Shall We Dance?

March 31, 2017 / by Marine Orlova

When you push open the door of a milonga (the place where the tango is danced), you’re instantly transported to a parallel world of music, elegance, emotion and seduction. The true tango is much more than an old-fashioned and overly romantic social dance. Rather, it’s a peaceful meditation turned into elegant movements, a deeply shared intimacy and a real dedication to the music. But be careful – tango is truly addictive.

Improvise like a jazz musician.

In a way, tango is quite simple to learn, as there are no steps or choreography to memorise; it’s all about improvisation and musicality. As renowned Argentine tango dancer Carlos Gavito said, “A good dancer is one who listens to the music... we dance the music, not the steps. You see, we are painters. We paint the music with our feet.” Tango is a disruptive walk; one step after the other, the dancers write their own story. They don’t know what they will do next. They live in an endless present of music, body and soul, fully open to the unexpected.

Walk like an urban feline. 

“You recognise a good dancer by the way he walks – not by his acrobatic figures,” said famous tango dancer Pablo Verón. Caminata (“the walk” in Spanish) is the alpha and omega of tango. It’s the first thing you’ll learn in a class and it can take years to master, but you’ll soon be obsessed with this feral way of moving. You may even feel the urge to practice as you make your way down the street. Grounded, head held high, with smooth yet resolute steps: you can certainly spot a tango dancer from afar.

Move like an aikido master. 

Tango is often compared to the martial arts because of the balance and body awareness it requires. Indeed, tangueros work hard to stay centred and rooted with themselves while being totally connected to their partner. Because it takes two to tango, communication’s the key. You’ll often hear the alluring word abrazo – it’s the Holy Grail of tango. This cuddly embrace lets the energy flow through the couple and gives off a unique feeling: the stronger the connection, the finer the dance. Renowned Argentine writer Jorge Luis Borges wisely defined the tango as “a direct expression of something that poets have often tried to state in words: the belief that a fight may be a celebration.” 

Travel like a citizen of the world. 

Tango is a worldwide community. Whether you’re in Buenos Aires, Berlin, Istanbul, Hong Kong or Paris, you’ll be able to find a milonga wherever you go. Not only is it a great way to meet new people, but it’s also a way to immediately understand each other thanks to the universal language of tango. No need to talk in a milonga – the mirada (eye contact) and cabeceo (a quick nod of the head) are enough for an invitation. Shall we dance? 

Happy Feet

Colourful, elegant and light – these tango shoes will turn each of your steps into a soft caress. And who said they’re only suitable for the ballroom?

How to Cycle in Style

February 24, 2017 / by Charlotte Ligiée

Women on bikes have always been a statement of style and freedom. At the end of the 19th century, when cycling was at the peak of its craze, women had to fight for their right to bestride this funny two-wheeled machine. They had to deal with a pair of difficulties: narrow-minded conservative types, who “worried” about women hanging out in town on their own, and heavy attire. Indeed, cycling with those huge Victorian dresses and tight-laced corsets was a near-impossible mission. It was time to reshape the woman’s wardrobe to be more comfortable and bike-friendly. 

American suffragette Amelia Bloomer advocated for the use of billowing trousers, inspired by the elegant Turkish ladies’ outfit; they’re now known as “bloomers”. Worn under knee-length skirts or alone, bloomers were perfect for cycling, but they soon unleashed anger among opponents of feminism. These cheeky ladies straddling in the park, wearing skirts divided in the middle – and talking to men they had not been formally introduced to – were revolutionary. The feminist Frances Willard, who learned to bike at the age of 53, proclaimed: “She who succeeds in gaining the mastery of the bicycle will gain the mastery of life.” 

Nowadays, women can freely enjoy the feeling on wheels; however, there aren’t many who ride a bicycle every day. In New York City, women represent only a quarter of Citi Bike (the city’s official bike-sharing system) riders – and one reason is that they worry about arriving sweaty at work. 

Fortunately, there’s a better way to ride a bike with grace and sophistication – and real bike lovers know what’s suitable or unsuitable for the road. Let’s have a look at the fashion dos and don’ts for a chic urban cycling experience.

Time for the Ladies

February 24, 2017 / by Bell Leung

It’s no secret that 2016 was a tough year for the luxury watch world. Global sales fell dramatically, and many watchmakers responded by laying off staff and cutting back production. Conscious of that, this year’s offerings at Geneva’s Salon International de la Haute Horlogerie (SIHH) in January were notable as a reaction to what had come before – more affordability, an even greater sense of innovation and an emerging trend towards prioritising women. 

IWC Schaffhausen, maker of the familiar Pilot’s watches, has made women’s pieces before. But this year heralded the relaunch of its Da Vinci line of timepieces after a decades-long wait, with two iterations especially for women. Given that the brand has spent most of the last two decades promoting a product “engineered for men”, the shift in tactic said much about changing trends in the world of haute horlogerie. 

A generally unexplored market for Swiss watchmakers, women’s timepieces are being embraced by traditionally masculine brands as they attempt to diversify, with houses such as Piaget and A. Lange & Söhne following IWC’s Da Vinci lead. Numerous other brands also put forth offerings that were either unisex or explicitly for women, including Jaeger-LeCoultre, Hublot, Ulysse Nardin and Parmigiani Fleurier. 

But none seems to have been as successful as Audemars Piguet, which debuted the Royal Oak Frosted Gold for women at SIHH. Celebrating the 40th anniversary of the first women’s Royal Oak, designed by Jacqueline Dimier in 1976 – a variation on designer Gérald Genta’s initial 1972 model – this shining reinvention of an iconic watch, created in collaboration with Florentine jewellery designer Carolina Bucci and available in both white and pink gold, seemed to be the fair’s champagne moment.

Dimier remains one of the only named female watch designers of the modern era. She joined Audemars Piguet in 1975 and was appointed in-house head of design shortly after. Among her other missions, she successfully developed the manufacture’s designs, including the Royal Oak, into timepieces in tune with women’s changing tastes. She continued creating and developing watches for the brand until 1999. “I’m very happy to participate in this launch,” she says. “The Royal Oak is a timepiece that meets women’s tastes today like it did yesterday – and it will continue to do so tomorrow. It’s timeless and the Royal Oak Frosted Gold is the latest chapter in this ongoing story.” 

Meanwhile, Bucci, a former fine arts and jewellery design graduate in New York, returned to Florence after her studies and has spent the last 15 years working alongside local goldsmiths. She was thrilled by the project – and Dimier’s involvement. “I think it’s less common for watches to be designed by women than, say, fashion or jewellery – and that was even truer when Jacqueline Dimier designed the first Royal Oak for women,” she says. “Everybody knows about the quality and craftsmanship of Audemars Piguet, but perhaps by injecting this feminine sensibility, people will see a new side – something a bit more flamboyant and exuberant, with just as much attention to detail.” 

One challenge for Audemars Piguet’s craftsmen was applying Bucci’s Florentine finish, in which gold is beaten with a diamond-tipped tool to create tiny surface indentations, which give a sparkling effect similar to that of precious stones. It took months of collaboration between Bucci and the brand to alter the surface of the gold in such a way that it sparkles just right when catching the light, all while retaining the softness and flexibility of the Royal Oak’s bracelet. 

IWC revisited its 1980s design for the new Da Vinci collection, once again with a classic round case. The Da Vinci Automatic 36 and the Da Vinci Automatic Moon Phase 36 are tailored to women, while the Da Vinci Automatic is a unisex model. At 36mm, the Moon Phase 36 features a moon phase complication, a semicircular crown and new lugs with moving horns to ensure that the strap fits perfectly round the wrist. The geometrical Flower of Life, the object of intensive study by Leonardo da Vinci, is engraved on the case back. It comes in three models, all with silver-plated dials: a red gold case with a bronze-coloured alligator leather strap; a stainless steel case with 54 diamonds on the bezel and a dark brown alligator leather strap; and a stainless steel case with a dark blue alligator leather strap. 

Meanwhile, the most exclusive of the Da Vinci Automatic 36 models for women is the Ref. IW458310, featuring an 18K red gold case and linked bracelet together with 54 pure white diamonds on the bezel. The gold-plated hands and golden appliqués harmonise well with the silver-plated dial, while the blue seconds hand provides a colourful highlight. The stainless-steel version set with 54 diamonds, Ref. IW458308, guarantees its wearer a stylish entrance with a raspberry-coloured alligator leather strap from Santoni, providing a striking colour contrast with the black displays on the silver-plated dial. With its dark blue dial and alligator leather strap, Ref. IW458312 features cool, understated blue that contrasts starkly with the polished stainless-steel case and elegant horns. The small blue date display and the rhodium-plated hands and appliqués blend harmoniously into the overall appearance. 

A. Lange & Söhne’s Little Lange 1 Moon Phase is a smaller version of the men’s model and contains a new movement: the manual-wound calibre L121.2. The asymmetric solid silver dial sets the stage for the luminous time and power-reserve indications, complemented by an outsized date, moon-phase display and day/night indicator. The model is available in white gold and black, pink gold and argenté, and platinum and rhodium case/dial combinations. 

Guys ’n’ Ties 

February 24, 2017 / by M. O. 

Historically, bow ties were worn by surgeons and architects because, unlike neckties, they didn’t drop into their work. Long cherished by all sorts of dandies such as Oscar Wilde, Fred Astaire and the Duke of Windsor, bow ties have
suffered from unfair stereotypes for many decades. “It’s often considered to be a daunting fashion accessory, but it’s not,” says Mickaël-François Loir, the Frenchman who created acclaimed handmade bow tie brand Le Loir en Papillon five years ago. “If it’s mandatory for a dinner at the White House, a bow tie is also appropriate for casual wear. I never go out without one, even to fetch croissants.”

Tie it yourself

There are three basic kinds of bow ties: self-tied, pre-tied and clip-on. “Please forget about the childish clip-on ones; they are a fashion faux pas,” says Loir. “And to be honest, I’m not fond of pre-tied ones, either. They deny you the pleasure of tying your knot in a personal way.” You may find a plethora of online tutorials explaining how to properly tie your bow tie, but have no fear and keep it simple – a shoelace knot does the job effectively. Still, there’s one hard and fast rule to remember: the width of the knot must not exceed the width of your eyes.

Little Nouvelle Vague

February 3, 2017 / by China Daily

The seductive wave of a traditional fan barely hides the exotic curves that loom behind it. A delicate shake of the tail feather sets hearts aflutter, with bird-like movements that are only equalled in their fluidity by their sensuality. Don’t be surprised if you find yourself loosening your collar as you immerse yourself in the steamy world of Sucre d’Orge, the burlesque performer who’s taken Paris by storm.

Walking into d’Orge’s house in the 18th arrondissement of Paris is akin to stepping into a time machine – her apartment has an unmistakably retro, art deco feel. Adorned with period furniture from the flea markets and vintage photographs of burlesque performers, it creates an atmosphere that perfectly matches her onstage persona. The reality is no less evocative, either, as Mademoiselle d’Orge emerges, clad in a flowing ’20s gown.

“I’ve been a dancer since my childhood – classical, Argentinian,” explains d’Orge, as she delicately sips tea in her boudoir. “And I’ve always liked to discover new dance forms.” The form she’s specifically referring to isn’t new, but it’s enjoyed a rebirth in recent years. Burlesque dancing, in existence since the popular theatre of the 17th and 18th centuries, is currently having its moment – and d’Orge (whose name means “Candy Cane”) has been riding the wave of enthusiasm, bringing her evocative and playful style to audiences in Paris, Shanghai, New York, Milan and London. 

Burlesque, unlike striptease, doesn’t involve total nudity – only partial – and tends to be highly theatrical in its delivery. It was this aesthetic allure that first aroused d’Orge’s curiosity. “One night, I was at a dance class and as I left, I saw these girls who were beautifully made up and dressed in gorgeous costumes,” she recalls. “I asked what class they were going to and they told me it was burlesque.” 

Like many burlesque performers today, d’Orge went to one class and was instantly hooked. “There are a lot of girls who love this; they love to dance, to laugh, to dream,” she says. “There are a lot of girls who want to learn it after seeing a show – not to perform, but to develop their femininity.” 

While striptease for a mostly male audience may have been characteristic of burlesque in its boom years, d’Orge says today’s audiences are increasingly composed of women. “Burlesque can send a message, poetic or artistic, to an audience that today is two-thirds female.”

To appease her numerous admirers, d’Orge has crafted an intricate, alluring and entertaining portfolio of performances that range from Marie Antoinette to a mechanical wind-up doll, and from a Bollywood dancer to an Egyptian queen. The fan has become her signature accessory, but anyone who sees her emote under (and alongside) the plumage of ostrich feathers can’t fail to be swayed by the panache of her chic performance. 

Whether you call it high art or seduction supreme, neo-burlesque has enjoyed a fantastic revival. The fashion world may have much to do with its spirited resurgence. For one, French shoe designer Christian Louboutin, with his trademark red-soled stilettos, is a big fan of cabaret and brought in filmmaker David Lynch for a fetish-style shoot, on which Louboutin chose girls from the Crazy Horse cabaret in Paris to wear his vertiginous heels.

Among a gaggle of performers, Mademoiselle d’Orge stands out as a glamorous presence indeed. All her corsets are made by top Parisian designer François Tamarin through his brand, Les Corsets de Paris, while her outfits are created by specialised costumiers. She works with renowned choreographer Larry Vickers (who frequently collaborated with actress Shirley MacLaine), although D’Orge does much of her own choreography for her routines. D’Orge even makes the occasional appearance at David Lynch’s semi-private nightclub in Paris, Silencio, which is modelled on a similar club he has on Mulholland Drive in Los Angeles. 

It’s natural to draws parallels with her famous counterpart, American burlesque performer Dita Von Teese, but d’Orge says their acts are very different, since she focuses on the dance itself. “Dita moves, she strips, she takes off her things – it’s an art, but there is no dance choreography,” explains d’Orge. Compared to the 1950s pin-up inspirations of most modern American burlesque, French burlesque tends to draw from a broader variety of intellectual and historical references.

Neo-burlesque’s success lies in its small-scale, under-the-radar intimacy that subliminally echoes a lifestyle culture so overly luxuried by labelled brands, that individuality and the experiential nature of recreation have taken hold among a new niche group. After all, what’s not to like: glamorous performances, couture costumes, haute theatre and a touch of good old-fashioned bespoke.

Burlesque Brouhaha

Dating back several centuries, the burlesque tradition has seen numerous transformations throughout the years. Stemming from the Italian word burla, meaning “mock or make a joke of”, burlesque was originally intended as a brief comedic break in the commedia dell’arte (“comedy of craft”), an Italian form of entertainment that had become prevalent across Europe by the late 16th century. 

During the height of the Victorian era, burlesque dancing reached its peak of popularity in London theatres. It mocked well-known shows such as Shakespeare plays, as well as popular ballets and operas, by using music, dance and classical performance to comedic effect. In 1868, the British Blondes troupe introduced Victorian burlesque to the US, shocking audiences by wearing tights on stage in New York. The sexy element soon became an essential component, as the striptease appeared in shows across the US and France; the earliest instance of nudity in burlesque was also performed in this era, as a woman removed her clothes while “looking for a flea”. 

Choos Your Own Adventure

February 3, 2017

Stocking Style

February 3, 2017 / by China Daily

When the spring/summer 2017 runways said “yes” to pantyhose with open-toed shoes, it was viewed as yet another example of an old-turned-new trend – hosiery is certainly no longer atop most women’s wish lists when it comes to fashion. But for much of the 20th century, it was an essential staple of a polished woman’s daily wardrobe. 

Pantyhose’s famous predecessors were stockings, which reached up to the thigh and generally needed to be supported by a garter; these tights first became popular among men before women started to wear them in the 18th century. As a new style emerged in tandem with the change in women’s social status in the 1920s, shorter skirts came into fashion, paired with stockinged legs – a trendy look of the day was a woman rolling her stockings down just below the knee and dusting rouge on the kneecaps. The enduring “fishnets” were introduced in the ’30s; brands such as France’s Gerbe, the UK’s Charnos and Italy’s Levante prospered during that period and continue to be at the forefront of hosiery style today. 

In 1938, the invention of nylon in the United States revolutionised the industry. Initially used for toothbrushes, after nylon was introduced as a fabric at the 1939 New York World's Fair, nylon stockings became widely popular. Women swarmed stores to purchase the hosiery and four million pairs were sold in the first few days of their release. However, the Second World War meant that nylon was soon in short supply, as the fabric was sent to the battlefield in the form of tents and parachutes. 

However, nothing can stop women from pursuing beauty. If they couldn’t buy nylon stockings, someone figured out that they could paint them on. Leg cosmetics created a fashion storm during wartime, allowing women to do make-up from their toes to their thighs, thus achieving the illusion of real stockings. Liquids, lotions, creams and sticks were all used to mimic a noticeable sheen.

Giambattista Valli

February 3, 2017 / by China Daily

Agnona

February 3, 2017 / by China Daily

Flair in the Air

December 9, 2016 / by China Daily

Image above: Taking to the skies with United Airlines flight attendants, 1939

From nurse-inspired looks to stylishly professional cabin crew outfits, attire in the sky has changed significantly over the years. Unlike other uniforms, which often share a similar palette, the looks for flight attendants vary quite a bit. 

Wherever you look, you’re bound to see all the colours of the rainbow. Take the bold orange outfits of Russian carrier Aeroflot; the sky-blue of Korean Airlines; the blazing-hot red of Virgin Atlantic, designed by Vivienne Westwood; the Singapore Girl’s traditional sarong kebaya for Singapore Airlines by Pierre Balmain; the striking stripes of Australian national airline Qantas; the classic blue-and-red scheme of Air France; or the red cape option for Colombian national carrier Avianca Airlines. 

Today you can spot each airline’s flight attendants from afar, but the uniforms originally signified nurses on board. In 1930, 25-year-old pilot and registered nurse Ellen Church appealed to the executives of Boeing Air Transport to hire women in the skies, who could help take care of passengers and calm their fears. Church and seven other women were hired by the airline. Known as the “Original Eight”, they dressed in dark blue suits with a cape and cap. Later, the “sky nurse” attire gave way to a lighter, more cheerful look, with a short-sleeved dress in white and a wool jacket in navy.