This summer, vintage styles are making a massive impact on the high street, as stores look to designs of the past for inspiration. Ever since reading about
Oasis' New Vintage collection a few weeks ago, I've been looking forward to seeing the full range unveiled. The collection, which takes inspiration from the
Mad Men aesthetic, is made up of five beautiful dresses and a selection of co-ordinating accessories, all of which replicate the feminine and curve-defining silhouettes of the 1950s:
New Vintage Wisteria Print Dress, £125.
New Vintage Rosa Print Prom Dress, £110.
New Vintage Monet Print Prom Dress, £150.
Vintage Bags, £35 each.
Vintage Scarves, £16 each.
I couldn't love this collection more if I tried. The dresses are cut beautifully and create the perfect 50s hourglass proportions, and the prints are just stunning, perfect for any upcoming weddings, garden parties, summer balls or (insert sense of impending doom here!) graduations. I also really love the co-ordinating accessories; they are a perfect compliment to the dresses, or a great way to add just a hint of vintage style to any outfit- the scarves would look great with jeans, a blazer and a simple white t-shirt or looped through a bag strap. I'll definitely be popping into my local branch of Oasis to seek out this beautiful collection, and I've already got my heart set on two of the scarves.
As if this bounty of beautiful frocks and accessories wasn't enough, to celebrate the launch of the collection, those wonderfully talented
Biscuiteers have created a box of special iced biscuits, each in the shape of a dress, scarf or bag from the New Vintage range. Thanks to the lovely Hannah from Oasis, I was lucky enough to be sent a box, and I practically snatched them from the hands of our poor unsuspecting postman when they were delivered this morning!
Aren't they beautiful? I don't know if I'll be able to bring myself to eat them, as I know how much time and hard work will have gone into making each one. If you're not familiar with the work of the Biscuiteers, make a point of checking out their
website to see more of their edible artwork. I got their
book as a birthday present last year, and it really is amazing. A massive thanks to Hannah for sending me such a lovely little gift, I might even try and recreate these beautiful biscuits myself (although rest assured they will be nowhere near as good as these!)
To find out more about the New Vintage collection, visit
oasis.com.
What do you think of Oasis' New Vintage collection? Will you be picking anything up? And what do you make of the biscuits?
(Image credit: Oasis and Sarah Farrell, please do not reproduce without permission.)
I'd been eagerly anticipating the release of New York, I Love You since seeing its predecessor, Paris, Je T'aime a few years ago. After a long wait for the DVD release, I finally got round to watching the film, which encompasses a series of shorter stories set against the bustling backdrop of New York City. Although it could be argued that a film made entirely of shorts makes it harder to engage with the characters and the stories being told, the beauty of New York, I Love You lies in the continuity which arises from setting each story in the same place; the film is, after all, as much about the relationships the characters have with New York as it is about the relationships which they have with each other. Some of the characters also make repeat appearances in other stories, which is a cohesive lovely touch. My favourite story of the entire film was written and directed by Joshua Marston, and captures beautifully the endearing relationship between elderly couple Abe (Eli Wallach) and Mitzie (Cloris Leachman) as they take a walk to the beach. Another standout short was the one created by Natalie Portman, who also stars in another segment directed by Mira Nair. Portman's film focuses on the relationship between a father (Carlos Acosta) and his daughter, highlighting the issue of family separation and the prejudices faced by single fathers. I won't spoil the end, but suffice it to say it is very touching.
Frankenstein, The National Theatre (Olivier), 28.04.2011, 7.30pm.
The word 'smash-hit' isn't often used to describe theatre productions, but I think it's safe to say that Frankenstein, which ended its run at The National Theatre last week has been exactly that. I was lucky enough to snap up some Entry Pass tickets for the sell-out production when more dates were added to the run at the end of March, and have been looking forward to seeing the play ever since. Directed by Danny Boyle, Frankenstein starred Benedict Cumberbatch and Jonny Lee Miller, who alternated the roles of The Creature and Victor Frankenstein in each performance. On our night, Cumberbatch was playing the Creature and Miller occupied the role of Frankenstein, and both were excellent, maintaining the energy of the performance and fully bringing to life the power struggle which is at the heart of the relationship between the two central characters. The beginning of the play, which saw the 'birth' of the creature was mesmerising; Cumberbatch was excellent in communicating the fragility of The Creature at this point and his physical expression in particular was amazing as the Creature tried to stand and fully immerse himself in the world into which he had been propelled. Nick Dear's adaptation of Mary Shelley's novel also deserves praise for condensing the plot and, perhaps most importantly, allowing the audience to engage and empathise with the Creature before depicting the consequences of and exploring the social ramifications of Frankenstein's scientific experimentation. 
As well as drawing two fantastic performances from the two leading actors, Danny Boyle's direction also saw the incorporation of some breathtaking technical elements into the production. Most striking of all was the gargantuan lightning bolt which extended into the auditorium and was made up of thousands of individual light bulbs, suggesting the power of technology (it is the advent of electricity which allows Frankenstein to bring his creation to life) and more metaphorically evoking the idea of the light and darkness which exists within the psyche of each character. Bruno Poet's lighting was used to great effect throughout the production to evoke changes in season and location, as we were transported from the luscious countryside in spring to the bitter cold of the North Pole as the piece concluded. In tandem with Mark Tildesley's design and the cacophonic soundscapes created by Underworld and Ed Clarke for the production, the lighting played a key part in ensuring that Boyle's directorial vision was fully realised and that an authentic world which the audience could be fully immersed in was created on stage. 
