Sep 132012
 

Carla Fracci Aurora The whiff of celebrity: Carla Fracci launches her new perfume, Aurora has his under­wear col­lec­tion, singer Jes­sica Simpson has a wildly pop­u­lar fash­ion label, and Italian baller­ina has her per­fume collection.

Yes­ter­day, in Milan’s chic 10 Corso Como, the sev­enth fra­grance in the col­lec­tion was launched: Aurora, named after one of the étoile’s favour­ite roles. In fact all the collection’s per­fumes are named after roles she has played: Medea, Salomé, Odette, , Ham­let (yes Ham­let!) and the role she plays best, Carla Fracci, which was the first in the series to be launched.

Of course there’s noth­ing new about celebrity per­fumes. Eliza­beth Taylor was the first off the mark with Pas­sion, and her 1991 White Dia­monds is still one of the most pop­u­lar on the mar­ket. has a fra­grance, Rihanna and Bey­oncé too, Jen­nifer Anis­ton and Ant­o­nio Banderas have one, even little has his own scent. The list is long, but almost exclus­ively con­sists of sing­ers and act­ors, with a bit of Paris Hilton thrown in here and there. Baller­inas are nowhere to be seen.

Bal­let dan­cers are cer­tainly off the radar as far as the mass media are con­cerned, and that is per­haps part of the appeal for Mario Usellini, the pres­id­ent of Carla Fracci Par­fums, who developed the line with her. The eleg­ance and grace of this bal­let icon, on and off stage, made Fracci the ideal choice to rep­res­ent per­fumes aimed at a more exclus­ive mar­ket. Cer­tainly, she has a name known world­wide, but she’s not in the league of the stars of the twit­ter­ing classes with Gaga’s mil­lions of ‘little mon­sters’ and Bieber’s ‘beliebers’. This is reflec­ted in the mar­ket the respect­ive com­pan­ies are aim­ing for with Bieber’s Someday cost­ing about half of Fracci’s Gis­elle. And that’s for the eau de par­fum, as the Bieber line doesn’t include the more pres­ti­gi­ous ‘par­fum sans eau’. In fact these fra­grances can’t be picked up at the local shop­ping centre, but in care­fully selec­ted stores like the Nord­strom Centre in San Fran­cisco and Moscow’s GUM depart­ment store. And of course in Milan’s 10 Corso Como.

AURORA 30 parfume copia The whiff of celebrity: Carla Fracci launches her new perfume, AuroraSo what does Aurora smell like? Well, as it’s not my field, here’s the blurb:

In a vibrant break­ing of a spell, like a long-awaited kiss, Aurora makes a lumin­ous and scin­til­lat­ing appear­ance, with the spark­ling and ton­ing scents of Ber­ga­mot and Pink Pep­per. A del­ic­ate but pas­sion­ate awaken­ing gently comes to life: the rich and intense floral notes of Rose of May open up, illu­min­ated by romantic Violet and the vel­vety notes of White Peach. As in a per­form­ance of enchant­ing beauty, soft and delight­ful touches of Helio­trope are enriched by the boisé char­ac­ter of Cedar Wood and the seduct­ive vigour of Musk.

So there you have it. I had a little cloud of it float­ing around me yes­ter­day even­ing and although I have no idea whether it was the White Pep­per or the Pink Peach, it smelled alright to me!

10 corso como milan The whiff of celebrity: Carla Fracci launches her new perfume, Aurora

Pho­tos from top: Carla Fracci at the Milan launch; the new per­fume Aurora, the styl­ish inside of the 10 Corso Como shop

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  • wp socializer sprite mask 16px The whiff of celebrity: Carla Fracci launches her new perfume, Aurora
  • wp socializer sprite mask 16px The whiff of celebrity: Carla Fracci launches her new perfume, Aurora
  • wp socializer sprite mask 16px The whiff of celebrity: Carla Fracci launches her new perfume, Aurora
  • wp socializer sprite mask 16px The whiff of celebrity: Carla Fracci launches her new perfume, Aurora
  • wp socializer sprite mask 16px The whiff of celebrity: Carla Fracci launches her new perfume, Aurora
  • wp socializer sprite mask 16px The whiff of celebrity: Carla Fracci launches her new perfume, Aurora
Dec 232011
 

Q&A

Alberto Pretto Alberto Pretto answers the Gramilano Questionnaire... Dancers’ EditionWhen did you start dan­cing?
At the age of 14. It had been hard to con­vince my dad to take me to my first bal­let class!

Why did you start dan­cing?
I always wanted to dance since I was little. Dance has always been a part of me.

Which dan­cer inspired you most as a child?
I don’t exactly remem­ber, but Roberto Bolle has always been an ispir­a­tion for me.

Which dan­cer do you most admire?
Svet­lana Zakhar­ova. She is my idol!

What’s your favour­ite role?
and .

What role have you never played but would like to?
I’d love to play Odette in the Trock’s ver­sion of one day!

What’s your favour­ite bal­let to watch?[con­tinue reading]

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Nov 092011
 

In 2006 Mon­ica Mason decided to go back to the begin­ning with the Royal Ballet’s sig­na­ture bal­let, The Sleep­ing Beauty: con­sign the 2003 Makarova dis­aster (“dra­mat­ic­ally shape­less and emo­tion­ally flat” said The Times) to the dust­bins, and restore Oliver Messel’s 1946 pro­duc­tion. That was the year that the Vic-Wells Bal­let moved to the Royal Opera House.

There has now been a slight change, as David Dou­gill explains in The Sunday Times,

In 2006, Mon­ica Mason and Chris­topher New­ton made this splen­did resta­ging of the land­mark 1946 pro­duc­tion, but the cos­tumes were rein­ter­preted. Now we find that many of those for the palace scenes have been metic­u­lously re-created from Oliver Messel’s ori­ginal archive, and what a spec­tac­u­lar dif­fer­ence it makes to see his bold, vibrant palette of col­ours and intric­ate dec­or­a­tions.… [con­tinue reading]

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Oct 262011
 

sleeping beauty Matthew Bournes Sleeping Beauty   from Petipa to iPads is to cre­ate a new ver­sion of bal­let Sleep­ing Beauty with “vam­piric influences”.

The work will be premiered at Christ­mas as part of a sea­son at mark­ing 25 years of Bourne’s com­pany, New Adven­tures. Earlier works, includ­ing and Play Without Words, will also be show­cased at the Lon­don venue in 2012.

Perrault’s time­less fairy tale, about a young girl cursed to sleep for one hun­dred years, was turned into a legendary bal­let by cho­reo­grapher, Marius Petipa, in 1890. Bourne takes this as his start­ing point, set­ting the Christen­ing of , the story’s heroine, in the year of the ballet’s first per­form­ance; the height of the Fin-de-Siecle period when fair­ies, vam­pires and dec­ad­ent opu­lence fed the gothic ima­gin­a­tion.… [con­tinue reading]

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