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The Glamour of Italian Fashion 1945 - 2014 / VA London / 5 April - 27 July 2014

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A Gianfranco Ferre advert from 1991
Lead sponsor
Bulgari
The Glamour of Italian Fashion 1945 - 2014: About the Exhibition

This major exhibition is a glamorous, comprehensive look at Italian Fashion from the end of the Second World War to the present day. The story is explored through the key individuals and organisations that have contributed to its reputation for quality and style. It includes both womens and menswear to highlight the exceptional quality of techniques, materials and expertise for which Italy has become renowned.

The exhibition examines Italy's dramatic transition from post-war ruins to the luxury paraded in the landmark ‘Sala Bianca’ catwalk shows held in Florence in the 1950s, which propelled Italian fashion onto the world stage. During the 1950s and '60s the many Hollywood films that were shot on location in Italy had an enormous impact on fashion as stars like Audrey Hepburn and Elizabeth Taylor became style ambassadors for Italian fashion, fuelling a keen international appetite for luxurious clothing made in Italy. On display are around 100 ensembles and accessories by leading Italian fashion houses including Simonetta, Pucci, Sorelle Fontana, Valentino, Gucci, Missoni, Giorgio Armani, Dolce & Gabbana, Fendi, Prada and Versace, through to the next generation of fashion talent.

Return to Luxury
In 1945, Italy’s post-war government aimed to reinvigorate a country weakened in spirit and in physical and financial ruin. With American aid provided through the Marshall Plan, the swift retooling of Italian factories alongside efforts by the country’s many entrepreneurs helped fashion become a cornerstone of Italy’s post-war recovery.

In 1951, Giovanni Battista Giorgini launched Italy’s first internationally recognised fashion shows. The following year, he secured the use of the Sala Bianca or ‘White Hall’, an opulent, chandelier-lit gallery in Florence’s PittiPalace.


As clothing designers and textile manufacturers gradually resumed trading, their stylish designs responded to a hunger for glamour after years of wartime deprivation. Italian high fashion and fine tailoring became popular exports.
The Italian stylist Valentino poses among his models near the Trevi fountain, in Rome, in 1967. Photograph: Mondadori Portfolio/the Art Archive

From bomb sites to Bulgari: V&A falls under the spell of Italian glamour
A new exhibition charts how postwar Italytransformed the world's perceptions of it, using its greatest export: style
Jess Cartner-Morley
The word glamour originally meant magic or enchantment: to "cast a glamour" was to cast a spell to make something appear different from reality. And it is glamour in this sense – what the author Virginia Postrel calls nonverbal rhetoric – that is at the heart of the V&A's new exhibition, The Glamour of Italian Fashion 1945-2014.

Not that glamour in its modern, mainstream sense is in short supply: there is, naturally, a leopard-print gown by Roberto Cavalli, and a devastating cutaway cocktail dress by Donatella Versace.

There is a stunning 1950s silk cocktail dress in millefeuille layers of scalloped violet silk by the largely forgotten Roberto Capucci, and a floor-length gown of beaded silver by Mila Schön that was worn by Princess Lee Radziwill to Truman Capote's Black and White Ball in 1966. (Both of these dresses are displayed with their matching evening coats: violet velvet and silver bead-edged white silk, respectively. That's glamour, right there.)

There is a slinky black silk dress worn by Ava Gardner, a pristine white gown made for Audrey Hepburn, and a sumptuous silver evening coat made for Maria Callas

But the central message of this show is a serious one, about how fashion was used to transform the image and fortune of Italy in the second half of the 20th century.

The first image is of a bombed street in Florencein 1946, giving a stark picture of the physical and economic reality of a country with a 50% literacy rate and a badly tarnished international reputation.

The next room introduces as protagonist the figure of Giovanni Battista Giorgini, with letters and photographs chronicling how this exporter of Italian homeware persuaded his contacts in US department stores to travel by boat and train to Florence for fashion shows that brought together designs from all over Italy. Against all odds, the shows were an instant hit: after the first, in February 1951, a Womenswear Daily headline ran: "Italian styles gain approval of US buyers."

In the next room, the story has moved on a decade, to the golden era of Hollywood-on-the-Tiber: Rome has become an alfresco film set, and between takes the world's most beautiful people buy clothes and jewellery on the Via Condotti and enjoy romantic trysts on the Amalfi coast.

On to the walls of this room are projected images of Taylorand Burtondescending arm in arm from a plane and Audrey Hepburn in sunglasses, ribbon-tied purchases swinging from her arm. (Publicity-savvy Ferragamo would book a photographer whenever he heard an actress was in the mood for shoe shopping. Indeed, this was the era which gave birth to the term paparazzo.) In stark contrast to the bombed street, Italy has become a playground, a byword for a chic and modern lifestyle.

This bold storytelling, casting the invention of "Italian style" into a simple narrative, is the exhibition's big strength.

Italy has no national museum of design, and fashion history as a discipline is still in its infancy there, according to the V&A curator Sonnet Stanfill. This, she says, has given the V&A the freedom to tell the story of Italian fashion almost for the first time.

In the second half of the exhibition, where the modern Italian ready-to-wear industry emerges, the clothes are familiar and compelling but the story loses some momentum.

This is in part because the cast list changes so dramatically: of all the designers who showed in the 1951 show, only the house of Pucci remains in business today. But apart from a few Benetton adverts, there is an absence of cultural context around the more modern clothes – a lack that is keenly felt after the gripping drama of the Hollywoodyears.

The exhibition's sponsor, Bulgari – whose diamonds are worn by Elizabeth Taylor in a 1967 photograph that has been one of the most reproduced images of the show so far – must be thrilled.

The show is beautifully and intelligently staged. A display of Italian textiles, which uses a digital map to show areas of wool, silk and leather production, has a subtle soundtrack of machines and looms.

The last and biggest room, devoted to the cult of the designer, has a vaulted, church-like, curved ceiling – but in silk. And classic pieces, including a Prada dip-dyed dress from 2004, an Armani man's suit from 1994, and a 1995 Fendi Baguette handbag are spotlit from below so that they throw soft, ecclesiastical shadows across the white silk above.

It is a smart trick, to depict these modern pieces as classic Italian artefacts. But while this makes for a soaring finale, the heart of this show is in the Roman Holiday glory years.


Fashion show in Sala Bianca, 1955. Archivio Giorgini. Photo by G.M. Fadigati © Giorgini Archive, Florence.

A jewel-bedecked Elizabeth Taylor at the masked ball in Hotel Ca' Rezzonico, in Venice, in 1967. Photograph: AFP




"INTERMEZZO" ... Remains of the Day ...

SUNDAY IMAGES ... Irish Houses ...

AMERICANA / Norman Rockwell . The Tattoo Artist, 1944. Cover illustration for The Saturday Evening Post, March 4, 1944

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Norman Rockwell (American, 1894 to 1978). The Tattoo Artist, 1944. Cover illustration for The Saturday Evening Post, March 4, 1944. Oil on canvas. 43 x 33 in. Collection of the Brooklyn Museum Gift of the artist, Copyright 4SEPS: Curtis Publishing, Indianapolis.

Staged photo of Clarence Decker (left) used by Norman Rockwell for The Tattooist. which was used as The Saturday Evening Post cover on the March 4, 1944 issue.
 Beloved American artist Norman Rockwell (1894 – 1978) is most known for his nostalgic, touching paintings that appealingly depicted simple scenes from everyday life. First hired to illustrate a series of children’s books when he was 16, Rockwell was then hired as the art director of “Boys’ Life,” the official magazine of the Boy Scouts of America. The “Saturday Evening Post,” the era’s most prestigious magazine, bought their first cover from him six years later. For almost five decades, he created 321 “Post” covers, which became his trademark. Later illustrating for “Look” magazine, he probed more serious cultural concerns.

The Tattoo Artist
Rockwell located the equipment and props for this Post cover in a tattoo shop on the Bowery in New York City. In a departure for him, the figures seem to float above the tattoo artist’s sample sheet rather than occupy realistic three-dimensional space.
Cover illustration for The Saturday Evening Post, March 4, 1944.
 Love & Tattoos: The Tattoo Archive on Rockwell's "The Tattoo Artist"
Wed, March 26, 2014
By C. W. Eldridge, tattoo historian of Tattoo Archive, Winston-Salem, NC|@LearnReynolda

Norman Rockwell’s paintings were said to have a very personal feel to them. This is probably because they represented a thick slice of Americana. Rockwell was often accused of looking at Americathrough rose-colored glasses, but the public loved it! When Norman Rockwell’s art appeared on the covers of The Saturday Evening Post, newsstand sales soared.

We believe what made his paintings feel so personal was that Rockwell used his friends and neighbors as models. Norman Rockwell worked from photographs and went to great lengths to pose these photographs with his local community. In his studios in New Rochelle, New York, Arlington, Vermont and later Stockbridge, Massachusetts Rockwell was surrounded by artists, many of them working for the same magazines as Rockwell. These artists and other neighbors were always glad to help Rockwell construct these photographs, and it became a bit of civic pride when they would see themselves in his paintings.

On March 4, 1944 The Tattoo Artist, (also known as The Tattooist) was featured on the cover of The Saturday Evening Post. As with many of Rockwell’s paintings there was a good-natured joke built into them and The Tattoo Artist was no exception. The painting shows the tattooist, Mead Schaeffer, with disheveled hair, soiled pants and house slippers tattooing yet another name on the sailor’s well-worn arm. The sailor, Clarence Decker, is adding to his collection of women’s names on his upper arm. Sadie, Rosietta, Ming Fu, Olga, and Sing Lee all have a black line through their names to let the world know they are history. Below that marked-out list Schaeffer is putting the finishing touches on yet another name, “Betty” the sailor’s new love. The painting not only points out the finicky nature of love but also the permanency of tattooing. Long after these women are in the past, their names are still in the present.



The Great Omi from Upper-class to Zebra Man.

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Horace Ridler (1892–1969) was a professional freak and sideshow performer, a tattooed man exhibiting himself as The Great Omi or The Zebra Man.

Though there is some uncertainty due to the characteristic embroidering of sideshow performers' stories, by his own account Horace Ridler was born into an upper-class family living outside London, and enjoyed a relatively privileged childhood, marked by travel, private schooling and comfort. There are two competing theories about his young life. In one version he is said to have gone on to Oxford or Cambridge, graduating with honours. In the second version, he instead pursued a career in the army and was commissioned as a second lieutenant. Soon after receiving his commission, his father died, leaving him a substantial inheritance. But (again according to the second version) he rapidly frittered his inheritance away on parties, gambling, entertainment and poor investments; and these and other circumstances led to his resigning his commission.

When World War I began, Ridler, now 22, enlisted and was decorated for his outstanding conduct and gallantry when serving in Mesopotamia. Demobilized at the end of the war with the rank of major, with a small pension and few prospects, but willing to take chances, he decided to become an act at the Odditorium. In 1922 he received his first few pictorial tattoos, and began exhibiting himself in small sideshows. This afforded him a meager living, but was not the success he had hoped for.


At some point between 1927 and 1934, while living in Mitcham, a few miles south of London, Ridler took steps to improve his career as a sideshow act. Contacting tattooist George Burchett, he inquired about having himself "tattooed all over". Burchett performed more than 150 hours of tattooing on Ridler with a pattern of curved black stripes, often described as zebra-like, masking the earlier tattoos. He later claimed he spent $10,000 for the procedure, although Burchett said it was only $3,000 and that he was never paid in full.

The extent of tattooing on his lower body is a matter of some debate, but viewers who saw him perform in 1941 have reported that much of his lower body was tattooed with more conventional designs. His body and face thus transformed, he began exhibiting himself at the London Olympia and toured Englandand France, under the name The Great Omi.

Upon his return to England, aware that his act was not interesting enough to provide steady work, he decided to take his transformation a step further, having his ears pierced and stretched to accept large-gauge jewelry, and acquiring a large septum piercing from a veterinarian. He hired a dentist to file his teeth and began to wear elaborate costumes, completing his physical transformation.

Like many sideshow performers, his act consisted of telling tall tales about his body modification. After being introduced by his colorfully dressed wife, Gladys Ridler, performing under the name Omette, he would appear on stage and tell his story. A common monologue claimed that he had been captured and tortured via tattooing in New Guinea, and is similar to tales told by other tattooed sideshow performers. While today this story seems completely implausible, at the time a general lack of knowledge about many areas of the globe provided an opportunity for performers to play on the audience's ignorance and fantasies. Later in life, during his retirement, his stories became even more fanciful, less believable, but no less colorful.


On June 6, 1939, Ridler, now The Great Omi, and his wife Omette arrived at the World's Fair in Queens, New York, having crossed the Atlantic on the ship Laconia and taken up residence at the Hotel Claridge in Times Square. Twenty-two million people attended the fair, where Omi was appearing at John Hix's Odditorium, alongside Betty Broadbent nicknamed the Tattooed Venus, Iron Eyelids, the Anatomical Wonder, and Marvello the Fingerless Pianist, all for an entry price of 40 cents.

Just a few days after arriving in New York, the couple reported being attacked with a knife, claiming that Omi's cheek was slashed by an unknown assailant. No photos of the injury were taken, and the "attack" may have been a publicity stunt, as the New York police records department has no record of the incident. The New York Times News, New York Daily Mirror and New York Herald Tribune all reported the story on June 10, however.

Immediately following the fair, Omi appeared at Ripley's Odditorium Theater as the star attraction. Ripley retained Omi for six months, the longest time Ripley ever showcased a single performer. During that period he appeared more than 1,600 times, often doing nine or ten shows daily.

In 1940, Omi toured with the Ringling Brothers and Barnum and Bailey Circus, appearing as Omi the Zebra Man. He was billed as the star attraction in the sideshow, but left the circus after only one season.

In early 1941, Omi toured both Australia and New Zealand, and spent much of the latter part of the year performing at the beach sideshow Happyland and Bert Lorous Jr.'s "World Fair Freaks" show in Vancouver, Canada. He finished 1941 with appearances with the Rubin-Cherry show in San Diego, California. The Ruben-Cherry show next traveled to Phoenix, Arizona, closing their season in early 1942, and Omi and his wife then criss-crossed Americabefore returning to England. Before leaving America, with World War II underway, Omi tried to re-enlist with the British army, but was not considered acceptable for active service by the British Consul.

Arriving home in a war-weary England, Omi donated his services, giving free performances to troops and charity organizations. He also supported the Allied effort by promoting the sales of war bonds. Omi continued to perform into the early 1950s, retiring at the height of his fame to Ripe, a small village in Sussex, England, where he died in 1969.

The Crimson Field / BBC One

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The Crimson Field, episode 1, review
BBC period drama The Crimson Field is the First World War by way of Call the Midwife, says Serena Davies

The comparisons with Call the Midwife were inevitable. The Crimson Field, now nestled in the Sunday-night prime-time viewing schedule for the next five weeks, is BBC One’s new drama about nurses during the First World War. It is also an opportunity to show us, like Call the Midwife does, lots of well-scrubbed young ladies with plummy voices, alongside some more matronly, fiercer types, dealing with bloody matters of life and death. This they do in both programmes with gusto and good cheer, qualities which accentuate the huge clumsy gash of naked sentimentality which is scored across every moment of every scene.
I find Call the Midwife unbearable. But I actually rather liked The Crimson Field. Despite the absurdly pretty nurses and the over-sanitised sets (note the briar rose climbing up the field hospital wall; and soldiers marching off to the Front unburdened by backpacks), The Crimson Field seemed to have rather more justification to emotionally manipulate us than Call the Midwife has. Birth is everyday. The mass slaughter and irrevocable damage inflicted on millions by the First World War is not. The Crimson Field has a right to make us weep.
It also has Oona Chaplin. Chaplin is the granddaughter of Charlie Chaplin and great-grand-daughter of Eugene O’Neill. As befits that pedigree, she is an exceptional actress. In episode one of The Crimson Field her character formed the central focus of a thin storyline that brought three volunteer nurses to help at field hospital 25A – “not far from the Front” in France. She was the disaffected, grumpy one, Kitty Trevelyan, jaded by love (she tossed a wedding ring into the sea).
Chaplin has stillness, a quality that works wonders on a script as simplistic as this. She made every word stick, and hold you, made you care and she brought the single note of subtlety in the hour, when she played down the fact that a man sent mad by gas gangrene had tried to kill her. “No harm done,” she said quietly with a twitch of her head and a flicker of her eyes that spoke real compassion. With Chaplin at its core, and some very reputable performances skirting hers from the likes of Hermione Norris, The Crimson Field, despite its knee-high corn, is a seductive proposition.


The Crimson Field; Return of the Black Death: Secret History – TV review
Another posh period drama: could those be Downton Abbey girls nursing the wounded soldiers?
Sam Wollaston

A young woman throws a ring into the sea at the start of The Crimson Field (BBC1, Sunday). What could this mean? I'm thinking it might possibly signify her romantic life has gone tits up, she's got a sad backstory. Also that The Crimson Field ain't scared of no cliche. Time will tell.

We're in Boulogne, 1915, and she – Kitty (Oona Chaplin) – is one of three ladies heading off to volunteer at a field hospital just behind the western front. VADs they were called: voluntary aid detachments. Or "very attractive darlings", as one spunky young army surgeon has it. The rascal.

There's something of Downton Abbey's Crawley sisters about these three. So Flora (Alice St Clair) – young, pretty, naive but well-meaning – is a little bit Lady Sybil; Rosalie (Marianne Oldham) is the dull, worthy, less glamorous, unmarried one, whose name I obviously can't remember (nor can I be bothered to look it up); and Kitty is Lady Mary – beautiful, defiant, troubled, ahead of her time, with shorter hair, shorter temper, good with a cig in one hand, would be even better with a ballot paper in the other (yes, there's not just a bloody great war going on up the road, we're on the brink of all sorts of social upheaval as well).

They were generally from well-to-do backgrounds, these VADs, if not all Downton-posh. And look, here's Kevin Doyle, a butler in DA, a surgeon here; same kind of time though, and same kind of feel to it all.

It gets more Call the Midwife once we get to their destination, the fictitious Hospital 25A where well-meaning women in starched linen go about their business. Call the Volunteer Nurse. They're not pulling out babies, of course, they're picking out shrapnel. And dressing terrible wounds, patching up where possible, simply being with the dying when not. Then writing letters to their mums saying their boys went without discomfort or pain. Poor Flora, it's not quite the Guide camp she'd pictured. There are even human body parts – fingers and toes mostly, but the odd bigger one too – in the laundry.

Less chummy than CTM then, but the war, with its misery and death on a massive scale, doesn't help. Nor does Grace (Hermione Norris) the matron. She seems to want to do right by the men, but to the VADs she's a vindictive bully. What is her problem? Another tricky backstory to emerge, no doubt. And the other one, Sister Quayle (Kerry Fox), seems to have a touch of Munchausen by proxy about her too. She rips up poor shellshocked Prentiss's blighty ticket so he's sent back up the line to the front, almost certainly to be shot to pieces (physically – he already is mentally). Quayle's a cake-stealer too. Yes, there's cake-based humour – it shares that with Call The Midwife as well.

To be honest, it looks a bit as if they've looked at what's done really well recently, Sunday night period drama-wise, then picked out the two that have done really well and made a kind of amalgam. Which happily also ties in with a major anniversary.

There are six episodes for now, with more to come if the viewing figures are good. So there almost certainly won't be a satisfactory arc or sense of going somewhere; the complex characterisation or the emotional involvement of a novel adaptation (the recent Birdsong or Parade's End, say).

But the figures will be good, of course, because this country loves a posh polished period soap for a Sunday night. And though it's not my thing (nor were the other two), it is well done – lavish, performed with gusto (Norris's matron stands out), obviously well researched, and historically fascinating. And a rare story of women among all the men and mud. I certainly wouldn't bet on The Crimson Field being over by Christmas.

A bigger killer even than the first world war, the Black Death was deeply scary, and Return of the Black Death: Secret History (Channel 4, Sunday) certainly wasn't going to let you forget it. "Two horsemen of the apocalypse were riding on London in tandem," says Samuel West, narrating, (melo)dramatically. One horseman is the plague, the other famine, brought on by climate change, incidentally.


Not scared yet? Here are skeletons. And a churchy choral score, a bit like The Omen music, haunting bells too, constantly, loud and oppressive, throughout the entire hour … arrrgghhhh.

"INTERMEZZO" ... Remains of the Day ... DAKS / DAKS / DAKS.

Bankruptcy forces baronet out of family seat. Sir Charles Both he and Lady Wolseley, his American wife, were declared bankrupt after a venture in the 1990s to turn the estate's gardens into a tourist attraction collapsed. Aristocracy - Survival of the Fittest: 1970-1997 4th part (+afspeell...

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The Aristocracy series originally aired on the BBC. Each episode explores a period in the history of Britain's noble classes. Focusing on the decline of this class in the modern world, each tape offers a glimpse into a world only the privileged are intimately familiar with. In this particular episode, viewers explore a golden age for England's aristocracy. Around the turn of the century, Britain's aristocracy owned 80 percent of the land and dominated Parliament. The program features interviews with current dukes and duchesses, as well as with leading historians. ~ Rob Ferrier, Rovi
BBC:
The Duchess of Devonshire, Sir Charles Wolseley, the Marquess of Anglesey and others describe their ancestors' lifestyles and finances.

Sir Charles and his wife, Lady Wolseley, went bankrupt after a disastrous attempt to turn the huge estate into a tourist attraction

Bankruptcy forces baronet out of family seat
By Nick Britten
12:01AM GMT 03 Jan 2008 /http://www.telegraph.co.uk/news/uknews/1574392/Bankruptcy-forces-baronet-out-of-family-seat.html

A baronet and his wife must move out of the house that has been their family's ancestral home for more than 1,000 years after a disastrous business venture left them bankrupt.
King Edgar gave the 1,490-acre estate near Rugeley, Staffs, to the Wolseley family in 975AD as a reward for ridding the area of wolves. But Sir Charles Wolseley, the 11th baronet, failed to keep the wolf from the door.
Both he and Lady Wolseley, his American wife, were declared bankrupt after a venture in the 1990s to turn the estate's gardens into a tourist attraction collapsed.
As parts of the land were sold off to repay their debts they were allowed to keep Park House, their 34-room Georgian home, but this has now been sold by the Royal Bank of Scotland. Lady Wolseley, 64, said: "It is a very big wrench and moving is always traumatic even if you want to go.
"It is very upsetting really to leave, when it's happened after a thousand years, on your watch. You feel as though you are caretakers and the house is to be passed on."
She added: "It has been a privilege to live here — we love it and we have enjoyed it."
Sir Charles, a qualified chartered surveyor, inherited the estate in 1954. He planned to open the 45-acre landscaped gardens to visitors in the late 1980s but Wolseley Garden Park, which cost £1.73 million and eventually opened in 1990, only earned £30,000 in its first year and closed soon afterwards.
At one stage Sir Charles's debts reached an estimated £4.6 million. He was made bankrupt in 1996 with debts of £2.5 million, which Sir Charles blamed on the recession and high interest rates. Afterwards, he was forced to claim benefits in order to make ends meet.
The bank sold the estate, including hundreds of acres of woodland that now form the headquarters of the Staffordshire Wildlife Trust. Park House was built for the Wolseleys in 1793. It has been sold by the bank to another family for an undisclosed sum.
Lady Wolseley said: "It is terribly sad that the Garden Park didn't come to fruition. But it was always going to be a problem because the bank withdrew funding before it was completed, so it didn't have much chance."
Sir Charles said that they would be moving into nearby rented accommodation owned by a friend, but they were being forced to leave behind several valuable pieces of art.
He said: "There are some things we are taking, such as rare portraits of the family line dating back to the reign of James I, but other things are simply too big. We've been hanging on as best we could but the bank finally sold the house. It's very sad."
Park House is the family's last remaining physical link with the estate, although the family motto, "homo homini lupus"— man is as a wolf to his fellow man — will provide a timeless reminder.


SUNDAY IMAGES ... TWEED . TWEED . TWEED / 2

RED ( "PINK" ) Hunting Coat.

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Mounted hunt followers typically wear traditional hunting attire. A prominent feature of hunts operating during the formal hunt season (usually November to March in the northern hemisphere) is hunt members wearing 'colours'. This attire usually consists of the traditional red coats worn by huntsmen, masters, former masters, whippers-in (regardless of sex), other hunt staff members and male members who have been invited to wear colours as a mark of honour. Since the Hunting Act in England and Wales, only Masters and Hunt Servants tend to wear red coats or the hunt livery whilst out hunting. Gentleman subscribers tend to wear black coats, with or without hunt buttons. Ladies generally wear coloured collars on their black or navy coats. These help them stand out from the rest of the field.

The traditional red coats are often misleadingly called "pinks". Various theories about the derivation of this term have been given, ranging from the colour of a weathered scarlet coat to the name of a purportedly famous tailor.

Some hunts, including most harrier and beagle packs, wear green rather than red jackets. The colour of breeches vary from hunt to hunt and are generally of one colour, though two or three colours throughout the year may be permitted. Boots are generally English dress boots (no laces). For the men they are black with brown leather tops (called tan tops), and for the ladies, black with a patent black leather top of similar proportion to the men. Additionally, the number of buttons is significant. The Master wears a scarlet coat with four brass buttons while the huntsman and other professional staff wear five. Amateur whippers-in also wear four buttons.

Another differentiation in dress between the amateur and professional staff is found in the ribbons at the back of the hunt cap. The professional staff wear their hat ribbons down, while amateur staff and members of the field wear their ribbons up.

Those members not entitled to wear colours, dress in a black hunt coat and unadorned black buttons for both men and ladies, generally with pale breeches. Boots are all English dress boots and have no other distinctive look. Some hunts also further restrict the wear of formal attire to weekends and holidays and wear ratcatcher (tweed jacket and tan breeches), at all other times.

Other members of the mounted field follow strict rules of clothing etiquette. For example, those under eighteen will wear ratcatcher all season. Those over eighteen will wear ratcatcher during Autumn hunting from late August until the Opening Meet, normally around November 1. From the Opening Meet they will switch to formal hunting attire where entitled members will wear scarlet and the rest black or navy. The highest honour is to be awarded the hunt button by the Hunt Master. This means one can then wear scarlet if male, or the hunt collar if female (colour varies from hunt to hunt) and buttons with the hunt crest on them. All members of the mounted field should carry a hunting whip (it should not be called a crop). These have a horn handle at the top and a long leather lash (2-3 yards) ending in a piece of coloured cord. Generally all hunting whips are brown, except those of Hunt Servants, whose whips are white.






Two INVERTÈRE Archetypes ...

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The Invertère Coat Company Ltd was formed in 1904 by Mr Harold Parkin and his two brothers. They began making coats above a shop in the centre of Newton Abbot and the name "Invertere" (Latin for "to turn about") was used to describe the Reversible coats they had developed for the wealthy owners of the newly invented Motor Car.


The "Invertere Buildings" are still standing proud in this Westcountry market town as a lasting testament to a company which held various patents for methods of manufacturing reversible coats that were so innovative in 1904 that they cannot be improved upon more than 100 years later.

In 1948 the company was sold to a Yorkshireman, Walter Sawtell, who bought new premises for the company and began developing a larger product range for export, mainly into North America. In 1966 the business was sold to Simpson of Piccadilly Ltd and in 1968 was awarded "The Queens Award to Industry for Export Achievement".

A tiled plaque above a shop at the eastern end of Courtenay Streetindicates that this used to be the premises of a tailor called Parkin, who invented a reversible raincoat that he called ‘Invertere’. He sold the patent to Daks Simpson in the 1950s; they had a business making coats and gloves in the town until it closed in 1986. ‘Invertere’ garments were evidently well made, as there is still a demand for second hand examples.

The Invertere factory was closed in 1986 and Harold Shaw, who had been Technical Director there, started a new business, Westcountry Clothing Ltd, making the same Invertere coats under contract to DAKS—Simpson.

Westcountry Clothing was sold to Moorbrook Textiles in 1995 and shortly after this Moorbrook bought the Invertere Brand from DAKS-Simpson. In May 2001 Graham and Peta Shaw bought Westcountry Clothing from Moorbrook in a Management Buyout and continued to make invertere coats under licence. In August 2003 Graham and Peta Shaw bought The Invertere Coat Company from Moorbrook Textiles. Graham Shaw has been working for Invertere since 1974 and his Father, Harold Shaw since 1948.

The Invertere Coat Company Ltd is still wholly owned by the Shaw family. In 2012 the Invertere Coat Company Ltd granted Imex Co., Ltd the worldwide licensee in order to expand the business.



Time to shave ?

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Beard trend goes a whisker too far as men told 'it's time to shave'
First it was Hollywooddads at the Oscars, then men in John Lewis adverts and finally Jeremy Paxman. The end is nigh
Hannah Marriott


It's no secret that fashion is a fickle game: as soon as a trend becomes truly popular and is adopted by Adrian Chiles or the cast of The Apprentice, it holds little interest for the style set. About a year ago, fashion journalists started reporting that this sad cycle had claimed its latest casualty: the beard – a prognosis that now appears to have been confirmed by the University of New South Wales.

The beard trend started about five years ago, in the usual places. David Beckham and Ryan Gosling had been making short beards look good for years; models such as Patrick Petitjean - and others walking for Martin Margiela in 2011 and Paul Smith in 2012 - demonstrated that the full ZZ Top could be handsome, too. Beards were adopted by the sort of men who live in east Londonand dress like 18th-century carpenters. But by 2013, they were popping up in the least edgy places: on Hollywood Dads at the Oscars and in John Lewis adverts. Then Jeremy Paxman wore his on Newsnight, in August 2013, and the death knell was rung.

And yet most pogonophiles carried on wearing theirs regardless – and quite right too. Yes, the beard had become a bit of a cliché. A neat version screams 'still got it – honest!' a bit too loudly. A huge, out-of-control bush has started to look like a bit of an effort to live with, which is the opposite of the anti-establishment Hobo vibe the wearer presumably hopes to convey. But beards are popular for a reason. They are more flattering than any make-up: they draw attention to the eyes and lips, create cheekbones and hide double chins. If you are bald, they give balance. And what are the alternatives for those who love facial hair? Moustaches come with worrying connotations; Guy Fawkes goatees are downright sinister. David Beckham tried that, in 2012, and even he couldn't spark a trend.


But fashion can be cruel – we may as well accept that beards, though flattering, are starting to feel a bit naff, like boot-cut jeans and blush-coloured court shoes before them. The best thing to do? Have a shave. Move on. Relegate beards to the style wilderness – quickly. The sooner they are banished, the sooner some brave fashion type will re-embrace the trend in the name of irony – and the more quickly we can have them back.


Have we reached peak beard?
For the past few years stylish men have let their bristles grow. But the era of fashionable facial hair may be coming to an end
Emine Saner

If, like me, you are a staunch pogonophile and do not believe there is a single man who cannot be improved with a beard (see David Mitchell), these are happy times indeed. At the Oscars in March, Ben Affleck, George Clooney, Bradley Cooper and Paul Rudd all wore new beards. Earlier this year, John Lewis cast a heavily bearded model to front its campaign for its own-brand menswear label, and if that isn't a sign that beards have become middle England's idea of fashionable and edgy – though the Daily Mail still complained – I don't know what is (meanwhile the department store reports sales of beard trimmers grew 57% year on year).

If the big beard look is a little too Mr Twit for many tastes, there are a large number of very attractive, more elegant beards – Tom Ford's, say, or the beards worn by Jeremy Langmead, editor-in-chief of men's fashion company Mr Porter, and Matt Prior, the England cricketer. Beards, beards, beards. What riches. Except that even I have to admit I may be starting to tire a little of their ubiquity. I think this happened with The Apprentice, where half of the male candidates had beards – a sign that they have gone pretty much mainstream now. Are we, in fact, approaching Peak Beard?
Beards are certainly more popular than ever, says Brendan Murdock, founder of the Murdock chain of barbershops. Around a fifth of his services are related to facial-hair grooming, and this week he is launching a range of beard conditioning products. "I guess it's becoming more mainstream," he says. "We did wonder whether the whole Great Gatsby thing, and new looks coming through, would take away from the beard but they haven't. I've noticed there is a beard culture – people like talking about their beards, feeling their beards."

Perry Patraszewki, co-founder of the Blue Tit salons in east London, isn't convinced that the beard – or fashions in facial hair – has quite gone mainstream yet. "From my own experience, whenever I've been to a more mainstream event people point out my moustache and laugh," he says. But in parts of east London, he admits, there are beards everywhere – in fact every male stylist at the salon except for one has a beard or moustache.

Patraszewki thinks the appeal of beards is nostalgic: "(Beards are) the vibe of your childhood, when we were kids and our dads had beards in the Seventies and Eighties." He also thinks beards are here to stay. "You get used to it, it becomes part of your identity. I wouldn't shave my moustache now."
The beard – not the Noel Edmonds/Father Christmas/Gandalf variety, which has been around forever – has been growing in popularity since the mid-2000s. In the US, the New York Times pinpoints its genesis around late 2005. "In years to come, when they make movies or write books about this time, the beard will be used as a definitive visual shorthand for the early 21st century, as the moustache is for the Seventies and a pair of mutton chops for Regency England," wrote the cultural commentator Ekow Eshun in an essay on beards last year. Eshun tracks this modern sprouting back to the pre-beard Nineties dotcom boom, the speed and slickness of it at odds with slacker-style, grungey, facial bushiness, and New Labour, for whom "beards were everything they abhorred. Beards were Clause IV and Militant. Donkey jackets and picket lines. Marx and Engels."

After the dotcom bust, 9/11 and the war on terror, writes Eshun, "came a more reflective public mood" and a yearning for a simpler time. The craze for a kind of pastoral idyll took hold, even if the men lived in Hackney, Portland or Brooklyn– artisanal food, crafts, folk music. And beards. But it's not all cosy and twee – Eshun says the growth of the beard was also a reaction to women's growing economic power, and a way of reasserting one's masculinity
Last summer, the street-style photographer Jonathan Daniel Pryce started shooting a 100 beards in 100 days project, taking photographs of a wide range of bearded men for a Tumblr site and limited-edition book. "That was a reaction to seeing how beards had become so popular, and not just with hipsters. The trend has continued to increase but yes, I think it is reaching a point of saturation."

But could there be early signs that the fashion beard is on its way out? Last Sunday at Lovebox, the day of the east Londonmusic festival that traditionally draws its biggest gay crowd – the group any trendwatcher will look to if they want to know what the mainstream will be doing in a few years' time – a colleague, Alex, observed: "There were a lot fewer beards than there would usually be. I think a more clean-cut look is gaining in popularity among younger gay men." He also points to the current issue of Fantastic Man, the influential men's style magazine, as "another sign that beards are on the wane – there's a shoot with lots of bearded men shaving them off".

SUNDAY IMAGES ... Pochette Square ...

1950s Fashions in Paris - Real Vintage Fashion Footage (+afspeellijst)

Vogue London in 1946 - The Making of Vogue Magazine [HD] (+afspeellijst)


British Pathé, the newsreel maker which documented all walks of life on video during the 20th Century, has uploaded its entire collection of moving images to YouTube.( Vídeo Bellow )

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British Pathé, the newsreel maker which documented all walks of life on video during the 20th Century, has uploaded its entire collection of moving images to YouTube.
The archive of 3,500 hours of footage was digitised in 2002 thanks in part to a grant from the National Lottery, and is now freely accessible to anyone around the world for free.

Sherlock Holmes returns in new Anthony Horowitz book, Moriarty. Sherlock Holmes: the many identities of the world's favourite detective – in pictures

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Anthony Horowitz's Moriarty, a new Sherlock Holmes novel, is out 23 October Photograph: Andy Paradise/Rex Features

Sherlock Holmes returns in new Anthony Horowitz book, Moriarty
'Does anyone believe what happened at the ReichenbachFalls?' reads the opening of novel sanctioned by Conan Doyle estate
Alison Flood


Anthony Horowitz, who was first sanctioned by the Conan Doyle estate to tell a new Sherlock Holmes story three years ago, is plotting a return to the world of the super sleuth in a novel set days after Holmes and his nemesis Moriarty apparently plunged to their deaths over the ReichenbachFalls.

Horowitz found a good reception for The House of Silk, in which an elderly Watson recounted the tale of one of Holmes's early adventures. "Can [Horowitz] astonish us? Can he thrill us? Are there 'the rapid deductions, as swift as intuitions, and yet always founded on a logical basis' that we yearn for?" asked Ian Sansom in a Guardian review at the time. "Emphatically, yes. The characters are, as Conan Doyle himself would have them, as close to cliche as good writing allows."

Now the author, best known for his Alex Rider series of young adult novels about a teenage spy, has announced that Moriarty, a new novel set in the world of Holmes, will be published on 23 October.

"Does anyone believe what happened at the ReichenbachFalls?" it will open, referring to Holmes and Moriarty's infamous plunge over the Swiss waterfall. Conan Doyle wrote of the battle in 1893 that "any attempt at recovering the bodies was absolutely hopeless, and there, deep down in that dreadful cauldron of swirling water and seething foam, will lie for all time the most dangerous criminal and the foremost champion of the law of their generation".

Conan Doyle had hoped to kill off Holmes, tired of the character who had made him famous and keen to focus on more serious writing, but the public outcry at the much-loved detective's death meant he was forced to resurrect the famous inhabitant of 221b Baker Street. "I've written a good deal more about him than I ever intended to do," he said in 1927, 40 years after the first Holmes story was published, "but my hand has been rather forced by kind friends who continually wanted to know more." 

Horowitz's tale will take place shortly after the events in Switzerlanddescribed by Conan Doyle, as Pinkerton agent Frederick Chase arrives in Europe from New York. "The death of Moriarty has created a poisonous vacuum, which has been swiftly filled by a fiendish new criminal mastermind who has risen to take his place," revealed publisher Orion. "Ably assisted by inspector Athelney Jones of Scotland Yard, a devoted student of Holmes' methods of investigation and deduction, Frederick Chase must forge a path through the darkest corners of the capital to shine light on this shadowy figure, a man much feared but seldom seen, a man determined to engulf London in a tide of murder and menace."

The publisher said that Moriarty would be "very different in nature to Horowitz's previous bestseller; but fans will be delighted to see a few surprise guests from the Conan Doyle's canon making appearances in the new book".

Horowitz himself revealed on Twitter that "Sherlock Holmes does not appear (until the very end)", that "a vicious murder is investigated by Inspector Athelney Jones (from The Sign of Four)" and that "nearly all the policemen Holmes ever worked with, including Lestrade, appear in my new book".

"Look out for the appearance of the 'dreadful' Abernetties. One of the most famous untold Holmes stories," he said, adding that the book would take place in Camberwell, Mayfair, the London Docks, Highgate and Smithfield.


Horowitz is also a screenwriter, creating television series such as Midsomer Murders and Foyle's War. Orion made the disputable claim in its announcement about the forthcoming Moriarty that he "may have committed more (fictional) murders than any other living author".




Anthony Horowitz was born in Copley, into a wealthy Jewish family, and in his early years lived an upper-class lifestyle. As an overweight and unhappy child, Horowitz enjoyed reading books from his father's library. At the age of eight, Horowitz was sent to the boarding school Orley Farm in Harrow, Middlesex. There, he entertained his peers by telling them the stories he had read. Horowitz described his time in the school as "a brutal experience", recalling that he was often beaten by the headmaster. At age 13 he went on to Rugby School and discovered a love for writing.

Horowitz adored his mother, who introduced him to Frankenstein and Dracula. She also gave him a human skull for his 13th birthday. Horowitz said in an interview that it reminds him to get to the end of each story since he will soon look like the skull. From the age of eight, Horowitz knew he wanted to be a writer, realising "the only time when I'm totally happy is when I'm writing". He graduated from the University of York with a BA in English literature in 1977.

In at least one interview, Horowitz claims to believe that H. P. Lovecraft based his fictional Necronomicon on a real text, and to have read some of that text.

Horowitz's father was associated with some of the politicians in the "circle" of prime minister Harold Wilson, including Eric Miller.Facing bankruptcy, he moved his assets into Swiss numbered bank accounts. He died from cancer when his son Anthony was 22, and the family was never able to track down the missing money despite years of trying.

Horowitz now lives in Central London with his wife Jill Green, whom he married in Hong Kongon 15 April 1988. Green produces Foyle's War, the series Horowitz writes for ITV. They have two sons, Nicholas Mark Horowitz (born 1989) and Cassian James Horowitz (born 1991). He credits his family with much of his success in writing, as he says they help him with ideas and research. He is a patron of child protection charity Kidscape.

Anthony Horowitz's first book, The Sinister Secret of Frederick K Bower, was a humorous adventure for children, published in 1979[10] and later reissued as Enter Frederick K Bower. In 1981 his second novel, Misha, the Magician and the Mysterious Amulet was published and he moved to Paris to write his third book. In 1983 the first of the Pentagram series, The Devil's Door-Bell, was released. This story saw Martin Hopkins battling an ancient evil that threatened the whole world. Only three of four remaining stories in the series were ever written: The Night of the Scorpion (1984), The Silver Citadel (1986) and Day of the Dragon (1986). In 1985 he released Myths and Legends, a collection of retold tales from around the world.

In between writing these novels, Horowitz turned his attention to legendary characters, working with Richard Carpenter on the Robin of Sherwood television series, writing five episodes of the third season. He also novelised three of Carpenter's episodes as a children's book under the title Robin Sherwood: The Hooded Man (1986). In addition, he created Crossbow (1987), a half-hour action adventure series loosely based on William Tell.

In 1988, Groosham Grange was published. This book went on to win the 1989 Lancashire Children's Book of the Year Award. It was partially based on the years Horowitz spent at boarding school. Its central character is a thirteen-year-old "witch", David Eliot, gifted as the seventh son of a seventh son. Like Horowitz's, Eliot's childhood is unhappy. The Groosham Grange books are aimed at a slightly younger audience than Horowitz's previous books.

This era in Horowitz's career also saw Adventurer (1987) and Starting Out (1990) published. However, the most major release of Horowitz's early career was The Falcon's Malteser (1986). This book was the first in the successful Diamond Brothers series, and was filmed for television in 1989 as Just Ask for Diamond, with an all star cast that included Bill Paterson, Jimmy Nail, Roy Kinnear, Susannah York, Michael Robbins and Patricia Hodge, and featured Colin Dale and Dursley McLinden as Nick and Tim Diamond. It was followed in 1987 with Public Enemy Number Two, and by South by South East in 1991 followed by The French Confection, I Know What You Did Last Wednesday, The Blurred Man and most recently The Greek Who Stole Christmas.


Horowitz wrote many stand alone novels in the 1990s. 1994's Granny, a comedy thriller about an evil grandmother, was Horowitz's first book in three years, and it was the first of three books for an audience similar to that of Groosham Grange. The second of these was The Switch, a body swap story, first published in 1996. The third was 1997's The Devil and His Boy, which is set in the Elizabethan era and explores the rumour of Elizabeth I's secret son. In 1999, The Unholy Grail was published as a sequel to Groosham Grange. The Unholy Grail was renamed as Return to Groosham Grange in 2003, possibly to help readers understand the connection between the books. Horowitz Horror (1999) and More Horowitz Horror (2000) saw Horowitz exploring a darker side of his writing. Each book contains several short horror stories. Many of these stories were repackaged in twos or threes as the Pocket Horowitz series.


Horowitz began his most famous and successful series in the new millennium with the Alex Rider novels. These books are about a 14-year-old boy becoming a spy, a member of the British Secret Service branch MI6. Currently, there are nine Alex Rider books and the tenth is connected to the Alex Rider series (although it is not a part of it) : Stormbreaker (2000), Point Blanc (2001), Skeleton Key (2002), Eagle Strike (2003), Scorpia (2004) Ark Angel (2005), Snakehead (2007), Crocodile Tears (2009), Scorpia Rising (2011), and Russian Roulette(2013). The seventh Alex Rider novel, Snakehead, was released on 31 October 2007,[13] and the eighth, Crocodile Tears, was released in the UK on 12 November 2009. The ninth Alex Rider book, Scorpia Rising, was released on 31 March 2011. Horowitz stated that Scorpia Rising was the last book in the Alex Rider series. He has, however, written another novel about the life of Yassen Gregorovich entitled Russian Roulette, which was released on 12 September 2013 in the United Kingdom and 3 October 2013 in the United States of America. It will not be a part of the Alex Rider series.

In 2003, Horowitz also wrote three novels featuring the Diamond Brothers: The Blurred Man, The French Confection and I Know What You Did Last Wednesday, which were republished together as Three of Diamonds in 2004. The author information page in early editions of Scorpia and the introduction to Three of Diamonds claimed that Horowitz had travelled to Australia to research a new Diamond Brothers book, entitled Radius of the Lost Shark. However, this book has not been mentioned since, so it is doubtful it is still planned. A new Diamond Brothers "short" book entitled The Greek who Stole Christmas! was later released. It is hinted at the end of The Greek who Stole Christmas that Radius of the Lost Shark may turn out to be the eighth book in the series.

In 2004, Horowitz branched out to an adult audience with The Killing Joke, a comedy about a man who tries to track a joke to its source with disastrous consequences. Horowitz's second adult novel, The Magpie Murders, was due out on 18 October 2006. However, that date passed with no further news on the book; all that is known about it is that it will be about "a whodunit writer who is murdered while he's writing his latest whodunit" and "it has an ending which I hope will come as a very nasty surprise". As the initial release date was not met, it is not currently known if or when The Magpie Murders will be released.

In August 2005, Horowitz released a book called Raven's Gate which began another series entitled The Power of Five (The Gatekeepers in the United States). He describes it as "Alex Rider with witches and devils". The second book in the series, Evil Star, was released in April 2006. The third in the series is called Nightrise, and was released on 2 April 2007. The fourth book Necropolis was released in October 2008. The fifth and last book was released in October 2012 and is named 'Oblivion.'

The Power of Five is a rewritten, modern version of the Pentagram series from the 1980s.[citation needed] Although Pentagram required five books for story development, Horowitz completed only four: The Devil's Door-bell (Raven's Gate), The Night of the Scorpion (Evil Star), The Silver Citadel (Nightrise) and Day of the Dragon (Necropolis). Horowitz was clearly aiming for the same audience that read the Alex Rider novels with these rewrites, and The Power of Five has gained more public recognition than his earlier works, earning number 1 in the top 10 book chart.

In October 2008, Anthony Horowitz's play Mindgame opened Off Broadway at the Soho Playhouse in New York City. Mindgame starred Keith Carradine, Lee Godart, and Kathleen McNenny. The production was the New York stage directorial debut for Ken Russell. Recently he got into a joke dispute with Darren Shan over the author using a character that had a similar name and a description that fitted his. Although Horowitz considered suing, he decided not to.

In March 2009 he was a guest on Private Passions, the biographical music discussion programme on BBC Radio 3.

On 19 January 2011, the estate of Arthur Conan Doyle announced that Horowitz was to be the writer of a new Sherlock Holmes novel, the first such effort to receive an official endorsement from them and to be entitled The House of Silk. It was both published in November 2011 and broadcast on BBC Radio 4.

Horowitz was appointed Officer of the Order of the British Empire (OBE) in the 2014 New Year Honours for services to literature.

Horowitz began writing for television in the 1980s, contributing to the children's anthology series Dramarama, and also writing for the popular fantasy series Robin of Sherwood. His association with murder mysteries began with the adaptation of several Hercule Poirot stories for ITV's popular Agatha Christie's Poirot series during the 1990s.

Often his work has a comic edge, such as with the comic murder anthology Murder Most Horrid (BBC Two, 1991) and the comedy-drama The Last Englishman (1995), starring Jim Broadbent. From 1997, he wrote the majority of the episodes in the early series of Midsomer Murders. In 2001, he created a drama anthology series of his own for the BBC, Murder in Mind, an occasional series which deals with a different set of characters and a different murder every one-hour episode.

He is also less-favourably known for the creation of two short-lived and sometimes derided science-fiction shows, Crime Traveller (1997) for BBC One and The Vanishing Man (pilot 1996, series 1998) for ITV. While Crime Traveller received favourable viewing figures it was not renewed for a second season, which Horowitz accounts to temporary personnel transitioning within the BBC. It has, however, attracted somewhat of a cult following.[citation needed] The successful 2002 launch of the detective series Foyle's War, set during the Second World War, helped to restore his reputation as one of Britain's foremost writers of popular drama.

He devised the 2009 ITV crime drama Collision and co-wrote the screenplay with Michael A. Walker.

Horowitz is the writer of a feature film screenplay, The Gathering, which was released in 2003 and starred Christina Ricci. He wrote the screenplay for Alex Rider's first major motion picture, Stormbreaker.


In an interview with BBC Radio 5 Live on 6 April 2011, Horowitz announced that he was writing the sequel to Steven Spielberg's Secret of the Unicorn. The sequel is rumoured to be based on The Adventures of Tintin comic Prisoners of the Sun and directed by Peter Jackson, who produced the first film.


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Sherlock Holmes: the many identities of the world's favourite detective – in pictures
According to our readers, Sherlock Holmes is the perfect way to get back into the reading habit. But how does his appearance on the page compare to his screen incarnations? And if you've never investigated the world's most famous detective, then where should you begin?
Guardian readers and Marta Bausells


 "I started with The Valley of Fear a while back and then went back to the start, with A Study in Scarlet, and have now finished The Sign of Four. Great entertainment and so of their time. It always seems to me, with his attention to clothing, contemporary events, references to real places, attention to nuances of dialect, etc, that Conan Doyle must have felt very sharp and contemporary to read at the time. The Sign of Four is especially notable as the one where Sherlock is happily shooting up cocaine because he gets bored easily..." said SnowyJohn in last week's Tips, Links and Suggestions. Photograph: Penguin


 The Hound of the Baskervilles
"So which one would be the best one to read first? The Hound of the Baskervilles is the most famous but is it best?" asked fat_hamster. This front cover of the 1901 novel was illustrated by EA Abbey. Photograph: Mary Evans Picture Library


A Study in Scarlet
Several readers agreed that a chronological approach is the simplest and best way to start reading Sherlock Holmes' stories. "I'd just start at the start. A Study in Scarlet is the first one and is a good read", continued SnowyJohn. Here, a poster for the stage production of the book from the Southwark Playhouse. Photograph: Southwark Playhouse


 A Study in Scarlet, Peter Cushing
The recent TV series has put Sherlock Holmes back in the spotlight. But which screen adaptation of Sir Arthur Conan Doyle's detective is the best? Peter Cushing was one of the first actors to embody Holmes for the small screen. Here, he appears in the episode A Study in Scarlet for the 1960s BBC series. Photograph: BBC

The Hound of the Baskervilles. Cumberbatch and Freeman
Martin Freeman and Benedict Cumberbatch offer a modern Sherlock that has little to do with Conan Doyle's originals, according to Sara Richards: "Sherlock with Benedict Cumberbatch is not Sherlock Holmes. He is a 21st-century adaptation and comes suitably equipped with digital aids plus a phenomenal memory … The two are therefore totally different and should be viewed as such." Even though most plots in the series aren't based on the books, this frame is from the web-age The Hounds of Baskerville. Photograph: Colin Hutton/BBC


Jeremy Brett
Most readers agreed that Jeremy Brett is the one and only TV Holmes. "Brett was the definitive Sherlock Holmes, and his dramatisations were the truest to the originals. Personally, I can no longer visualise Holmes (or Watson) differently. I guess I'd also say 'read them in order', but my favourite has always been The Sign of Four," said ItsAnOutrage2. Photograph: ITV/Rex Features


Vasily Livanov
"Where I live, in Moscow, most people would prefer Vasily Livanov [pictured] in the 1980s Soviet TV series and tell me, as if this is some kind of proof, that Livanov was given an MBE by our sovereign for his portrayal. Check him out on YouTube. But no, I can't stand that Soviet series, for me (language issues aside) it suffers from [Basil] Rathbone syndrome – Holmes looks and sounds the part but is surrounded by fools, Watson and Lestrade are portrayed as bumbling ignoramuses in order to show up the great man's talent. It's all wrong," said frustratedartist. Photograph: Alamy


 The Hound of the Baskervilles. Basil Rathbone
Speaking of Rathbone, here he is in the 1939 film of The Hound of the Baskervilles, directed by Sydney Lanfield. Photograph: Allstar/Cinetext


The Valley of Fear

For some, the Brett series is actually so enduring that they can't separate the actor from the character: "I think the only ones I've actually read are The Valley of Fear and The Blue Carbuncle, both of which are excellent. Though (...) I can't help reading them with the voices of Brett and either of the two who played Watson ringing in my head", said judgeDAmNation Photograph: Guardian

British Gardens in Time Ep.1 Great Dixter - part 2

British Gardens in Time Ep.1 Great Dixter - part 1

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Great Dixter lays claim to being the most innovative, spectacular and provocative garden of the 20th century. Made famous by the much-loved eccentric plantsman and writer Christopher Lloyd, who used the garden as a living laboratory and documented his experiments in a weekly column in Country Life, Great Dixter began life as a Gertrude Jeykll-inspired Arts and Crafts garden surrounding a house designed by Edwin Lutyens.
The Lloyd family created Dixter just before the outbreak of the First World War with the intention of establishing a rural idyll for Christo and his five siblings. Dixter was to be both Christo's horticultural nursery and the setting for his rebellion in late middle age as he finally threw off the shackles of his intense bond with his mother to make the garden and his life his own.

BBC Four - British Gardens in Time

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Series which explores four iconic British gardens, from Christopher Lloyd's Arts and Craft Great Dixter to Georgian Stowe and from Victorian Biddulph Grange to the quintessentially English Nyman's.

Emma Townshend: British Gardens in Time - oh, BBC, what do you think you're doing?

I don't know whether the BBC was specifically trying to start a squabble, but last week it defo did so. Forget the very mild controversy over Benefit Street or that tiny bit of gossip you may have heard about Strictly's Susannah leaving her husband: this is the big one. Yep, if you want to get the nation really ranting, you know what you need to do? Kick off a row about the best gardens in Britain.

In particular, you need to commission a big series called BritishGardens in Time, with nice presenters such as designer Chris Beardshaw and acclaimed garden historian Andrea Wulf; and then include only FOUR gardens. All of which are ENGLISH. And none of which is further north than junction 17 of the M6. (That's Crewe, for crying out loud.)

The series begins on BBC4 on Tuesday with Stowe, an elegant, huge and leg-knackering landscape very handily located for Silverstone race track. Stowe is also, once you start to look into the history, a singularly argumentative garden. Despite all the apparent Arcadian ease, Lord Cobham, the 18th-century landowner, created most of it during a period of political exile after falling out with Whig prime minister Robert Walpole.

Far from trying to distract himself from his worklife woes, Cobham went all out to make a garden that had a massive go at Walpole, with a "Temple of British Worthies" to hammer home the point about good and bad government. Seldom has a rolling landscape had so much bitter political venom put into it. And the result is superb.

If you like this kind of thing, you must get the series' accompanying book, written by distinguished garden historian Katie Campbell. Campbelltreads a nice line between juicy facts and the aesthetic qualities of the gardens. I adore her description of Jane Austen-ish tourists turning up in carriages, buying guidebooks and filling up the local inns, while commendably tipping the head gardener.

The Beeb's most intriguing inclusion is Biddulph Grange, a Victorian garden near Stoke-on-Trentthat sort of has to be seen to be believed. The garden's maker was James Bateman, son of a businessman father who'd been "unscrupulous but extremely successful", according to Campbell. Shadily accumulated cash funded an orchid habit that began before James had even finished university; and later, a properly crazy garden with a tomb-like Egyptian garden, scarlet Chinese bridge, and stupendously likeable, er, thing built entirely out of tree stumps (apparently they were all the rage in Victorian times).

The series winds up with two great English gardens. Nymans is in West Sussex, and I've never really fallen in love with it, though I understand it is technically possible to do so. Campbellcalls it "the most exquisite Edwardian retreat of all", though here, my argumentative side starts to rear its head. Why not include Arts and Crafts Standen or tumbling-bordered Gravetye instead? (And that's just in Sussex.) If we are being completely obvious, where are Britain's most famous gardens internationally: Hidcote, Sissinghurst?

And if we're being more devolved in our thinking, where are the Edwardian gardens of Yorkshire, Derybshire or the Lake District? Bodnant, the Edwardian jewel of North Wales; MountStuart, on the Isle of Bute, just 90 minutes from Glasgow? I felt annoyed for all of these head gardeners, once more ignored.


But in the end, the series finishes exactly where I'd have picked myself: Great Dixter, for my money (£8.80 admission, if you were wondering) is the best garden on our island. Christopher Lloyd, its maker, and his admirable successor Fergus Garrett offer a changing spectacle of flowery loveliness in an underpinning structure of perfectly balanced weight. And for once, I'm brooking no argument.
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