The Art of Dressing Up

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I'm pretty sure I can remember when it all began.

At primary school our class had a huge dressing up box with vibrant pieces spilling out of it, fit to bursting. I remember scrambling to pluck the same item out of the box with my chubby fingers every playtime.

It was a pillar box red flamenco dress with sequined black polka dots and undulating ruffles in the skirt and sleeves. Always suitably over-dressed, even at five years old. It swished and flared as I span around and even at that age I recognised the thrill that adorning yourself with beautiful things could bring.

The art of dressing up has inspired me ever since and I’ve had a shot at replicating my very own dressing up box wherever I live - elegant vintage pieces, bold pieces of jewellery handed down, ordered online or purchased from travels around the globe, a rainbow-coloured spectrum of shoes, fringed, printed scarves and thin and chunky belts. You get the picture.

So discovering Gigi's Dressing Room in Walthamstow, London for the first time felt like finding a hidden dressing up box, blowing off the dust and striking rich. In a modest but fitting area of Wood Street Indoor Market, there are clothes, shoes, hats and jewels literally dripping from the ceiling. Each arranged piece is unique and splendid and simply made for trying on.

The owner Galina Sherri (or Gigi to her friends) is the master of the magic. About ten years ago, like most women no doubt, she realised she had far too many clothes (Hmmm. Can you ever have too many, I wonder?) and worked at vintage fairs and markets to sell some of her wonderful vintage finds. Some clever networking at Spitalfields Market helped Gigi hook clients who didn't like the act of shopping itself but needed assistance with styling outfits for exciting parties and performances. Seamlessly becoming a personal shopper and stylist, Gigi went to their homes to save the day and in turn they came to her.

Then, in February 2012, Gigi learned of Wood Street Indoor Market, formerly an old antiques centre and soon to be renovated into a local centre of arts, craft and vintage treasures. Gigi had the foresight to rent a small room there and as if by magic, the dazzling Gigi's Dressing Room was born. 

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Things got bigger and better and before long, at the beginning of 2014, she moved her emporium in the middle of the market and The Dressing Room became the dazzling centre piece.

Gigi used to source her beautiful pieces from markets and vintage shops but as she got busier, she started buying into the shop. Clients and excited shoppers would bring their grandmother's prom dresses and fabulous evening gowns (from another dazzling, glamorous era. Believe me, I've seen them and they are stunning) and she also bought from acquaintances who work in the theatre and cinema.

Gigi's pride in the business means she takes personal care of her customers. She wants to make it fun to dress up for parties and events - which is exactly what it should be. Fashion is a hoot; outrageous and fabulous, and it's not to be taken seriously even if it does infiltrate and take over your life quite often.

On my first visit to the Dressing Room, I looked around in silent awe at the items that dripped from the rails. Inwardly vowing not to buy anything because I DID NOT NEED ANY MORE CLOTHES, I smiled politely and got ready to leave after a brisk perusing, a waft of a dress here, a peek at the odd pair of shoes there. Within an hour (yes, I stayed an hour and nearly missed an important appointment) I had been utterly charmed by the quality and variety of pieces on offer and was chatting to the fabulous Gigi like an old friend. She's a clever one; having quietly observed my careful studying from the sidelines, she noticed I couldn't quite leave a beautiful yellow, green and peach satin dress alone and began a gentle, persuasive nudge for me to try it on - you know, just to see what it looks like, just try it on, it'll be fun! Like dressing up.

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Unable to resist, I was in the changing room, trying it on and it was in the bag before I knew it. Gigi gifted me an oyster grey and pink pearl ring in a charming vintage box which made the experience even more special.

Fashion addiction can be an expensive habit, but do not despair; since last year outfits and costumes from Gigi's Dressing Room can be hired out as part of her continued effort to discourage consumerism. There's also a lot more to Gigi than dressing up. She runs small sewing and knitting groups and organises fashion events three times a year.

Shopping at Gigi’s Dressing Room is a truly wonderful spectacle. A place to trawl through alluring clothes that coruscate and beckon you from the rails, pop your feet in a pair of retro shoes, admire your fingers in dazzling cocktail rings and much more. It creates the opportunity to try things on, play dress up, fall madly in love with a special piece and have it customised to suit your unique shape. You can float out feeling a million pounds, knowing that you won’t bump into anyone else at that party / gig / performance / festival / wedding in the same outfit you have safely folded in your shiny new bag.

Thank you Gigi, and long live the art of getting all dressed up with somewhere to go.

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Years & Years (and Years)

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It took some rough sailing on a choppy sea of ticket websites before I bagged two tickets to see Years & Years at Heaven in London this  March (five times the face value you say? Get lost!).

As my confessional tweet below from a few weeks ago testifies, I'm horribly late to the Years & Years party - the band have been gaining traction for a while now with music moguls predicting they will hit the big time any day soon.

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I didn't know a lot about Years & Years at the time of said tweet. I hadn't intended to leap onto the cool bandwagon and join the hip kids for the sake of it. I was just naturally curious because (a) I love checking out new music and (b) I've rinsed my current running playlist (there is only so many times you can listen to Beyonce's Drunk in Love no matter how amazing it is and yes, the playlist also contains Dirrty by Christina Aguilera  - and what?).

I was interested because their music was described as being rooted in 'R&B and 90s house elements' and, well, they had me at 'R&B' and then '90s'. Nothing has ever come close to beating my Pure Swing cassette compilations back in the day, when cassettes were not ironic but a widely available music format. In my burgundy pink Fiat Uno in 1995, blaring Jodeci out of the only window that would open all the way down I honestly thought I was the shit. The shit, I was not.

Anyway, I digress, On first listen of Years & Years' Take Shelter my ears perked up and I gorged all of the available online stuff in one huge feast. It was really bloody good, like nothing I'd heard for a long time. Their sound is all infectious beats and synth sounds, soulful harmonies and a kind of easy nonchalance that appears seamless, not try-hard. They pull off energetic 90s dance in Desire, which reminds me of Good Life by Inner City, just as well as they do haunting and beautiful with Memo.

Years & Years are Olly Alexander, Mikey Goldsworthy and Emre Turkmen. They were crowned The Sound of 2015 in the respected BBC Music poll and upcoming shows at the Shepherd's Bush Empire and Heaven in London have sold out. No doubt festival appearances will be ahead, which is exciting. I'm gutted I missed them at 2014's Latitude which I attended. What on earth was I doing? Piddling about getting beers and having glitter painted onto my drunk face no doubt.

I have redeemed myself. The Heaven gig's only a few weeks away and I have the standard frenetic excitement I associate with live gigs, but with an added anticipation that comes with hearing the real thing live after umpteen listens on SoundCloud. I'm slightly nervous about how horribly uncool I'll look compared to other giggers, who I assume will be an army of fabulous hipsters resplendent in 90s gear. I'm considering busting out some original Naf Naf;  surely that's come around again?

If after reading this you're curious, check out Years & Years on SoundCloud and sign up for updates and free downloads via their website. For the true 90s freaks, their cover of Blu Cantrell's Breathe is fun and better than the original in my opinion. Take Shelter, Real (with Ben Whishaw dancing in the video) and Memo are my current standout tracks.

Time will tell if the band have longevity in a crowded and sometimes fickle music market but with a Critic's Choice Award nomination at the 2015 BRIT awards, new single King out on 1 March 2015 and a debut album out in June 2015, my money's on Years & Years.
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Julian Joseph - Masonic Temple, Andaz Hotel London, 11 July 2014

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'World-class jazz pianist with large-scale compositional skills and a passport to the contemporary-classic world' - The Guardian

There are some concerts that simply take your breath away.

Ellington at the Temple, performed by Julian Joseph as part of the City of London Festival, was unquestionably a breath-taker. A number of components made it an enchanting evening - the mystical venue, the unmitigated talent of the performer and the power of the music of Duke Ellington.

Julian Joseph was born in London and grew up amongst an exceptionally strong crop of British jazz musicians before taking up a scholarship at the Berklee School of Music in Boston, Massachusetts in 1985. He is a noted solo performer as well as a prodigious composer and arranger of classical and jazz music for big band and strings, full symphony orchestra and opera. To add further to his accomplishments, he is also a respected broadcaster having presented jazz television series and several radio shows. He is also the recipient of a number of music awards, including his most recent accolade - a British Academy of Songwriters, Composers and Authors (BASCA) Gold Badge for his contribution to the British music industry. Julian is also a trustee and vice-president of the National Youth Jazz Collective.

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It is widely recognised that Duke Ellington was one of the greatest pianist and composers to have lived. However, it is perhaps less well known that he was a member of the secret society of the freemasons along with some other well-known African-American musicians including Dizzy Gillespie and Nat King Cole. So when a long dormant and beautifully opulent masonic temple, built in 1912, was recently discovered next to Liverpool Street station in London (now the very impressive Andaz Hotel) the City of London's Festival Director, Paul Gudgin, believed it would be 'a perfect place to play tribute' to Ellington.

So it was on a bustling Friday evening that I found myself cocooned in this elaborate, neo-classical venue as a guest of Jazz FM to witness a remarkable performance from Julian Joseph. A 'perfect place' indeed it was - a masonic temple with reportedly twelve types of marble and gold gilt, the space was remained forgotten and walled off for decades before it was rediscovered during a refurbishment of the hotel in the 1990s. A golden pipe organ, monochrome checkered floor laid in marble and hand-carved mahogany furniture evidenced the dramatic craftsmanship. Candles burned around the room to create a formidable yet terrific air of secrecy.

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Julian Joseph at the Masonic Temple, Andaz Hotel Liverpool Street for City of London Festival 2014 Credit: City of London Festival

My friend and I had the pleasure of bumping into Julian Joseph in the hallway minutes before the show began. He was cordial and thanked us for coming, a humble response given his status as one of the finest pianists to emerge this side of the Atlantic and a powerhouse in contemporary jazz for over two decades. So when he arrived into the room, with a 'Lovely to see you all' and 'Let's see what I have got for you, I already felt as if we were acquainted.

He took his seat at the grand piano and introduced the first song to be taken from Ellington's considerable repertoire, Do Nothin' Till You Hear From Me. His playing was dynamic and immediately compelling and the noise reverberated around the temple aided by the remarkable acoustics. It was almost the only sound that could be heard in the windowless but far from oppressing temple, aside from my pencil softly but frantically moving across the page of my notebook as I tried to capture the visual and audio experience without making any noise at all. To use an iPhone would have guaranteed silent note taking, but a smartphone was the antithesis to the beautiful surroundings and sensation of being present in another time.

Julian Joseph noted that the next song, Heaven from the Second Sacred Concert album was as equally as deceptive at the beginning and I agreed; the song changed pitch somewhere in the middle and I felt like I was listening to an entirely different song. It was played effortlessly with a depth and vitality that left the intimate audience of around sixty people enraptured, in effect our own little lodge worshipping the sound. Some people had their eyes closed while others elicited a satisfied murmur of approval. As for me, I couldn't conceal a contented smile. It felt somewhat esoteric to be part of the audience but there was no sense of exclusivity.

Guest's chairs for the evening were hand carved mahogany thrones conjoined in a circle around the room. One great throne faced the audience, also framed by candles, as if reserved for a Grand Master presiding over us all and listening to the music. My own throne afforded me a vantage point; as Julian Joseph played his fingers moved across the piano dexterously, as if possessed by the spirit of Ellington himself, and his feet tapped along to the rhythm of the music. The turquoise and gold-gilded domed ceiling loomed brilliantly above the piano, adorned with signs of the zodiac. A beautiful lightbulb in the shape of a stair and four great marbled lights in the shape of scales added a cryptic air.

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Julian Joseph at the Masonic Temple, Andaz Hotel Liverpool Street for City of London Festival 2014 Credit: City of London Festival

A Song for my Father was my favourite of the pieces performed that evening. With each pieceJulian Joseph performed he told an anecdote or provided an interesting narrative which embellished the music. Part way through the performance there was a mysterious clatter from somewhere behind the Grand Master's throne, and the official photographer and I looked at each other quizzically and grinned. I like to think the music roused the spirits; maybe it was a pantheon of the all time jazz greats expressing their pleasure of a man honouring their legacy with such skill and respect.

With one more beautiful piece played, Julian Joseph bowled graciously, smiled at his fraternity and left the room while the intimate audience kept up a steady stream of applause. 'That's a long way to go to make a point' he quipped as he returned for a well deserved encore before making his exit.

The biography on Julian Joseph's website provides a perfect synopsis.'The multi-faceted dimensions of his artistry are plain. As a pianist he is unsurpassed, as a composer he has brought new vitality to the music, and as a descendent of the jazz greats, he is not only fulfilling their legacy, but continues to honour their ground-breaking spirit into the twenty-first century.'

Ellington at the Temple enabled me to get lost in music, escape modem life for an hour or so and experience something so special. Julian Joseph is a true champion of the music.

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Credits
A special thank you to Paul Gudgin (City of London Festival Director), David Lasserson (Associate of Brunswick Arts Consulting LLP) and City of London Festival for assistance with this article and for the photographs as credited. 
References
  1. 2 July 2014 - the guardian.com - The Secret history of the jazz greats who were freemasons
  2. 9 December 2009 - Londonist - In pictures: The Masonic Temple of Liverpool Street
  3. Date unknown - Atlas Obscura - Masonic Lodge of the Andaz Hotel
Links
City of London Festival
Julian Joseph
The Julian Joseph Jazz Academy
Jazz FM

CRYSTAL PALACE, YOU LOOKED WONDERFUL OUT THERE

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I don't know the exact number of times I've seen Dirty Dancing. 

It was released in 1987 and so based on a scientific calculation of (DVD watched at random times) + (obligatory Christmas viewing) x (searching YouTube clips for the best scenes) = a lot.

Yet, when the opportunity came to watch it for the 108th time but this time al fresco, lying re supine on a blanket with 'outdoor' facilities and to pay for the honour - care of The Luna Cinema, the UK's Number 1 Open Air Cinema, I didn't give it a moment's deliberation. I was there.

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The classic story of Frances 'Baby' Houseman and Johnny Castle dirty dancing their way to heart-aching love has not been tarnished by time or trend. It is perfectly acceptable to appreciate a noir Lynch classic, reel off an art house film as the finest ever made and cite an Almodóvar as your favourite AND love DD. It remains as beautiful as it was on its initial release and renders me an emotional wreck even to this day.

The Luna Cinema travelled to Crystal Palace, SE19 on 21 June and oh, what a night. A section of the park had been cordoned off to create a nifty outdoor theatre complete with gargantuan projector screen and surround sound, fancy Benefit makeup bar, posh burgers and the obligatory bar. Premium seats were available in the form of a Directors Chair but my friends were and I were happy to rough it on blankets which provided a perfectly good view of the huge screen. A quick nose around at fellow DD film buffs showed that gourmet picnics were packed impressively, watermelons featured heavily in fruit and frozen daiquiri form and the excited chattering was penetrated with the regular pop of prosecco corks. One of my favourite sounds. Ever.

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Summer had finally arrived as we chatted excitedly, took groupies and made hilarious DD quips based on how many times we'd seen it and our precise knowledge of every single scene, song and sentence delivery. 'Better go to the loo now, don't want to miss a bit, ho ho', etc. We waited patiently for the sun to go down and finally it was time, the familiar drum beats of The Ronettes' Be My Baby and the black and white images of those dirty dancers in slow motion adorned the screen.

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Watching a film en masse is strangely comforting and terrific fun. There was a whiff of hen party in the air, the odd scattering of bloke in the crowd for good measure and not a gobby back row kid chucking popcorn in sight. Just like-minded adults who sometimes want to forget the real world and be a teenager again (who holidays at Kellerman's and gets to snog Patrick Swayze).

Throughout the entire performance - from start to finish - we cheered heartily in unison at the best bits, whooped appreciatively whenever Johnny adorned the screen, whistled at the saucy bits and sang along to the incredible 1960s soundtrack in a quasi-outdoor karaoke completion.

My outdoor DD experience made me realise many profound things, including:

  • All the best scenes are 100 times better than you remember when magnified on a big screen, when you are grown up enough to understand the issues at hand and when your lovely mates are your film buddies.
  • When we first burst through the doors of the staff quarters care of Baby, Billy Kostecki and oversized watermelons it is the bestest, sweatiest, dirty party we've never been to and Otis Redding's Love Man is the perfect track.
  • Still on a Billy note, he's overrated. We definitely would have tried to get off with him if his cousin Johnny had rebuked our advances.
  • The lake / log / practice-lift scene is a beautiful, funny and charming piece of cinematography and the subtle piano teaser of (I've Had) The Time of my Life makes us go a bit gooey as we consider THAT scene is ahead. It also begs the question, why wasn't there a lake with a log and boys to dance on said log with at Sandhills Holiday Park, Dorset? Well Mum and Dad?
  • Baby and Johnny's 'fill in' dance at The Sheldrake to the sounds of De Todo Un Poco (anyone else sing their own version of that song even though they don't speak Spanish? De der der der der, DE TODONPOCO etc) is hilarious and Jennifer Grey's facial expressions and the way she disguises her mistakes with hand gesticulations is pure comedic genius.
  • It is impossible not to show off and recite familiar phrases after a few glasses of fizz and when in a group-based situation. Fair weather DD fans comfortably know Nobody puts baby in a corner and spaghetti arms. Die hard DD fans, however, yell out the obscure stuff at the screen with inhibition. Baby? Is that your name? Well you know what Baby? You don’t know shit about my problems and Take that stuff off your face before your mother sees you. Or Baby, I’ll do your hair. It could look pretty if…No. Prettier your way. Or shouting out Bill Medley's Oh yeah, yeah, yeah as Johnny leaps off the stage in the final dance scene, like me. Pure showing off.
  • Patrick Swayze was a perfect, beautiful actor who played Johnny was sensitivity, grace and fierceness and looked ridiculously fit. When he punched Robbie Gould and said 'You're not worth it' with such dazzling menace, deep down we all wanted him to put his face in our stomach while we hung out in the staff lodgings. We would have told our Dad he was our guy, no hesitation. (On a serious note, his death was premature and he'll never, ever be forgotten).
  • Marjorie Houseman may live in the shadow of Dr Houseman and be excluded from the Baby-Daddy relationship for most of the film, but when she delivers those killer words ' Sit down, Jake', it is exquisitely powerful. A feminists rally cry. She's the boss, Doc, and don't you forget it.
  • The outfits are insane. Reference: Baby in denim shorts, peach body top and pristine white pumps or pink chiffon skirt and white vest top knotted at the waist. Penny in any dress. Any dress at all.

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Our al fresco viewing pleasure flew by in a flash and there was a noticeable crescendo of excitement as the final dirty dance of the season approached. For the 100+ pickled, nostalgic and over-emotional crowd it was almost too much to bear. It was near on hysteria when Johnny returned with leather jacket.

Deep down, we all felt like we were leaving Kellerman's after the best summer of our lives; after all, for our generation this was our coming-of-age film and we experienced that gut wrenching end-of-holiday feeling. Our emotions over spilled, we joined hands and hearts and voices, voices, hearts and hands. We shouted, we whooped, if the truth be told we got a bit breathless to that iconic final scene as if it we were seeing it for the very first time. The end of the film left, as always, lots of unanswered questions about the famous Baby and Johnny and the feeling was jubilant but wistful as we made our back to reality. Just when did we grow up so much?

Luna Cinema, great job. I've read other reviews of similar outdoor showings of Dirty Dancing where it got a bit silly, the people got lairy and the atmosphere was not good, but not here. In Crystal Palace Park that night we were all friends together, bonded by our love of this amazing film. We laughing at each other's jokes, shouted out clever quips and celebrated by dancing in the park at the end.  The staff were helpful and amiable and I could have sworn I saw a steward dancing through a prosecco haze - but on reflection he may have been stopping an overzealous dancer getting too close to the projector and got unwittingly pulled into a dirty dance.

Thank you. We had a blast, and we owe it all to you. (Sorry).

Luna Cinema Website

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