Arts/Style/Travel â€“No. 6
The Icon Issue
the eye wanders beyond the lips Therefore we offer an extensive range of treatments for face and body in a private luxurious environment. It all starts with a complimentary consultation, call Lisa on 0151 520 30 70
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Contents Arts Collective
07 – HQ A few words from the team on themselves and their icons.
36 – ‘I am an icon’ Collectives Creative Director, Viktorija, gets behind the camera once again for this issues fashion shoot.
60 – The Tower Hola! Collective meets the young, rich and sumptuously gorgeous at Ushuaia.
10 – Preview Let us guide you through this quarters picks of the latest arts and culture based events. 12 – Art In Print ‘Think Anthony and Cleopatra, Adam and Eve, Cupid and Psyche’ - The sleepy town of Southport welcomes an exhibition of Love at The Atkinson. 18 – The Icon: David LaChapelle The man himself opens up about celebrity, nature, religion and that Andy Warhol. 26 – Book Review Bridget’s back - but is Mark Darcy? 27 – Film Review With cinephile Adam Scovell. 28 – Predictions Meet the winner of the Mode Training competition, hairdresser, Aaron Jones. 32 – DaDaFest Artistic Director, Ruth Jones, talks us through DaDaFest 2012 and 2014.
43 – Mococo Showcasing a plethora of brands from the jewellery emporium. 44 – Keeping Up With The Collinges The couple who need no introduction talk catwalks, beehives and shooting for The Collective. 47 – Collective Beauty You’re your own canvas - create art. 48 – The Beauty of Art Collective Editor--in--chief, Lee Joseph Hagan talks sex, love, art and fashion with Miles Aldridge. 53 – The Dream Doctor A special man who can take away your unwanted imperfections 55 – Collective Business We have a ‘moment’ with businessman Paul Flanagan. 56 – Food Glorious Food Liverpool & Manchester transport us to Thailand & Australia.
62 – Living on the quiet side Collective presents ‘The other Ibiza’ – relax and rejuvenate at Aguas de Ibiza. 64 – The Ibiza experience Parties, music and dancing at Es Vive. 67 – Sunset Boulevard bargained for at Cafe Mambo Ibiza. 68 – The Nadler A man and a hotel that require no introduction welcome us to Soho. 70 – Restaurant Review From London to Paris, we have your palate fully catered for.
Plus… 72 – Latte with.... Artistic Director of Tate Liverpool, Francesco Manacorda.
Arts, style & travel from around the globe
Launching 09.09.13 www.thecollectiveinternational.com
Collective HQ Lee Joseph Hagan Editor-in-chief email@example.com twitter: @mrleehagan I believe we are all icons and beacons of light for each other. My visionary icon is Diana Vreeland: she gave people what they didnâ€™t know they wanted.
Viktorija Grigorjevaite Creative Director & Fashion Photographer firstname.lastname@example.org www.vggv.co.uk
The icon for me is David LaChapelle: a person I have always admired. I was over the moon when he accepted our interview request. It must be fate.
Alecia Marshall Arts Editor email@example.com
My Icon is... My mum.There is no stronger, more beautiful woman in the world. Margaret Atwood comes a close second - the prolific female genius who began my addiction to literature.
Jmeel Allen Designer Contributors & writers:
Michelle Langan, Adam Scovell, Andrew Collinge, Liz Collinge, Jen Chapman.
The Beautification Chromogenic Print ÂŠDavid LaChapelle
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.
Bruce Lee has always been one of my icons. He had it all; charm, panache, wit and wisdom. He was also as hard as nails.
Turning FACT Inside Out Exhibition Open until 15 September FREE Entry FACT, 88 Wood Street, Liverpool, L1 4DQ fact.co.uk / #TFIO Image: Fracking Futures, HeHe, 2013
With the support of the Culture Programme (2007-2013) of the European Union
What: Little Atom Presents, Palm Sugar Live Lounge Who: Palm Sugar Lounge, Liverpool One When: Every Sunday from 5pm
What: Liverpool Irish Festival Where: Across Liverpool When: 10th-20th October
What: Paloma Faith & Guy Barker Orchestra Symphonic Grace Tour Where: Liverpool Philharmonic When: 27 Oct Liverpool Philharmonic & 28 Manchester Bridgewater Hall
Who: Laurent Cantet Where: Selected Cinemas Laurent Cantetâ€™s latest film sees a refreshing new light shone on gang-style culture. Instead of the brooding, clichĂŠd masculinity that often occupies films of this nature, Foxfire follows a group of young girls, introduced to communist and feminist ideas, who go around seeking revenge on the middle-aged men that made their lives hell. Making the most of its 1950s setting, this is a genuinely unique film in canon of crime pictures: renewing, vibrant and urgent.
If you are looking for the perfect way to relax on a Sunday evening, look no further. Palm Sugar Lounge brings live acoustic music from three of the best acts in the city each and every Sunday. In collaboration with Little Atom Productions, Palm Sugar Lounge provides the perfect spot to wind down after a heavy weekend. So grab a cocktail, sit back, and listen. Bliss.
Returning for its eleventh year, this cultural feast brings together the colourful Irish heritage of Liverpool with the best of contemporary and traditional Irish arts and culture. A rich mix of music, drama, comedy and film will fill the concert halls, pubs, museums and galleries throughout the city for the ten day celebration. Highlights include Irish music legend Christy Moore and the return of the ever popular Irish Sea Sessions.
The Symphonic Grace tour will see Paloma Faith team up with 42-piece Guy Barker Orchestra to present full-blown orchestral arrangements of her own material intermingled with classic jazz ballads, backing singers and fabulous costumes. Guy and Paloma will cover both old and new orchestral arrangements of her latest album, the Brit-nominated album, Fall to Grace, including the hits Picking Up The Pieces and 30 Minute Love Affair. Expect surprises along the way!
What: The Master and Margarita Where: Unity Theatre, Liverpool When: 1st – 12th Oct 2013
What: MaddAddam Who: Margaret Atwood When: Now Available
One of the greatest ever cult novels is brought to life in an epic new adaptation.Riotously funny this multi-layered story combines the love affair of the century, Satan’s visit to Moscow, the final days of Christ and a fantastical cast of supernatural and historical figures. Bulgakov’s wild imagination is brought to life by unitytheatre and the award-winning Lodestar Theatre using video, puppetry, magic, animation and performance to create an extraordinary show.
A man-made plague has swept the earth, but a small group survives, along with the greeneyed Crakers – a gentle species bio-engineered to replace humans. Told with wit, dizzying imagination, and dark humour, Booker Prize-winning Margaret Atwood’s unpredictable, chilling and hilarious MaddAddam takes us further into a challenging dystopian world – a moving and dramatic conclusion to the internationally celebrated trilogy that began with Oryx and Crake and The Year of the Flood.
What: Rambert Dance Company: Awakenings Where: The Lowry, Manchester When: 22nd-24th September 2013
What: RENT – 20th Anniversary Concert Where: Echo Arena Liverpool When: 30th November 2013
This autumn, Rambert is delighted to première its exciting new work Awakenings. A collaboration between theatrical choreographer Aletta Collins and celebrated American composer Tobias Picker, this is the first dance interpretation of Oliver Sacks’ book of the same name, made famous by the 1990 Hollywood film starring Robin Williams and Robert De Niro. Awakenings is a beautiful piece of dance full of high emotion, energy and drama.
Fresh from its April UK tour, RENT is back due to overwhelming public demand. Celebrating 20 years since its first staged performance, West End leading lady and Atomic Kitten star Natasha Hamilton stars in this iconic concert of the smash hit musical.
Set in the East Village of New York City, RENT is about falling in love, finding your voice, and living for today. Not to be missed.
Comedy Drama Theatre Music Festivals film Exhibitions Bakery â€“ (01704) 533 333 theatkinson.co.uk : TheAtkinson : @AtkinsonThe
The Atkinson Lord Street Southport PR8 1DB
Art in Print
A 21st Century Love Story The sleepy seaside town of Southport is famed for its walks along the pier and sticks of multicoloured rock, but it is time to extend the list. Alecia Marshall introduces The Atkinson. Wouldnâ€™t you like to become a little better acquainted?
Above -An Idyll of Theocritus, c1890 By George Percy Jacomb-Hood (1857 – 1929) (Oil on Canvas) Left-
In the Venusberg, 1901 By the Hon. John Collier (1850 – 1934) (Oil on Canvas)
It describes itself as ‘a cultural pick ‘n’ mix for the family’ - an Arts Centre that has demanded £17 million in return for the amalgamation of four big players on Southport’s cultural landscape: Southport Arts Centre, the Atkinson Art Gallery, Botanic Gardens Museum and Southport Library. It calls itself, The Atkinson. The essence of The Atkinson is simple: the seamless combination of four previously separate venues, well loved but consequently fraying a little at the edges, beneath one painstakinglyrestored grade II listed roof, complete with intricate ceiling mouldings and dramatic chandelier. With a bronze Henry Moore sculpture commandeering its entrance, on hand to beckon new and old visitors inside, there is
little doubt that The Atkinson deserves a shiny accolade from Sefton Council, who are keen to depict the centre as their flagship arts and cultural venue. With an extensive, constantly changing repertoire that encapsulates art, theatre, dance, literature and showcases an array of precious artefacts, there truly is something to be found for the whole family within this beautiful renovation and its ‘pick ‘n’ mix’ tagline proves an accurate metaphor. ‘A cultural gorge’ may have been another apt contender – though admittedly it doesn’t have quite the same ring. Yes, there is a lot to be excited about already, but with September comes The Atkinson’s first
visual arts exhibition, yet another chance for the Southport based centre to flex its muscles and show what it can do. Love Stories: Romance, Obsession & Heartbreak is the title and the theme is startlingly clear. Showcasing art and objects from The Atkinson’s own collection, supplemented with artworks loaned from museums around the country, Love Stories explores the universal experience of love and loss. Think Anthony and Cleopatra, Adam and Eve, Cupid and Psyche. Think the intimacy of Tracey Emin. An exhibition that contains art works that spans centuries, it is clear that Museum and Gallery Manager, Stephen Whittle, is eagerly anticipating its opening: “Our historic collections cover a
Left - Pygmalion and Galatea, 1886 By Ernest Normand (1857 – 1923) (Oil on Canvas) Right - Lilith (1892) by John Collier 1850-1934 Below- ‘I Promise to Love You’ Collection, 2013 By Tracey Emin (born 1963) (Digital Limited Editions)
Think Anthony and Cleopatra, Adam and Eve, Cupid and Psyche. Think the intimacy of Tracey Emin.
wide range of media; paintings, sculpture, ceramics and costume, and we wanted to remind visitors how rich and varied the collections are. To bring the exhibition up to date we have included a range of contemporary media; video, photography, digital art and installation art, to create a dynamic exhibition that engages all the senses and gets the visitor involved“. But why love? Surely choosing a theme for the very first visual arts exhibition proved a daunting task? Whittle thinks not: “Love is a great, upbeat theme that everyone can relate to. We want our visitors to contribute their own love stories and take an active part in the exhibition.We have a great new facility and we want to use it to its full potential.” Invited to contribute your own love stories and images to the exhibition via Twitter, Facebook, Pintererst and Flickr,The Atkinson demonstrates just how eager it is to establish itself firmly within the 21st century. The exhibition features new research by guest curator Dr Amanda Draper and an interpretive project funded by Leeds University and led by Kevin Laycock, Lecturer in Design. If you find yourself chasing the last of summer in this beauti ful seaside town,The Atkinson is well worth an afternoon peruse.We promise you won’t be disappointed.
Love Stories: Romance, Obsession & Heartbreak runs from Saturday 7th September. Admission is free of charge. For more information visit www.theatkinson.co.uk
Whitney Houston: But now I see Chromogenic Print ÂŠDavid LaChapelle
David LaChapelle I felt it in my heart, in my gut. I felt this tugging at my soul, it was internal. I didn’t think I would be taking pictures anymore, I stepped into the void
For years David LaChapelle was the go-to photographer for the world’s biggest stars: Michael Jackson, Hilary Clinton, Whitney Houston, Mariah Carey, Madonna, Elton John. Produce a name and he will raise you a portrait. Dubbed ‘the Fellini of photography’, LaChapelle’s work graced the covers of the most prestigious publications in the world, transforming this Connecticut born genius, who was bullied at school and ran away to New York at 15, one of the most respected photographers on the planet. Ahead of his upcoming exhibition at Paris’s prestigious Musée d’Orsay, Lee Joseph Hagan and Viktorija Grigorjevaite meet the man himself, to talk pressure, paradise, and Andy Warhol.
People thought that I was crazy, that I must be on drugs, that I must be burnt out - it was the opposite.
In 2006, at the height of his career, he ditched celebrity, changed gears and bought a former nudist colony in Maui, Hawaii. Immersed in re-entered both world and gallery. Aren’t we glad that he did. Welcome to the world of David LaChapelle...
Take us back to 2006.You are the most sought after photographer in the industry, people are constantly knocking on your door, you are the epitome of success.Why stop? It is funny because I have always been very content with the work I do, but it is all dependent on time – different times call for different changes and different things to be made. I have always followed that intuitive feeling of when to move on. I quit at the height of the commercial career of dreams: working for the most prestigious magazines, making insane amounts of money – I walked away from that, I turned my phone off for six months. People thought that I was crazy, that I must be on drugs, that I must be burnt out - it was the opposite. I was done with that chapter. I felt it in my heart, in my gut. I felt this tugging at my soul, it was internal. I didn’t think I would be taking pictures anymore, I stepped into the void. But you came back... It wasn’t planned. When I was ready to reenter the world I began to receive invitations to show at galleries. I had quit, moved to a farm – I never imagined I would be invited to show at galleries. I knew I had more pictures inside of me and after six months of being alone, in solitude, in nature, I had things to say.
Above- Madonna: Metaphysical Moment Chromogenic Print ©David LaChapelle
A lot of things to say! Your recent exhibition at the Fotografiska Museet in Stockholm was the largest solo exhibition they have ever had (and the first time the museum has devoted its entire space to a single artist for a prolonged period of time, showcasing over 250 of David’s works). What kind of pressure does that create? I don’t really get pressured by those things. There is the logistical pressure of making sure my team has the right images/frames and that the pictures are properly represented and intact but that is just production pressure. I have to trust the curators to work it out in an order that makes sense because there are definitely chapters, one image informs the next. Every curator has their own take on it and I am open to that - I am willing to cooperate, sometimes!
Right- The house at the end of the world Chromogenic Print ÂŠDavid LaChapelle
Do you feel as if the viewer needs to understand you as an artist before they understand your work? No, I like the idea of people looking at my work who have not heard of me and know nothing about me; I think those are the people who get a completely fair idea of what each piece is about. They see the work through fresh eyes. Do you feel the camera can truly capture the breadth of your imagination? Does it prove limiting at times? Anything I can imagine I can create in a photograph. I start off with drawing, sometimes with watercolours to get the palette correct and then work out the composition. It is about clarity. Once I have that figured out itâ€™s about stage direction, allowing for the actors and the spontaneity of the photograph to have a life of it its own. The more prepared I am on the actual shoot the more room there is for magical things to happen. Religion features heavily in your work, would you describe yourself as religious? Nature is my religion. How important is it to have a key contact within this industry? For you, it was of course Andy Warhol (Warhol offered David his first job at Interview magazine). I believe it is about how hard you work and not the contacts you have. I would have done what I have done without having met Andy Warhol, though it would have been a different path. I think your early twenties are an important time. Periods of your life are like chapters, you have different energies at different times and in your early twenties you are fearless, you knock on doors, you are not afraid of rejection. People may not be showing up, they may not be buying but you are still creating because you have something to give, something to share with the world. There is a real tenacity at the age that you may not have in later life.
Anything I can imagine I can create in a photograph.
Left- This is my house Chromogenic Print ÂŠDavid LaChapelle
Above- Would-be Martyr and 72 virgins Chromogenic Print ©David LaChapelle
I would have done what I have done without having met Andy Warhol. So what current chapter are you in now? Do you look back with clarity or constantly move forward? It’s a good time right now. I am creating for myself. There is no commission, no deadline; the photographs are finished naturally and organically – it is the best way to work. Having been able to spend as much time as I want on an image to get it exactly how i want it to look and say what I want it to say is a luxury.
work at the moment is confusing and dark and reflects the problems of our global situation, so uncovering the other facets of contemporary human existence is challenging. Exploring images of joy in all of its manifestations and have it taken seriously and not be dismissed is difficult in a fine art context. It is about capturing metaphysical ideas - I have always been interested in photographing the unphotographical.
introspection and therefore personal growth. You can grow technically with your work but if you are not growing as a human being it is very difficult to grow as an artist. It is very easy to make artwork or installations that are of an artistic nature but to really reach people one has to become enlightened. You must unplug yourself from all distractions and for me, that refuge is nature. I have finally found peace, and it will only make my work stronger.
Do you have a dream project? There is a series I have always wanted to do: Paradise.We are currently working on the idea and the images are coming out at this moment. It’s really satisfying. Being able to find joy in photography is radical because such a lot of
If you could go back to beginning of your career, would you do anything differently? We are all here to learn and grow. I was working incredibly hard, fast and furious through much of my life but luckily I switched gears. Now I have a lot more time for contemplation and
“Bridget, is that you Dear?” DATING RULE NO. 1. DO NOT TEXT WHEN DRUNK. It is a truth universally acknowledged that a single woman in possession of little to no fortune must be in want of a man. Or so it was in 1996, when Bridget Jones fell clumsily from our bookshelves and into our lives. Women everywhere collectively exhaled; finally a character we can really relate to. Chick-lit was born. Now don’t get me wrong, I love nothing more than losing myself in a classic, but I can honestly say I have never roamed the moors looking for my Heathcliff, or found my husbands mad wife in the attic - well not quite. I have however drunk copious amounts of wine, gorged myself on ice-cream and performed a heart wrenching rendition of All by Myself (well, Lonely this Christmas to be precise). It is for this reason perhaps, this clever encapsulation of the modern woman, that in 2007, Bridget Jones’s Diary was named as one of the ten novels that best defined the 20th century. And now it’s back. At the beginning of October, Helen Fielding’s calorie counting, chain-smoking thirtysomething will once again be opening up the pages of her diary for public inspection in instalment number three: Bridget Jones: Mad About the Boy. But what can we realistically expect? It has been over 15 years since Bridge teetered on the edge of becoming a “smug-married” – but this is not Bridget Darcy’s Diary. Are we now dealing with a chain-smoking fiftysomething who nearly had a man but f***** it all up? Isn’t that just a little… depressing? Fielding’s publisher at Jonathan Cape, Dan Franklin, said: “As a comic writer, Helen is without equal. Over 15 years ago, she gave a voice to a generation of young women with the original Bridget book. Now they’ve grown up and she’s doing it again, this time with all the joys and complications of social media.” But does the 21st century woman still need a voice or do they have one of their own? What originally made Fielding’s unlikely protagonist so radical was her mimetic quality, the ability to define a generation through the depiction of just one woman. “Ladies”, she slurred, “it is ok to be ok!” – ok being a little overweight with a penchant for short skirts and no male prospects. But that generation has moved on considerably in the last decade. Bridget’s contemporaries are a lot more, well, contemporary. Has Jones moved with them? Somehow, I cannot see her striding purposefully into a board meeting with a MacBook under her arm, nor can I picture her juggling two screaming children and driving a Volvo – though obviously not at the same time. Perhaps some things are better left alone, or can we trust Fielding to give Bridget a 21st century makeover? Only time will tell. I do hope Mark Darcy’s reindeer jumper resurfaces at Una and Geoffrey Alconbury’s New Year’s Day turkey buffet – that never needs to change.
Film Preview With Adam Scovell
Wadjda – Haifaa Al-Mansour -
Silence – Pat Collins -
Though currently lost in a wave of adulation due to the sheer achievement of actually being made, Wadjda is an excellent film about youth that deserves to be judged on its own merits as well as the difficult circumstances that it has come from. Haifaa Al-Mansour’s debut film marks the first film from Saudi Arabia to be made by a woman and it is a startling, accomplished film. Wadjda (Waad Mohammad) is a young Saudi girl whose imagination is set alight at the prospect of getting a bicycle; at first a seemingly impossible task due to money. She enters a Koran recitation competition in the hope of winning the money to get the bike but not before trying various schemes to get her cash. Wadjda is itself an important film but it is also a warm, humanist film with a better sense of depth than whole reels of western films centred on childlike obsession. Ultimately, the film looks at a number of serious issues but these are happily put through the eyes of its charming main character who is an instantly likeable rebel wearing converse under her traditional clothing.
Silence is the feature film debut of documentary filmmaker Pat Collins. It follows sound engineer Eohgan (Eoghan Mac Giolla Bhride) as he journeys back from the city of Berlin to his native Ireland in order to try and capture the sound of silence. His journey quickly turns into a philosophical one in this extremely beautiful and poetic film, questioning a number of interesting topics. Collins’ use of real people within the film’s narrative is disarming as is the film’s inclusion of an array of archive footage that builds upon the protagonist’s nostalgia for his place of home. Along the way he meets a number of people and instead begins to collect their stories about silence and home which eventually leads him back to his abandoned house on his native Tory Island. Solitude is another factor the plays heavy within the picture, often seen as an initial by-product of the beautiful scenery that occupies most of the film’s story though it rarely lasts for long. With this added sense of landscape, an intelligent use of music and a genuinely moving ending, Silence is a quiet but totally accomplished work.
DVD – Simon Killer – Antonio Campos (Masters of Cinema) -
Like Someone in Love – Abbas Kiarostami -
Antonio Campos’ second feature film sees its entry into the hallowed halls of the Masters of Cinema DVD range. It’s a cold, distanced film full of interesting angles and a disturbing portrait at its heart. Simon, played with a calculating calmness by Brady Corbet, is a recent college graduate who is taking some time out to stay in Paris. It quickly becomes apparent that Simon is unstable and is a compulsive liar both to everybody around him and to himself. He befriends a prostitute who he forms a relationship with before his habits and instability begin to tear both their lives completely apart. Simon Killer is not a comfortable film to watch; its main protagonist being unpredictable to the point where even he is unsure as to who he is and what he does. Violence is always on the periphery of the character’s vision, reflected in the film’s constant but intelligent editing, playing into the character’s initial interest in eyes and psychology. The Masters of Cinema release has great array of extras both on disc and in the release’s booklet adding new meanings and readings to the film making it an eye-opening, powerful release.
Named after the melancholic jazz standard that occasionally flitters into the background, Abbas Kiarostami’s latest film, Like Someone in Love, is a gentle but greatly affecting drama set in Tokyo. The Iranian director brings out the obvious visual nature of the city, making beautiful use of the city’s ethereal presence created at night by the millions of lights but it is the central drama that really grounds the film. Akiko (Rin Takanashi) is a naive and unwilling prostitute who befriends an elderly client after he wishes nothing more than company on their first night together. They become friends, adopting a grandfather-granddaughter relationship but not before tricking her boyfriend into believing in this relationship too. Kiarostami’s film is a gentle one for the most part, making its very final moment quite shocking in spite of its relative timidity in action. The film is full of reflection, both visually and for the characters too who all somehow reflect on their lives and re-address issues that have been bothering them. Context is everything though in Like Someone in Love and, even though its narrative on paper sounds odd, the film instantly dispels any apprehensions about friendship and it is shown to flourish naturally in even the most unusual of circumstances.
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Mode Training Ltd 308/309 Queens Dock Commercial Centre Norfolk Street, Liverpool L1 0BG
This Summer, in collaboration with MODE Training, The Collective began the search for something special - something extraordinary, innovative and unique. Now, as Autumn beckons it appears we have found that something, or should we say, someone.
Photography by Viktorija Grigorjevaite
Predictions: Aaron Jones
The concept was as follows: one budding hairdresser would be given the chance to showcase their talent across our predictions pages, most recently graced by BRIT Award winner, Tom Odell. With only his big shoes left behind, The Collective needed someone passionate, ambitious and supremely talented to fill them.Who would prove a cut above the rest? All we asked was that our potential candidates source a model and re-create a look from one of their favourite movies, music videos, album or magazine covers - with a splattering of creativity, of course. But where to begin our search? How to distinguish the amateurs from the real contenders? Introducing, MODE Training. Providing apprenticeships and industryrecognised training for students, businesses and schools, this Liverpool based centre offers courses in areas such as customer service, business, music, barbering and (luckily for us), hairdressing. With a 98% achievement level for alternative programmes of education, full government funding allows a large proportion of clients to train completely free of charge. Company Director Debbie Tagoe believes MODE can be succinctly summarised through its mission statement: ‘Bringing Together - Realising Potential - Celebrating
Success’.“The concept is simple,” she smiles, “we aim to identify all relevant parties of the student and bring them together with the aim of planning a strong programme of learning and support that unlocks the students full potential. This could include anyone from friends and family to schools and employers.” “Our success rates of achievement on all programmes are very high and this is something we celebrate with our students throughout their programme and at our annual celebration of achievement event.” It is clear from the applications we received that MODE has a lot to celebrate. The quality was exceptional and after careful deliberation and several large bars of chocolate we finally reached a unanimous decision. Ladies and gentleman, The Collective presents Aaron Jones, our issue six prediction.
Company Director, Debbie Tagoe
The Collective were looking for a winner that was the elite: passionate, motivated and supremely talented.You were our first choice! How does this feel? IT FEELS AWESOME! I’m very passionate about my work and to be classed as “supremely talented” and featured in such a special category is a massive thing for me! The sense of achievement I feel now, as well as making others happy from my work is why I do my job every day, so I’m thrilled that I have the opportunity to impress a much wider audience! Tell us about the look you have re-created. Tell us about the thought process behind it, your inspiration. As a passionate follower of fashion, I’ve noticed the 90s creeping back into focus and one of my favourite films from that era was Batman, though my favourite character was Poison Ivy! The character in the film is quite plain and I wanted to add some glamour! I took the colour and redesigned it, and shot the style into a catwalk/ avant gardé look. I’m all for “untouched” looking hair and the bigger the better!
on model Chantelle Carney
How important has MODE been in guiding you along the path of an aspiring hairdresser? Well I’ve been with MODE from the very beginning of my career, and it’s played a vital role in the hairdresser I’ve become. MODE has not only taught me the art of hairdressing but I have made lifelong friends here. I’ve participated in fashion shows and catwalks with my tutors outside of college, and anything I ever need a hand with, they always have the right answers and thorough training on “how to”.
What are your hopes for the future and how do you plan to achieve them? I hope to become the best I can be... And I plan to do that through hard work and determination. I like to dream realistically but you never know what’s around the corner! One day, anyone could achieve the impossible, you just have to put the hard work in - and I’m ready to!
“If only it was plain English, I might know what to do, For when I visit a solicitor I haven’t got a clue...”
0151 282 1700 firstname.lastname@example.org www.jacksoncanter.co.uk Facebook: www.facebook.com/QSJacksonCanter
88 Church Street, Liverpool L1 3AY
Twitter: www. twitter.com/QSJacksonCanter
DaDaFest “This legal phraseology Turns me psychologically Plain English is my desire
DaDaFest is an innovative disability arts organisation based in Liverpool, delivering the Festival and other arts events to promote high quality disability & deaf arts from unique cultural perspectives. It also produces opportunities for disabled and d/Deaf people to access the arts, including training and a young people’s programme. In support of the festival, award-winning law firm Jackson & Canter participated in the last DaDaFest.They sponsored a ‘Legal Speak’ workshop at the event, the aim of which was to demystify legal jargon through the medium of poetry. “This legal speak has me cracking at the seams. This word impairment, what does it mean?’’ Ruth Gould, Artistic Director of DaDaFest explains more about the collaboration.. Language can be a real barrier for disabled people. In our work we look to remove these barriers. We particularly like to work in partnership with organisations like Jackson & Canter and we are very thankful for the ongoing relationship we have with the law
firm - knowing they value our work and support our arts output means a great deal to us. This unexpected partnership of culture and law has helped us grow in confidence in pursuing our mission of promoting social justice through the arts in the region. “If only it was plain English I might know what to do, For when I visit a solicitor I haven’t got a clue.’’ What is DaDaFest, tell us about the concept? A disability and D/deaf arts festival that celebrates our different cultural identities through high quality arts. DaDaFest brings together a fantastic international array of artists to share their work, which entertains, provokes, challenges and inspires us. As well as make us laugh and express what it means to be human, whether we are deaf, disabled or non-disabled. What do you have planned for next year’s event? Our programme for DaDaFest International 2014 is shaping up really well. There will be a major exhibition, we’re bringing some of the best international performers to Liverpool, and we are commissioning artists to create new work. In addition to this, we’ll have some DaDaFest favourites back, and some work from local grassroots organisations too. We can’t share much more at the moment, but stay tuned for announcements later this year.
We can’t wait and feel very excited as to the range and quality of arts on offer from right across the globe! How have Jackson & Canter supported the festival? It’s been really good to have Jackson & Canter on board as a partner, and they’ve given us a tremendous amount of support and advice, ranging from utilising their own expertise when we went through a rebrand, to advertising in our newsletter. They have also been instrumental in assisting us to host a business breakfast at Tate Liverpool to ensure more local businesses know about our work and impact. Tell us more about the ‘legal speak workshop’ At last year’s DaDaFest, we ran this workshop to have some fun and be creative with legal language. Language can be a real barrier for disabled people, to a number of areas in life. In our work we look to remove these barriers when it comes to accessing the arts. Jackson & Canter have the same ambitions for the law, so it was a natural partnership. The poet Roger Cliffe-Thompson worked with people, and the poetry that came out of the workshop was brilliant, moving and some of it, very funny. www.dadafest.co.uk
“ I T ’ S N O T T H E C L O T H E S Y O U W E A R , I T ’ S T H E L I F E Y O U ’ R E L I V I N G I N T H E M ” W W W. M I S T E R H A G A N . C O M
I Am Iconic
Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness that most frightens us. We ask ourselves, Who am I to be brilliant, gorgeous, talented, fabulous? Actually, who are you not to be? Marrianne Williamson
All the jewellery featured in this shoot is from the bespoke range at Claudia Pink. www.claudiapink.com Photography: Viktorija Grigorjevaite - www.vggv.co.uk Model: Yazzmin Newell Stylist: Claudia Pink Make up: Liz Collinge Hair: Andrew Collinge Salon by Jordan Aspinall Nails: Neringa Mineikyte
I know God will not give me anything I canâ€™t handle. I just wish that He didnâ€™t trust me so much. Mother Teresa
I do not wish women to have power over men; but over themselves. Mary Wollstonecraft
There is more to sex appeal than just measurements. I donâ€™t need a bedroom to prove my womanliness. I can convey just as much sex appeal, picking apples off a tree or standing in the rain. Audrey Hepburn
The question isn’t who’s going to let me; it’s who is going to stop me. Ayn Rand
Keeping Up With The Collinges Andrew Hello readers! I have been very busy of late, recently appearing at the TIGI World Release in London. It was a fantastic show representing all that is new in hairdressing. Catwalk looks were showcased as well as avant-garde and theatrical styles. Anthony Mascolo, the founder and creative director of TIGI and the TIGI creative team presented a stunning array of hairstyles that had the audience enthralled.
Photography by Viktorija Grigorjevaite
The Andrew Collinge section represented a version of 80’s power dressing with models appearing in sharply tailored long jackets. To begin I quickly dressed a models hair up and secured with one pin. The models routine ended with them simultaneously removing first their jackets and then the one pin from their hair, allowing their luxurious locks that tumble down and create a stunning look. My favourite product of the moment is the newly launched Bedhead Oh Bee Hive! Matte Dry Shampoo. Oh Bee Hive! is not only a dry shampoo, it is the perfect product to make hair instantly manageable without leaving the usual white residue. I used this product whilst working on a recent photographic shoot to celebrate the 75th anniversary of the Denman brush: an iconic brush used by top hairdressers from all over the world. I and a few other British hair stylists were invited to create our own interpretation of an iconic hairstyle, and the style I created is a classic all time favourite. Inspired by the 50’s and 60’s, and some of the world’s most beautiful women from those eras such as Audrey Hepburn and Twiggy, I dressed my models hair into a modern day beehive!
Liz At the moment I am loving Ariane Poole’s make up range, which we have just launched in the salon. The natural look is a big theme for the Autumn/Winter season and the products are perfect for this.
brown eyes and beige and taupes for blue eyes. Even for a natural look it’s important to contrast with your natural eye colour to really make your eyes sparkle.
Achieving the natural look and feeling confident is all about preparation. With this in mind my top recommendations would be Ariane Poole Mineral Illuminating Pen £19.00 and her concealer palette £19.00. This last product is genius as it contains three shades that can be combined to cover any blemish and you can adapt the mix according to your skin colour at any time of year.
In complete contrast, working on The Collective fashion shoot for this issue called for a powerful, tribal look. Claudia Pink’s amazing jewellery was very much the inspiration for this. Although the colours were deeper and far away from the natural look, the colours and shapes were chosen to flatter and emphasise rather than overpower our model. If you are feeling the warrior look I advise you to stick to the golden rules of make up: always choose colours that suit your natural colouring, apply and blend make up with care and follow the contours of your face to make sure shapes look good.
Blush has to be subtle for this look so make sure it is exactly the same colour that you flush after exercise and you will need to choose eye and lip colours from a neutral palette. Pale grey shades are great for
The couple who need no introduction talk catwalks, beehives and The Collective fashion shoot.
TIGI world release event
Liz on set for our recent shoot (page 36)
W R O G U E
M E N S W E A R
0151 625 1511 1 7 G r a n g e R o a d , W e s t K i r b y, W i r r a l , C H 4 8 4 DY
Here at The Collective, we prize natural beauty: the fresh faced, clean skinned goddesses of both youth and experience. But we also see the face as a canvas, a surface to explore and express, to construct our own, individual pieces of art. Take advantage of our on hand beauty experts for exclusive industry tips and tricks to enhance any look.
Make up by Christina Niblock and Grace Flanagan
Jocelyn ESP matt velvet finish lipstick with high pigment long lasting £16.50
Photography by Viktorija Grigorjevaite
Boost gloss purple high shine colour rich liquid lipstick £ 14.50
Mia Infinity gel eyeliner £18 Soon to be the mainstay in the make-up bags of every beauty enthusiast, Precision Gel Liner recreates the fluidity of a liquid liner in the ease of a gel. Creating a smooth, rich black line from the first application, the longlasting and water-resistant formula is guaranteed to stay in place all day. Growl lipstick matt velvet texture £16.50 Both ladies are wearing Hydro veil £27 from Illamasqua, a pre-primer that improves both texture and tone, revitalising the surface of your skin ensuring your foundation glides on. Create a radiant finish with Hydra Veil’s instantly rehydrating, gel formula. Now bring on the foundation! A 3 in 1 primer, foundation and concealer Inspired by the cult Asian market Beauty Balm creams, Skin Base Foundation is a brand new, refined formula unlike anything on the UK market. Easily blendable, it effortlessly creates a perfect complexion, and like the entire Illamasqua foundation range, is undetectable in a professional HD environment. Suitable for all skin types, it smoothes, softens and conditions your skin whilst providing natural, buildable coverage - the ultimate ‘Skin Realism’ Foundation.
The Beauty of Art For the past 15 years, fashion photographer Miles Aldridge has formulated a curious world of female domesticity. Characterized by colour, glamour and a lot of lipstick, Alridge transports his beautiful subjects to conventional settings – conventional settings with a surrealist twist… An important contributor for Vogue Italia, Aldridge’s work can also be found on the pages of The New York Times Magazine, GQ and Harper’s Bazaar. Aldridge’s work can currently be sampled at both Brancolini Grimaldi and London’s Somerset House in a large-scale retrospective exhibition titled, I Only Want You to Love Me. A long standing fan of his work, Editor-in-chief Lee Joseph Hagan catches up with the artist to discuss art, love, sex and why fashion will always be tomorrows garbage.
Right- 2 The Pure Wonder © Miles Aldridge 2005
photographers are artists. I feel really lucky to be working in both the most ephemeral aspect of image making – magazines that end up in the garbage – and the most permanent too – images that end up in museums! There’s something about the immediacy of fashion that requires it to be tomorrows garbage, but at the same time the statements to be made about the humans in the pictures and the society they live in has a relevance that continues beyond the immediate. Absolutely! Do you exhibit your work in your own home? I do have two of the Virgin Mary’s looking at me right now! So yes, yes I do! What do your children think of your work? They have been to the studio and seen me create these massive fake scenes where there are often animals or props or very beautiful models walking around so they are aware of what I do, but at the same time, like most children, they aren’t interested in what their Dad does!
Let’s begin with your current exhibition, how was the initial reception and what kind of feedback have you received? I’ve just been aware of very enthusiastic feelings from people who are tweeting! I think people are liking it! As a photographer what do you think is more important – having your work in fashion magazines or in art galleries? Well, it’s quite an interesting time for a photographer like me, who’s had a long career in fashion photography and stuttered into the art world. My predecessors such as Avedon and Newton really struggled to be accepted as artists, but now the Tate Britain includes photography in its main collection with the paintings, so you have Bill Brandt next to Francis Bacon. I feel very lucky to be part of a generation where the question ‘is photography art?’ is not being asked anymore. Fashion
Where did the title ‘I Only Want You to Love Me’ come from? My favorite title originally was from a book that already exists by Garry Winogrand called Women are Beautiful – I just loved the simplicity of the statement, the oversimplification of what women are. Of course women are beautiful, but they’re much more than that, as I well know! I Only Want You to Love Me just came to me, but when it came to me I liked it very much because it seemed to be a statement from pretty much all the characters in the book being said to an unseen ‘other character’ – possibly, almost certainly, a man. “I only want you to love me – that’s why I’ve gone to the hairdresser, that’s why I’ve got these fake boobs!” I like the phrase too because it handles that slightly cynical undertone about consumerism and who we are and the mask and everything, but at the same time alludes to that wonderful human need for love. I wouldn’t want people to see my work and just think it’s about cold, sterile mannequins who are dead, or never had life. For me the people in my book, in my exhibition, are very tender humans who are basically being turned to stone by the world they inhabit. They’ve armoured up in order to get through the school run or the drinks with friends. Who is your all time favourite photographer and why? I think Richard Avedon represents the total photographer in a kind of Leonardo Da Vinci way. He immersed himself in all aspects of photography. He was one of the greatest fashion photographers; he really wrote the job description. He worked throughout the post-war period into the nuclear age and the cold war and through the woman in his
I enjoy the slightly pervy quality of being strict with a beautiful female model and employ my kind of headmasterish power
work he represented the subtle changes in the life of society. I love his energy, his rigor, his seriousness. He somehow manages to translate human emotions and female beauty into icons of our time. What do you do to relax? I swim, actually. Do you enjoy the travel aspect of your career? I do enjoy going to a great restaurant in LA or Paris or New York – I like that very much. Is it better to have loved and lost or never to have loved at all? I think the former, without love the world is a pretty desperate place. Does the eroticism displayed in your work insinuate you have a high sex drive? (Laughs) Yes, I’ll tell the world that I do! Women are the central piece in a lot of your work, how strict are you with models? I enjoy the slightly pervy quality of being strict with a beautiful female model and employ my kind of headmasterish power. It’s like being a film director really; you are strict when you need to be but on the whole you wait to see what they do before you bore them to death with the deeper meaning of the work. I often find that when the girl is dressed, hair and makeup is finished and she is in situ, so much of what I want her to say is already there. Less is more as far as direction is concerned. Miles Aldridge: I Only Want You To Love Me, now showing at Somerset House until 29 September 2013
PUTTING YOU BACK
IN THE FRAME DISCOVER
TO GET OLD AT
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Our very own Cosmetic Surgeon Mr. Alex Karidis will feature on Channel 4 series, How Not To Get Old on 11th September. Tune in! Use #AskKaridis to tweet questions during the programme.
non-surgical solutions for ageing skin, cellulite, sun spots, wrinkles
Karidis has a variety of
and more to make you ‘picture perfect’. Karidis Medispa, 2nd Floor, Beauty Bazaar, Harvey Nichols, Liverpool T: 0151 709 8593 E: Liverpool@karidis.co.uk
The Dream Doctor
Photography by Viktorija Grigorjevaite
It takes a special man to make you forget your imperfections, but an exceptional one to make them perfect. Ladies, we know just the guy... The Collective talks to one of the UK’s most respected cosmetic surgeons, Mr. Alex Karidis.
You are a fully trained doctor, why specialise in surgery? Medical school exposed me to a wide variety of specialties and surgery always appealed to me. It is very hands on – you are not distributing a prescription to make your patient better, you are using your hands to physically change and improve them. An introduction to plastic surgery put a different twist on this: you can see the results straight away. General surgery usually means working internally and although you know the patient functions better you don’t see your handiwork, it is hidden inside. With plastic surgery everything is on show – it is a very satisfying thing.
smoothed’, but they don’t always need it. If you ask a person to list three things that they don’t like about themselves they will come up with five – it is human nature. As surgeons, we have to be in a position to say hey, let’s be sensible here and slow down.
surgeon is that I know all of the ins and outs! It is hard to trust somebody, to find somebody who you believe is as capable as yourself. I would have a tiny bit of liposuction if I could – there is always a little bit of unwanted fat here and there!
Describe an average day for Mr. Alex Karidis. I have consulting days and operating days. Consulting days consist of meeting new patients and following up existing ones. It is integral that I see how they are doing at various stages after their procedure as surgery takes time to settle down and I want to make sure they are happy and that I am happy – that the result is what we both want it to be. On an operating day I literally operate all day!
You clearly have a strong moral compass; is it the key to obtaining and sustaining a reputation as impressive as yours? Absolutely - you want to make surgery worthwhile to the patient, it is not about what I gain from it. After all, they have to go through the effort that accompanies a procedure: the emotional preparation, the financial distress – you do not want them to be disappointed afterwards.
We’ve checked nobody is listening (peers over shoulder) - can you reveal any famous faces you have worked on... The problem with my occupation is – unlike hairdressers and make-up artists – we cannot talk about our patients! We are confined by medical ethics and confidentiality. Yes, I’ve done quite a number of famous names but unfortunately I cannot reveal them. I’d love to, but I can’t!
Surgical addiction is well documented in today’s media. Do you ever say no to a patient? 10% of the time I say no, I cannot help you or no, you are not ready. There are times when I see a patient and what they ask for is not viable because there is nothing wrong with them. Perhaps they want a face lift or their nose improving, but the change will be so minute, so subtle that it is hardly worth the surgical risk. Surgeries are like candy stores: a patient sees a list of things and thinks, ‘wow, let’s have a bit of fat removed, let’s have my wrinkles
Is there a right time to consider botox? You can’t generalise but I would suggest from about the age of 35 onwards you may want to consider botox. Frowning and creases of the face are largely due to habit and people who have such habits may begin to see signs of line formation as early as the age of 20. However, a 20 year old has more elasticity in their skin and faint lines will not lead to any long term wrinkles.
Mr Karidis consults once a month in Harvey Nichols, Beauty Bazaar Liverpool within his non-surgical practice Karidis MediSpa, which specialise in skin rejuvenation, fat reduction, wrinkle prevention, laser hair removal and much much more…to book a top to toe consultation with Mr Karidis or one of his highly trained team members please call 0151 709 8593 or email Liverpool@karidis.co.uk
Would you ever consider surgery? Of course! However, the problem with being a
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MO OM ME EN N TT S S M CHAMPAGNE COFFEE CHAMPAGNE COFFEE
COCKTAILS CUISINE COCKTAILS CUISINE
Jamie Carragher’s new cafe-bar now open - Liverpool One Jamie Carragher’s new cafe-bar now open - Liverpool One
Address: 10 Thomas Steer Way, Liverpool ONE Liverpool, L1 8LW | Phone: 0151 706 7440 | Twitter: @MomentsL1 Address: 10 Thomas Steer Way, Liverpool ONE Liverpool, L1 8LW | Phone: 0151 706 7440 | Twitter: @MomentsL1
Tell us about Moments. Moments reflects a demand for a high quality cafe-bar at the heart of Liverpool One. We’re still putting the finishing touches to the venue but I think it will appeal to Liverpool’s glamorous women and fashion conscious personalities. The theme is strongly inspired by the cafe-bar culture of continental Europe. It is relaxed yet stylish and is very much a daytime venue as well as being a spot for evening drinks. It is a place that will appeal across all ages – somewhere my mum as well as my daughters would enjoy. With Newz Bar, Sir Thomas Hotel, Cafe Sports England and now Moments, you’ve been successful in establishing some of Liverpool’s most loved leisure brands. Is this something you always wanted to do? I left school at 16 and trained to become a plumber. We’d not long lost my Dad. I was the eldest of five and had to go out and get a job to support my Mum and the family. But even then, I strived for more. After a few years learning the trade, I set up my own plumbing business, supported by my Mum. I worked hard, the business grew and ultimately we expanded into the wider building industry. The leisure side came later when I noticed a gap in the market for quality restaurants and bars in the city centre.
Your move into leisure was marked with the opening of the ever glamorous Newz Bar. Why do you think it remains such a popular nightspot? The launch of the Newz Bar was arguably a symbol of Liverpool’s renaissance. It helped to transform the city’s night-time offer. For the first time we had that high end venue that appealed to people seeking exclusivity. After thirteen years Newz is still going strong because visitors know that they will enjoy a quality evening with a fantastic atmosphere. I’m proud to say that Newz started whar others have since followed. Your recently became Chair of Liverpool’s night-time economy board, what does this role involve? It sees me working with various stakeholders from the city’s leisure sector including bars, hotels and restaurants to enhance the image, reputation and the leisure on offer in Liverpool city centre. It is important that we work together to ensure Liverpool remains an attractive and exciting destination for an evening out. Key to this is maintaining our purple flag status, which is awarded to cities who effectively manage their city centres at night and who have a record in ensuring a safe environment for people.
How can Liverpool’s night-time offer improve? To get people coming into the city centre and to continue to appeal to visitors from outside the city, we have to keep the offer fresh and new. I want Liverpool to become a 24hour city that has something for everyone and where people can feel safe. I am passionate about Liverpool, we’ve got so much potential, but sometimes we need to be more ambitious and aim a bit higher. Apart from your own venues, where do you enjoy for dinner and drinks? I like the Raquet Club for dinner and drinks. The New Capital in China town also has the best Chinese food in the city. The Athenaeum club is nice place to relax with a cup of tea. Have you got any plans to open further venues in Liverpool? Right now, we have plans in place to revitalise some of our existing venues which really will keep them on top of their game. We want to keep things fresh and continually improve our offer so this is what I’m concentrating on for the moment.
Dean James Photography email@example.com
Michelle Langan jets off to Thailand for a quick lunch. Or does she? Each year, as winter approaches I jump on a plane and head towards the sunshine of Thailand. The country has a special place in my heart, I love the culture, the beautiful beaches, the friendly people and the tasty food. With this in mind, I was excited to try the dishes at Thai restaurant Chaophraya, on Kenyon Steps, Liverpool One. Decked out in traditional Thai colours and decor, the restaurant is reminiscent to many of the more upmarket restaurants I’ve visited in Bangkok. I was pleased to see that the staff were true Thais, and were able to offer an authentic opinion on the menu. After whetting our appetite with a couple of bellini cocktails, my friend and I plumped for a selection of starters - vegetable spring rolls, thai fishcakes and prawn satay sticks. The dishes were just as I hoped - the spring rolls were light and tasty, with a sweet chilli dipping sauce while the Prawns and fishcakes had a lovely spicey tang without being too overpowering. Thai fishcakes are a test of any Thai restaurant, and these were particularly good.
For our main courses, we both chose from the special lunch menu, which includes a drink and choice of main dishes. I chose the tofu massaman curry, which is an old favourite of mine while my friend chose the deep fried chilli sea bass. Both meals arrived quickly, along with a side of jasmine rice. My curry didn’t disappoint, a lovely creamy peanut sauce with plenty of tofu and vegetables, making a nice change from the usual traditional Thai green or red curries. My friend loved his fish, which he described as lightly spicy, and melt in the mouth. Full to the brim, we were unable to squeeze in dessert, as tempting as they looked, with both traditional Thai desserts and classic desserts on offer. After rounding off the meal with coffee, we left the little oasis of Thailand behind, with a smile and a ‘Kop-Khun-Kha’ (Thai for thank you). Now that I have found somewhere closer to home that serves up food just as good as I’ve sampled on the beautiful islands of Koh Lanta and Phuket, Chaophraya is definitely on my list of places to go.
Lee Joseph Hagan heads underground to sample the
Louvre-esque entrance and sophisticated décor aside, Australasia is certainly not your average Manchester restaurant. Living Ventures are clearly focused upon a future in which the city’s culinary reputation extends beyond a trendy bistro or two - this is the real deal. A tour courtesy of Louise Kemp (Australasia’s brand business development manager) began the elegant proceedings. Led from the upmarket cocktail bar to the impressive glass walled kitchen to our immaculately laid table, two iPads are on standby to present the carefully selected wine list. Located in the fashionable Spinningfields, the giant glass pyramidal structure lures the diner into a subterranean heaven of cream brick walls, foliage free trees and blond wood flooring. The plush booths boast individual sound systems and the lights drip low and languid from the ceiling casting an intimate glow. Manchester boasts no equivalent in style, but style does not earn you culinary kudos. After attending the launch of Grand Pacific earlier this month (Australasia’s younger sister, the two linked via a secluded staircase), although happily sated by champagne,
cocktails and fabulous canapés, I felt myself seduced by the call of the older, grander, more established sibling, promising Australian cuisine with Pacific Rim flavours, all underpinned by European cooking tradition. I hastily reserved a table for the following evening. Menu choices are quickly decided upon. Beginning with seared hand dived scallops with spicy honey (perfectly cooked), followed by a cannon of lamb, Japanese breadcrumbs and miso mustard with plum wonton, it is easy to forget your location and your table manners. Delicious. The food here is seriously special, excitingly so - proved by the shriek of delight that greets my dessert of mango soufflé with coconut ice-cream and mango soup (quaintly served in a tiny glass teapot). The menu politely asks you to wait 20 minutes for this dessert – I would happily wait an hour. For me there was only one way to finish the evening and that was with a cocktail at Grand Pacific in the company of Manchester’s most beautiful and stylish.
5-6 Kenyon Steps, Liverpool One, Liverpool , L1 3DF
19 Chapel Walks, Off Cross Street, Manchester, M2 1HN
Contrary to popular belief, there is more than one Ushuaia on this Earth. Let us begin with the first. Widely regarded as the southernmost city in the world, located in Argentina, those of you in possession of an astute geographical knowledge may recognise the name. A small city with an average of 200 cloudy days a year, its warmest month is January, when temperatures reach highs of 10C. Don’t worry about forgetting your sun cream. Naturally, this Ushuaia is somewhat lacking in European tourists, famous DJs and glow sticks. The other two, however, are not. Located on the southern tip of Ibiza, one right next to the other, the Ushuaia Club and Ushuaia Tower are sell out success, with open-air parties that pull in 5,000 people a night, all eager to see the biggest DJs in the world. The Ushuaia Tower is the more beautiful sister: eight stories of plush, pricey luxury. Luckily, this is the Ushuaia that I am about to become acquainted with.
Welcome to Ibiza’s club–hotel, the Ushuaia Tower...
The hotel is totally different to anything I have ever experienced, a sophisticated grownup playground with not a child in sight. There is an exciting atmosphere in the air: this is a hotel for the young, the rich, and the sumptuously gorgeous. Guests who stay at the hotel receive a red wrist band upon arrival that allows full access
to all facilities including the Ushuaia Club. The first night we stayed there we decided to check out the club and our red band ensured we were ushered straight in, just as Swedish House Mafia began their set. That’s right, dreams happen here. Music is pumping in the hotel from morning until night and opening the balcony door is like turning the radio up, LOUD. The pool area is a champagne fuelled haze of beautiful people, their elongated limbs spread out on white beds, occasionally shifting with the movement of the sun or to lazily tap out a recognisable beat with a bronzed limb. Dining at the new Steakhouse, I quietly observed two chiselled, perfectly-formed waiters over a bottle of French merlot, thoughtfully wearing branded polo’s with “THE WAITER” emblazoned across their breasts, just in case you aren’t sure.Yum, forget the food - oh wait, is that calamari? “Waiter!” Full of calamari, steak and crème brulee (all of which is thoroughly delicious), it is time to head to the roof, order a drink and dance till the sun rises. I am in for one hell of a hangover tomorrow. www.ushuaiabeachhotel.com
There is an exciting atmosphere in the air: this is a hotel for the young, the rich, and the sumptuously gorgeous.
Living on the Quiet Side If you are looking for a place to unwind once the party is over, look no further than the Aguas de Ibiza
Owned by the Torres family the Aguas de Ibiza lives up to its 5 star reputation. Our entrance was greeted by the wellness specialists and a selection of delicious smoothies. From the moment you step into this modern, spacious hotel and spa there is a welcoming atmosphere and general feeling of well being that encourages the natural instinct to exhale.
The stunning location offers what is referred to by the locals as ‘The Other Ibiza’
The endearment strengthens as we enter our allocated room. Clean lines, soft subtle tones and the scent of fresh linen draws us in with a warm hug. Hi-tech and modern, every surface is polished and immaculately presented, reflected in the glass bathroom walls.Yes, glass walls… Intimacy is taken to a whole new level here, though there is a window blind available for the more modest. Further exploration uncovers a stunning roof terrace and a hotel spa. All amenities are free to residents and including a comprehensive indoor gym for the dedicated healthy, more energetic or those wishing to fake it. Taking special care of its guests is high on their agenda, offering a range of wellness and revival activities. A 90 minute head to toe massage can only be described as ‘incredible’.
A selection of eateries is available at the hotel, my favourite by far the Air Ibiza located on the roof top terrace. Here we were recommended dishes such as Vineyard peach gazpacho, tofu, cilantro and mizu sprouts; Gyutataki of Wagyu sirloin, onion, miso sauce and ratafia; and Matcha tea ice cream. Each and every mouthful was delicious. Cocktails, music and breathtaking sea views provided a truly unwinding evening of pure delight. The stunning location offers what is referred to by the locals as ‘The Other Ibiza’. During a leisurely stroll around the bay to the harbour side restaurants and into the town, the absence of the hustle and bustle of the resort centre guarantees a relaxing experience. There is within oneself an overwhelming instinct to return in the not too distant future. www.aguasdeibiza.com
The Ibiza Experience What does Ibiza mean to you? Parties, Music, Es Vive? A trip to Ibiza is never complete without a stay at Es Vive, a hotel synonymous around the globe with that Balearic lifestyle. This iconic hotel nestles within Figueretas, near Playa D’en Bossa, the perfect location for beaches, bars and the all important super club. Climbing the immaculate marble stairs of this turquoise and white paradise my excitement begins to mount: this is more than just a hotel, it has a vibe. Es Vive belongs to the enviable group of Ibiza party hotels, and for the past ten years has become one of the most famous and sought after places to stay on the beautiful island of Ibiza. Open from just May to October, Es Vive is in high demand, filled with the islands most hedonistic visitors. An afternoon of exploring reveals the reasons for its popularity. The tantalising scent of fresh grills and Mediterranean cuisine lingers in the air, mingling with the classic holiday scents of sun cream and sea salt. The famous pool lies like a sheet of freshly polished glass across the wooden deck, surrounded by bronzed beauties propped on turquoise pillows. Party hotel this may be, but Es Vive hides a duel personality. It is also a relaxing escape - a place to revive and rejuvenate, indulge in fine cuisine and experience one of the luxury spa treatments available. The hotel has all of the usual amenities of a hotel of this size and stature: free Wifi for those surgically attached to their twitter feeds, a bar and restaurant to cure those hangover munchies and for the style conscious, tastefully
designed rooms.The recent addition of a roof terrace is the perfect location to sip early evening drinks whilst sprawled across a soft white lounger. Then the real business begins. Es Vive didn’t gain its reputation as Ibiza’s original rock and roll hotel for no reason. At the very heart of the hotel, beating with a pulse of thumping house-flavoured bass lines and smooth, sexy grooves is The Experience Bar, open every night of the week and responsible for hosting that kind of outlandish Ibiza soiree you expect to be telling your grandkids about one day. Professional mixologists behind the bar serve up spectacular cocktails to keep the party going at maximum potential, along with a selection of premium liqueurs and spirits including those famous ‘chupitos’ – shots of Ibiza’s local drop, Hierbas Ibicencas, guaranteed to give you that extra burst of energy when you need it Dancing until the early hours in those new Jimmy Choo’s may seem like a good idea at the time…thank goodness your room is only a few floors away.. www.hotelesvive.com
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15 October Starring Chris Moyles, Tim Minchin, Mel C and Ben Forster
with Natasha Hamilton & Rory Taylor 30 November
FA M ILY
Cirque Du Soleil Alegria 30 October - 3 November
9 March 2014
Lee Evans Monsters 31 October & 1 November 2014
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There is little doubt that Ibiza is the party capital of the world. The biggest and best DJ’s flock to the island every summer without exception, greeted by hoards of party loving crowds, desperate to loose themselves in a euphoric mixture of beats and booze. The island, however, is not just an adrenalin fuelled clubbing theme park – there is a spiritual side to Ibiza that resists the mayhem and resets the equilibrium on a daily basis. Welcome to Café Mambo. The iconic Café Mambo sits in the centre of what has become known as the sunset strip in San Antonio. Established in 1994 by Javier Anadon, this once derelict house is now home to the islands most mesmerising sunsets and international DJ’s. With a traditional Ibicencan vibe emanating from the mosaic and marble features, a state of the art HD sound and video system add an essential dash of contemporaneity to this popular location. Invited by bar manager, Christian Boyle, to experience the iconic sunsets of this legendary café, we arrived to the sounds of a Pete Tong set and the clinking glasses of margaritas. Drink in hand, nachos ordered, we settled down with owner Javier to uncover the secret of his success. “It is simple”, he explains, “have passion, take risks”. Beloved by locals and celebrated by tourists, it is clear that Café Mambo boasts something very special. We soon find out that it does.
As the sunset reaches its poetic climax the heaving bar quietens before bursting into spontaneous applause. It is a spiritual moment, aided by the melancholic sounds of It’s a Wonderful World, an apt accompaniment to our collective visual pleasure. Sunsets have serenaded for centuries but never as seductively as at Café Mambo. But with the setting of the sun comes the next chapter: who wants to dance? With international DJ’s such as Roger Sanchez, Paul Oakenfold and Frankie Knuckles playing regular sets (not to mention our DJ for the evening, Pete Tong), Café Mambo not only has the sunsets, it has the names. Appearances from Groove Armada, Faithless and BodyRockers are all in an evenings work here, as are live broadcasts to Radio 1, Kiss FM and 40 Principales Radio. For me, Café Mambo epitomises Ibiza, revelling in its traditional, natural beauty whilst combining its well-loved contemporary identity. A place to watch the sunset with friends and loved ones, a place to be reawakened by the beat of a song, a place to celebrate the joys of life, way into the night. www.cafemamboibiza.com
“The concept in simple terms is 5* service, 4* rooms and 3* prices”
Photography by Viktorija Grigorjevaite
The Collective Editor Lee Joseph Hagan catches up with entrepreneur Robert Nadler, CEO of Nadler Hotels, a boutique, ‘edited’ hotel experience that is leading the way in the hospitality industry. With carefully placed hotels in Soho, Kensington and Liverpool, one thing The Nadler clearly excels at is location - not that we are biased, of course So, here we are in the third Nadler Hotel – introduce us! Welcome to The Nadler Soho – the first hotel that we have called the Nadler officially- we have gone through a rebrand and the others will follow! The concept in simple terms is 5* service, 4* rooms and 3* prices, which is the kind of combination that I believe appeals across the board. The essence of what we do is about value. Value does not mean cheap, it means quality at an affordable level. The other way to express it is ‘affordable luxury’ and that is a concept around which we are the pioneers. What is special about this location? In terms of location, Soho is probably the centre of the universe if you want to have fun! You have an incredible array of bars, restaurants and theatres, so from an entertainment point of view, it is fabulous. What makes it unique is that most of these establishments are independents; it isn’t that homogenised, commoditised area of London, this is a community orientated area with independent establishments. What makes a stay at The Nadler Soho a unique experience? Our affordability stems from the room rates driven by no bar and no restaurant. We don’t
need a bar and a restaurant, we have twenty – we are in the middle of Soho, they are all around us. We have great relationships with the most iconic establishments. We take it upon ourselves to get to know and work with the community - we are part of it. Your aim to aid local economy is a brave and interesting concept within the hotel industry. Do you agree? It is integral to my ethos: social sustainability is the key. I don’t want to cram additional venue onto my guests’ bill, I want you to come to my hotel, spend your money on the room but please, don’t spend another penny on the hotel! Go out, spend it in the community! I try to work special deals for our guests with local businesses without looking for kickbacks – I am not interested in that. If you’re looking at a business from an economic sustainability point of view it is about the long term, and the key to longevity is having happy guests who write great reviews, tell their friends about us and stay with us again, not a guest who spends £5 in the mini-bar – that won’t make a difference long term. We have 30 minutes of free phone calls a day in our rooms because we don’t have a bar or a restaurant and you may want to ring around to find things and make reservations. That is how we offer an
alternative and encourage guests to explore the area. Tell us about your relationship with Liverpool. I love Liverpool - although I am a Londoner – and I have become very involved there. I sit on the Visitor Economy Committee at the moment although that is in the process of changing to the Visitor Economy Board as Liverpool takes steps towards a more cohesive marketing strategy. I have also been very involved with The Ropewalks and The Concert Square Interest Group. What makes Liverpool interesting – and a lot like Soho - is that it is full of independents: Leaf, Salt Dog Slims, The Peacock, Alma de Cuba. It is great fun to be involved, to walk down the streets and know people, to be a part of your community. If you could open a Nadler hotel anywhere in the world, what would your dream location be? Here. It’s here. What could be better than being in the heart of Soho?
It may have passed the interview, but is The Nadler Soho up to the job? Lee Joseph Hagan shares his experience of London’s most innovative boutique hotel. How do you pick the perfect hotel? A frequent traveller, it is a problem I have long struggled with. Of course, there are the conventional routes: browsing through cleverly worded websites, listening to the recommendation of a friend who ‘claims’ to stay there every other weekend, reading an online review posted by Mr. J. Bloggs... If you are lucky enough, perhaps you
Selene, goddess of the moon welcomes you to The Nadler Soho. Quite a different take on the conventional receptionist, don’t you think? Art is quintessential here and specially commissioned for each of the Nadler hotels.
can even arrange an interview with the owner (beware, Robert Nadler is a very busy man) - but do these methods provide a concrete guarantee of a delightful stay? My experience of The Nadler’s Soho offering was exquisite but naturally, seeing is believing. Now there’s a thought - they do say the camera never lies....
Sleek, sophisticated, utterly stylish - and I have yet to even check my reflection. Complimentary Gilchrist & Soames toiletries complete the upmarket aesthetic. This may look like an ordinary tap (albeit impressively shiny) but it is actually fitted with a Brita water filter, reducing unwanted substances like limescale, heavy metals and chlorine. Think of it as the environments answer to bottled water – drink up! Comfortable sofa? Check. Original artwork? Check. Miniature kitchen? Check.
Is that a bespoke fur throw? Bedtime! What do you mean it’s only half past five...? Eight hours later and this mattress is hailed victorious, responsible for the most comfortable sleep I have ever had!
Photography by Viktorija Grigorjevaite
A latte with... Francesco Manacorda
The Collective talks to Tate Liverpool’s Artistic Director, Francesco Manacorda Your were part of the International Jury of this year’s Venice Biennial – was that a great honour? Yes! It definitely was and it was an interesting experience because I’ve always been a keen visitor of the Venice Biennial but I don’t think I’ve ever seen all of it. In this case it was my job to see absolutely every pavilion, so that was amazing! It was an honour and also a great experience because the other four jury member were similarly minded people, some of whom are friends, and definitely all of my generation, so that was really quite great.
is not the only one anymore. There is such a myriad of situations in which a career can be confirmed or pushed or brought to attention, but Venice certainly has this aspect of huge visibility. I think ultimately it is not just a prize that crowns a career because at the end the work either stays or it doesn’t, so if you win a Golden Lion or not, it’s not a real crown, it’s more of a push - but it’s either in the right or the wrong direction. I think participating in Venice in one way or another, mainly in the international show rather than in pavilions, is a platform for any artist.
And was the winning pavilion a stand out favourite or did you favour another? I was a big advocate of the Angolan pavilion. There were other pavilions I particularly liked but within the scheme of things those kind of decisions are quite complex. It’s about what you think is successful but also how it’s positioned itself in relation to what else is happening in the exhibition. I was a big believer that the Angolan pavilion brought an incredibly new way of producing an art pavilion in Venice because of the way the art interacted with the location, the collections already present in the location and the way in which it forged a connection and dialogue between Venice and Angola and its new economic situation.
Back to Liverpool! Here we are at Tate, can you tell us more about the new and interesting exhibition, Constellations? When I arrived I was faced with the task and the ambition of changing how the collection works in the building and I was quite keen to explore some ideas that on one side presented the collection in a completely different way, exploring constructs outside of temporality, outside of historical succession, but at the same time I was keen to work with the team in establishing a way of talking to the public actively. What we came up with was this concept in which one work acts as a trigger, as an originator to a series of works around it, and those series of works around it are not generally those you would connect with the single work or even to each other. The idea is really to consider the curatorial principle as a set of hyper-links that take you in different directions, similar to navigating the internet. What I am particularly proud of is the idea
Venice has a reputation for ‘crowning a career’, is there also a platform for innovative, emerging artists? I think it definitely has that function but it
that - again using internet metaphors - we have ‘tagged’ every work with key words then mapped the overlap of words, creating word clouds. What we’re going to do in the next few months is organise some workshops with the public so that the words we have selected will change and the ideas which emerge from the works will be printed as a word cloud onto the wall of the gallery. You have been settled in Liverpool for a year now – do you believe it is a unique city? I believe it is really unique in millions of ways! I think it’s quite idiosyncratic and hidden and in that sense I really like exploring things and discovering new architecture, for example. It’s a city that has been scarred but at the same time has reformed itself, so you can see the traces of history and can follow how much these are contrasting from one road to another even in the centre of town - the experience of reading the city as a geological strata of history is fantastic! Where do you see yourself in ten years? What I like to do is rethink formats and invent new ways of doing things. I’d like to be in a situation in which an institution I work with or a situation I work in has been rethought and reconceived to be more relevant and forward thinking and involving different audiences in relating visual arts to their lives.
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