Strictly Chicago!

IT’s tricky not letting addictive ‘Strictly Come Dancing’ become the thrill of the week. But yesterday I found the antidote! I watched the full length dance movie, Chicago (2001). It’s  still sensational with the genius dance moves of director and choreographer Rob Marshall.

With music by Kander and Ebb, the team behind ‘Cabaret,’ Chicago won six academy awards in 2003 and was the first musical to win Best Picture, since ‘Oliver’ in 1968.

Nightclub sensation Velma (Catherine Zeta-Jones) murders her philandering husband, and Chicago’s slickest lawyer, Billy Flynn (Richard Gere), is set to defend her. But when aspiring star Roxie (Renée Zellweger) also winds up in prison, Billy also takes on her case. They turn the 1920s ‘Windy City’ into a media circus. Neither will be outdone in her fight for fame and celebrity.


Here Collen Atwood’s costume designs appear in court as Roxie, performs as the innocent victim; killing in self-defence, begging for the life of her (fictional) unborn child, for Billy Flynn, the blindingly corrupt, ‘razzle dazzle,’ lawyer.

Influences around the time of Miccuia Prada’s S/S 2001 collection seem to have inspired both the svelte stage outfits and clothes for prison and street scenes in the movie, don’t  you think?



Paris – City of flowers and lights!

‘I want to be there, NOW!’ to quote Axel

It might have been fun in 1954 with Barthes but in Summer 2015 I was on my way but I had to cry off.  I will make do with a Chanel presentation in London this July and maybe I can make Paris somehow, before 2018.

‘What was it about her face?” thought Roland Barthes sitting in Café Flore, Boulevard Saint-Germain, Paris, after seeing Audrey Hepburn in the first French screening of ‘Roman Holiday’ on April 4th, 1954. Surrounded by Alain Robbe-Grillet, Michel Butor, Françoise Sagan, Nathalie Sarraute, Romain Gary, Yves Saint Laurent, Pierre Bergé, Marcel Rochas, Gunnar Larsen, Givenchy, Lagerfeld, Paco Rabanne, Guy Laroche, Tristan Tzara, Alberto Giacometti, Dali, Jacques Lacan, inspiration came thick and fast for Barthes.

Between 1954 and 1956 his stunningly provocative and most influential text, ‘Mythologies,’ observing cinema, advertising, fashion magazines, motor shows, began challenging ideas about Hollywood, striptease, steak, wrestling, wine, and film forever.

 Born in 1915, Barthes has become the ‘go-to’ guy for story angles and inspiration for 21st century art, media, advertising, fashion professionals and his reputation today rivals that of any of his Parisian contemporaries.

Of Fashion he wrote that it became an industrial synthesis between its making, and its selling. He recognised the contradiction, inherent in the industry, of Fashion being readily available for the many, without losing its ability to raise stakes or status for an individual.

Tomorrow I’ll write about Parc Citroen, Parc Asterix and the pack of peanut butter sandwiches!