the best pizza we’ve ever tasted from a counter in the food court area. Seriously, I don’t know if it was because we were so downbeat and starving, but it was incredible. Plus the cheeky team of Italian fellas manning the ovens while flirting with the tourists put a smile on my face.
Late Night Bites
The off-beat Oltrano quarter south of the river is the place to be after dark in Florence. Backpackers and locals grab a bottle of beer and head to the Piazza Santo Spirito to make the most of warm summer evenings. We sampled the best of the city’s spitzs at the neighbourhood bars and ended up at Osteria Santo Spirito for delicious spaghetti vongole served on huge traditional ceramic plates.
While you’re on-the-go by the cathedral, stop off at one of the adorable sandwich and wine stalls. We grabbed mozzarella and ham paninos at I Due Fratellini, which is a tiny cubby filled with the freshest ingredients and floor-to-ceiling wine proving that sometimes the simplest things in life are the sweetest.
It’s one of my favourite locations and one of my favourite ballets, so I couldn’t resist posting these pictures of Australian Ballet dancers at Bondi Icebergs. The company took advantage of the weekly emptying of the iconic beach-side pool to celebrate the new season of Graeme Murphy’s Swan Lake launching in February 2015.
Since the ballet’s premiere in 2002, the current version of Swan Lake has undoubtedly become the company’s masterpiece and has a recurring spot on the schedule to match. Having seen it for the first time in Melbourne last year, I fell instantly under Murphy’s spell. Over ten years on from its inception, I think it benefits from increased distance from its tabloid-worthy subject matter (it was originally inspired by the death of Princess Di) to explore more universal themes of love, deception and betrayal.
Whereas the traditional story sees the black swan Oldie tricking the unwitting prince into betraying Odette, in Murphy’s version, our prince is simply in love with two different women. Rather than casting the female leads as innocent and devious; black and white; they are both suffering from being in love with someone who hurts them – something that I think makes the story more complex and in a way, darker. I find the way the vampy Baroness becomes more vulnerable, while Odette takes on a harder edge towards the end of the ballet, particularly haunting, especially the expression of this through their evolving dancing styles and on-stage presence.
The other thing I love about this version is the clever, bold and quite modern connection between the choreography, score, costume and settings. There’s a scene where Odette is confined to an asylum. Devastated by grief, she becomes passive as people move around her and she stares lifelessly out into the woods outside. It’s here, in the distance, that her imagination is free. As we enter her mind, the walls of the asylum are wrenched away to reveal her swans dancing on an elevated mirror/lake. The movement of the sets with the dancing and musical crescendo come together in a really powerful way to represent how painful and maddening love can be – I defy anyone not to be moved by that at least.
It’s pretty clear to the pop culture fans that fashion exhibitions are enjoying a boom in popularity right now. From Charles James: Beyond Fashion to Alexander McQueen’s Savage Beauty and the upcoming Jean Paul Gaultier exhibition at the NGV in Melbourne, the idea of fashion as art has increasingly moved into the mainstream.
A few weeks ago I attended a talk by the journalist Mitchell Oakley Smith for the launch of Fashion detective at the NGV. There was one point that struck me particularly; as fashion shows become more of a performance and as brands turn their advertising and visual merchandising into an exhibition, what does that mean for the modern museum? If exhibitions are entertainment and each collection becomes an exhibition, the line between them must surely blur.
The rise of digital culture and the changing face of fashion media mean that brands have more power than ever before to control their own stories. There are now countless ways to communicate with your customer; whether it’s through the myriad of fashion bloggers, traditional advertising or through new digital platforms. Conversely this makes it harder for brands to cut through the noise, with designers making ever grander statements. This may explain the trend for fashion shows as performance. From Karl Lagerfeld’s Chanel Supermarket to Marc Jacobs’ nostalgic farewell at Louis Vuitton, so much depends on the spectacle.
It’s not just traditional forms of showcasing each collection that are evolving. Fashion brands are increasingly traversing the boundaries between commerce and art. Take Prada’s ‘A Therapy’ film directed by Roman Polanski , which was released last year. It showed there’s no longer such a need to rely on the costume department of a big budget movie to showcase your new collection. You can create your own mediums.
So where does this leave the museum? I personally think there’s an important role to play in impartially telling fashion stories. In the same ways magazines have had to adapt to a new digital landscape, there’s still room for careful and authoritative curation of content. That’s why I’m looking forward to the new Jean Paul Gaultier exhibition and the ways the museum will find to tell that story. Also, I need to find a way to get to London next year to catch Savage Beauty at The V&A. Is it too early to start a petition to bring it to Australia?