Sunday, 9 October 2016

Cordings and Pol Roger Present Your Guide to the Autumn/Winter Season Illustrated by Oliver Preston / VÍDEO below: A Conversation with Cordings - Behind the Brand



Beverston Press publish Oliver Preston's funny skiing cards, shooting books, and funny birthday cards. His drawings regularly appear in a wide range of publications from The Field to The Polo Magazine and have been published In Country Life, Punch, The Spectator and national newspapers.

His work is beautifully drawn, and make very funny gifts. With a keen eye for social observation, Oliver Preston's books are predominantly based on country themes and modern day life.



Illustrated by Oliver Preston

When the leaves begin to go that lovely shade of russet
and linen turns to tweed, you know those long afternoons of strawberries and buzzing bees are coming to a close. Thoughts turn to log fires, lamb’s wool jumpers and finding out that your wellington boots now have more holes in them than your colander. Let Uncle Bernard and Aunt Agatha steer you through the social minefield that is the winter ‘season’. Failing this, have a read and a good laugh.
The Shoot
The spectacle of a line of guns eagerly awaiting their first drive of the season is one that lifts the spirit and starts the heart racing just that little bit faster. The shoot day brings great sport, superb food and drink, but is beset with potential conundrums.
Should I take the dog? (Aunt Agatha) If your hound is well disposed to the canine rabble, and able to maintain silence in the din, then positively yes, you should. Pinching the last rasher off the shoot breakfast table or licking the butter however is somewhat ill-thought of.
Who don’t I tip? (Uncle Bernard) When getting ready for the day this is often forgotten and yet it is so very important; nothing says thank you quite as much as ‘silent money’, so slip your notes in an envelope and take the time to remember it. It is generally considered poor form to tip the hostess, the gardener is, again, not necessarily someone to include unless you are feeling very modern, and tipping your host may leave everyone confused. However, almost
everyone else deserves to be tipped – Loaders, Keepers, Gun Cleaners (?!), Cook and the House Keeper. How much? This is discretionary, but it is recommended to follow the form from the other guns, it’s generally ill-thought of to ask the host ‘how much old fruit?’!

The Grouse Moor Form?
(UB) Shooting Grouse is quite something and bravo to you for getting on the moor. Remember, barrels in the air at all times and above you when turning; guests losing body parts to over-enthusiastic marksmanship is generally thought poor form. Focus, focus, focus – it can be a long time from start of the drive to when the birds come out and early in the season, they are likely to be gunning straight for you, later-on the squadrons tend to be more wily and evasive, so keep your wits about you. Celebratory ‘whoops’ at hitting a bird are also slightly frowned upon, unless you are wearing a ten gallon hat. Cigars are best lit at the end of the day.
Does my butt look good in this?
What to wear. Grouse days can be balmy affairs; lighter clothing is often required, and field coats can be thrown off in gay abandon. An important question to ask when choosing your colour scheme for the day is “will the birds notice me?”, under other circumstances one may hope for a resounding “why yes!”, but not on a Grouse Moor. Cream background tattersalls and bright jumpers are a sure fire way of bringing attention to yourself. Look to the moors for inspiration; a Cordings Grouse Shirt is perfect, its subtle hues
and easy movement give you the best chance of success, team with a Shooting Waistcoat and Breeks in Firley Check, for a smart, practical ensemble.

The pheasant and partridge field?
(AA) Considered by some to be a dinner party with shotguns, the partridge and pheasant season heralds a switch from dipping, driving and diving fowl to screaming long-tailed squawkers. Coupled with the old chirruping hedge hopper, the lowland game season begins proper with the first splash of ‘bullshot’ on the kitchen tiles. Form is not quite as rigid as on the predominately northern or Hebridean estates but it is nonetheless, important to observe the unspoken rules. ‘Duvet-ing’ your host with a bird in front of him at mediocre distance is regarded mildly irritating, pinching a plum sporting bird above your host’s peg is akin to flirting outrageously with the hostess. Best to avoid that. Counting the birds you hit loudly and declaring you are ‘winning’ generally gains few admirers, eye-wiping your neighbour has mixed blessings. Weather conditions will dictate how you dress for the day, but you cannot go wrong with a pair of Cordings house check plus twos and smart shooting stockings.
When to drink, what to drink?
(AA) Now we are talking dear; generally best to do this after the shoot. Lunch time tipples are of course acceptable but avoid too much vin rouge, how about a glass of the indomitable Pol Roger Brut Reserve? To go left-field, maybe a splendid glass of Josmeyer Alsace Pinot Blanc ‘Mise du Printemps’?

When the whistle on the last drive blows, the bag has been declared glorious in its limited and beautiful way, you can begin to make your declarations of thanks and dash to draw the bath. Should a pre-prandial be on offer, possibly a glass of Pol Roger Brut Vintage (terrifically fresh with beautiful acidity and delightful fruit) this will help keep your conversations sparkling. Throughout dinner you will be offered (we are sure) a cornucopia of liquid refreshment, pick wisely and be consistent.
Port is an excellent way to finish as is Hine Cognac Antique XO (cherry brandy again, often well swerved), to keep the senses perky. When your host yawns and declares your nickname ‘Bingo’ (last one out) it’s time to drink up and head for bed.
Off the peg, on the peg: what to wear?
Standing on a peg, buffeted by rain, in temperatures that would make penguins think twice about going outside for a stroll, is an exhilarating experience; but only if you are correctly attired. Stout boots, shooting stockings and breeks (or trews, now making a first-rate come back in the field) take care of your lower portions, whilst layering with lambswool, fleece and a Field Coat will take care of the rest. Always wear a tie, as a mark of respect for your quarry, but also because there are so many splendid examples to be had at Cordings, emblazoned with Pheasants, Grouse and even the odd Snipe.

“When going out in the field never forget the practical issues of comfort, warmth and ease of movement”
Eric Clapton
(musician & fieldsports enthusiast)

Guide to the Country Pub
Should I engage with the local at the bar?
(UB) Often the best path here is to gauge your quarry; be polite and don’t insult the décor or food unless you are the owner or never intend to go back.
Are cocktails permissible in a coaching inn?
(AA) Whilst this may be akin to asking for Lager at an Ale brewery, cocktails are a fine thing, and we recommend the Horse’s Neck (‘H’ by Hine and Ginger Ale) or Whisky & ice (Single- Malt and Ice remarkably enough – a fine Kilchoman Machir Bay, could be just the ticket)…but a cautionary tale, anything involving blue liquor or crème de menthe is often best avoided for safety’s sake. Generally stick to the ‘taps’, or if you are feeling adventurous, why not try a glass of ‘roulette’ house wine?

To wellie or not to wellie?
(UB) A much pondered musing, if it’s sodden and you
are worried about your loafers, go wellie in the pub but be prepared in some gentrified establishments to take them off if asked. A hole-y sock in the country is acceptable,
no-socks (or ‘going sock-less’ in the south) courts suspicion and your personal hygiene may be called into question. Your choice of wellie is significant, but we shan’t go into that here.

Amuse bouche? What about a little something from the chef? (UB) Chance your arm, the chef may take the challenge. However pork scratchings or assorted nuts may be the most enticing offering. Perhaps time for an aperitif? 21 YO Glenfarclas Single Malt Whisky, full bodied rich and with rounded flavours , goes perfectly with pork scratchings.
How to cut a sartorial swath in the snug: what to wear?
Remember: in the country, colour in the trouser department is to be applauded and considered sensible; one can never be too loud. Jeans that make ones underwear visible, leather trousers (unless you are in possession of a motor cycle) and jogging bottoms with logos emblazoned on your posterior, will certainly get the attention of the local population, but not in a good way.
“One has to always question where to park the glass on the bar top, near to the wearer of the fur and suede dangling sleeves or the rat-catcher trousers, it’s always a delicate balance of the shove and shuffle to get to the bar let alone the order. Make your order firm and precise with the barkeep, never let your guarddown and judge the offer of a pickled egg wisely”

Victoria Knowles-Lacks
(Owner and founder, The Shotgun and Chelsea Bun Club and West Country resident)

The Meet
What to do if you don’t like horses?
(AA) Generally thought of as not the place to be if you are either in fear of, or underwhelmed by, the horse. However grin and bear it, focus on the port, sherry and general back slapping. Look for the person milling around with a champagne bottle and ask if they happen to know ‘what their wine tastes like?’
Hunt buttons?
(UB) If new to ‘the Meet’, it’s generally considered bad form to wear hunt buttons even if through patrimony, often best to go plain and get the advice of each hunt’s MFH (Master of the Fox Hounds). Turning up in a hunting pink and blowing your own horn (so to speak) may end in an ignominious dressing down from the seniors members.

Good conversation?
(AA) ‘What a fine looking beast, jumped much?’ (only about a horse) – ‘looking fairly hard out there, do you think you’ll go on past 1st horses?’ / ‘Hounds sound in good voice’ ad nauseum.
Stirrup cup of choice?
(AA) Stay clear of home brew, focus on your drive home or walk to lunch and go for an elegant tipple, maybe a sip of vintage Cognac? Domaines Hine Bonneuil 2005 for instance….smooth and discerning. You’ll feel warm and possibly ‘smug’ at the decision.
‘Standing to’ at The Meet
(AA) Tweed coats, sensible wellies and a jolly smile will often be the uniform of choice for those waiting to cheer

the gallop and hear the cry of the hounds. Have a large pocket in the coat for a hip flask and don’t forget the woolly hat (bobble optional).
“The meet is a wonderfully diverse gathering of folk from all walks of life. There is a real buzz of anticipation and excitement of the day ahead. Dress appropriately and put a sandwich in your pocket for later in the day. Meets are very family friendly so do take children, and even better if you can get out on horse!”
Harry Meade
(International Three Day Event Rider, part of Team GBR, ChampagnePol Roger and Cordings of Piccadilly Brand Ambassador)

The Point to Point
Carriages?
(UB) You’ll need a capable vehicle should things turn inclement. The Point to Point circuit is not a place to impress the King’s Road set; turning up in your two-seater complete with stilettos might be over-gunning it. So we suggest the long wheel base Land Rover because nothing says failure like the obligatory ‘tractor tow’. Extra house points can be given for negotiating a RWD German car through the bog, in suede loafers.
Weather check?
(UB) Interweb information abounds – do not be caught short, brace yourself and by jove, if it looks hopeless hit the local hostelry, order the best steak and kidney pudding and a large glass of red (a hearty cabernet like a Staglin Family Vineyard 2008 from the Napa valley, California would suit the occasion). Consider yourself well out of it as the stalwarts try to look cheery in the biblical deluge.
Correct picnic form?
(AA) No one obviously opens their boot without a proper bottle of fizz – Pol Roger Brut Reserve slung in a (probably useless or over-full) cool bag, is a real boon to keep the spirits high! The food at these events has in the past dampened the spirits: a greying Scotch egg, the forlorn chicken sandwich, the obligatory ‘explode in the container before you get there’ soup and home-made sausage roll used to be the order of the day, …..but thankfully Waitrose has changed all of these slightly trying stalwarts; roasted vegetable antipasti options? Sundried tomatoes? Samosas? It’s a veritable cornucopia of finger food. We suggest soup (optional sherry to be added to the consommé) and cheese straws….it could be a long day after all!

Pint to pint? What to drink?
(AA) Beer is a particular favourite amongst hardened pointers, as is wine, Maison Joseph Drouhin Savigny les Beaune for a refreshing pinot noir and maybe a delightful bottle of Crown Estates Tokaji 5 puttonyas 2000. The Tokaji pairs exquisitely with a rich paté or even foie gras, should one want to push the boat out. And for the obligatory nip from bottle or hip flask, Glenfarclas Single Malt Whisky 15YO wins every time. Don’t forget the corkscrew and proper glasses.
A short course on what to wear?
This being Britain, the answer to this could be as divergent as a linen shirt, chinos and loafers, or Schoffel interactive coat, waterproof trousers and wellington boots.
“What I love most about point-to-pointing is that however professional the jockeys and trainers have become, it’s still a proper old-fashioned country sport run by hunting people with a great friendly atmosphere
where the weather – rain, howling gales, spring sunshine
– is all part of it. For this reason, I especially love the west-country meetings, which are timeless. I belong to the Plantation Farm Picnic Syndicate and, as you might have guessed it’s (nearly) all about the picnic – and the fizz when we win!”
Kate Green
(News Editor, Country Life)
Cheltenham

Is this a covert operation?
(AA) Yes it is! There is nowhere a covert coat feels more at home than jostling amongst the crowds, the dun colour was after all originally designed to cope with horse hair and the occasional splattering of mud and still stay immaculate. Team with a tweed suit and trilby and you have the ultimate Cheltenham kit. Shiny office suits are
ill-advisedly becoming prevalent and are more to be pitied than censured. For the ladies, a smart tweed ensemble, topped with a splendid fur hat will cut a dash. Lurid pink prom style dresses, worn with ‘dead parrot’ style fascinators are best avoided as they have a habit of frightening the jockeys who are, through years of careful breeding, a highly strung sort.
Should I bring the hound?
(UB) Yes just make sure it is correctly attired, little dogs in handbags are a little, Chelsea, not Cheltenham.
Correct footwear?
(AA) You want dry feet? Wellingtons and sturdy boots are the way forward, plus you can drink out of them later if you lose your glass.
Who am I likely to see?
(AA) The ladies and gentlemen of the jump racing community, a smattering of West Country royalty, corporate guests, persons from across the water and lots and lots of splendid red trousers.
Carriage of choice?
(UB) Train, taxi or chauffeur – to drive would make this a very dull day indeed.
Champagne or cider?
Either really but try not to drink out
of your trilby. We do think a nice glass of Pol Roger Brut Vintage 2006 tastes terrific at 9am, on auspicious occasions such as this.
“Cheltenham is the highlight of the National Hunt season and brings absolutely everything to the table. The horses are the elite from England, Ireland and France and the world’s best jockeys, along with the most sporting crowd that any event can put together. To many this is an annual pilgrimage and, to all of us, the pinnacle four days of every year”
Nicky Henderson
(3 times Champion NH trainer and trainer of 47 winners at the Cheltenham Festival)
Twickenham
Which car park should I head to?
(UB) Well, if you’re not in the west car park let’s just say it is a bad old day.
Where should I be aiming to sit?
(AA) Mid-tier east or west stand, somewhere close to facilities, and gone are the days of bringing your own tipple, it’s a pint of the black stuff or maybe a tepid GnT for you my dears! You are there for stirring rugby anyway…best not to blur the lines during the match.
Form on chat with fans?
(UB) You’ll want to discuss England’s latest midfield worries, the demise of the scrum and a return to off-field discipline. Avoid someone wearing a football shirt for fear of being proffered advice on your choice of sport. You’ll know who to look for; beginning a salvo with ‘my dear old thing…’ should see you through.

Black velvet?
(AA)If you insist dear, although best to stick to Pol Roger Brut Reserve.
Tweed, Wax or padded jacket?
All three are eminently suitable, accessorise with a generous glass of red wine and gingham table cloth. Wellies are wholly acceptable whereas loafers will do you no credit here, stout walking boots or sturdy brogues with thick socks are just the ticket.
“Don’t be afraid to go very casual - you’ll be surrounded by men in badly fitting jeans and jumpers decorated with dog hairs. It’s all about comfort. Do a bit of reading beforehand so you have half a clue who the key players are and what’s going on. Buy the headphones so you can hear what the ref is saying - that way you’ll be the only person who knows why a penalty is being given. Arrive early and leave late. The car parks are where the party is at.”
Clare Balding
(Broadcaster and avid Rugby fan)
The Christmas house party
Which host should you pass the booze to?
(AA) If you want to see it drunk on the day/evening, the hostess, if you want to hear about it drunk that night, privately, your host…
How to eat the cocktail sausage elegantly?

(UB) Attack the entrée with real verve, grab it and positively shove it in….avoid conversation while macerating and take a moment to savour.
When to leave?
(AA) When the hostess is bellowing ‘whose taxi is outside….’ or ‘right then, who’s for washing up…?’. Watching for signs is quite easy, the minute the decent wines are down to the sediment, or the port has been spilled, it’s time to head for the highway.
Lunchtime drinks – the plan?
(UB) Avoid the Gin and Tonic in favour of a Drouhin-Vaudon Chablis, and Robert Sinskey Vineyard’s Pinot Noir from Los Carneros for a red is a real winner! Cote du Nuit is more of a supper sip. Manzanilla is a positively inspired choice to accompany salted almonds and olives.
How to avoid the slightly-odd Uncle Bernard?
(AA) Make pains to suggest you know very little about cricket or the latest on Syria, declare an interest in popular music and the latest streaming service from Apple.
Declare yourself devoid of a decanter at home and that you have never heard of Wilbur Smith. Above all stay away from the drinks trolley – wait for it to come to you. This should save you hours of your life.

The Christmas jumper
However ironic your intentions
are, do not succumb to knitted garments with the following motifs: Snowmen, Father Christmas, Elves or Baubles, and if anyone approaches you wearing a garment emblazoned with any of the above (we can include ties in this), move very quickly towards the drinks trolley (see note above ref Uncle Bernard). Lambswool V necks found downstairs in Cordings of Piccadilly (and now Harrogate) in festive colours, and smart Fair Isles, are the order of the day, giving the message ‘I am a fun chap or lady, who has not lost their sense of style/ marbles’.
“Christmas jumpers are in my experience exclusively worn by ordinarily sane adults who stupidly believe that Christmas is an excuse to look like, behave like and sound like a 6 year old with OCD. Knitwear is a tricky enough issue without burdening it with aesthetic IEDs like appliquéd snowmen. Revolt against the revolting and plump for some lambswool”
Laurence Llewelwyn-Bowen
(Designer and broadcaster)
Since 1839 Cordings have clothed explorers, rock stars and royalty in understated British clothing, all from our iconic store in Piccadilly. With timeless cuts, traditional cloths and painstaking attention to detail creating an enduring elegance that is never out of style.
19 Piccadilly, London W1J 0LA
Westminster Arcade, Harrogate HG1 2RN
www.cordings.co.uk
Champagne Pol Roger has been producing exceptional champagne for over 165 years. To this day the house remains small, family-owned, fiercely independent and unrivalled in its reputation for quality. Pol Roger Portfolio was founded in 1990 by the Pol Roger family, to establish its own subsidiary in Great Britain, the premier export market for Pol Roger Champagne. Since 1990 Pol Roger Portfolio has grown to include a select number of first class wines and spirits from family owned houses; Crown Estates, Glenfarclas, Hine, Joseph Drouhin, Drouhin-Vaudon, Josmeyer, Kilchoman, Robert Sinskey, Staglin Family, Abreu and Dalla Valle.
Champagne Pol Roger
www.polroger.co.uk
COPYRIGHT POL ROGER © 2015,
Illustrated by Oliver Preston and
Designed by Emma McCall


Oliver grew up in London and the Cotswolds and from an early age developed a love of cartoons and caricature through the books of H M Bateman, Thelwell, Tintin and Charles Addams. As a child and at school Oliver drew extensively. He is completely self taught. After Eton College, where he won the Gunther Graphics Prize for Art, Oliver attended Exeter University, and then spent ten years working in the City of London, latterly as a director of bond sales at Lehman Brothers.

However he saw the light in 1995 and left the City to become a full-time cartoonist and illustrator. His early cartoons were published in Punch Magazine, The Beano, The Dandy and The Spectator, and since 1995, Oliver has been the regular cartoonist for The Field Magazine.

His funny cartoons have also appeared in Cotswold Life, The Polo Magazine and Country Life amongst others, and he has contributed to The Times, The Guardian, The Daily Mail and The Independent newspapers.

With a keen eye for social observation, his cartoons are beautifully drawn with a very individual style. The situations are very close to people’s everyday lives, and there is often a splattering of languid lovelies, dilettantes and doting dogs. Oliver has developed a wide following, especially for his shooting and skiing cartoons, and drawings that depict the quirkiness of British town and country life.

He has held one man shows at The Fine Art Society in Bond Street (1999), The Addison Ross Gallery, London (1990), The Mall Galleries, London, (2014) and regularly at the Gstaad Palace in Switzerland.

He has also produced fifteen funny books of his cartoons, which can also be purchased as limited edition prints, and as funny birthday cards. His latest books, "The Imperfect Shot" and "Lively Limericks" are on sale now for Christmas 2015.

Oliver returned to Gloucestershire in 1998 and over the next fifteen years, he has developed a loyal customer base, working for a diversity of clients, on caricature commissions, christmas cards, cartoon invitations, and much more.

Today, Oliver Preston’s funny cards are published by Beverston Press which ships to trade and retail customers around the globe. You can see more here:

Wednesday, 5 October 2016

Lucie Aubrac / VÍDEO:Mort de Lucie Aubrac



Lucie Aubrac
French resistance heroine whose later years were clouded by allegations that her husband was a Nazi informer

Julian Jackson
Friday 16 March 2007 23.56 GMT Last modified on Sunday 15 April 2012 21.05 BST


Lucie Aubrac, who has died aged 94, was one of the legendary figures of the French resistance, so famous that in 1997 her story was made into a colourfully romantic film in which she was played by the actor Carole Bouquet. The movie recounted how Lucie tricked the Gestapo and organised a daring raid to free her husband, Raymond, from imprisonment at the hands of the Germans.

A few weeks later, however, the journalist Gérard Chauvy published a book documenting inconsistencies in Lucie's account of her life, insinuating that Raymond, far from being a resistance hero, might have been a German informer. From being resistance legends, the couple found themselves mired in one of those controversies that has punctuated the memory of France's dark years of wartime occupation.

Born into a modest family of Burgundy winegrowers, Lucie Bernard, a brilliant student, obtained in 1938 the agrégation in history - the most prestigious higher degree in France. On the eve of the second world war, she began teaching history at a school in Strasbourg. This was a period of great political conflict in France, and during the 1930s she had become an active supporter of the Communist party, which, like others of her generation, she saw as the most effective bulwark against fascism. In December 1939, she married Raymond Samuel, a young engineer who was also a committed communist.


After the defeat of France in 1940, Lucie resumed teaching at a school in the unoccupied zone in Lyon. That autumn, she met in a cafe Emmanuel d'Astier de la Vigerie, one of those hoping to organise resistance to the German occupation. It was out of such chance encounters that the first resistance groups were formed. Lucie and Raymond became founding leaders of d'Astier's organisation, Libération-Sud, which was to become one of the most important resistance movements in France. There were many women involved in resistance, but relatively few in such prominent positions. This alone would have marked Lucie out as an exceptional individual.

For the first two years of the war, she and Raymond continued their professional occupations - she as a teacher, he as an engineer - while also living double lives as resistance organisers under various pseudonyms. (After the war, they officially adopted as their new name Raymond's resistance alias, "Aubrac"). In May 1941 Lucie gave birth to her first child, Jean-Pierre. So she was living a triple existence as teacher, mother and resister; as she wrote in her memoirs, being the mother of a baby was an excellent cover to divert suspicion from the Germans, and at one meeting between her husband and General de Gaulle's envoy, Jean Moulin, in a Lyon public garden, her presence with her baby boy proved particularly useful.

At the end of 1942, the Germans occupied the whole of France and Lyon became the headquarters of the notorious Gestapo chief, Klaus Barbie. In March 1943 Raymond was arrested. It seems, however, that the Germans and Vichy authorities thought they had only caught a small-time black marketeer, and he was released in May, after Lucie intervened with the local Vichy public prosecutor. Then, on June 21 1943, Raymond was arrested again, along with Moulin himself, at a top level meeting of resisters in a doctor's surgery in the Lyon district of Caluire.

It did not take the Germans long to work out the identities of Moulin and most of the others they had captured. Moulin was horribly tortured and transferred to Paris, where he died. Meanwhile, Raymond was held in the Montluc prison, in Lyon, and beaten up. Lucie mounted an extraordinary scheme to release him. Pregnant again, she presented herself to the Gestapo, claiming to be the recently engaged fiancée of someone she believed to be called "Ermelin", one of Raymond's aliases, who, she claimed, had been innocently caught up in the raid while visiting the doctor. When told that her "fiancé" was a resister who was to be executed, she begged to be allowed to save her honour and legitimise her expected child by marrying him under a French legal clause which allowed an engaged couple to wed if one of them is about to die. The Gestapo lieutenant swallowed her story, and on the day Raymond was being transferred back from Gestapo headquarters to prison after the "marriage", armed resisters attacked the lorry and freed him and 15 other prisoners.

Lucie and Raymond went into hiding until a plane could take them to London, where they arrived in February 1944. Their second child, Catherine, was born a few days later. On March 20 1944, De Gaulle's provisional government announced that once France was liberated, women would - for the first time - be given the vote. In anticipation of this, and before elections could occur, the general had appointed a consultative assembly, which Lucie joined as a resistance representative. She thus became the first woman ever to sit in a French parliamentary assembly.

In 1945, once the war was over, she published a short history of the resistance - the first to appear - and then returned to teaching. In retirement, she saw it as her duty to ensure that the memory of the resistance lived on in the memories of younger generations of French men and women, and she would regularly visit schools to provide her own testimony as survivor and historian.

This is how Lucie's life might have ended had she and Raymond not been catapulted into controversy in 1983 after Barbie's extradition from Bolivia to stand trial in France. Before his trial, Barbie let it be known that he would reveal new facts about the resistance, including the claim that after his first arrest Raymond had turned informer and betrayed Moulin. The allegations never came to anything, but were troubling enough for Lucie to write her own memory of the affair (translated into English as Outwitting the Gestapo).

After Barbie's death in 1990, however, a document - the so-called Testament of Barbie - began circulating in newspaper offices and repeating the allegations about Aubrac. It was also at this point that Chauvy produced his book. Although distancing itself from Barbie's more extreme accusations, Chauvy's work was based on genuine archival material, and its overall effect was to cast a cloud of suspicion over the veracity of Lucie's account.

Twenty leading resistance survivors published a protest letter, but the Aubracs were deeply upset by the book, and asked to be given a chance to explain themselves before a panel of leading French historians. The newspaper Libération organised a discussion between the historians and the Aubracs.

But what had been intended by the Aubracs as a way of clearing their name turned into an acrimonious exchange in which they found themselves almost on trial. None of the historians accepted the idea that Raymond had been an informer, but they noted inconsistencies and contradictions in the various versions Lucie had given over the years. There were oddities in the case which have never been entirely elucidated: what were the exact circumstances of Raymond's first release from prison?; why was he the only resister arrested at Caluire not to have been moved to Paris (thus making it possible for Lucie to save him)?

The arrest of Moulin, in which the Aubracs were caught up, was the greatest drama of the resistance. And the Aubrac affair of the 1990s reminded people that, apart from the cases of betrayal that provide rich fodder for conspiracy theorists, the resistance was also plagued by internal conflicts of ideology and personalities. The fact that the Aubracs remained communist sympathisers long after the end of the war may have had something to do with the attacks on them.

In exasperation, at one point, Lucie protested that her memoirs - written 40 years after the events, when she was in her 70s - could not be expected to be accurate in every detail: she said she had been writing her story, not history. To which the historians present could only reply that their job was to write history, even if it meant unpicking the stories people wished to tell.

The tragedy of the situation was that Lucie, herself a historian and historical actor, was at the end of her life caught between the conflicting imperatives of historical truth and legendary memory. None of which detracts from the fact that, whatever happened in Lyon in the summer of 1943, she was a woman of great courage, character and energy, one of the last survivors of a generation that, between 1940 and 1945, helped to save the honour of France. Raymond and her three children survive her.

· Lucie Aubrac, teacher and resistance leader, born June 29 1912; died March 14 2007




Lucie Aubrac: The French Resistance Heroine Who Outwitted the Gestapo by Siân Rees

In May 1943, a young Frenchwoman called Lucie Aubrac engineered the escape of her husband, Raymond, from the clutches of Klaus Barbie, the feared Gestapo chief later known as the "Butcher of Lyon." When Raymond was arrested again that June, Lucie mounted a second astonishing rescue, ambushing the prison van that was transporting him. As a founding member and leader of the important French Resistance group Liberation-Sud, Lucie served as a courier, arms carrier, and saboteur who engineered these and other escape plans on behalf of her husband and other Resistance fighters.

Spirited out of France with Raymond by the RAF, Lucie arrived in London a heroine. For the postwar generation the couple embodied the spirit of "the real France": the one that resisted, and eventually expelled the Nazis. However, in 1983, Kalus Barbie made the bombshell claim that the Aubracs had become informers in 1943, betraying their comrades. The French press and the couple themselves furiously denounced this as slander, but as worrying inconsistencies were spotted in Lucie's story, doubts emerged that have never quite gone away.

Who was Lucie Aubrac? What did she really do in 1943? And was she truly the spirit of la vraie France, or a woman who could not resist casting herself as a heroine? Siân Rees’s penetrating, even-handed account draws from letters, newspaper articles, and other archival materials, as well as several interviews, to decipher the truth behind Lucie and her husband's wartime endeavors and near fall from grace. It offers a thrilling portrait of a brave, resourceful woman who went to extraordinary lengths for love and country.



Lucie Aubrac: The French Resistance Heroine Who Outwitted the Gestapo / Hardcover – June 1, 2016
by Siân Rees

Review By E. Bukowskyon / June 15, 2016

Lucie and Raymond Aubrac, who died in 2007 and 2012 respectively, are revered in France, more than seventy years after they risked their lives to thwart their Nazi occupiers. This valiant couple, who fled their homeland in 1944, arrived in London when Lucie was eight months pregnant with their second child. In 1943, the Gestapo captured Raymond Samuel (who had adopted the alias Aubrac). Obersturmführer Klaus Barbie, the infamous "Butcher of Lyon," might have executed Raymond had Lucie not hatched an audacious plan to free her husband.

Siân Rees, in "Lucie Aubrac," focuses on the political and social climate in France under Field Marshal Philippe Pétain's Vichy government. In opposition to Pétain's puppet regime, competing groups sprang up, all determined to resist the German juggernaut. Two of their most energetic and outspoken leaders were Lucie and Raymond, who hid in plain sight while helping organize the various factions into an effective force. Lucie was politically engaged, took risks when she believed they were warranted, and firmly embraced the values of social justice, tolerance, and pacifism. She was instrumental in creating and distributing an underground newspaper and played a key role in rescuing detainees from "internment camps, military prisons, and police cells." Lucie and Raymond's home was "both a political headquarters and a safe house for people on the run."

Rees puts Lucie's life, before, during, and after the Second World War, in historical context. Especially galling are the outrages perpetrated by the Vichy government, whose functionaries actively participated in the deportation of thousands of Jews to concentration camps. The author also discusses other important resistance figures, such as Emmanuel d'Astier and Jean Moulin, some of whom paid the ultimate price for their selflessness. Lucie Aubrac (she and Raymond adopted the name "Aubrac" legally in 1950) was not a saint. Some of her acquaintances considered her to be impetuous and overly excitable. In addition, she embellished the truth when it suited her, perhaps in an attempt to make her tales more interesting and entertaining. "Lucie Aubrac" drags at times, especially in the lengthy section dealing with the Aubracs' postwar activities. Overall, however, this is an intriguing and informative portrait of a compassionate and independent woman. Although she could have emigrated to America, Lucie chose to remain in France during its "Dark Years." Freedom fighter such as Lucie and Raymond "upheld French honor at a bleak time in their country's history."


Saturday, 1 October 2016

Exposition Hergé au Grand Palais à Paris


http://www.grandpalais.fr/en/event/herge



28 September 2016 to 15 January 2017
Grand Palais
There is no longer any need to present the career of Georges Remi, known as Hergé, Belgian cartoonist best known for The Adventures of Tintin. Often referred to as "the father of the European comic strip", he was one of the first French-speaking authors to use American-style comic strip with speech bubbles. The exhibition looks back on his creative approach, fed by the cinema, painting, photography and adventure novels and his passion for drawing. It shows how the universally recognised drawings of Hergé fit in with both his era and the history of art.



 Hergé, du château de Moulinsart au Grand Palais
LE MONDE | 29.09.2016 à 06h37 • Mis à jour le 29.09.2016 à 14h07 | Par Frédéric Potet

Nick Rodwell, le patron de Moulinsart, la société anonyme chargée de l’exploitation commerciale de l’œuvre d’Hergé, se souviendra longtemps de l’année 2016. En mai, le club de football qu’il supporte depuis toujours, Leicester City, a remporté pour la première fois de son histoire le championnat d’Angleterre, prenant en défaut tous les bookmakers du pays. Tout aussi sensationnel est l’« exploit » que M. Rodwell voit aujourd’hui se concrétiser sous ses yeux : l’entrée du créateur de Tintin au Grand Palais à Paris, où s’est ouverte, pour quatre mois, mercredi 28 septembre, une exposition tout simplement appelée « Hergé ».
Si celle-ci devrait marquer d’une pierre blanche le long chemin emprunté par la bande dessinée vers la reconnaissance artistique, les spécialistes feront remarquer que ce n’est pas la première fois que le 9e art investit le monument de l’avenue Winston-Churchill dans le 8e arrondissement de Paris. En 1986, Hugo Pratt – le créateur de Corto Maltese – y fut célébré dans le cadre d’une « Saison vénitienne » organisée par le Centre national des arts plastiques et la Maison des cultures du monde.
Trente ans plus tard, l’exposition Hergé est proposée au même endroit par la Réunion des musées nationaux (RMN), placée sous la tutelle du ministère de la culture. C’est elle qui est venue à Moulinsart, et non l’inverse, comme le raconte son commissaire général, Jérôme Neutres : « Les premiers contacts remontent à fin 2010. L’idée, à l’époque, était de faire coïncider une exposition avec la sortie du film...





Thursday, 29 September 2016

You Can't Get the Staff | Season 1 Episode 1 | Full Episode


You Can't Get the Staff
About the Show
Cameras venture behind the doors of some of Britain's poshest homes to see how the cream of society handle their domestic staff

Episode 1 - Princess Olga, Baronet Sir Humphry and Lady Colin Campbell

New series exploring how the cream of society handle domestic staff. In episode one, Princess Olga Romanoff hires a 'garden boy' while renowned hostess Lady Colin Campbell seeks a butler.
Show Clips & Extras
Lady Linlithgow, Detmar Blow and Carina Evans

Episode 2 - Lady Linlithgow, Detmar Blow and Carina Evans

Lady Linlithgow needs a new recruit to help run Bryngwyn Hall in Wales, while Carina in Henley wants a home worker to do everything she does, apart from sleep with her husband
Show Clips & Extras
Caroline Lowsley-Williams, Drew Rieger and John Mew

Episode 3 - Caroline Lowsley-Williams, Drew Rieger and John Mew

Caroline plans changes to the staff at the 2000-acre Chavenage House, and American composer Drew Rieger has a housekeeping crisis in Baltimore with an ex-royal butler coming to the rescue
Show Clips & Extras
Sir Benjamin Slade, Aurora Eastwood, The Rogers

Episode 4 - Sir Benjamin Slade, Aurora Eastwood, The Rogers

Sir Benjamin Slade of Maunsel House in Somerset is on the hunt for a handyman after the last one ran off with his wife. And are Aurora Eastwood's standards too high for a new groom?
Show Clips & Extras
Sara Vestin Rahmani and Anna Trent
Episode 5 - Sara Vestin Rahmani and Anna Trent

Sara Vestin Rahmani seeks a butler able to co-ordinate private jets and get along with her two bulldogs. And the settling in period for Anna Trent's au pair proves trickier than expected.

You Can't Get The Staff, review: 'lightweight'
This documentary about bumbling gentry and their long-suffering staff lacked insight, says Gabriel Tate

By Gabriel Tate10:00PM BST 21 Oct 2014

The opening episode of the five-part documentary series You Can’t Get the Staff resembled one long compilation of “comedy” moments from Downton. In other words, the activities of an assortment of bumbling gentry and long-suffering staff were put to a soundtrack of plucked strings, with results that were mildly entertaining but hardly hilarious. Lady Colin Campbell, for example, asserted that “14 [dinner guests] always ensures a row” like a latterday Violet Crawley. “Eight,” agreed Grant Harrold, her hired butler, was “a nice number”.
While royal muckraker Campbell (author of Diana In Private and similar pap) was only hiring help for the night, Princess Olga Romanoff (descendant of Tsar Alexander III) and Sir Humphry Wakefield (owner of Chillingham Castle in Northumberland) wanted permanent staff: the former to tend to her 35 acres, the latter to polish his 2,000-plus items of armour and weaponry. Following a series of job interviews awkwardly staged for the camera, both hired suitable candidates with their rivals ruling themselves out after minor quibbles over foxhunting and swordsmanship.
The snarky voiceover, with its ready indulgence of screamingly obvious puns and wordplay, obscured what could have been a far more insightful documentary. Why, for example, did they all live alone? What did their staff really make of them? Barring the passing mention of a broken marriage or the nouveau riche, this was gaily ignored in favour of another cutaway to a reaction shot or brief tutorial on how to polish a chandelier. The result was lightweight and incurious.


You Can't Get the Staff | Season 1 Episode 2 | Full Episode

You Can't Get the Staff | Season 1 Episode 3 | Full Episode

Wednesday, 28 September 2016

The Russian White Emigrés / VIDEO: Former People- The Last Days of the Russian Aristocracy.mov



A white émigré was a Russian subject who emigrated from Imperial Russia in the wake of the Russian Revolution and Russian Civil War, and who was in opposition to the contemporary Russian political climate. Many white émigrés were participants in the White movement or supported it, although the term is often broadly applied to anyone who may have left the country due to the change in regimes.

Some white émigrés, like Mensheviks and Socialist-Revolutionaries, were opposed to the Bolsheviks but had not directly supported the White movement; some were just apolitical. The term is also applied to the descendants of those who left and still retain a Russian Orthodox Christian identity while living abroad.

The term is most commonly used in France, the United States, and the United Kingdom. A term preferred by the émigrés themselves was first-wave émigré (Russian: эмигрант первой волны, emigrant pervoy volny), "Russian émigrés" (Russian: русская эмиграция, russkaya emigratsiya) or "Russian military émigrés" (Russian: русская военная эмиграция, russkaya voyennaya emigratsiya) if they participated in the White movement. In the Soviet Union, white émigré generally had negative connotations. Since the end of the 1980s, the term "first-wave émigré" has become more common in Russia. In Japan, "White Russian" term is most commonly used for white émigrés even if they are not all Russians.

Most white émigrés left Russia from 1917 to 1920 (estimates vary between 900,000 and 2 million), although some managed to leave during the 1920s and 1930s or were expelled by the Soviet government (such as, for example, Aleksandr Solzhenitsyn and Ivan Ilyin). They spanned all classes and included military soldiers and officers, Cossacks, intellectuals of various professions, dispossessed businessmen and landowners, as well as officials of the Russian Imperial government and various anti-Bolshevik governments of the Russian Civil War period. They were not only ethnic Russians but belonged to other ethnic groups as well.






Beauty in Exile: The Artists, Models, and Nobility who Fled the Russian Revolution and Influenced the World of Fashion
by Alexandre Vassiliev

Book Review by By K. Maxwell on July 5, 2003

This book covers the now vanished world of Russian exiles from the Revolution till the 1950-60's. It covers such areas as the influence of the Ballets Russies in Paris prior to the revolution, the clothes the exiles bought with themselves, and the importance of the Kokoshnik to Russian fashion design.
We are also given the history of the now vanished Russian émigré communities in Constantinople in Turkey, Berlin in Germany and Harbin in China, with a smaller amount of discussion of the communities in Paris and London.
London and Paris mostly get discussed in context with fashion, as many émigrés, both noble and poor made a living in the various parts of the fashion industry in exile. There is a whole chapter devoted to the house of Kitmr with its exquisite embroideries and beading, which was run by Grand Duchess Marie Pavlovna the younger in the 1920's.
The author has also unearthed other Russian émigré fashion houses which were well known and respected in the 1920's but are mostly forgotten now, houses such as Anely, Mode, Paul Caret, Tao, Yteb and Irfe which was run by the Youssoupoff family.
The majority of the book concentrates on fashion, but there is also discussion of the theatre, cafe's and other craft oriented activities which the Russian communities produced, especially in the 1920's. Many years of painstaking research as been conducted by the author to reconstruct this lost world. The book is full of black and white photos, which I imagine would not have been easy to find. However, if you are looking for nice colour photos of Russian costume, you will not find it here, but if you are trying to find something out on the background on émigré communities or the Russian fashion industry in the 1920's this book will be the standard work for many years to come.


Émigré enterprise: How Russian aristocrats became fashion pioneers
February 19, 2014 INNA FEDOROVA, SPECIAL TO RBTH

These days fashion trends typically make their way to Russia from Europe, but a century ago Russian designers were dressing the chic and fashionable on both sides of the Atlantic.

Every year, from January onwards, the world of fashion fixes its attention on what is happening on catwalks and behind the scenes at Fashion Weeks across the world. Industry professionals, lovers of beauty and glamor, and it-girls from all over the world put New York, London, Milan and Paris into their diaries.

One event unlikely to feature on their itineraries, however, is Moscow Fashion Week, which is not that well known even among fashion industry professionals. Although the Russian couturiers of today lack the high profile enjoyed by the giants of France and Italy, at one time Russian designers dressed fashionable people on both sides of the Atlantic.

The history of Russian "expansion" into the foreign fashion market began with the break-up of the Russian Empire following the revolution of 1917. Hundreds of members of the Russian aristocracy found themselves making a new life abroad as refugees.

Most of the women among them had brilliant education as well as fine manners and impeccable taste. Moreover, as young girls they were all taught embroidery and needlework.

The Paris magazine Illustrated Russia wrote about them at the time: "A Russian émigré lady has shyly entered this city. There was a time when her mother and grandmother ordered their dresses from Worth and Poiret, but this young Russian woman has just escaped from the hell of the revolution and civil war! She has arrived in the capital of female elegance and knocked on the doors of a luxury maison de haute couture. And the massive doors opened to let her in and she has captured everyone's heart…"

The Russian Revolution created ripples even in the world of fashion. Chic women in Europe began to wear styles à la russe: kokoshniks (headdresses), furs and boyar (aristocratic) collars. Collections featuring these elements were presented in the 1920s by Paul Poiret, Coco Chanel and many others.

Russian émigré women, who had been trained in delicate needlework since childhood, found themselves in great demand. Duchesses and countesses began to produce embroidered accessories, costume jewelry, embroidered fabrics, clothes and interior design items in the Slavonic style.

Russian aristocrats mainly specialized in embroidery work and did it so well that they began to receive orders from leading fashion houses. The most successful of them all was Grand Duchess Maria Pavlovna, who set up an embroidery workshop called Kitmir and signed an exclusive contract with Chanel to design and manufacture embroidery.

All in all, Russian aristocrats founded over 20 fashion houses. Maria Putyatina set up a hat firm called Shapka (“hat” in Russian), which became so successful that it soon branched into London.

Countess Orlova-Davydova opened a Russian fashion house in Boulevard Malesherbes, which specialized in "hand-knitting and printed wool and silk fabrics". Meanwhile, Duchess Lobanova-Rostovskaya set up her own Russian fashion studio in London, called Paul Caret.

The parents of one of the founders of modern U.S. fashion, Ralph Lauren, came to America with their parents from Russia in the 1920s. Until he turned 16, the legendary fashion businessman was known under his father's surname, Livshits.

Having started out selling neckties that "looked expensive but cost little to make" from an office without windows, Ralph Lauren now runs a fashion empire of his own and is a regular fixture at New York Fashion Week.

Or take, for instance, "the father of modern cosmetics", Max Factor (Maksymilian Faktorowicz), the founder of cosmetic industry giant Max Factor & Company.

Though a Polish businessman of Jewish origin, he too was born in the Russian Empire, of which eastern Poland was then part.

He opened his first cosmetics store in Ryazan, and later worked in Odessa and Nikolayev. Today one of the stars on the Hollywood Walk of Fame bears his name.

Another incredible success story took place in Italy, where Irina Borisovna Golitsina, a girl from a titled family of first-wave émigrés, brought up in Russian aristocratic traditions, became a principessa of the Italian fashion world.

Her fashion house, Galitzine, was on a par with the houses of such established masters as Gianni Versace, John Galliano and Yves Saint Laurent. It was she who in 1963 designed the famous "palazzo pajamas", silk pajama sets that were chic enough to be worn as eveningwear.

A special place among successful Russian fashion houses abroad belonged to IRFE (the acronym stood for the initials of its founders, Irina and Felix Yusupov). Princess Irina, nee Romanov, was a niece of Tsar Nicholas II and a favorite granddaughter of Alexander III.

Her husband, Prince Felix Yusupov, famous for his involvement in the assassination of Rasputin in 1916, belonged to one of Russia's oldest and richest noble families.

All the splendor and sophistication of their background was reflected in the models they created.

Delighted by the house's first collection, a review in the French edition of Vogue magazine said: "This is a collection which is at the same time a selection because it does not have a single model that does not work."

The aristocratic nature and flavor of the brand brought it enormous success and IRFE opened branches in Normandy, Berlin and London.

In addition, it released a revolutionary line of perfumes: Blonde for blonde women, Brunette for dark-haired women, Titiane for redheads, and Grey Silver, for elderly ladies - all in limited edition.

The sports of the Russian tsars: Chess, cycling and tennis
Read more! The sports of the Russian tsars
And yet in 1931, seven years after its spectacular launch, IRFE was forced to shut down, unable to cope with growing competition.

The same fate awaited the majority of Russian fashion houses in Paris. Smart and sophisticated but lacking in business acumen, Russian aristocrats created beautiful pieces but were unable to fight for their place under the sun.

However, the story has a silver lining: In 2006 a Paris-born Russian, Olga Sorokina, revived the brand IRFE, which is now available in more than 20 countries of the world and has already presented its 2014 spring and summer collection at Paris Fashion Week.


Countess Olga “Lala” Hendrikoff was born into the Russian aristocracy, serving as a lady -in- waiting to the Empresses and enjoying a life of great privilege. But on the eve of her wedding in 1914 came the first rumours ofan impending war – a war that would change her life forever and force her to flee her country as a stateless person, with no country to call home.
Spanning two of the most turbulent times in modern history- World War I in Russia and World War II in Paris- Countess Hendrikoff’s journals demonstrate the uncertainty, horror and hope of daily life in the midst of turmoil. Her razor-sharp insight, wit and sense of humour create a fascinating eyewitness account of the Russian Revolution and the Occupation and Liberation of Paris.
In “A Countess In Limbo”, Countess Hendrikoff tells her remarkable true story that includes the loss of her brother in the Russian Gulag, her sister-in-law, Anastasia Hendrikoff, murdered with the Russian Imperial family and herself being robbed at gunpoint and accused of being a spy by the Nazis. She also speaks of the daily life that continues during wartime - ration cards and food restrictions, the black market, and the struggle to just get by for another day. Her gripping story and thoughtful analysis provide an invaluable look at life and humanity in the face of war.