Sunday, 8 January 2012

SEE SHERLOCK HOLMES & DR WATSON, LIVE AT THE SOHO THEATRE

Max Olesker and Ivan Gonzalez are Holmes and Watson
Sherlock Holmes is having something of a moment - the second Guy Ritchie film was out before Christmas, of course, and if the twitterati were to be believed, it was merely a gun-toting amuse-bouche for the second series of the much acclaimed BBC series. I'm rather fond of the agreeable Benedict Cumberbatch and Martin Freeman as Sherlock Holmes and Dr Watson  - if you have yet to catch it, here's the first episode which aired last Sunday. But the vogue for everyone's favourite literary detective does not stop there - you can also catch more Holmes and Watson action this coming week at the Soho Theatre in an hour-long show.

Penned and played by award-winning comedy duo Max Olesker and Ivan Gonzalez, Max and Ivan are... Holmes and Watson has done something infinitely more daring than even the BBC's Aldiss and Moffat:  rather than re-imagine Conan-Doyle's stories for the twenty-first century, they've written their own breathtakingly original and utterly hilarious final chapter in the Holmes saga. Taking up some rejuvenating years after Sherlock Holmes' final outing as a bee-keeping spy-catcher of the last Conan-Doyle story, Max and Ivan put our hero's famous powers of deduction to work in a prohibition era tale of revenge, whiskey and javelins set in Chicago's criminal underworld.

Quite clearly, this isn't a Holmes and Watson for purists, but it is one of the funniest thing I've seen live on stage for ages. It's quirky, witty, fast-paced and, whilst unmistakably irreverent, manages to tug its forlock in the direction of the Conan-Doyle creation on which it depends.

I first saw the show when Max and Ivan previewed it before taking it to the Fringe last summer: they are - as it says on the play-bill - Holmes and Watson, but they also play about eleventy-three other characters, including a rather chilling Voldemort-esque Moriarty, and the shifts between are deft, convincing and terribly, terribly funny. It's gifted physical comedy as well as cleverly scripted and I can't think of a better, quicker way of catapulting oneself out of the January slough of despond than to spend an hour in Soho watching this unique show.

If you want more Sherlock Holmes in your life - and really, can one ever have enough - then hot-foot it to the Soho Theatre : Max and Ivan are... Holmes and Watson plays from thursday 12th January to Saturday 14th and again from thursday 19th to Saturday 21st January. The show starts at 8pm and tickets are £10.

Max and Ivan are... Holmes and Watson, Soho Theatre, from 12th January.
21 DEAN STREET LONDON W1D 3NE 
BOX OFFICE 020 7478 0100 
Follow Max and Ivan on twitter @maxandivan

Thursday, 15 December 2011

IN PRAISE OF RED LIPSTICK

When I wrote about The Plankton back in September, it sparked much debate with friends about whether or not women over forty became suddenly invisible. 

But every conversation about sex appeal - were we still desirable, beautiful, attractive, we asked ourselves anxiously - inevitably turned into a broader discussion about the forty-something state:  Suddenly, I became appallingly paranoid that I would wake up one morning and discover myself wearing purple with a red hat that doesn't go


'We simply have to work harder to make ourselves visible, particularly at work' said my friend Basista, and I think she's right - one does lose the effortlessness of youth in one's mid-forties. Sometimes it's the small things like having to think twice about wearing an A-line skirt with a chunky heel - what looks hip on a thirty year old can easily look frumpy on a fortysomething, particularly if you remember the look first time round - I mean, God knows what havoc the coming Thatcher-inspired trend will wreak. All I'm going to say is, if you're old enough to remember her as Prime Minister, steer well clear of the clothes unless you're achingly hip and very obviously working in fashion. 

Anyway, sometimes it's also the bigger stuff, like realising that life isn't the rehearsal it once was, and you've got to get on with the Next Big Thing before it's Too Late. 

However, since this is supposed to be a post about make-up, I shall stop myself segueing off into some psycho-drama about a dawning realisation of one's mortality/career shelf-life etc etc, because I've remembered that what my friend Basista went onto say - not entirely flippantly - about how the antidote to mid-life invisibility was to wear bright lipstick. She's right, of course but it's not just about making a bold statement, it's also about the subliminal sophistication conferred by a really good red lip. 

Although I'm madly keen on my shiny Dior Addict one, if it's done perfectly, a red lip should be matte and it should also be expensive - not Tom Ford spendy, necessarily, but definitely something bought with due ceremony and sense of occasion from one of the more intimidating beauty counters in a department store. Chanel, of course, is the gold standard when it comes to sophisticated glamour and there are several marvellous reds in the Rouge Allure range, but I do wish they had Rouge Premier - a copy of the first ever red lipstick Chanel produced -  as part of the permanent offer: it came out as a limited edition about ten years ago along with a killingly beautiful gold eyeshadow, and I only wear it once a year because I can't bear to think of using it all up.  

Finding one's perfect red takes time and a lot of experimenting - it's all about nuance - I had fourteen at the last count (six of which are badly photographed below) in every shade of red from vermillion to crimson.


Now that I add up the approximate cost, fourteen red lipsticks is a rather lavish investment. But of course, I wasn't just buying a lipstick, I was investing in the whole idea of myself as elegant and well-put together.

I don't think the search for the perfect red is finished by any stretch of the imagination - I've yet to try the Bobbi Brown red that everyone says is a classic- and as I write this, I've just rummaged in my desk drawer and come across a very serious red I'd forgotten I even had (make that fifteen red lipsticks) - Dior Addict in Red Carpet. Possibly it ticks the 'get you noticed' box a little more emphatically than my everyday red (which I'm wearing in the Dior taxi), but that's all to the good.

Is Basista right? Is bright lipstick the perfect antidote to mid-life invisibility? It certainly seems to give one a much needed confidence boost. However, I'll offer one small warning: the distance between groomed glamour and looking like Bette Davis in 'Whatever Happened to Baby Jane' is little more than a sharp jog of the elbow.


Monday, 12 December 2011

BAZAAR, BASTYAN & A SHOWSTOPPING DRESS

At least half the fun of going to a party is in the anticipation: it's not just the hours spent getting ready, it's endless debate about what to wear.

The big event in the Harper's Bazaar calendar is the annual Women of the Year Awards - and the sartorial stakes are pretty high - I'm pretty sure we talked of nothing but party dresses for weeks beforehand. I had thought of wearing a very nice strapless 'MadMen' style dress I bought for a party not long after the Tiniest Trefusis was born until I came across this from my absolute favourite label, Bastyan. I hadn't thought of wearing long, but since it meant I didn't need to slather my blue-white legs in fake tan, it was pretty tempting, and as ever with Bastyan, the fabric drapes in a wonderfully flattering and luxurious way.

This is me at the party - it's not a very clear picture, but the mirror shows how nice the back is too

This is me just before we left - I've rubbed out the grim office from the background - magazine offices are much closer to The Office than they are to the Devil Wears Prada. One shoulder has a beautiful gold clasp, and the other is designed to drape - I wanted it slightly off the shoulder, so I stuck it in place with some tit tape (I'm sure there's a more elegant word for it - but you know what I mean).

The jewellery is from Carat* - they're simulated diamonds, but they're set so beautifully I defy anyone to be able to tell the difference - I wore the Pear Exquisite necklace, a pear drop tennis bracelet  and an incredibly covetable pair of drop earrings, which shivered and shimmered and caught the light most gratifyingly whenever I turned my head. I don't seem to be able to find them on the website, but these are similar.
Sometimes partywear needs to be a bit of a disguise, doesn't it - it's about costuming oneself appropriately for the occasion: and for once, at Bazaar Women of the Year, I felt appropriate.

The Mormo Maxi dress I wore is on sale in the Bastyan pop-up shop on Regents Street - if you're in the market for a party dress (or a beautiful coat like this one -  the tweed it's made from comes from the same mill as Chanel gets theirs from) then you must hurry to this oasis of loveliness and calm toot sweet because the stand-alone only exists until 24th December.
I asked Tonia Bastyan for her buys of the season - this exquisite lace 'Dia' dress [above], with jet beads that button closely up the wrists promises to be an heirloom piece: I can quite imagine putting it away after a few seasons and saving it for when the Tiniest Trefusis grows up - it's utterly beautiful and absolutely timeless. It has a very elegant wool crepe skirt, but the back is absolutely sheer lace - I've not seen anything of the quality in most Bond Street designer stores. I'm kicking myself that I didn't take a better picture. It's sold out online, however, there were plenty of sizes at the pop up store.

Tonia also picked out this pony-skin coat as one of her favourite pieces - as ever with Bastyan, the devil's in the detail -  it has long woollen gauntlets under the bracelet sleeve - I don't know if they're detachable, but fortunately this is on the website so you can get a better look if you want.  Here's my snap of Tonia with the coat.


London Bastyan Pop Up Boutique 288 - 294 Regent Street W1 Tel: 020 7323 5978

Sunday, 13 November 2011

MRS TREFUSIS TAKES A DIOR TAXI

I've had a life-long love affair with Dior - when I was a child, my father bought my mother a bottle of Diorissimo, and I thought that it was the most luxurious present imaginable. I used to sit and stare at it on her dressing table, admiring the - now iconic - houndstooth packaging and longing but not daring to take the beautiful glass bottle out of its case and dab it behind my ears as I'd seen my mother do.

Working for Harper's Bazaar, it's hard not to be a devotee of Christian Dior - after all, it was Bazaar editor, Carmen Snow, who coined the expression The New Look in 1947, for the exquisite nipped in waists and full-skirts with which Dior created such an impact after the austerity of the war years. 

I've always liked Dior for saying that his 'dream' was to 'save women from nature': never having had much truck with a 'natural look'  myself, I'm more than willing to be rescued. What I like about Dior beauty is that sixty years on from the New Look, and fifty years after Christian Dior's death, the brand is still absolutely true to his original vision. It's all about enhancing, transforming and creating an incredibly feminine, elegantly made-up face. 

With such a promise, it's no surprise my make-up bag is completely Dior dependent - these below are the products I use pretty much every day: I just slap more on to create an evening look. And Sali Hughes is completely right - a navy eye is incredibly wearable, no matter what colour one's eyes. This Dior 5 couleurs palette is particularly versatile.

my makeup, as captured by my utterly rubbish iphone camera
The Skin-flash primer is a work of complete brilliance - I swear it takes five years off me. Under foundation it just brings back that nice glossiness that one seems to lack after forty, and it's packed full of hyaluronic acid, which nicely plumps up fine lines and stops them looking so visible. The 'New Look' lipstick is absolutely the perfect red for me, and I live in terror of it being discontinued - it's all the things I thought were inadvisable in a red lipstick - sheer and shiny with a tiny hint of shimmer - but it really works and helps you avoid the 'all lips' thing you can get with a strong, matte, red lipstick. 

I forgot to photograph my favourite mascara ever - Dior's Extase - it gives you vast lashes without going the full Pauline Prescott. There's a brilliant new one launching at the very end of January, which promises to be even better - 'New Look' apparently creates an 'unprecedented voluminous effect'. I can't wait.

Anyway, coming up for Spring is a whole host of beautiful, tempting new colours, all designed to save me from nature. But in the meantime, I'll continue to enjoy the Dior staples I have - here I am wearing them in Dior's specially customised taxi. 
With Vincent Jeanniard, General Manager of Parfums Christian Dior UK, in the Dior Taxi

Saturday, 15 October 2011

TREFUSIS MINOR, INFANT PÂTISSIER

Three and a half years after starting at the french school, Trefusis Minor can now pass for a natural born tĂŞtard, slipping in and out of French and English without skipping a beat. All the tears and 'don't leave me Mummy's are a thing of the past, and he now reads more fluently in French than he does in English.

At home, only Mr Trefusis is permitted to speak french to him: if I offer a few words, or join in if the conversation round the supper table is in french as it often is, I get a look of withering scorn mixed with pity - 'Please don't try, Mummy, it sounds really horrible: tu vas casser mes oreilles.' he says. If Mr Trefusis sticks up for me (as he mostly does) and tells Trefusis Minor that my french is perfectly good, if strongly accented, Trefusis Minor will concede, begrudgingly, that I don't sound as bad as his English teacher, who really does 'break his ears'.

Anyway, the gallification of Trefusis Minor extends to extra-curricular activities too: after-school clubs are called 'Atelier' which makes them sound impossibly grand, quite as if he's going to come home and start pinning a toile on me for a couture frock. Hope springs eternal, I suppose.

But it's true, isn't it, that everything sounds more elegant in French - last term's Atelier was 'Jeux de Societé' which sounds like experimental sociology but seemed to mostly involve learning how to play Connect 4 and Draughts. This term, his favourite atelier is cooking: does he come home with the droopy peppermint creams, rock buns and butterfly cakes I remember learning in cookery as a child? He does not. So far, he has learned how to make a clafoutis, madeleines, financiers, and some kind of small savoury tart. I fully expect him to be working his way up to a croquembouche, or to suddenly appear with a selection of tiny macarons to rival Pierre Hermé or Ladurée.

I think this should be greatly encouraged - if he keeps it up, he'll be able to make the Tiniest Trefusis' birthday cake - in a few years, I might even be able to earn back the school fees by hiring him out for dinner parties.

Wednesday, 5 October 2011

ON INSOMNIA (2)

I seem to have conquered the insomnia, for which relief much thanks. Someone suggested I might be hungry, which seemed an absurd idea, til I tried eating dinner very slightly later, and drinking some hot milk before bed, and then it was suddenly seven a.m. and I'd not woken once and all that day my synapses snapped and sang with delight at not having my thoughts mediated through a fog of dull exhaustion.

I am very much hoping I shall stay sleeping soundly from now on, and plan to read this wonderful Fleur Adcock poem every night in bed as a talisman to ward off further bouts of insomnia.

There are worse things than having behaved foolishly in public.
There are worse things than these miniature betrayals,
committed or endured or suspected; there are worse things
than not being able to sleep for thinking about them.
It is 5 a.m. All the worse things come stalking in
and stand icily about the bed looking worse and worse

and worse.





Friday, 30 September 2011

SMOKING

Brigitte Bardot, Terry O'Neil
I was nearly sixteen when I smoked my first cigarette, deep into the old gardens at school, under a tree. It was pouring down, as ever, and we went through an entire box of matches trying to light the damn thing, and even now the smell of smoke hanging heavy on cold damp air conjures the ghost of stolen pleasures.

The cigarette was Dunhill, which at the time seemed the apogee of glamour, filched by my best friend from her parent's cocktail party one exeat, and carefully smuggled back, hidden in a box of tampax. Neither of us had much idea how to smoke, which added to the difficulty of lighting it because it took us a couple of goes to realise that you had to suck in at the same time as holding the match to the end, and we shared the cigarette in a series of jagged, exaggerated puffs, wrists held stiffly like dowagers, neither of us inhaling, even accidentally. Had I inhaled, I'm quite sure I'd never have smoked again, but as it was, that first time had all the allure of the illicit, and we were determined to acquire the sophistication we felt sure smoking would confer on us. We may have been two schoolgirls huddled together, in our woollen kilts and gabardine macs in the clammy air, but in our heads we were Jean Seberg in A Bout de Souffle, Joan Collins in Dynasty, Faye Dunaway in The Thomas Crowne Affair, Catherine Deneuve in Belle De Jour. Life had never seemed so daring. This was what it felt like to be a proper grown-up.

A little less than ten years on, when I was trying to give up, I realised that it was the pose of smoking I was addicted to, rather than the nicotine, or trying to stay thin, or the sheer habit, or the social smoking, or whatever other reason one usually gives for smoking. Cigarettes were less of a psychological prop than a literal prop: they simply complemented whatever role I was inhabiting at the time. I spent my mid teens smoking brightly-coloured Sobranie Cocktails, the perfect accessory for a New Romantic. At university, I imagined myself a left-bank intellectual circa 1968, and carried a pack of Gauloise around with my copies of Barthes and Baudrillard: Fortunately for my health and my wallet, I found them so revolting I could only ever smoke one a day. A little later on at university, when I was briefly a placard-waving socialist-culturalist-feminist, I smoked roll-ups in a print frock and clumpy Doctor Martins and later still, in my first job, I had shoulder-pads in my nipped-in, double-breasted, pencil-skirted suit, and in the pub after work I propped twenty Marlborough Reds on top of my outsize Filofax.

Anyway, I managed to quit, partly by curing myself of the need to be such a hopeless poseur. And an ex-smoker I remained until almost twenty years after that first fag when, on holiday with my Godbrother in Tuscany, sitting outside a chic coffee bar, espresso in hand, Prada sunspecs glued to our faces, he remarked idly that the only thing we were missing to make the experience truly contextual, was a cigarette. Did I demur, or point out that we were, at thirty-three, far too old and sensible to take up smoking again? I did not. 'We'll give up in the departure lounge,' I said, and promptly lit up.

Of course, we didn't give up at the airport at all but passed customs with 200 Marlborough Lights in a Duty Free carrier bag.  I managed to wean myself off what quickly became a twenty a day habit by the winter of that year, but still scabbed a fag whenever I had a drink in my hand.  I gave up properly when I realised I was pregnant with Trefusis Minor, but took it up again the minute I returned to work, keen to prove to myself I was still a bit of a rebel, not merely a pinny-wearing, carrot-pureeing mummy. But my heart wasn't really in it.  And by the time the Tiniest Trefusis came along, smoking gave me up altogether - tipsy after a supper-party, I took a cigarette from Mr Trefusis' emergency stash, and it tasted so unutterably vile in a way smoking never had at anytime during the preceding twenty five years, I immediately ground it out, taking a huge belt of someone's after-dinner whisky to try to take the horrid taste away.

Of course, the thing about smoking is that one has one's first fag in an attempt to look more grown up, and by the time one is an actual bone fide adult, you realise that it's neither big nor clever. I don't miss smoking, but I miss the camaraderie of smoker's corner, the gang membership of the ashtray, and I never mind keeping a friend company as they shiver outside a restaurant or the office. But I won't smoke again.  Not even if someone offered me a More Menthol, a la Joan Collins, or a Sobranie Black Russian, like a character from James Bond.