Features

Food & Fashion: Haute or Not?

The latest creative renaissance merges food and fashion as luxury brands dabble in gastronomy. According to a British Food Journal article by Cailein Gillespie, culinary trends are similar to “fashion houses whose designers bi-annually produce new collections or remodel and update existing themes or lines.”

In 2007, trendsetting Chanel mogul Karl Lagerfeld collaborated with Parisian patisserie Lenôtre to create a chocolate Holiday Log. In the same year, Italian designers Dolce & Gabanna launched Gold – a Mediterranean restaurant embodying their brand values of energy, luxury, and a new dolce vita.  In March 2009, Indian designer Rohit Bal opened gothic-style Italian eatery Cibo to coincide with the finale of Delhi Fashion Week, following in the footsteps of the highly successful Veda.

So what motivates cross-pollination between food and fashion? It’s all about adding to the brand experience. Even before the recession, increased competition meant consumers expect more bang for their buck. Having exercised poetic license in beauty and hospitality, designers are turning to culinary ventures to heighten brand identity, hoping that diversification would create impetus. The tricky part is ensuring that brand extension does not send mixed messages to consumers, which is precisely what happened when minimalist French label A.P.C. launched olive oil in 2008.

According to American Marketing Association research, brand extensions can reduce the risk of entering new markets by leveraging on strong brand association and positive consumer attitudes.

Rohit Bal said, “Fashion encompasses everything. It is a lifestyle, an attitude, an entire mental framework. The food you eat is as much a fashion statement as the place where you eat it in and the clothes you wear.”

It seems food and fashion sizzles as long as brand identity is not diluted in the process.

Chic Today

Edible Art at Fauchon

 Parisian patisserie and delicatessen Fauchon takeshaute cuisine to a whole new level, effortlessly blending art and food. Not only are your taste buds in for a treat, but desserts are specially created for your viewing pleasure.

In 2004, Chairman Michel Ducros revamped the quaint establishment that Auguste Fauchon had founded in 1886, propelling the company towards the height of stylish decadence. A multi-faceted store concept, monochrome graphic identity, shocking pink interiors and new product lines were only the icing on the cake; it was Fauchon’s bold foray into nouvelle cuisine that sent customers into sweet ecstasy.

The patisserie showcases innovative desserts of all colours and shapes, embellished with metallic gold, white and cocoa buttons, not to mention leopard print éclairs. As well as crafting their own chefs-d’oeuvre, Fauchon incorporates the works of other great artists into their desserts. The eyes of Leonardo da Vinci’s famous Mona Lisa appear on one of Fauchon’s éclairs. It was obvious that their food was moving into new territories when design bible Wallpaper crowned these éclairs Best Pastry in their 2009 Design Awards.

According to the Scientific American, neuroscientist Dana Small believes that the sight and smell of food influences the perception of taste. Food that is aesthetically pleasing could have a positive psychological impact on the taste buds. Hence, Fauchon heightens the epicurean experience through a winning combination of sensual sights and tantalising tastes.

Chic Today

You Are What You Eat

The motto “You are what you eat” is frequently heard in dietary discussions, but this term is now has fresh implications. German graphic designer Yvonne Niewerth has created 30 different package designs for the same pudding to cater for “every kind of pudding buyer.”

This venture surfaced from perceptions that what we buy reflects our image, rather than satisfying needs. I’m with the Brand by Rob Walker validates this with a theory that we live our lives and communicate through brands.  Evolutionary psychologist, Dr. Geoffrey Miller also believes our purchases transmit messages about personality traits and intelligence.

Does product packaging contribute to these psychological theories? If we saw a trolley full of Beluga caviar, we may assume the shopper lives a lavish lifestyle, but it’s hard to fathom if one would notice less glamorous packaging.

However, there is evidence to suggest that package design plays a large part in purchasing decisions. Barry Seal, Managing Director of design agency Anthem Worldwide, states that a number of people buy groceries based on brand personality, brought to life through package design. Research published in the British Food Journal outlines that the visual elements of food packaging represent the product and are important in the decision making process.

Although it appears that packaging influences culinary purchases, it remains unclear whether purchases are indicative of identity or personality. Having varied packaging options on top of flavour and fat content is a novel concept, but could extend the time spent making decisions in supermarket aisles rather than promoting self-expression.

Chic Today

Buying Luxury Fashion in the Recession (2009)

Throughout the summer months, I slaved away completing a research project for my Masters, which looked into how people justify buying (debatably) unnecessary luxury fashion brands in the recession.

Since the credit crunch cast an unwelcome cloud over our spending, we’ve all had to cut back in one way or another. Some of us have vowed to ration our cocktail consumption; others have forgone their summer break. A wide number of leisure sectors have noted an inevitable decrease in sales; however the luxury fashion industry has experienced sustained and even rising profits since the recession hit.

The power of the fashion world is globally palpable, and this is a continuously increasing entity. A prime example comes from the online luxury fashion store Net-a-Porter, which has doubled in size annually since it opened in 2000. It has been seen that 2009, arguably the lowest trough of this recession, has kept on trend. According to the BrandZ Top 100 most valuable global brands, fashion labels Hermes, Gucci and Rolex are still experiencing brand value growth in double figures. Other reports show that Burberry has seen an increase of 12% in sales of the first quarter of this financial year and Mulberry’s sales are up 21%. The discrepancy here is obvious. Our purse strings are being forcibly tightened due to the current economic climate; however the purse that these strings are attached to is a brand new patent Miu Miu.

I studied vast amounts of literature that outlined possible motivations to buy luxury brands. Generally these fitted into three categories: individual motivations (including purchasing for pleasure and hedonism and purchasing to communicate one’s character), functional motivations (including purchasing for higher quality and uniqueness) and social motivations (purchasing for ostentatious reasons). From carrying out detailed research in the luxury fashion industry and consumer views, I predicted that both individual and functional motivations would be considerably more powerful than social motivations in the credit crunch as buying overtly flashy and expensive fashion goods is now being deemed ‘distasteful’.

I surveyed over a hundred people across twenty two countries, all of whom still regularly purchase luxury fashion brands. My results were as expected. Functional dimensions were found to be key motivations to purchase luxury fashion brands in the recession, with high quality being the most prominent motive, and the ‘individual’ motivation of buying for hedonistic reasons was still present. It appears that buying luxury fashion brands to be showy and ostentatious have been banished, with people caring less about what others think. The current design and marketing activities of concerned brands mirrors my findings, by enhancing functional and individual/experiential benefits and deleting anything pretentious.
My study infers that the meaning of luxury now holds a utilitarian definition of high quality and value, getting better produce for your money, which would validate why people are still purchasing luxury fashion brands in the recession. However, perusing the ever-busy Selfridges last week started to get me thinking. As much as it may be true that luxury fashion brands use better fabrics with more flattering cuts, is this really the reason we buy them? No one would admit to purchasing something because of how it made others view them, or because wearing an expensive brand communicated something positive about them, but I’m speculative that our love of buying designer labels has much more to do with a deluxe desire and the connotations of pricey fashion labels. I think people may be justifying their spending by saying it’s due to high quality and durability, but personally I think we buy designer for what it means, and our ‘rational’ justifications are to diminish the guilt we feel every time we dismissively pin up our gas bill, reach for our gorgeous-couldn’t-live-without Burberry trench and make a sharp exit.

1 year ago 

Reviews

Jamie Woon, Mirrorwriting

When listening to ‘Mirrorwriting’, it’s hard to fathom that this is only Jamie Woon’s debut. With its freshness comes a maturity only seen in artists who’ve flourished. Having said that, Woon’s collection of impacting tracks have taken him over three years to master. When you have an artist who can produce such vividly insightful songs about even the mundane (Woon claims at least four of the tracks on ‘Mirrorwriting’ are about going for a walk) you know you’ve landed on someone who’s reflective creativity has the potential to produce audible artistry.

After having prior success with his first 12″, ‘Wayfaring Stranger’, in 2007, Jamie Woon has blasted back into the urban music scene as a more ‘mainstream’ talent who is gaining rapid recognition for his music. ‘Mirrorwriting’ is a twelve track album encompassing a collection of harrowingly atmospheric melodies intertwined with Woon’s rich, lustrous vocals. His sound is certainly chart compatible, but there are elements within his songs that take him a step away from the norm, with unsuspecting chord progressions and an ability to create tension and feeling through melodic detailing. This hasn’t been achieved purely through generic production and instrumentals. His musical wizardry has led him to sourcing obscure means to create sounds, for example recording clicks and taps on wicker furniture in the Cornwall cottage he resided in for two months, and catching the sound of stones from a nearby stream to use as snare beats.

‘Mirrorwriting’ starts with ‘Night Air’, the first track to have been released off the record. It’s cruisy but at the same time there’s a static tension in the sequence. The infectiously airy repetitions are symptomatic of a heartbeat, which gets you hooked immediately. After time, funk elements seep into the mix which give it great diversity and shows pretty early on that Woon takes musical inspiration from a vast repertoire. Tracks like ‘Street’, ‘Lady Luck’ and ‘Middle’ resonate with artists such as Justin Timberlake and Robin Thicke, especially with the falsetto chorus in ‘Lady Luck’. They sit well in the current R&B scene. There’s definitely something that sets Woon aside however: an inventiveness and ability to fuse a multitude of unexpected layers, putting him alongside fellow innovators such as Jamie Lidell.

A number of tracks on the album hold a more reposed and hazy vibe, like ‘Spiral’, ‘Gravity’ and ‘Waterfront’. Within these there’s a great romance and depth – rich tapestries of intimate experiences and feelings enveloped in silken melodic brilliance. Woon did hundreds of takes on each track to achieve the exact sound he envisioned when writing his songs. The time he has taken to cultivate this record is reflected in the result – a collection of technically advanced yet undoubtably thoughtful tracks that will refresh the UK urban scene.

Brainer Magazine: www.brainermagazine.com


Toro Y Moi, Underneath the Pine

It has been a year since Toro Y Moi’s last release, ‘Causers of This’. Now Chad Bundick is back with ‘Underneath the Pine’, a record infused with electronic interpretations of ’70s funk and disco and ’60s summertime sounds. Toro Y Moi is still relatively uncovered in the UK, and his reposed demeanour makes it evident that he’s doing what he’s doing purely for the love of it. Nevertheless, he’s certainly developing a devoted following and a distinctive signature sound. The beauty of Bundick is that within him spans an indefinably diverse breadth. His experimentation and continuous evolution makes his work exciting which is truly symptomatic of a bedroom project artist. 

‘Causers of This’ was a powerful record, proving Bundick to be not only an innovator but also a reflector, plucking sounds from past decades. With ‘Underneath The Pine’, Bundick has kept the same whimsical, airy dreamland feel to his tracks that we heard in his previous album, but there’s something a lot more melodic and less disconnected in its sound. It’s evident that he’s been inspired by some good ’70s disco music in a number of songs on the record, namely ‘New Beat’, a fast paced track with synthetic disco loops driving it solidly alongside his placid vocals. ‘Before I’m Done’ is also reminiscent of the ’70s but in a much more ‘Tod Rundgren’ way. It has beautiful raw acoustics and strings, punctuated by electronically manipulated effects, giving it a really dazed feel. ‘Still Sound’ brings a funk element to the record, still laid back as is Bundick’s style, but the electro backdrop mixed up in funk makes for a fresh combination and compliments his vocals. ‘How I know’ wouldn’t be out of place on a Beach Boys record with its light and playful harmonies. 

Bundick has sustained his electronic style in ‘Underneath The Pine’ and weaves it through every melody, but it’s intensified in tracks such as ‘Go With You’ and ‘Got Blinded’, giving a slightly more energised feel to the record. It’s clear to see that Toro Y Moi has progressed in a number of ways with this release. As much as an electronic sound is prominent, it’s fuller, more varied and the melodies are easier to digest. Bundick is a pioneer, constantly striving to cultivate his craft through inventively amalgamating sound, and this record is testament to that.

Brainer Magazine: www.brainermagazine.com


Example, Won’t Go Quietly

Example has been rocking the charts recently, with ‘Won’t Go Quietly’ reaching number 6 in the UK charts and his latest single, ‘Kickstarts’ reaching number 3, with the same two tracks smashing the UK Dance Charts at number 1. Example (a.k.a. Elliot Gleave) is a rapper who delves into genres rarely touched by his kind. He playfully spits bars over a range of styles in the album, spanning electro/house, dubstep, ever-so-slightly brushing past the possibilities of reggae (Track 13 - See The Sea) and diving straight into some dance tunes of club anthem quality. The album has been supported by big names mixing and producing tracks, including Calvin Harris, Chase & Status and MJ Cole, so you know it won’t disappoint. 

Won’t Go Quietly starts with ‘From Space,’ an intergalactic-infused track which uses electronic detailing to a driven march beat with Example’s deep and distinctive lyrical tone. It’s the perfect introduction to an album embodying variety and busting energy to the max. Next up is the title track, which has already received great success in the UK. It’s tracks like this, alongside ‘Kickstarts’, ‘Dirty Face’ and ‘Last Ones Standing’ that takes this album to anthemic territory. There are also a number of slower paced, lighter tracks punctuating the album. ‘Watch The Sun Come Up’ demonstrates the underlying electro theme of the record, with synth claps and electric elements. The track is enveloped in a chilled, airy vibe with echoed vocals and an atmospheric feel that strangely welcomes the steady but by no means deity style of Example’s rapping. ‘Millionaires’ follows this laid back feel, with the softly encapsulating vocal ecstasy of the one and only Jamie Scott. ‘Time Machine’ is my favourite track on the album. A laid back electric frenzy, oozing with effortless sensuality and a mirror image of Calvin Harris’ sound, which isn’t hard to believe, seen as though he produced it.  MJ Cole, master of garage/house, produced and mixed on ‘Something In The Water,’ a sinister sounding synth string bouncing track, full of Example’s cheeky lyrical wizardry. 

Won’t Go Quietly is the quintessential summer album, injecting a whirlwind of musical influences and moods under one large electro-enthused umbrella, ensuring your ears are simultaneously surprised and stimulated for all 14 tracks. To me, the measure of a good rapper isn’t the number of syllables they can cram into a bar. It’s about having a distinguishable sound, rhythmic slur and an ability to creatively fuse lyrics together to tell their story. Example is humorously intelligent with his words and his unparalleled vocal sound alongside such a wide variety of different musical dimensions is what makes him, and this album, revolutionary.

Ministry of Sound Blog


Oren Lavie, A Quarter Past Wonderful

Oren Lavie’s talent is unfathomable. From directing, to writing children’s books, this Israel born maverick seems to denote the basis of creativity and lexical vision. The expressive medium that has taken Lavie on a somewhat unexpected journey has been his song writing.

Writing songs has been an inspired outlet from the experiences gathered in his life. He collected memories far and wide, from London – where he studied theatre directing, to NYC, all the way to Berlin – where he decided it was time to record his anthologized memoirs – as a mile stone to symbolize a finished part of his life, but also more practically, to have them saved so they wouldn’t be forgotten. It was never anything more than this, until people started to hear the powerfully consuming melodies contained in Lavie’s album ‘The Opposite Side of the Sea’, which was released in 2007. The single ‘Her Morning Elegance’ was then featured on both the ad for Chevrolet Malibu and the 2008 Grammies.

One person playing an influential part in this story is DJ Chris Douridas, based in California, who was a devoted fan of the music, “I’ve never been so motivated to help an artist get his music out into the world until I met Oren. He is incredibly special.” This bond resulted in a partnership and the creation of a small record label ‘A Quarter Past Wonderful’, named after the last song in the album. The consequent success Oren Lavie has had is a true reflection of his innovative and enchantingly fantastical songs. The video for ‘Her Morning Elegance’ was released January 20 and within 14 days, it had received 2 million hits on youtube. It was also selected as an official entry to the 2009 South by South West Film Festival. Said video is an abstract depiction of a woman having a dream, never leaving her bed. With animation technology, the disjointed movements and metaphorical sequences make it completely engaging. The album was rereleased off the new label on March 10.

Oren Lavie’s music holds an almost magical disposition. His songs are both airy and reflective, with rapturous melodic wisps of strings and piano; almost haunting at times. Reminiscent of the mystical progressive tones of the Beatles with other eclectic influences, yet at the same time something totally distinctive and never heard before. Lavie’s gentle husky voice melts into the soothing arpeggios and daydream provoking whimsical euphony. A miss-intended success we are all thankful for; this curly haired, green eyed artist demonstrates how creative talents will always find a way to shine through.

PRIM Magazine, New York


Fat Freddy’s Drop - Brixton Academy, London

Hailing from the cultural capital of New Zealand, Fat Freddy’s Drop is one of the most influential bands shaping the current NZ music scene. Their sound is predominantly reggae soul with a blues edge, hints of jazz and dub undertones. In other words, they’re hard to define. Their fresh diversity married with boundless musical ability is a combination worthy of great kudos. In my eyes, the UK is screaming out for a band like FFD, which might be why they’ve gained a raging mass of followers with very little publicity. I’ve been keen to see them for a long time, especially after interviewing the saxophonic wizard that is Choppa Reedz, back in 2010. As part of their 2011 World Tour FFD dropped off at Brixton Academy to give a nod to their British contingent fan base.

The atmosphere of Brixton Academy was pumping. Fat Freddy’s were supported by the epically enthused UK based reggae dubbers Resonators who were the perfect prelude in terms of style and energy. Their set, full of cruisy melodic sequences, layered with rhythm and big jumps, geared the crowd up creating a buzzing environment as we all awaited the musically endowed Kiwi kings. I have to say that at this point I was going slightly wild at the thought of seeing the glorious beacon of beauty that is Joe Dukie, with his entourage of rhythm and horns.

They entered the stage to heavy rapture from the crowd. Their set opened with Midnight Marauders, a mystical and atmospheric whirlwind of sound. There’s something about the aura of Fat Freddy’s that just transfixes all who listen.FFD classics were featured in the mix, including Cay’s Crays, Roady and Boondigga. They also performed some of their new tracks. This unreleased material stayed within the realms of their current eclectic style, but new elements were injected, delving deeper into soul and funk – getting hard on the beats with bari sax and bass. At this point I have to mention Chopper as he never disappoints, effortlessly swapping saxes between songs like a melodic chameleon. His bari skills are incredible and added a lot of richness to the songs performed. The set boldly vibed out in acid jazz territory, battled in blues and funk, shook with electronic elements and even tampered with the unparalleled, notably one fast, raw guitar sequence almost bordering on something you’d hear by The Smiths. This breadth of style kept people hooked throughout. The band have a real connection, making each sequence so collectively tight that each track makes a sharp bombardment. The ability to be effortless but simultaneously powerful puts everyone in a state of awe and this was evident looking into the crowd at Brixton Academy.

Hit The Floor Magazine: www.hitthefloor.co.uk


A New Venture: Ventury’s New Line of Couture Furniture Hits the Showrooms

The world of couture constantly provokes pangs of fervent desire, by pushing boundaries to create something never seen or experienced before. The French Ventury Group has entered new territory within this dynamic, by creating a couture line of furniture.

Founder, Emmanuel Touraine, launched the label Maison Ventury Paris this year, and the collection aptly named Divine was born from designer Vincent Cadena. This decadent collection was presented in spring, and reflects the elegant glamour of its French roots. Inspired by the chic Parisian lifestyle of the 80s, Divine takes interiors to an untouched echelon. The beautifully formed lounge chairs embody corporeal curves which flourish against the edgy studs and lavish embellishments. Touraine explains “the philosophy is simple: design should pay homage to the past, while embracing the future. It should take on a new sensibility, a bold approach.” It is evident that the derivation of Divine embodies fragments of inspired nostalgia and modernity, resulting in pure innovation.

In true nature of couture, pieces are created in limited numbers, producing a rarity that adds to its delectable luxury. Each piece contains an average of 60 sections. The formation process is carried out by hand, taking approximately 19 hours, with 5 specialist craftsmen. This process reflects Ventury’s dedication to the heart of French creative mastery.

Touraine and Cadena have formulated the Ventury/Bespoke service, which allows clients to design their own couture furniture, using a range of colours, shapes and materials. This gives clients creative freedom, acknowledging the fact that everyone is unique and customization will allow pieces to be integrated into the distinguished character of a customer’s home.

The Divine collection boldly crosses confines of fashion and interiors, to produce a range so visually compelling and indulgent, that anyone with an interest in couture design will be investing in one of Vincent Cadena’s stunning pieces.

PRIM Magazine

1 year ago 

Interviews

Rad Hourani

Vena Cava

 

Sara Blonstein


It was U.S. poet Ralph Waldo Emerson who once said “there are no days in life so memorable as those which vibrate to some stroke of the imagination.” For Sara Blonstein, founder of Blonstein & Associates, the ownership of a boundless imagination is the very quality that has enabled her to create exceptional experiences in an illustrious career spanning over 20 years.

It was immediately evident when speaking to Miss Blonstein that great imagination, veracious glamour and a fervent appreciation of her environment were highly prevalent in her persona, as she describes jubilantly how she’d just returned from Shoreditch House roof where she’d been donning a khaki suedette swim suit equipped with jean-esque pockets that she’d recently bought in the south of France. On a normal day she can be found swimming the length of Shoreditch House roof, experimenting at the gym (including accidentally punching herself in the face at boxing) and taking her son to school wearing the Juicy Couture joggers that her boyfriend Jeff has spiced up into hareems. Nights are spent making the most of the cultural metropolis surrounding her, going to other people’s parties, restaurants and galleries. And of course, for the most part of her day, Sara Blonstein is formulating fabulous events for world renowned brands.

Countless elements contribute to Blonstein’s creative expertise and expressive flair, “I have always created intricate stories from an early age and have been fascinated with really feeling and experiencing something from mixing history, modern culture and something magical together.” It’s obvious as we talk about the inspirations behind the elaborately extravagant events she creates that she has eagerly explored a number of avenues to exercise the artistry of her mind. She studied Fine Art in Sheffield, had a short stint in New York and finally gave in to the luminous pull of London - specifically East London, which Blonstein describes as a “petri dish of hot new ideas and talent.”

In London, Blonstein immersed herself in several industries. She was a noted face on the alternative Soho club scene, being assistant manager to 80s super band ‘Sigue Sigue Sputnik’. Fashion was her next creative stepping stone, styling the likes of Bros, Inner City, Ten City, Alison Limerick and Arthur Baker, whilst developing paralleled interests in film production and set design. Noticing her appreciation for the many different layers contained in the arts, Blonstein craved a career that enveloped all of her interests “bringing my ‘life loves’ into one pot” which is how she entered the world of events.

Blonstein’s first events were the prestigious ‘Pussy Possy’ parties, which were tied into an anti-AIDs campaign, “we were passionate about ‘sexy feminism’ and all things retro. The whole ‘movement’ was set inside some very elegant and outrageous, full on, empty warehouse parties. We mixed kissing booths with huge bars serving amazing cocktails. Mud wrestling with stripping. Beds on every corner. We wanted to get ‘savvy Soho chicks’ wearing and carrying condoms. It was very art directed, very glamourous and very clever.”

The success of these events led Blonstein to create Blonstein & Associates, a London based creative event and experiential agency which has continually progressed over the past 20 years and now holds corporate relationships with brands such as MTV, BAFTA, Agent Provocoteur and Fashion East,  “you come to us when you want something that involves a leap of the imagination. We intelligently and creatively place your brand in the centre of an experience no one will ever forget.”

Blonstein & Associates have recently been working with annual clients Pernod Ricard. This year they ventured to a private island and turned an desolate building into a faded boutique hotel whilst showcasing an embellished cabaret. Blonstein is excited to venture into the far beyond again this summer to work on an imminent project with luxury spa resort provider, Six Senses, in celebration of the launch of their new resort in the Maldives. The opportunity to travel is a welcomed occurrence, as she is passionate about travel and experiencing other cultures, especially India and Asia. She states a love of colonial elements over national treasures, with an interest to observe the British influence on cultural norms, and she actively seeks inspiration in order to implement fragments of other countries into her events.

With paramount thought, feeling and inventive expression injected into every event birthed from Blonstein & Associates, Sara Blonstein rarely misses an event. Every experiential detail is strategically and creatively catered for, from the moment of entering the venue to the way a guest feels when they go home. Blonstein exudes an ardour for her career that is enviable. The fulfilment experienced when seeing guests revel in each fantastical facet of an event is Blonstein’s prime enjoyment, especially because each guest has a story to tell that has been cultivated by the unforgettable experience they’ve created.

 Se7en Magazine: www.se7enmagazine.com

Poppy Dinsey

Poppy Dinsey is a hot topic at the moment. Recently featured as a blogging tycoon in Marie Claire and discussed in countless other press publications, she is getting very well known for her blog, What I Wore Today.

Poppy, 24, lives in Surrey and works from home. Her idea for What I Wore Today arose as a New Year’s Resolution, when she vowed to utilise her wardrobe more efficiently, getting creative with her clothes rather than feeling like she had nothing to wear, as most of us do, despite our overflowing wardrobes. It has become a hugely successful endeavour, receiving a swarm of followers and copious amounts of attention as well as the potential for numerous collaborations with fashion brands. Businesswoman come fashion icon, Poppy’s world is about to explode, starting with her iPhone app and new site launch at the end of the month. So watch this space.

J – Did you ever anticipate that your blog would receive the attention and accolade it has?
PD - No! Never. I’ve written for popular blogs in the past, but that was very different. They were generally business-related. I started WIWT as a bit of fun and never expected anything to come of it. I’m not the first person to chronicle their daily outfits, yet people seemed to like it.

J – Has the aim of WIWT proved successful – are you more mindful about the clothes you buy now?
PD - The very original aim was to wear more of the clothes I had rather than constantly complain of having nothing to wear, and it definitely worked. I have found so many new ways to wear things. Things that I’d decided I’d never wear again have been brought back to life with clever layering or a new belt or a bit of customising or whatever. And I try to buy clothes that are very versatile now, rather than really special things that are hugely impractical. I don’t tend to go too trend crazy either – it’s these ‘on trend right now’ pieces that date very quickly.

J – What is your idea of the perfect ‘capsule’ wardrobe?
PD - I de-clutter the whole time, every three months or so I re-analyse my wardrobe for what needs to be sold on and what needs to be donated to charity shops. People buy so many types of the same garment, then keep wearing the one version of it they know flatters them best. It’s a waste. I only own one pair of shorts, but that seems to be all I need.

The perfect capsule wardrobe, for me, needs…

  • Three pairs of jeans in three different washes (smart, distressed, skinny)
  • Wrap dresses in interesting prints (very flattering, work appropriate, easy to wear, low maintenance on the laundry front)
  • A jaw dropping LBD
  • A dress in every colour (that’s a bit greedy, isn’t it?)
  • High quality tees
  • High quality knitwear (ideally cashmere – anything that will bobble is a complete waste of money/time)
  • Black platform chunky heel shoes
  • A big winter coat that can sustain rain and snow
  • A cape
  • Oversized jewellery
  • A waist belt
  • Smart and casual maxi dresses
  • A white ribbed tank top

Hmm, I can’t keep making this list…the answer is basically ‘I don’t know’. I don’t live in this world of capsule wardrobes. My bedroom is basically a clothes storage facility. As long as you’ve got something you can wear on a date, wear to work and wear to get dirty then you’re probably OK.

J – What is your favourite item of clothing in your wardrobe?
PD - Probably my canary yellow Burberry mac or my big Gap winter coat or my ring collection. It’s very hard to say, I only buy things I love.

J – You were recently featured in an article that slated society’s ‘obsession’ with validating ourselves through social media, constantly seeking acceptance from others about our appearance and lives. Your blog was used as an example of this. What is your response to it?
PD - I thought it was complete effing nonsense. That particular newspaper is renowned for being ridiculous, so I’m not looking for the approval of its readers. If they can’t see the business potential in the idea then more fool them. I care about what my friends and family think, not anonymous strangers.

J – Do you receive many questions and comments about your blog?
PD - Yes, constantly, I get hundreds of emails…from wonderful things to nonsense things. People don’t believe me when I tell them some of the emails I get. A lot of them are so kind though, it’s really humbling and hugely appreciated.

J – In your opinion, do you think women make an effort with their appearance for other women, men, or themselves?
PD - I think women are different, you can’t group them all together. You can tell the ones who dress for other women – I find that competitive approval-seeking behaviour very odd indeed. I also find it odd, though, when people heavily criticise women for dressing for men. If you want to look attractive to the opposite sex, why is that so bad? But, I do think it’s sad when people don’t dress for themselves at all – when they wear something they don’t like for someone else’s approval. That’s crazy to me. You have to dress in what you feel comfortable in, or it will be painfully obvious.

J – What would be your advice to people who struggle to put outfits together?
PD - Some people simply don’t care about clothes, and that’s their prerogative. Fashion is not the be all and end all. But some people really want to get it right but just find it hard. I’d recommend they try and see a stylist. The big stores all have free personal stylist services, they’re worth looking into if you want extra help.

J – What is the most valuable thing you have learnt since creating WIWT?
PD - Just to stick with it really. If you don’t give a good idea the attention it deserves, it will never flourish into anything. I’ve only been able to transform a daily outfit blog into a proper business by putting seven days a week of blood, sweat and tears into it. It sounds horribly clichéd, but it’s true. You have to sacrifice a lot if you truly want to make something work. I’m beginning to get the rewards of that hard work now but with the new site launch and iPhone app at the end of the month, the hardest work is yet to come. The amount of hours you need to put in can never be underestimated. Neither can the support of friends and family.

Visit Poppy’s blog, What I Wore Today: www.wiwt.com

Fotorater Magazine: www.fotorater.com/magazine


Chopper Reedz, Fat Freddy’s Drop

When we were starting HTF – I thought about all the bands in the world I’d want to interview – and Fat Freddy’s Drop was right up there. Their music is a smooth mix of reggae, jazz, soul, lo-fi — it’s undefinable. This enigmatic and sensually atmospheric 7 piece have already become huge in their homeland – New Zealand with chart and record sale success in abundance – and they also have a big following in the UK with packed out gigs (we just wish there was more of them). Luckily, I was able to shoot some questions at Chopper Reedz – A.K.A. Scott Towers – A.K.A. sax player extraordinaire from Fat Freddy’s Drop – so here’s what he had to say:

HTF – Hit The Floor

CR – Chopper Reedz

HTF: First and foremost I have to ask – who is Fat Freddy and how did the band come to be called Fat Freddy’s Drop?

CR: Fat Freddy is actually one of the Fabulous Furry Freak Brothers, from Gilbert Shelton’s underground comic. Fat Freddy’s Cat was a character from the comic too, a feline with a certain ‘loose’ attitude to life and a cult following here in Wellington…. so we bastardised his name and embraced his joie de vivre.

HTF: All the band members have nicknames – how was ‘Chopper Reedz’ created? Are you too tooth-friendly on your sax reeds?

CR: Like all members of FFD I was ‘named’ by our singer Joe Dukie – I was schleping around Melbourne airport looking and feeling very hungover, and had borrowed a pair of dodgy aviator sunglasses from our roadie. It came to Dukie in a flash and has stuck ever since. Actually, if Dukie names everyone else…. who named Dukie?

HTF: (For all of you that don’t know – Chopper Read is an Australian convict – known to don dodgy aviator sunglasses)

HTF: Part of your uniqueness lies in the diversity of styles you incorporate. How would you describe your sound to those who haven’t heard it?

CR: Spaced-out-jazz’n’bass-meets-techtronic-dub’n’blues. Actually, all I can say is come to a live show and experience it firsthand yourself. Between our ever-fluctuating moods, and what weird and wonderful new instruments we’ve discovered that week, the sound of the band is always changing.

HTF: Jamming and improvisation play a big part in your performances – is this also how you write songs?

CR: It is actually. We have marathon jam sessions in the livingroom/studio of Hopepa (our trombonist and satorial shining light) where we hash out the bare bones of songs and try to find a few nuggets that can become the basis for an addition to the repetoire. That’s why you’ll often hear both completely new songs and new versions of older matertial in our live shows.

HTF: You’re from New Zealand. I was searching Kiwi phrases and you have quite similar sayings to us in the UK.. but there are a few crazy sounding terms that I need you to explain:

“box of budgies” – CR: a snack food that Dobie Blaze often prepares in lieu of fried chicken if we’re not particularly hungry. As in “I don’t know if I could do a chicken and gravy combo, but I could kill a box of budgies”

“bugalugs” – CR: what my two year old son calls ants. He is quite partial to bugalugs, spidey-wideys and squirms.

“get off the grass!” – CR: now that marijuana has been decriminalised it hardly seems rebellious – and it makes some punters very slow moving, so this is often yelled at the front row of a quiet crowd…. just before we pass out the free meth. Actually we don’t advocate that.

HTF: The UK is in serious need of some more FFD action! Do you have any plans to tour here in the near future?

CR: Well, we did play in London and Manchester before Christmas – and it was freezing! So turn on the sunshine and you never know we might just jump on a plane.

HTF: (see – there is an upside to the effects of global warming!)

HTF: Finally – can you tell me what IS the world with no soul?

CR: Hull. Opps, I mean Hell. Honest mistake.

So there it is – the speakings of a master. Thank you Chopper Reedz, it’s been an honour! To have a listen to some FFD amazingness for yourself, visit their myspace or website.

Hit The Floor Magazine: www.hitthefloor.co.uk

1 year ago 

Biogs

Jeff Formica - Nice & Secure

Jeff Formica is an innovator in the world of security. His charming demeanour and valiant good looks may not marry well with the pre conceived image of a security professional, but Formica is revolutionising his trade and gaining abundant recognition in the process. His firm ‘Nice & Secure’ holds a prestigious reputation with impeccably trained personnel who cater for a number of celebrities and esteemed events globally. 

Entering into his profession, Formica observed a notable industry gap - the need for intelligent, charming and stylish security personnel. Whilst cultivating his craft and shaping his perspective of what stellar security should entail, Formica created ‘Jeffiquette’ - a body of security that depicts manners, approachability, charm, acumen and faultless appearance. This led Formica to strive rapidly away from the previous ‘tough’ stereotype of bomber-jacket clad doormen.

His vision was realised fourteen years ago at The Met Bar. Formica played a crucial role in the successful running of this bar, alongside Momo’s, Pharmacy and other top London bars at the time, and herein a trend was set: stylish, sophisticated security. His behavioural brief to staff  was to be ‘nice’ and ‘secure’, which formed a fitting name for his business. Formica maintains that the art of successful security is thoughtful client communication and patience, but being trained in Tae Kwon Do, Aikido and boxing enables him to be prepared for any situation. 

To date, Formica notes The Frize Art Fair in Regent’s Park as one of the greatest moments in his career, where he led a team of a hundred operatives in looking after an undisclosed amount of priceless artwork. He also values Nice & Secure’s involvement in The Prada Foundation’s POP UP, ‘Double Club’ designed by Carsten Holler, which was a highly illustrious event. Formica thrives off his business, having the opportunity to meet world famous people and experience exclusive art shows, music performances, and fashion dinners. His work also includes exertions further afield, such as overseeing the security arrangements of a grandiose art party at the Biennale, Venice. 

Formica feels a great sense of responsibility and is rewarded greatly through his work. He plans to establish a Security Academy to teach ‘Jeffiquette’ to a larger audience - addressing the behaviour of the disillusioned youth of today and expanding his new strain of security that favours firm yet pleasant professionalism over thoughtless action.


Sara Blonstein - Blonstein & Associates 

Sara Blonstein formed Blonstein & Associates in 1990 after the success of her prestigious ‘Pussy Possy’ parties, which were tied into an anti-AIDs campaign. Blonstein states, ”we were passionate about ‘sexy feminism’ and all things retro. The whole ‘movement’ was set inside some very elegant and outrageous, full on, empty warehouse parties. We mixed kissing booths with huge bars serving amazing cocktails. Mud wrestling with stripping. It was very art directed, very glamourous and very clever.”  

Blonstein studied Fine Art in Sheffield before moving temporarily to New York. She then returned to East London in the 80s and became a noted face on the alternate Soho club scene, being assistant manager to 80s super band ‘Sigue Sigue Sputnik’. Blonstein also ventured into the fashion industry styling the likes of Bros, Inner City, Ten City, Alison Limerick and Arthur Baker.

Sara Blonstein’s creative expertise and extensive experience has led her to be deemed an events tycoon and she has produced lustrously spell-binding experiences for a large number of globally renowned brands. 

Jennifer Agar - Rocomara

Set up by City Lawyer Jennifer Agar, Rocomara is a luxury interiors brand with a stunning range of authentic Moroccan furnishings. When visiting Morocco several years ago, Jennifer was amazed by the careful craftsmanship and intricate design of their furniture, all of which exuded Morocco’s bold and compelling culture. 

Although many British fashion interiors are inspired by Moroccan design, Agar failed to see a specific brand showcasing furniture sourced by suppliers local to the country who are impassioned by their work and take pride in their artistry. Morocco’s unique tradition and sheer vibrancy resonates in their designs and Agar’s dream to bring this to the UK was realised in the creation of Rocomara.

Rocomara sells a range of beautiful and exciting Moroccan pieces made by some of her favourite local suppliers, of whom Agar has built close and longstanding relationships with. There is also a sumptuous range of scents available to compliment the lifestyle Rocomara offers. Agar’s favourite piece in the collection is the bone inlay chest of draws, with a modernistic marble surface and carefully detailed design. Her own home reflects her penchant for interiors, remaining minimalistic with visually compelling pieces and family heirlooms, including a Victorian screen, which stands beside the select Rocomara pieces in her bedroom.

Agar views the best homes as those peppered with furniture that reflect personality and evoke personal experiences, favouring enduring style over changeable trends. Her advice when buying furniture is to pick what inspires you and evokes pleasure, “the best interiors take your breath away.” Quality, care and enduring style all stand closely to Rocomara’s brand essence. Agar believes it is of paramount importance to offer an excellent and bespoke service to each customer, as buying furniture is a lifetime investment and one that could transform a home for the better.

“Buy furniture that inspires you, that gives you pleasure. The best interiors take your breath away.”

1 year ago 

Press Releases

ClubTEN

ClubTEN is the latest addition of cultured decadence to hit the Capital. Set in the grounds of the 5* Grange, St. Paul’s Hotel - in sight of the illusive Cathedral, ClubTEN is the most opulent live music members venue to be seen in London for years. 

Offering desirable sophistication, ClubTEN is the perfect nightspot. The bar of poignant grandeur contains plush seating booths and a dance floor, with DJ sets six nights a week, live music from renowned jazz acts and the facility for private event bookings. There is also an A la Carte menu available for a small number of tables at the bar (booking in advance is essential) and a wide range of sumptuous cocktails, light bites and platters are also available to order on all tables.

Entering ClubTEN, you are faced with a lavish haven of lusciously atmospheric decor. A sea of black marble steps lead down to the bar which is visibly  infused with slick velvet and 60’s design, twisted with contemporary detailing. ClubTEN’s interior adds an element of extravagance to the venue which takes it to majestic territory.

ClubTEN is open Tuesday to Saturday from 6pm - 1am with live music on Wednesdays, Fridays and Saturdays. Private bookings are available every day from 9am - 5pm and Mondays, Tuesdays, Thursdays and Sundays from 6pm onwards.

Becoming an annual member of ClubTEN gives numerous benefits to patrons, with full access to the hotel’s gym and spa facilities as well as exclusive discounts at all Grange Bars & Restaurants and range of other establishments.

For more information regarding ClubTEN membership packages, guest list and private hire, please contact info@clubten.co.uk or call 020 7074 1105.


AMAZONA - BRINGING THE AMAZON-ESQUE WOMAN A PLETHORA OF FASHIONABLE FOOTWEAR AND KICKASS ASSCESSORIES TO BOOT

Amazona is the first online boutique to fill a very worthy gap in the niche market of stylish ladies’ footwear in larger sizes. 

The ‘model’ physique has become a societal ideal, with tall, slender women holding connotations of elegance and beauty. However, every advantage has its drawback, and it can be extremely troublesome finding stylish and feminine footwear if you exceed the size 7 limit of most fashion brands. This has left the ‘fuller footed’ woman with very little choice in available shoes. There have been numerous retailers specialising in larger sizes of female footwear, but the market has seriously lacked fashionable styles, with most showcasing a range of unsightly options. 

Amazona provides a wide range of fashionable designs in boots, heels and flats in UK sizes 8 to 12, that will finally enable women with an above average shoe size to wear beautiful designer styles. Alongside Amazona’s range of footwear, they sell bags, jewellery and various other accessories, sourced internationally. A valuable addition to their site is the ‘Amazona blog’ which acts like an international fashion and lifestyle resource for tall women, from looking at current trends and brands that cater for the taller women, as well as discussing some of the idiosyncrasies of being a tall womenin today’s society, and looking at celebrity influences to the tall woman .  Amazona wish to spread the word of their store to the masses of women who are on the troublesome quest to find larger yet flattering shoes. Tall women should feel catered for and Amazona Style aim to do just that, stating “Amazona is for women who stand tall and are proud to celebrate their individuality.”

1 year ago 

Opinion

Mark Fast Keeps It Real

Mark Fast shocked London Fashion Week with his ‘plus size’ – or more aptly ‘realistic’ women on the catwalk.

It’s a breath of fresh air to many of us, and sparks the question of whether a new curvaceous form may be set to conquer the fashion world.

Catwalk models are willowy and tall, with a pittance of a BMI and a somewhat androgynous form and it’s been this way since the 60s. In recent years it reached a level where we were starting to witness emaciated morsels of girls, looking so frail that you wonder how they have the energy to put one leg in front of the other. We then went through the controversial banning of the size zero models, thus creating an almost philanthropic feel to the fashion world for a short period – but I can’t help thinking that nothing has really changed.

Of course, those of us who don’t have a concave figure and osteoporosis are rejoicing at the fact that finally we can visualise catwalk couture on ourselves and that the true female form is being celebrated, but many in the fashion world would strongly argue that it is very much a separate facet to the real world and that current trends mean a slender figure prevails for the showcasing of designs.

In fact, reports suggest that there was such a discrepancy in belief between Fast and his stylist that she is no longer working for him. Catwalk designs may not be created to be worn by real women, but designers such as Fast are producing garments that can be translated into the real world, so why shouldn’t he demonstrate that they look good on a woman who has the national average dress size?

Body Envy?

I’d like to sit here on my moral lily pad and profess that the fashion world is a key contributor to the rising levels of eating disorders and low self-esteem amongst women in our society, but due to the more rapidly rising obesity figures, I would feel hypocritical. However, saying that, this fat nation could just as easily be the result of millions of women having severe body envy, leading to depression and the consequent consumption of any high fat product they can get their hands on.

I am doubtful that we are about to witness a reformation in the type of women who come down the catwalk, and although stunts like this are a welcomed controversy, the ‘skinny is beautiful’ phase is still very much aflame in the ever-powerful fashion industry. Rule breakers are always more interesting though, so greatest respect to Mark Fast for celebrating the lady lumps of our nation!

Canvas Magazine


Saying Goodbye to Topshop

Last month I moved from the UK to New Zealand. Uprooting my life wasn’t easy, mainly because I was leaving a lot of people I loved. However, that wasn’t the only thing on my mind. You think about all sorts in situations like these: will the food be the same, what about all of my favourite TV shows, will people laugh at my accent? But in all honesty, the main thing on my mind was Topshop. 

I knew that the presence of my favourite place in the world was hidden and rare in the Southern Hemisphere and it left me short of breath. People grow emotionally attached to much stranger things, but for me, Topshop was the thing that made me happiest.

I remember in a yoga class once when we were in the relaxation phase, the instructor told us to close our eyes, breathe deeply and think of a calming place where we felt happy and safe. I thought of Topshop. I imagined walking in, swirling around the rails, touching the gorgeous garments and feeling very content at the till. Ashamed? Never.

Before moving to New Zealand I had a series of mad and desperate sprees to stock up my wardrobe before I had to say goodbye. It upsets me greatly that the women of New Zealand don’t have this store (apart from a half hearted attempt in Auckland) as it is a haven of high style at an affordable price with great fabrics and expensive cuts. Thankfully I can still get Topshop delivered from the online store (at a price) and as you can see by the picture, I will endeavour to bring Topshop to Wellington in full force.

Print. Magazine NZ

Carrie Bradshaw: My Most Important Person of the Noughties


By the time the new millennium approached, I’d been watching the American sitcom, ‘Sex and the City’ for a year. It was such a fresh concept for television, something that finally displayed the somewhat guilty pleasures and aspirations of women. They covered topics we only divulge with our inner circle, they liberated us by being honest, outspoken and completely outrageous. Carrie Bradshaw, the focal character of Sex and the City, spearheaded all possible connotations of the show.

First and foremost, she was at the forefront of decedent fashion – resulting in a cultish frenzy amongst women globally. Suddenly, Manolo Blahnik, Dolce & Gabbana and a plethora of other designer labels became intensely desired. It’s not Carrie’s expensive taste that makes me view her as imperative to this decade (although this could explain the state of the economy if people have taken heed); it is her ability to be individual through her style. Carrie Bradshaw was always herself and always original in the clothes she wore, giving confidence to others to do the same. Fashion is about creativity and self expression; and as a character she gave inspiration to all and communicated the liberty of being yourself.

As is evident in the show’s title, another regular topic covered was sex. Sex, love and relationships. The show accurately pinpointed the new wave of the decade: the end of romance. Instead of wining and dining and wooing, we’d entered an age of nailing and bailing. Sexual freedom reached a new stratum in the noughties, and although I don’t personally feel that this is something to be celebrated, the show tackled a common occurrence in society. I always admired Carrie’s desire to fall in all-consuming, powerfully infinite love. Her quest to find Mr. Right was both amusing and relatable. It was a comfort to know that all women go through woes with their romantic life – and although her decisions may not always be wise or advisable to follow, it was reassuring to know that even the most luxurious of women have the same problems.

Carrie Bradshaw is also an apt symbol of female independence. Living alone, having a lucrative career and being a strong single female. She has been a positive role model (minus the smoking, casual sex and shoe addiction) for women – to demonstrate that you can go it alone and be successful. Female independence has progressed greatly throughout the noughties with an increase of single mums, career women and a consequent decrease in ‘needing’ a man. One of the most memorable quotes for me was in the last ever episode, “the most exciting, challenging and significant relationship of all is the one you have with yourself.” I find this a realisation, as I know I often forget the merit of autonomy.

Carrie Bradshaw has become an iconic character of the decade. She has been a virtual companion, experiencing the things that all women go through, giving comfort and a sense of light hearted humour to all who watched her. Finally, women have their own MOTD, their own Top Gear – in the form of lustful gratification, designer labels, the beauty of independence and a cosmopolitan to wash it all down with. Watching the show was a welcomed escapism, taking women to their wildest fantisies of the high life yet holding morals that were universally applicable. Carrie Bradshaw not only brought refuge and reassurance to women, she also aided the show to cover everything in relevance in the noughties. Through this decade she has entertained, supported and been absolutely fabulous till the end.

1 year ago 

Column

Monday, Monday

I have realised that my attempt to ‘be good’ and eat healthily has to start on a Monday. Some people can’t get out of bed unless the minutes past the hour are a multiple of five, some people feel a stagnant underlying pressure to arrange their socks in pristine sets of 5, but personally, my OCD-esque necessity lies in not being able to start a diet on any day other than a Monday. Monday is the proverbial ‘clean slate’. My typical weeks are heavily peppered with a plethora of fatty foods and relaxing (alcoholic) drinks brought to the earth to combat stress. Then comes the weekend, and it is impossible to start a diet at the weekend. On the only two days issued to us by society to have some form of freedom we should be able to revel and bathe in treats. Thus we are back to the only valid option, I’ll start again on Monday.

The problem is, as much as my intentions are ablaze with grim determination come Monday, by Wednesday night I am sat rocking back and forth in a darkened room having withdrawal sweats from the wine and chocolate I have forgone, and by Friday I’ve broken free from my dietary reins in a disillusioned frenzy and am eating cake…with my hands…out of the bin. Don’t try to deny it; depriving oneself of the joys of life - i.e. everything that is bad for us - usually has alarming and uncontrollable effects, resulting in a hefty backlash and a binge session so severe that even the dog starts to look tasty.

I’ve tried to be bold several times and go against the grain, aiming to start my ‘Jennie-Be-Good’ eating regime on a Tuesday or a Friday, but to no avail, as my inherent excuse generator continually reminds me that it would be a far better option to start this torturous process on a Monday. When you think about it, Mondays are already less than pleasant. Monday is proven to be the absolute worst day of the week and on top of that you are taking away all the delectable treats that satisfy you in your darkest hour. You may as well go the whole hog and blow torch my Gossip Girl box set while you’re at it. Realistically, the whole concept of going on a diet that cuts out every food and drink that I enjoy is never going to last very long, but I’m good at perseverance, even if it does last two days a week.

WARNING: Boyfriend May Cause Bloating

I’ve been told countless times that being in love is a fast and effective way to lose weight. Your eyes meet across a crowded room, you feel a lustrous mythical aura envelope your person and in under thirty seconds you’ve chucked the gigantic slab of cake you were rapidly devouring in your lunch break over your shoulder. No more food is necessary from this point on. You have found love and love is your fuel. As much as the sudden ability to survive off little more than air in the first stages of blissful adoration seems magical, it is thought that chemical secretions in the brain cause appetite suppression when we meet that special someone. Pleasure doused neurotransmitter, Dopamine, is often released during the wistful process of euphoric fancy, and one effect of this joyous chemical is a diminishing desire to eat. Lucky us. 

However, this turn of events and resulting brain chemistry can prove troublesome, as it’s right about now that you tend to get asked out for dinner. As if having a surging feeling of trepidation in your stomach (otherwise known as infatuation) wasn’t enough to put you off your food, you now have the added pressure of avoiding food in teeth, food on face and a plethora of other terrifying possibilities encountered at the dinner table. This often results in a strategic thought process to pick the ‘easiest’ meal on the menu and a consequent none-eating of said meal. Involuntarily starving yourself for the first few weeks of a new relationship gives you a slimmer waist line and helps your boyfriend to validate the stereotype that women don’t eat, which of course we all know isn’t the case on a solitary Friday night when the only thing stopping you from opening another tub of ice cream is the walk to the freezer.

Of course, time goes by and you leave the flurry of infatuation, returning to your usual eating habits. However, for some reason you now experience an ability to match the appetite of your boyfriend. You cook a romantic meal for your man, and whereas a few weeks ago you’d give him a considerably larger portion than yourself, your inherent greed returns with a vengeance and you are stood staring at both plates thinking you want more. Before you know it you’re armed with a bib and a fork ready to lock horns in a feasting battle. The jump from no appetite to eating everything within your peripheral vision is a result of comfort, which doesn’t quite hit you until you realise you’ve put on two stone and strangers are offering you their seat on the bus. Enter a state of bleakness and despair. If possible, it is a state to be avoided because with it brings lowered self-esteem and often a series of non-effective crash diets to try and banish your newly formed love lumps. A simple ‘head over heart’ approach to eating is needed here. Realisation of the cause of your primary lowered appetite, acceptance of its return, portion control and the knowledge that men are built to consume more calories are all helpful in the art of striking a balance between love-sick starvation and contented consumption.

1 year ago 

Features

Food & Fashion: Haute or Not?

The latest creative renaissance merges food and fashion as luxury brands dabble in gastronomy. According to a British Food Journal article by Cailein Gillespie, culinary trends are similar to “fashion houses whose designers bi-annually produce new collections or remodel and update existing themes or lines.”

In 2007, trendsetting Chanel mogul Karl Lagerfeld collaborated with Parisian patisserie Lenôtre to create a chocolate Holiday Log. In the same year, Italian designers Dolce & Gabanna launched Gold – a Mediterranean restaurant embodying their brand values of energy, luxury, and a new dolce vita.  In March 2009, Indian designer Rohit Bal opened gothic-style Italian eatery Cibo to coincide with the finale of Delhi Fashion Week, following in the footsteps of the highly successful Veda.

So what motivates cross-pollination between food and fashion? It’s all about adding to the brand experience. Even before the recession, increased competition meant consumers expect more bang for their buck. Having exercised poetic license in beauty and hospitality, designers are turning to culinary ventures to heighten brand identity, hoping that diversification would create impetus. The tricky part is ensuring that brand extension does not send mixed messages to consumers, which is precisely what happened when minimalist French label A.P.C. launched olive oil in 2008.

According to American Marketing Association research, brand extensions can reduce the risk of entering new markets by leveraging on strong brand association and positive consumer attitudes.

Rohit Bal said, “Fashion encompasses everything. It is a lifestyle, an attitude, an entire mental framework. The food you eat is as much a fashion statement as the place where you eat it in and the clothes you wear.”

It seems food and fashion sizzles as long as brand identity is not diluted in the process.

Chic Today

Edible Art at Fauchon

 Parisian patisserie and delicatessen Fauchon takeshaute cuisine to a whole new level, effortlessly blending art and food. Not only are your taste buds in for a treat, but desserts are specially created for your viewing pleasure.

In 2004, Chairman Michel Ducros revamped the quaint establishment that Auguste Fauchon had founded in 1886, propelling the company towards the height of stylish decadence. A multi-faceted store concept, monochrome graphic identity, shocking pink interiors and new product lines were only the icing on the cake; it was Fauchon’s bold foray into nouvelle cuisine that sent customers into sweet ecstasy.

The patisserie showcases innovative desserts of all colours and shapes, embellished with metallic gold, white and cocoa buttons, not to mention leopard print éclairs. As well as crafting their own chefs-d’oeuvre, Fauchon incorporates the works of other great artists into their desserts. The eyes of Leonardo da Vinci’s famous Mona Lisa appear on one of Fauchon’s éclairs. It was obvious that their food was moving into new territories when design bible Wallpaper crowned these éclairs Best Pastry in their 2009 Design Awards.

According to the Scientific American, neuroscientist Dana Small believes that the sight and smell of food influences the perception of taste. Food that is aesthetically pleasing could have a positive psychological impact on the taste buds. Hence, Fauchon heightens the epicurean experience through a winning combination of sensual sights and tantalising tastes.

Chic Today

You Are What You Eat

The motto “You are what you eat” is frequently heard in dietary discussions, but this term is now has fresh implications. German graphic designer Yvonne Niewerth has created 30 different package designs for the same pudding to cater for “every kind of pudding buyer.”

This venture surfaced from perceptions that what we buy reflects our image, rather than satisfying needs. I’m with the Brand by Rob Walker validates this with a theory that we live our lives and communicate through brands.  Evolutionary psychologist, Dr. Geoffrey Miller also believes our purchases transmit messages about personality traits and intelligence.

Does product packaging contribute to these psychological theories? If we saw a trolley full of Beluga caviar, we may assume the shopper lives a lavish lifestyle, but it’s hard to fathom if one would notice less glamorous packaging.

However, there is evidence to suggest that package design plays a large part in purchasing decisions. Barry Seal, Managing Director of design agency Anthem Worldwide, states that a number of people buy groceries based on brand personality, brought to life through package design. Research published in the British Food Journal outlines that the visual elements of food packaging represent the product and are important in the decision making process.

Although it appears that packaging influences culinary purchases, it remains unclear whether purchases are indicative of identity or personality. Having varied packaging options on top of flavour and fat content is a novel concept, but could extend the time spent making decisions in supermarket aisles rather than promoting self-expression.

Chic Today

Buying Luxury Fashion in the Recession (2009)

Throughout the summer months, I slaved away completing a research project for my Masters, which looked into how people justify buying (debatably) unnecessary luxury fashion brands in the recession.

Since the credit crunch cast an unwelcome cloud over our spending, we’ve all had to cut back in one way or another. Some of us have vowed to ration our cocktail consumption; others have forgone their summer break. A wide number of leisure sectors have noted an inevitable decrease in sales; however the luxury fashion industry has experienced sustained and even rising profits since the recession hit.

The power of the fashion world is globally palpable, and this is a continuously increasing entity. A prime example comes from the online luxury fashion store Net-a-Porter, which has doubled in size annually since it opened in 2000. It has been seen that 2009, arguably the lowest trough of this recession, has kept on trend. According to the BrandZ Top 100 most valuable global brands, fashion labels Hermes, Gucci and Rolex are still experiencing brand value growth in double figures. Other reports show that Burberry has seen an increase of 12% in sales of the first quarter of this financial year and Mulberry’s sales are up 21%. The discrepancy here is obvious. Our purse strings are being forcibly tightened due to the current economic climate; however the purse that these strings are attached to is a brand new patent Miu Miu.

I studied vast amounts of literature that outlined possible motivations to buy luxury brands. Generally these fitted into three categories: individual motivations (including purchasing for pleasure and hedonism and purchasing to communicate one’s character), functional motivations (including purchasing for higher quality and uniqueness) and social motivations (purchasing for ostentatious reasons). From carrying out detailed research in the luxury fashion industry and consumer views, I predicted that both individual and functional motivations would be considerably more powerful than social motivations in the credit crunch as buying overtly flashy and expensive fashion goods is now being deemed ‘distasteful’.

I surveyed over a hundred people across twenty two countries, all of whom still regularly purchase luxury fashion brands. My results were as expected. Functional dimensions were found to be key motivations to purchase luxury fashion brands in the recession, with high quality being the most prominent motive, and the ‘individual’ motivation of buying for hedonistic reasons was still present. It appears that buying luxury fashion brands to be showy and ostentatious have been banished, with people caring less about what others think. The current design and marketing activities of concerned brands mirrors my findings, by enhancing functional and individual/experiential benefits and deleting anything pretentious.
My study infers that the meaning of luxury now holds a utilitarian definition of high quality and value, getting better produce for your money, which would validate why people are still purchasing luxury fashion brands in the recession. However, perusing the ever-busy Selfridges last week started to get me thinking. As much as it may be true that luxury fashion brands use better fabrics with more flattering cuts, is this really the reason we buy them? No one would admit to purchasing something because of how it made others view them, or because wearing an expensive brand communicated something positive about them, but I’m speculative that our love of buying designer labels has much more to do with a deluxe desire and the connotations of pricey fashion labels. I think people may be justifying their spending by saying it’s due to high quality and durability, but personally I think we buy designer for what it means, and our ‘rational’ justifications are to diminish the guilt we feel every time we dismissively pin up our gas bill, reach for our gorgeous-couldn’t-live-without Burberry trench and make a sharp exit.

Reviews

Jamie Woon, Mirrorwriting

When listening to ‘Mirrorwriting’, it’s hard to fathom that this is only Jamie Woon’s debut. With its freshness comes a maturity only seen in artists who’ve flourished. Having said that, Woon’s collection of impacting tracks have taken him over three years to master. When you have an artist who can produce such vividly insightful songs about even the mundane (Woon claims at least four of the tracks on ‘Mirrorwriting’ are about going for a walk) you know you’ve landed on someone who’s reflective creativity has the potential to produce audible artistry.

After having prior success with his first 12″, ‘Wayfaring Stranger’, in 2007, Jamie Woon has blasted back into the urban music scene as a more ‘mainstream’ talent who is gaining rapid recognition for his music. ‘Mirrorwriting’ is a twelve track album encompassing a collection of harrowingly atmospheric melodies intertwined with Woon’s rich, lustrous vocals. His sound is certainly chart compatible, but there are elements within his songs that take him a step away from the norm, with unsuspecting chord progressions and an ability to create tension and feeling through melodic detailing. This hasn’t been achieved purely through generic production and instrumentals. His musical wizardry has led him to sourcing obscure means to create sounds, for example recording clicks and taps on wicker furniture in the Cornwall cottage he resided in for two months, and catching the sound of stones from a nearby stream to use as snare beats.

‘Mirrorwriting’ starts with ‘Night Air’, the first track to have been released off the record. It’s cruisy but at the same time there’s a static tension in the sequence. The infectiously airy repetitions are symptomatic of a heartbeat, which gets you hooked immediately. After time, funk elements seep into the mix which give it great diversity and shows pretty early on that Woon takes musical inspiration from a vast repertoire. Tracks like ‘Street’, ‘Lady Luck’ and ‘Middle’ resonate with artists such as Justin Timberlake and Robin Thicke, especially with the falsetto chorus in ‘Lady Luck’. They sit well in the current R&B scene. There’s definitely something that sets Woon aside however: an inventiveness and ability to fuse a multitude of unexpected layers, putting him alongside fellow innovators such as Jamie Lidell.

A number of tracks on the album hold a more reposed and hazy vibe, like ‘Spiral’, ‘Gravity’ and ‘Waterfront’. Within these there’s a great romance and depth – rich tapestries of intimate experiences and feelings enveloped in silken melodic brilliance. Woon did hundreds of takes on each track to achieve the exact sound he envisioned when writing his songs. The time he has taken to cultivate this record is reflected in the result – a collection of technically advanced yet undoubtably thoughtful tracks that will refresh the UK urban scene.

Brainer Magazine: www.brainermagazine.com


Toro Y Moi, Underneath the Pine

It has been a year since Toro Y Moi’s last release, ‘Causers of This’. Now Chad Bundick is back with ‘Underneath the Pine’, a record infused with electronic interpretations of ’70s funk and disco and ’60s summertime sounds. Toro Y Moi is still relatively uncovered in the UK, and his reposed demeanour makes it evident that he’s doing what he’s doing purely for the love of it. Nevertheless, he’s certainly developing a devoted following and a distinctive signature sound. The beauty of Bundick is that within him spans an indefinably diverse breadth. His experimentation and continuous evolution makes his work exciting which is truly symptomatic of a bedroom project artist. 

‘Causers of This’ was a powerful record, proving Bundick to be not only an innovator but also a reflector, plucking sounds from past decades. With ‘Underneath The Pine’, Bundick has kept the same whimsical, airy dreamland feel to his tracks that we heard in his previous album, but there’s something a lot more melodic and less disconnected in its sound. It’s evident that he’s been inspired by some good ’70s disco music in a number of songs on the record, namely ‘New Beat’, a fast paced track with synthetic disco loops driving it solidly alongside his placid vocals. ‘Before I’m Done’ is also reminiscent of the ’70s but in a much more ‘Tod Rundgren’ way. It has beautiful raw acoustics and strings, punctuated by electronically manipulated effects, giving it a really dazed feel. ‘Still Sound’ brings a funk element to the record, still laid back as is Bundick’s style, but the electro backdrop mixed up in funk makes for a fresh combination and compliments his vocals. ‘How I know’ wouldn’t be out of place on a Beach Boys record with its light and playful harmonies. 

Bundick has sustained his electronic style in ‘Underneath The Pine’ and weaves it through every melody, but it’s intensified in tracks such as ‘Go With You’ and ‘Got Blinded’, giving a slightly more energised feel to the record. It’s clear to see that Toro Y Moi has progressed in a number of ways with this release. As much as an electronic sound is prominent, it’s fuller, more varied and the melodies are easier to digest. Bundick is a pioneer, constantly striving to cultivate his craft through inventively amalgamating sound, and this record is testament to that.

Brainer Magazine: www.brainermagazine.com


Example, Won’t Go Quietly

Example has been rocking the charts recently, with ‘Won’t Go Quietly’ reaching number 6 in the UK charts and his latest single, ‘Kickstarts’ reaching number 3, with the same two tracks smashing the UK Dance Charts at number 1. Example (a.k.a. Elliot Gleave) is a rapper who delves into genres rarely touched by his kind. He playfully spits bars over a range of styles in the album, spanning electro/house, dubstep, ever-so-slightly brushing past the possibilities of reggae (Track 13 - See The Sea) and diving straight into some dance tunes of club anthem quality. The album has been supported by big names mixing and producing tracks, including Calvin Harris, Chase & Status and MJ Cole, so you know it won’t disappoint. 

Won’t Go Quietly starts with ‘From Space,’ an intergalactic-infused track which uses electronic detailing to a driven march beat with Example’s deep and distinctive lyrical tone. It’s the perfect introduction to an album embodying variety and busting energy to the max. Next up is the title track, which has already received great success in the UK. It’s tracks like this, alongside ‘Kickstarts’, ‘Dirty Face’ and ‘Last Ones Standing’ that takes this album to anthemic territory. There are also a number of slower paced, lighter tracks punctuating the album. ‘Watch The Sun Come Up’ demonstrates the underlying electro theme of the record, with synth claps and electric elements. The track is enveloped in a chilled, airy vibe with echoed vocals and an atmospheric feel that strangely welcomes the steady but by no means deity style of Example’s rapping. ‘Millionaires’ follows this laid back feel, with the softly encapsulating vocal ecstasy of the one and only Jamie Scott. ‘Time Machine’ is my favourite track on the album. A laid back electric frenzy, oozing with effortless sensuality and a mirror image of Calvin Harris’ sound, which isn’t hard to believe, seen as though he produced it.  MJ Cole, master of garage/house, produced and mixed on ‘Something In The Water,’ a sinister sounding synth string bouncing track, full of Example’s cheeky lyrical wizardry. 

Won’t Go Quietly is the quintessential summer album, injecting a whirlwind of musical influences and moods under one large electro-enthused umbrella, ensuring your ears are simultaneously surprised and stimulated for all 14 tracks. To me, the measure of a good rapper isn’t the number of syllables they can cram into a bar. It’s about having a distinguishable sound, rhythmic slur and an ability to creatively fuse lyrics together to tell their story. Example is humorously intelligent with his words and his unparalleled vocal sound alongside such a wide variety of different musical dimensions is what makes him, and this album, revolutionary.

Ministry of Sound Blog


Oren Lavie, A Quarter Past Wonderful

Oren Lavie’s talent is unfathomable. From directing, to writing children’s books, this Israel born maverick seems to denote the basis of creativity and lexical vision. The expressive medium that has taken Lavie on a somewhat unexpected journey has been his song writing.

Writing songs has been an inspired outlet from the experiences gathered in his life. He collected memories far and wide, from London – where he studied theatre directing, to NYC, all the way to Berlin – where he decided it was time to record his anthologized memoirs – as a mile stone to symbolize a finished part of his life, but also more practically, to have them saved so they wouldn’t be forgotten. It was never anything more than this, until people started to hear the powerfully consuming melodies contained in Lavie’s album ‘The Opposite Side of the Sea’, which was released in 2007. The single ‘Her Morning Elegance’ was then featured on both the ad for Chevrolet Malibu and the 2008 Grammies.

One person playing an influential part in this story is DJ Chris Douridas, based in California, who was a devoted fan of the music, “I’ve never been so motivated to help an artist get his music out into the world until I met Oren. He is incredibly special.” This bond resulted in a partnership and the creation of a small record label ‘A Quarter Past Wonderful’, named after the last song in the album. The consequent success Oren Lavie has had is a true reflection of his innovative and enchantingly fantastical songs. The video for ‘Her Morning Elegance’ was released January 20 and within 14 days, it had received 2 million hits on youtube. It was also selected as an official entry to the 2009 South by South West Film Festival. Said video is an abstract depiction of a woman having a dream, never leaving her bed. With animation technology, the disjointed movements and metaphorical sequences make it completely engaging. The album was rereleased off the new label on March 10.

Oren Lavie’s music holds an almost magical disposition. His songs are both airy and reflective, with rapturous melodic wisps of strings and piano; almost haunting at times. Reminiscent of the mystical progressive tones of the Beatles with other eclectic influences, yet at the same time something totally distinctive and never heard before. Lavie’s gentle husky voice melts into the soothing arpeggios and daydream provoking whimsical euphony. A miss-intended success we are all thankful for; this curly haired, green eyed artist demonstrates how creative talents will always find a way to shine through.

PRIM Magazine, New York


Fat Freddy’s Drop - Brixton Academy, London

Hailing from the cultural capital of New Zealand, Fat Freddy’s Drop is one of the most influential bands shaping the current NZ music scene. Their sound is predominantly reggae soul with a blues edge, hints of jazz and dub undertones. In other words, they’re hard to define. Their fresh diversity married with boundless musical ability is a combination worthy of great kudos. In my eyes, the UK is screaming out for a band like FFD, which might be why they’ve gained a raging mass of followers with very little publicity. I’ve been keen to see them for a long time, especially after interviewing the saxophonic wizard that is Choppa Reedz, back in 2010. As part of their 2011 World Tour FFD dropped off at Brixton Academy to give a nod to their British contingent fan base.

The atmosphere of Brixton Academy was pumping. Fat Freddy’s were supported by the epically enthused UK based reggae dubbers Resonators who were the perfect prelude in terms of style and energy. Their set, full of cruisy melodic sequences, layered with rhythm and big jumps, geared the crowd up creating a buzzing environment as we all awaited the musically endowed Kiwi kings. I have to say that at this point I was going slightly wild at the thought of seeing the glorious beacon of beauty that is Joe Dukie, with his entourage of rhythm and horns.

They entered the stage to heavy rapture from the crowd. Their set opened with Midnight Marauders, a mystical and atmospheric whirlwind of sound. There’s something about the aura of Fat Freddy’s that just transfixes all who listen.FFD classics were featured in the mix, including Cay’s Crays, Roady and Boondigga. They also performed some of their new tracks. This unreleased material stayed within the realms of their current eclectic style, but new elements were injected, delving deeper into soul and funk – getting hard on the beats with bari sax and bass. At this point I have to mention Chopper as he never disappoints, effortlessly swapping saxes between songs like a melodic chameleon. His bari skills are incredible and added a lot of richness to the songs performed. The set boldly vibed out in acid jazz territory, battled in blues and funk, shook with electronic elements and even tampered with the unparalleled, notably one fast, raw guitar sequence almost bordering on something you’d hear by The Smiths. This breadth of style kept people hooked throughout. The band have a real connection, making each sequence so collectively tight that each track makes a sharp bombardment. The ability to be effortless but simultaneously powerful puts everyone in a state of awe and this was evident looking into the crowd at Brixton Academy.

Hit The Floor Magazine: www.hitthefloor.co.uk


A New Venture: Ventury’s New Line of Couture Furniture Hits the Showrooms

The world of couture constantly provokes pangs of fervent desire, by pushing boundaries to create something never seen or experienced before. The French Ventury Group has entered new territory within this dynamic, by creating a couture line of furniture.

Founder, Emmanuel Touraine, launched the label Maison Ventury Paris this year, and the collection aptly named Divine was born from designer Vincent Cadena. This decadent collection was presented in spring, and reflects the elegant glamour of its French roots. Inspired by the chic Parisian lifestyle of the 80s, Divine takes interiors to an untouched echelon. The beautifully formed lounge chairs embody corporeal curves which flourish against the edgy studs and lavish embellishments. Touraine explains “the philosophy is simple: design should pay homage to the past, while embracing the future. It should take on a new sensibility, a bold approach.” It is evident that the derivation of Divine embodies fragments of inspired nostalgia and modernity, resulting in pure innovation.

In true nature of couture, pieces are created in limited numbers, producing a rarity that adds to its delectable luxury. Each piece contains an average of 60 sections. The formation process is carried out by hand, taking approximately 19 hours, with 5 specialist craftsmen. This process reflects Ventury’s dedication to the heart of French creative mastery.

Touraine and Cadena have formulated the Ventury/Bespoke service, which allows clients to design their own couture furniture, using a range of colours, shapes and materials. This gives clients creative freedom, acknowledging the fact that everyone is unique and customization will allow pieces to be integrated into the distinguished character of a customer’s home.

The Divine collection boldly crosses confines of fashion and interiors, to produce a range so visually compelling and indulgent, that anyone with an interest in couture design will be investing in one of Vincent Cadena’s stunning pieces.

PRIM Magazine

Interviews

Rad Hourani

Vena Cava

 

Sara Blonstein


It was U.S. poet Ralph Waldo Emerson who once said “there are no days in life so memorable as those which vibrate to some stroke of the imagination.” For Sara Blonstein, founder of Blonstein & Associates, the ownership of a boundless imagination is the very quality that has enabled her to create exceptional experiences in an illustrious career spanning over 20 years.

It was immediately evident when speaking to Miss Blonstein that great imagination, veracious glamour and a fervent appreciation of her environment were highly prevalent in her persona, as she describes jubilantly how she’d just returned from Shoreditch House roof where she’d been donning a khaki suedette swim suit equipped with jean-esque pockets that she’d recently bought in the south of France. On a normal day she can be found swimming the length of Shoreditch House roof, experimenting at the gym (including accidentally punching herself in the face at boxing) and taking her son to school wearing the Juicy Couture joggers that her boyfriend Jeff has spiced up into hareems. Nights are spent making the most of the cultural metropolis surrounding her, going to other people’s parties, restaurants and galleries. And of course, for the most part of her day, Sara Blonstein is formulating fabulous events for world renowned brands.

Countless elements contribute to Blonstein’s creative expertise and expressive flair, “I have always created intricate stories from an early age and have been fascinated with really feeling and experiencing something from mixing history, modern culture and something magical together.” It’s obvious as we talk about the inspirations behind the elaborately extravagant events she creates that she has eagerly explored a number of avenues to exercise the artistry of her mind. She studied Fine Art in Sheffield, had a short stint in New York and finally gave in to the luminous pull of London - specifically East London, which Blonstein describes as a “petri dish of hot new ideas and talent.”

In London, Blonstein immersed herself in several industries. She was a noted face on the alternative Soho club scene, being assistant manager to 80s super band ‘Sigue Sigue Sputnik’. Fashion was her next creative stepping stone, styling the likes of Bros, Inner City, Ten City, Alison Limerick and Arthur Baker, whilst developing paralleled interests in film production and set design. Noticing her appreciation for the many different layers contained in the arts, Blonstein craved a career that enveloped all of her interests “bringing my ‘life loves’ into one pot” which is how she entered the world of events.

Blonstein’s first events were the prestigious ‘Pussy Possy’ parties, which were tied into an anti-AIDs campaign, “we were passionate about ‘sexy feminism’ and all things retro. The whole ‘movement’ was set inside some very elegant and outrageous, full on, empty warehouse parties. We mixed kissing booths with huge bars serving amazing cocktails. Mud wrestling with stripping. Beds on every corner. We wanted to get ‘savvy Soho chicks’ wearing and carrying condoms. It was very art directed, very glamourous and very clever.”

The success of these events led Blonstein to create Blonstein & Associates, a London based creative event and experiential agency which has continually progressed over the past 20 years and now holds corporate relationships with brands such as MTV, BAFTA, Agent Provocoteur and Fashion East,  “you come to us when you want something that involves a leap of the imagination. We intelligently and creatively place your brand in the centre of an experience no one will ever forget.”

Blonstein & Associates have recently been working with annual clients Pernod Ricard. This year they ventured to a private island and turned an desolate building into a faded boutique hotel whilst showcasing an embellished cabaret. Blonstein is excited to venture into the far beyond again this summer to work on an imminent project with luxury spa resort provider, Six Senses, in celebration of the launch of their new resort in the Maldives. The opportunity to travel is a welcomed occurrence, as she is passionate about travel and experiencing other cultures, especially India and Asia. She states a love of colonial elements over national treasures, with an interest to observe the British influence on cultural norms, and she actively seeks inspiration in order to implement fragments of other countries into her events.

With paramount thought, feeling and inventive expression injected into every event birthed from Blonstein & Associates, Sara Blonstein rarely misses an event. Every experiential detail is strategically and creatively catered for, from the moment of entering the venue to the way a guest feels when they go home. Blonstein exudes an ardour for her career that is enviable. The fulfilment experienced when seeing guests revel in each fantastical facet of an event is Blonstein’s prime enjoyment, especially because each guest has a story to tell that has been cultivated by the unforgettable experience they’ve created.

 Se7en Magazine: www.se7enmagazine.com

Poppy Dinsey

Poppy Dinsey is a hot topic at the moment. Recently featured as a blogging tycoon in Marie Claire and discussed in countless other press publications, she is getting very well known for her blog, What I Wore Today.

Poppy, 24, lives in Surrey and works from home. Her idea for What I Wore Today arose as a New Year’s Resolution, when she vowed to utilise her wardrobe more efficiently, getting creative with her clothes rather than feeling like she had nothing to wear, as most of us do, despite our overflowing wardrobes. It has become a hugely successful endeavour, receiving a swarm of followers and copious amounts of attention as well as the potential for numerous collaborations with fashion brands. Businesswoman come fashion icon, Poppy’s world is about to explode, starting with her iPhone app and new site launch at the end of the month. So watch this space.

J – Did you ever anticipate that your blog would receive the attention and accolade it has?
PD - No! Never. I’ve written for popular blogs in the past, but that was very different. They were generally business-related. I started WIWT as a bit of fun and never expected anything to come of it. I’m not the first person to chronicle their daily outfits, yet people seemed to like it.

J – Has the aim of WIWT proved successful – are you more mindful about the clothes you buy now?
PD - The very original aim was to wear more of the clothes I had rather than constantly complain of having nothing to wear, and it definitely worked. I have found so many new ways to wear things. Things that I’d decided I’d never wear again have been brought back to life with clever layering or a new belt or a bit of customising or whatever. And I try to buy clothes that are very versatile now, rather than really special things that are hugely impractical. I don’t tend to go too trend crazy either – it’s these ‘on trend right now’ pieces that date very quickly.

J – What is your idea of the perfect ‘capsule’ wardrobe?
PD - I de-clutter the whole time, every three months or so I re-analyse my wardrobe for what needs to be sold on and what needs to be donated to charity shops. People buy so many types of the same garment, then keep wearing the one version of it they know flatters them best. It’s a waste. I only own one pair of shorts, but that seems to be all I need.

The perfect capsule wardrobe, for me, needs…

  • Three pairs of jeans in three different washes (smart, distressed, skinny)
  • Wrap dresses in interesting prints (very flattering, work appropriate, easy to wear, low maintenance on the laundry front)
  • A jaw dropping LBD
  • A dress in every colour (that’s a bit greedy, isn’t it?)
  • High quality tees
  • High quality knitwear (ideally cashmere – anything that will bobble is a complete waste of money/time)
  • Black platform chunky heel shoes
  • A big winter coat that can sustain rain and snow
  • A cape
  • Oversized jewellery
  • A waist belt
  • Smart and casual maxi dresses
  • A white ribbed tank top

Hmm, I can’t keep making this list…the answer is basically ‘I don’t know’. I don’t live in this world of capsule wardrobes. My bedroom is basically a clothes storage facility. As long as you’ve got something you can wear on a date, wear to work and wear to get dirty then you’re probably OK.

J – What is your favourite item of clothing in your wardrobe?
PD - Probably my canary yellow Burberry mac or my big Gap winter coat or my ring collection. It’s very hard to say, I only buy things I love.

J – You were recently featured in an article that slated society’s ‘obsession’ with validating ourselves through social media, constantly seeking acceptance from others about our appearance and lives. Your blog was used as an example of this. What is your response to it?
PD - I thought it was complete effing nonsense. That particular newspaper is renowned for being ridiculous, so I’m not looking for the approval of its readers. If they can’t see the business potential in the idea then more fool them. I care about what my friends and family think, not anonymous strangers.

J – Do you receive many questions and comments about your blog?
PD - Yes, constantly, I get hundreds of emails…from wonderful things to nonsense things. People don’t believe me when I tell them some of the emails I get. A lot of them are so kind though, it’s really humbling and hugely appreciated.

J – In your opinion, do you think women make an effort with their appearance for other women, men, or themselves?
PD - I think women are different, you can’t group them all together. You can tell the ones who dress for other women – I find that competitive approval-seeking behaviour very odd indeed. I also find it odd, though, when people heavily criticise women for dressing for men. If you want to look attractive to the opposite sex, why is that so bad? But, I do think it’s sad when people don’t dress for themselves at all – when they wear something they don’t like for someone else’s approval. That’s crazy to me. You have to dress in what you feel comfortable in, or it will be painfully obvious.

J – What would be your advice to people who struggle to put outfits together?
PD - Some people simply don’t care about clothes, and that’s their prerogative. Fashion is not the be all and end all. But some people really want to get it right but just find it hard. I’d recommend they try and see a stylist. The big stores all have free personal stylist services, they’re worth looking into if you want extra help.

J – What is the most valuable thing you have learnt since creating WIWT?
PD - Just to stick with it really. If you don’t give a good idea the attention it deserves, it will never flourish into anything. I’ve only been able to transform a daily outfit blog into a proper business by putting seven days a week of blood, sweat and tears into it. It sounds horribly clichéd, but it’s true. You have to sacrifice a lot if you truly want to make something work. I’m beginning to get the rewards of that hard work now but with the new site launch and iPhone app at the end of the month, the hardest work is yet to come. The amount of hours you need to put in can never be underestimated. Neither can the support of friends and family.

Visit Poppy’s blog, What I Wore Today: www.wiwt.com

Fotorater Magazine: www.fotorater.com/magazine


Chopper Reedz, Fat Freddy’s Drop

When we were starting HTF – I thought about all the bands in the world I’d want to interview – and Fat Freddy’s Drop was right up there. Their music is a smooth mix of reggae, jazz, soul, lo-fi — it’s undefinable. This enigmatic and sensually atmospheric 7 piece have already become huge in their homeland – New Zealand with chart and record sale success in abundance – and they also have a big following in the UK with packed out gigs (we just wish there was more of them). Luckily, I was able to shoot some questions at Chopper Reedz – A.K.A. Scott Towers – A.K.A. sax player extraordinaire from Fat Freddy’s Drop – so here’s what he had to say:

HTF – Hit The Floor

CR – Chopper Reedz

HTF: First and foremost I have to ask – who is Fat Freddy and how did the band come to be called Fat Freddy’s Drop?

CR: Fat Freddy is actually one of the Fabulous Furry Freak Brothers, from Gilbert Shelton’s underground comic. Fat Freddy’s Cat was a character from the comic too, a feline with a certain ‘loose’ attitude to life and a cult following here in Wellington…. so we bastardised his name and embraced his joie de vivre.

HTF: All the band members have nicknames – how was ‘Chopper Reedz’ created? Are you too tooth-friendly on your sax reeds?

CR: Like all members of FFD I was ‘named’ by our singer Joe Dukie – I was schleping around Melbourne airport looking and feeling very hungover, and had borrowed a pair of dodgy aviator sunglasses from our roadie. It came to Dukie in a flash and has stuck ever since. Actually, if Dukie names everyone else…. who named Dukie?

HTF: (For all of you that don’t know – Chopper Read is an Australian convict – known to don dodgy aviator sunglasses)

HTF: Part of your uniqueness lies in the diversity of styles you incorporate. How would you describe your sound to those who haven’t heard it?

CR: Spaced-out-jazz’n’bass-meets-techtronic-dub’n’blues. Actually, all I can say is come to a live show and experience it firsthand yourself. Between our ever-fluctuating moods, and what weird and wonderful new instruments we’ve discovered that week, the sound of the band is always changing.

HTF: Jamming and improvisation play a big part in your performances – is this also how you write songs?

CR: It is actually. We have marathon jam sessions in the livingroom/studio of Hopepa (our trombonist and satorial shining light) where we hash out the bare bones of songs and try to find a few nuggets that can become the basis for an addition to the repetoire. That’s why you’ll often hear both completely new songs and new versions of older matertial in our live shows.

HTF: You’re from New Zealand. I was searching Kiwi phrases and you have quite similar sayings to us in the UK.. but there are a few crazy sounding terms that I need you to explain:

“box of budgies” – CR: a snack food that Dobie Blaze often prepares in lieu of fried chicken if we’re not particularly hungry. As in “I don’t know if I could do a chicken and gravy combo, but I could kill a box of budgies”

“bugalugs” – CR: what my two year old son calls ants. He is quite partial to bugalugs, spidey-wideys and squirms.

“get off the grass!” – CR: now that marijuana has been decriminalised it hardly seems rebellious – and it makes some punters very slow moving, so this is often yelled at the front row of a quiet crowd…. just before we pass out the free meth. Actually we don’t advocate that.

HTF: The UK is in serious need of some more FFD action! Do you have any plans to tour here in the near future?

CR: Well, we did play in London and Manchester before Christmas – and it was freezing! So turn on the sunshine and you never know we might just jump on a plane.

HTF: (see – there is an upside to the effects of global warming!)

HTF: Finally – can you tell me what IS the world with no soul?

CR: Hull. Opps, I mean Hell. Honest mistake.

So there it is – the speakings of a master. Thank you Chopper Reedz, it’s been an honour! To have a listen to some FFD amazingness for yourself, visit their myspace or website.

Hit The Floor Magazine: www.hitthefloor.co.uk

Biogs

Jeff Formica - Nice & Secure

Jeff Formica is an innovator in the world of security. His charming demeanour and valiant good looks may not marry well with the pre conceived image of a security professional, but Formica is revolutionising his trade and gaining abundant recognition in the process. His firm ‘Nice & Secure’ holds a prestigious reputation with impeccably trained personnel who cater for a number of celebrities and esteemed events globally. 

Entering into his profession, Formica observed a notable industry gap - the need for intelligent, charming and stylish security personnel. Whilst cultivating his craft and shaping his perspective of what stellar security should entail, Formica created ‘Jeffiquette’ - a body of security that depicts manners, approachability, charm, acumen and faultless appearance. This led Formica to strive rapidly away from the previous ‘tough’ stereotype of bomber-jacket clad doormen.

His vision was realised fourteen years ago at The Met Bar. Formica played a crucial role in the successful running of this bar, alongside Momo’s, Pharmacy and other top London bars at the time, and herein a trend was set: stylish, sophisticated security. His behavioural brief to staff  was to be ‘nice’ and ‘secure’, which formed a fitting name for his business. Formica maintains that the art of successful security is thoughtful client communication and patience, but being trained in Tae Kwon Do, Aikido and boxing enables him to be prepared for any situation. 

To date, Formica notes The Frize Art Fair in Regent’s Park as one of the greatest moments in his career, where he led a team of a hundred operatives in looking after an undisclosed amount of priceless artwork. He also values Nice & Secure’s involvement in The Prada Foundation’s POP UP, ‘Double Club’ designed by Carsten Holler, which was a highly illustrious event. Formica thrives off his business, having the opportunity to meet world famous people and experience exclusive art shows, music performances, and fashion dinners. His work also includes exertions further afield, such as overseeing the security arrangements of a grandiose art party at the Biennale, Venice. 

Formica feels a great sense of responsibility and is rewarded greatly through his work. He plans to establish a Security Academy to teach ‘Jeffiquette’ to a larger audience - addressing the behaviour of the disillusioned youth of today and expanding his new strain of security that favours firm yet pleasant professionalism over thoughtless action.


Sara Blonstein - Blonstein & Associates 

Sara Blonstein formed Blonstein & Associates in 1990 after the success of her prestigious ‘Pussy Possy’ parties, which were tied into an anti-AIDs campaign. Blonstein states, ”we were passionate about ‘sexy feminism’ and all things retro. The whole ‘movement’ was set inside some very elegant and outrageous, full on, empty warehouse parties. We mixed kissing booths with huge bars serving amazing cocktails. Mud wrestling with stripping. It was very art directed, very glamourous and very clever.”  

Blonstein studied Fine Art in Sheffield before moving temporarily to New York. She then returned to East London in the 80s and became a noted face on the alternate Soho club scene, being assistant manager to 80s super band ‘Sigue Sigue Sputnik’. Blonstein also ventured into the fashion industry styling the likes of Bros, Inner City, Ten City, Alison Limerick and Arthur Baker.

Sara Blonstein’s creative expertise and extensive experience has led her to be deemed an events tycoon and she has produced lustrously spell-binding experiences for a large number of globally renowned brands. 

Jennifer Agar - Rocomara

Set up by City Lawyer Jennifer Agar, Rocomara is a luxury interiors brand with a stunning range of authentic Moroccan furnishings. When visiting Morocco several years ago, Jennifer was amazed by the careful craftsmanship and intricate design of their furniture, all of which exuded Morocco’s bold and compelling culture. 

Although many British fashion interiors are inspired by Moroccan design, Agar failed to see a specific brand showcasing furniture sourced by suppliers local to the country who are impassioned by their work and take pride in their artistry. Morocco’s unique tradition and sheer vibrancy resonates in their designs and Agar’s dream to bring this to the UK was realised in the creation of Rocomara.

Rocomara sells a range of beautiful and exciting Moroccan pieces made by some of her favourite local suppliers, of whom Agar has built close and longstanding relationships with. There is also a sumptuous range of scents available to compliment the lifestyle Rocomara offers. Agar’s favourite piece in the collection is the bone inlay chest of draws, with a modernistic marble surface and carefully detailed design. Her own home reflects her penchant for interiors, remaining minimalistic with visually compelling pieces and family heirlooms, including a Victorian screen, which stands beside the select Rocomara pieces in her bedroom.

Agar views the best homes as those peppered with furniture that reflect personality and evoke personal experiences, favouring enduring style over changeable trends. Her advice when buying furniture is to pick what inspires you and evokes pleasure, “the best interiors take your breath away.” Quality, care and enduring style all stand closely to Rocomara’s brand essence. Agar believes it is of paramount importance to offer an excellent and bespoke service to each customer, as buying furniture is a lifetime investment and one that could transform a home for the better.

“Buy furniture that inspires you, that gives you pleasure. The best interiors take your breath away.”

Press Releases

ClubTEN

ClubTEN is the latest addition of cultured decadence to hit the Capital. Set in the grounds of the 5* Grange, St. Paul’s Hotel - in sight of the illusive Cathedral, ClubTEN is the most opulent live music members venue to be seen in London for years. 

Offering desirable sophistication, ClubTEN is the perfect nightspot. The bar of poignant grandeur contains plush seating booths and a dance floor, with DJ sets six nights a week, live music from renowned jazz acts and the facility for private event bookings. There is also an A la Carte menu available for a small number of tables at the bar (booking in advance is essential) and a wide range of sumptuous cocktails, light bites and platters are also available to order on all tables.

Entering ClubTEN, you are faced with a lavish haven of lusciously atmospheric decor. A sea of black marble steps lead down to the bar which is visibly  infused with slick velvet and 60’s design, twisted with contemporary detailing. ClubTEN’s interior adds an element of extravagance to the venue which takes it to majestic territory.

ClubTEN is open Tuesday to Saturday from 6pm - 1am with live music on Wednesdays, Fridays and Saturdays. Private bookings are available every day from 9am - 5pm and Mondays, Tuesdays, Thursdays and Sundays from 6pm onwards.

Becoming an annual member of ClubTEN gives numerous benefits to patrons, with full access to the hotel’s gym and spa facilities as well as exclusive discounts at all Grange Bars & Restaurants and range of other establishments.

For more information regarding ClubTEN membership packages, guest list and private hire, please contact info@clubten.co.uk or call 020 7074 1105.


AMAZONA - BRINGING THE AMAZON-ESQUE WOMAN A PLETHORA OF FASHIONABLE FOOTWEAR AND KICKASS ASSCESSORIES TO BOOT

Amazona is the first online boutique to fill a very worthy gap in the niche market of stylish ladies’ footwear in larger sizes. 

The ‘model’ physique has become a societal ideal, with tall, slender women holding connotations of elegance and beauty. However, every advantage has its drawback, and it can be extremely troublesome finding stylish and feminine footwear if you exceed the size 7 limit of most fashion brands. This has left the ‘fuller footed’ woman with very little choice in available shoes. There have been numerous retailers specialising in larger sizes of female footwear, but the market has seriously lacked fashionable styles, with most showcasing a range of unsightly options. 

Amazona provides a wide range of fashionable designs in boots, heels and flats in UK sizes 8 to 12, that will finally enable women with an above average shoe size to wear beautiful designer styles. Alongside Amazona’s range of footwear, they sell bags, jewellery and various other accessories, sourced internationally. A valuable addition to their site is the ‘Amazona blog’ which acts like an international fashion and lifestyle resource for tall women, from looking at current trends and brands that cater for the taller women, as well as discussing some of the idiosyncrasies of being a tall womenin today’s society, and looking at celebrity influences to the tall woman .  Amazona wish to spread the word of their store to the masses of women who are on the troublesome quest to find larger yet flattering shoes. Tall women should feel catered for and Amazona Style aim to do just that, stating “Amazona is for women who stand tall and are proud to celebrate their individuality.”

Opinion

Mark Fast Keeps It Real

Mark Fast shocked London Fashion Week with his ‘plus size’ – or more aptly ‘realistic’ women on the catwalk.

It’s a breath of fresh air to many of us, and sparks the question of whether a new curvaceous form may be set to conquer the fashion world.

Catwalk models are willowy and tall, with a pittance of a BMI and a somewhat androgynous form and it’s been this way since the 60s. In recent years it reached a level where we were starting to witness emaciated morsels of girls, looking so frail that you wonder how they have the energy to put one leg in front of the other. We then went through the controversial banning of the size zero models, thus creating an almost philanthropic feel to the fashion world for a short period – but I can’t help thinking that nothing has really changed.

Of course, those of us who don’t have a concave figure and osteoporosis are rejoicing at the fact that finally we can visualise catwalk couture on ourselves and that the true female form is being celebrated, but many in the fashion world would strongly argue that it is very much a separate facet to the real world and that current trends mean a slender figure prevails for the showcasing of designs.

In fact, reports suggest that there was such a discrepancy in belief between Fast and his stylist that she is no longer working for him. Catwalk designs may not be created to be worn by real women, but designers such as Fast are producing garments that can be translated into the real world, so why shouldn’t he demonstrate that they look good on a woman who has the national average dress size?

Body Envy?

I’d like to sit here on my moral lily pad and profess that the fashion world is a key contributor to the rising levels of eating disorders and low self-esteem amongst women in our society, but due to the more rapidly rising obesity figures, I would feel hypocritical. However, saying that, this fat nation could just as easily be the result of millions of women having severe body envy, leading to depression and the consequent consumption of any high fat product they can get their hands on.

I am doubtful that we are about to witness a reformation in the type of women who come down the catwalk, and although stunts like this are a welcomed controversy, the ‘skinny is beautiful’ phase is still very much aflame in the ever-powerful fashion industry. Rule breakers are always more interesting though, so greatest respect to Mark Fast for celebrating the lady lumps of our nation!

Canvas Magazine


Saying Goodbye to Topshop

Last month I moved from the UK to New Zealand. Uprooting my life wasn’t easy, mainly because I was leaving a lot of people I loved. However, that wasn’t the only thing on my mind. You think about all sorts in situations like these: will the food be the same, what about all of my favourite TV shows, will people laugh at my accent? But in all honesty, the main thing on my mind was Topshop. 

I knew that the presence of my favourite place in the world was hidden and rare in the Southern Hemisphere and it left me short of breath. People grow emotionally attached to much stranger things, but for me, Topshop was the thing that made me happiest.

I remember in a yoga class once when we were in the relaxation phase, the instructor told us to close our eyes, breathe deeply and think of a calming place where we felt happy and safe. I thought of Topshop. I imagined walking in, swirling around the rails, touching the gorgeous garments and feeling very content at the till. Ashamed? Never.

Before moving to New Zealand I had a series of mad and desperate sprees to stock up my wardrobe before I had to say goodbye. It upsets me greatly that the women of New Zealand don’t have this store (apart from a half hearted attempt in Auckland) as it is a haven of high style at an affordable price with great fabrics and expensive cuts. Thankfully I can still get Topshop delivered from the online store (at a price) and as you can see by the picture, I will endeavour to bring Topshop to Wellington in full force.

Print. Magazine NZ

Carrie Bradshaw: My Most Important Person of the Noughties


By the time the new millennium approached, I’d been watching the American sitcom, ‘Sex and the City’ for a year. It was such a fresh concept for television, something that finally displayed the somewhat guilty pleasures and aspirations of women. They covered topics we only divulge with our inner circle, they liberated us by being honest, outspoken and completely outrageous. Carrie Bradshaw, the focal character of Sex and the City, spearheaded all possible connotations of the show.

First and foremost, she was at the forefront of decedent fashion – resulting in a cultish frenzy amongst women globally. Suddenly, Manolo Blahnik, Dolce & Gabbana and a plethora of other designer labels became intensely desired. It’s not Carrie’s expensive taste that makes me view her as imperative to this decade (although this could explain the state of the economy if people have taken heed); it is her ability to be individual through her style. Carrie Bradshaw was always herself and always original in the clothes she wore, giving confidence to others to do the same. Fashion is about creativity and self expression; and as a character she gave inspiration to all and communicated the liberty of being yourself.

As is evident in the show’s title, another regular topic covered was sex. Sex, love and relationships. The show accurately pinpointed the new wave of the decade: the end of romance. Instead of wining and dining and wooing, we’d entered an age of nailing and bailing. Sexual freedom reached a new stratum in the noughties, and although I don’t personally feel that this is something to be celebrated, the show tackled a common occurrence in society. I always admired Carrie’s desire to fall in all-consuming, powerfully infinite love. Her quest to find Mr. Right was both amusing and relatable. It was a comfort to know that all women go through woes with their romantic life – and although her decisions may not always be wise or advisable to follow, it was reassuring to know that even the most luxurious of women have the same problems.

Carrie Bradshaw is also an apt symbol of female independence. Living alone, having a lucrative career and being a strong single female. She has been a positive role model (minus the smoking, casual sex and shoe addiction) for women – to demonstrate that you can go it alone and be successful. Female independence has progressed greatly throughout the noughties with an increase of single mums, career women and a consequent decrease in ‘needing’ a man. One of the most memorable quotes for me was in the last ever episode, “the most exciting, challenging and significant relationship of all is the one you have with yourself.” I find this a realisation, as I know I often forget the merit of autonomy.

Carrie Bradshaw has become an iconic character of the decade. She has been a virtual companion, experiencing the things that all women go through, giving comfort and a sense of light hearted humour to all who watched her. Finally, women have their own MOTD, their own Top Gear – in the form of lustful gratification, designer labels, the beauty of independence and a cosmopolitan to wash it all down with. Watching the show was a welcomed escapism, taking women to their wildest fantisies of the high life yet holding morals that were universally applicable. Carrie Bradshaw not only brought refuge and reassurance to women, she also aided the show to cover everything in relevance in the noughties. Through this decade she has entertained, supported and been absolutely fabulous till the end.

Column

Monday, Monday

I have realised that my attempt to ‘be good’ and eat healthily has to start on a Monday. Some people can’t get out of bed unless the minutes past the hour are a multiple of five, some people feel a stagnant underlying pressure to arrange their socks in pristine sets of 5, but personally, my OCD-esque necessity lies in not being able to start a diet on any day other than a Monday. Monday is the proverbial ‘clean slate’. My typical weeks are heavily peppered with a plethora of fatty foods and relaxing (alcoholic) drinks brought to the earth to combat stress. Then comes the weekend, and it is impossible to start a diet at the weekend. On the only two days issued to us by society to have some form of freedom we should be able to revel and bathe in treats. Thus we are back to the only valid option, I’ll start again on Monday.

The problem is, as much as my intentions are ablaze with grim determination come Monday, by Wednesday night I am sat rocking back and forth in a darkened room having withdrawal sweats from the wine and chocolate I have forgone, and by Friday I’ve broken free from my dietary reins in a disillusioned frenzy and am eating cake…with my hands…out of the bin. Don’t try to deny it; depriving oneself of the joys of life - i.e. everything that is bad for us - usually has alarming and uncontrollable effects, resulting in a hefty backlash and a binge session so severe that even the dog starts to look tasty.

I’ve tried to be bold several times and go against the grain, aiming to start my ‘Jennie-Be-Good’ eating regime on a Tuesday or a Friday, but to no avail, as my inherent excuse generator continually reminds me that it would be a far better option to start this torturous process on a Monday. When you think about it, Mondays are already less than pleasant. Monday is proven to be the absolute worst day of the week and on top of that you are taking away all the delectable treats that satisfy you in your darkest hour. You may as well go the whole hog and blow torch my Gossip Girl box set while you’re at it. Realistically, the whole concept of going on a diet that cuts out every food and drink that I enjoy is never going to last very long, but I’m good at perseverance, even if it does last two days a week.

WARNING: Boyfriend May Cause Bloating

I’ve been told countless times that being in love is a fast and effective way to lose weight. Your eyes meet across a crowded room, you feel a lustrous mythical aura envelope your person and in under thirty seconds you’ve chucked the gigantic slab of cake you were rapidly devouring in your lunch break over your shoulder. No more food is necessary from this point on. You have found love and love is your fuel. As much as the sudden ability to survive off little more than air in the first stages of blissful adoration seems magical, it is thought that chemical secretions in the brain cause appetite suppression when we meet that special someone. Pleasure doused neurotransmitter, Dopamine, is often released during the wistful process of euphoric fancy, and one effect of this joyous chemical is a diminishing desire to eat. Lucky us. 

However, this turn of events and resulting brain chemistry can prove troublesome, as it’s right about now that you tend to get asked out for dinner. As if having a surging feeling of trepidation in your stomach (otherwise known as infatuation) wasn’t enough to put you off your food, you now have the added pressure of avoiding food in teeth, food on face and a plethora of other terrifying possibilities encountered at the dinner table. This often results in a strategic thought process to pick the ‘easiest’ meal on the menu and a consequent none-eating of said meal. Involuntarily starving yourself for the first few weeks of a new relationship gives you a slimmer waist line and helps your boyfriend to validate the stereotype that women don’t eat, which of course we all know isn’t the case on a solitary Friday night when the only thing stopping you from opening another tub of ice cream is the walk to the freezer.

Of course, time goes by and you leave the flurry of infatuation, returning to your usual eating habits. However, for some reason you now experience an ability to match the appetite of your boyfriend. You cook a romantic meal for your man, and whereas a few weeks ago you’d give him a considerably larger portion than yourself, your inherent greed returns with a vengeance and you are stood staring at both plates thinking you want more. Before you know it you’re armed with a bib and a fork ready to lock horns in a feasting battle. The jump from no appetite to eating everything within your peripheral vision is a result of comfort, which doesn’t quite hit you until you realise you’ve put on two stone and strangers are offering you their seat on the bus. Enter a state of bleakness and despair. If possible, it is a state to be avoided because with it brings lowered self-esteem and often a series of non-effective crash diets to try and banish your newly formed love lumps. A simple ‘head over heart’ approach to eating is needed here. Realisation of the cause of your primary lowered appetite, acceptance of its return, portion control and the knowledge that men are built to consume more calories are all helpful in the art of striking a balance between love-sick starvation and contented consumption.

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