British Fashion Awards 2015 Highlights


Photo credit:British Fashion Council


Emerging Womenswear Designer: Thomas Tait

Presented by Nick Grimshaw and Rosie Huntington Whiteley

Emerging Menswear Designer: Grace Wales Bonner

Presented by Nick Grimshaw and Rosie Huntington Whiteley

Emerging Accessory Designer: Jordan Askill

Presented by Nick Grimshaw and Rosie Huntington Whiteley

Red Carpet: Tom Ford

Presented by Lucky Blue Smith, accepted on behalf of Tom Ford by Lady Gaga

Model: Jourdan Dunn

Presented by Olivier Rousteing

Outstanding Achievement: Karl Lagerfeld

Presented by Anna Wintour OBE

Creative Campaign: Burberry

Presented by Naomi Campbell

International Designer: Alessandro Michele for Gucci

Presented by Tim Blanks and Georgia May Jagger

New Establishment Designer: Mary Katrantzou

Presented by Elisa Sednaoui

Establishment Designer: Erdem

Presented by Alexa Chung

Brand: Stella McCartney

Presented by Edina Monsoon and Patsy Stone

Isabella Blow Award For Fashion Creator: Nick Knight OBE

Presented by Karlie Kloss

British Style – Fashion Innovator: FKA Twigs

Presented by Jefferson Hack

British Style – Red Carpet Ambassador: Gwendoline Christie

Presented by Kate Bosworth

Accessory Designer: Charlotte Olympia

Presented by Olga Kurylenko

Menswear Designer: J.W.Anderson

Presented by Orlando Bloom

Womenswear Designer: J.W.Anderson

Presented by Noomi Rapace
British Fashion Awards 2015 | Highlights

Handmade cookbook: stories of strength through receipes…


HANDMADE is a cookbook, which tells the incredible stories of 34 war widows of Sri Lanka, through their relationship with food and recipes during and after the time of conflict.

Beautiful transcribed stories combined with stunning photography, reveal the journey of the widows together with what they cooked and what they dreamed of eating in the brighter future.


Since early 2014, there have been many Palmera, volunteers (a grassroots not for profit organization) who donated their time, tirelessly for this project and accumulated the stories through interviews.


Having done this, a team in Australia set about recreating these recipes in a modern kitchen to obtain the photos they needed, as well as testing out of all the recipes.


Being half Sri Lankan myself, this resonated with me immediately and am humbled to be able to help in this tiny way by posting information for this charity and the courageous widows featured in the book.


HANDMADE is a 250 page coffee table book which was produced by strengthening economic opportunities & building thriving village economies for rural entrepreneurs & young people. 100% of all profits from the sales of HANDMADE will be reinvested in rural women entrepreneurs in Sri Lanka.

FB Photo 2

FB Photo 1


For more details on how to purchase one of these beautiful books or to attend any of the launches being scheduled in London, please contact: Abhi Phatak | Attached is flyer and details of next upcoming event:

What : The London launch of HANDMADE where people will get to hear the journey of HANDMADE, as well as taste test some of the recipes.

When : Tuesday 1st December 2015
Where : 630pm, at The Walrus & The Carpenter, 45 Monument St, London, EC3R 8BU





Christie’s is delighted to present for the first time at auction, the three greatest cultural icons of the 20th century reunited, representing the ultimate heroes of art, music and cinema. Two iconic portraits by Andy Warhol featuring the towering figures of Elvis Presley and Marlon Brandon, the most important male celebrities in Warhol’s pantheon of stars, which epitomize the archetype of cool and glamour and exude a raw sexuality and intense power rarely found in his work. Christie’s will present these paintings on tour in Asia, Europe and US—probably the first time that the international public will have the opportunity to admire these two incredible portraits side by side—before being sold at auction in New York on November 12th. Together Triple Elvis [Ferus Type] and Four Marlons are expected to realize in the region of $130 million.

As such complementary examples of Warhol Superstars, – sharing the same large scale, extreme rarity and supreme quality, there is a strong possibility after the record breaking price achieved for the Bacon triptych  a year ago, that our top masterpiece buyers will try to acquire both portraits and keep them as a unique pair. Many will make their own choice over favoring Elvis or Marlon. It is going to be a battle of the greatest super heroes ever, where in the end, someone could buy both. Unseen on the market for almost 40 years, these masterworks represent the greatest icons of the 20th century and Warhol’s career,” stated Brett Gorvy, Chairman and International Head of Post-War and Contemporary Art.

“The sale of these two art works by Andy Warhol will allow us to continue pursuing our existing gambling offerings to the population of North-Rhine Westphalia and to meet the challenges ahead. This is why we we’ve decided to sell both masterpieces. Given the current strength of the market, especially for works by Andy Warhol, it is now the right moment to part from these works, which had been acquired for decorative purposes of our casino in Aachen in the late 1970s,” explained Lothar Dunkel, Managing Director of WestSpiel.

The arrival on the market of Triple Elvis [Ferus Type] and Four Marlons, the two greatest icons of the 20th century culture, never seen at auction before, is an exceptional and unique opportunity for collectors and institutions to acquire iconic masterpieces. In recent seasons, Christie’s has achieved unprecedented heights for contemporary art of this exceptional quality, due in large part to a surge of interest from buyers in both established and growth markets. Warhol stands among the most coveted of these artists, and Christie’s is honored to be the market authority for the artist and maintain an exclusive partnership with the Andy Warhol Foundation. Over the last decade, Christie’s has set the highest prices for works by Warhol at auction and within the private sales sector, including most recently the sale of Warhol’s Race Riot for $62.9 million, far exceeding its pre-sale estimate of $45 million, and for White Marilyn, another iconic portrait, which fetched $41 million above its pre-sale estimate of $12 – $18 million.


  • Hong Kong                          3 – 5 October 2014
  • London                                 11 – 16 October 2014
  • New York                            1 – 5 November 2014


  • New York                            8 – 12 November 2014


  • New York                            12 November 2014 at 7pm

Christie’s 20 Rockefeller Plaza 

Image courtesy of: CHRISTIE’S IMAGES LTD. 2014


Tara Sillery | Samira’s Show | 4th September at 11am


PR and TV fashion maven, Tara Sillery of PR Passion is live on Samira’s Show tomorrow night. The Californian TV show, is an award winning International TV Show which reaches 5.6 million TV households in Los Angeles alone.

Tara will be on the show to discuss her role in the Middle East and fashion career to date, plus what it is like dressing celebrities, and being a leading fashion spokesperson and designers muse in the Middle East.

We’ll also get to hear about some of Tara’s designers from the region, where she will be highlighting the latest talented designers.

Definitely not to be missed! I personally cannot wait!

Watch live here at:

New York Daybreaker


Daybreaker is fast becoming a global event. Originating from New York, it is an early morning club scene which is creating quite a buzz. Instead of going to the gym or a run in Central Park the cool kids are delivering their best moves on the dance floor where ever the Daybreaker event is being held at the time.

Maybe it’s time for us to all switch up our partying ideas and give the early hours one whilst stone cold sober a shot.




On 1 July, Christie’s will offer one of the most iconic works from the YBA movement, Tracey Emin’s My Bed, 1998, in the Post-War & Contemporary Art Evening Auction, London.
Building on Christie’s recent success with Sensation generation artists, including record prices for works by Jenny Saville and Gary Hume in the February 2014 Evening Auction, and for a more recent work by Tracey Emin (To Meet My Past, 2002) in Christie’s October 2013 Thinking Big auction of sculpture from the Saatchi Gallery Collection, we anticipate a strong degree of interest in this work.

A major piece that encapsulates Emin’s deeply personal work exploring the relationship between her life and her art, My Bed caused a furore when it was shortlisted for the Tate’s Turner Prize in 1999, prompting widespread public debate about the nature of contemporary art.

As Francis Outred, Christie’s Head of Post- War & Contemporary Art, Europe, says: ‘In My Bed (1998) Tracey Emin shares with us her most personal space, revealing a dark moment from her life story with startling honesty and raw emotion.

Her ability to integrate her work and personal life to a point where they become indistinguishable creates an intimacy with her viewers and asks us to witness her cathartic practice as a means of her survival. My Bed (1998).
transformed the way the general public engage with contemporary art, and because of this, is one of the most important British works of art of the 20th century.’

My Bed (1998) is Emin’s first readymade artwork that displayed all the forensic marks and detritus of a debauched period in her life. Engaging the viewer with a snapshot of her life brought about by a bout of suicidal depression after a traumatic relationship break-up, My Bed (1998) is made up of her own wooden double-bed with its rumpled sheets, pillows and twisted blankets left in disarray, surrounded by personal effects including empty vodka bottles, cigarette packets, stained sheets, discarded condoms and soiled underwear.

As Emin described it once with fellow artist Julian Schnabel: ‘I had a kind of mini nervous breakdown in my very small flat and didn’t get out of bed for four days. And when I did finally get out of bed, I was so thirsty I made my way to the kitchen crawling along the floor. My flat was in a real mess – everything everywhere, dirty washing, filthy cabinets, the bathroom really dirty, everything in a really bad state. I crawled across the floor, pulled myself up on the sink to get some water, and made my way back to my bedroom, and as I did I looked at my bedroom and thought, “Oh, my God. What if I’d died and they found me here?” And then I thought, “What if here wasn’t here? What if I took out this bed-with all its detritus, with all the bottles, the shitty sheets, the vomit stains, the used condoms, the dirty underwear, the old newspapers- what if I took all of that out of this bedroom and placed it into a white space? How would it look then?” And at that moment I saw it, and it looked fucking brilliant. And I thought, this wouldn’t be the worst place for me to die; this is a beautiful place that’s kept me alive. And then I took everything out of my bedroom and made it into an installation. And when I put it into the white space, for some people it became quite shocking. But I just thought it looked like a damsel in distress, like a woman fainting or something, needing to be helped.’

Looking back on this scene, Emin felt shocked yet absorbed by what it had become. As she says, ‘From one second looking horrible it suddenly transformed itself into something removed from me, and something beautiful. I suddenly imagined it out of that context, frozen, outside of my head, in another place.’

She shipped the bed in its entirety to Japan for an exhibition, installing it next to a pair of chained-up suitcases and a hangman’s noose which served to emphasise the painful isolation and entrapment she felt during that whole episode.
Shortlisted for the Turner Prize in 1999, Emin exhibited this work at the Tate Gallery, causing polarised reactions among viewers. As she says, ‘It’s a self-portrait, but not one that people would like to see.’

The object of considerable critical attention and strong viewpoints, the work became the centre of an overnight debate about the meaning of ‘art’, asking audiences to challenge their preconceived way of how they see, experience and understand it. As the novelist Jeanette Winterson has written, ‘Emin […] is interested in doing things differently – so different that they force a revision, another way of looking.’

Following its exhibition in Japan and her solo show at Lehmann Maupin Gallery, New York in 1999, My Bed (1998) was exhibited at the Tate Gallery, and was subsequently included in Emin’s retrospective, Tracey Emin: 20 Years, 2008 – 2009, Scottish National Gallery of Modern Art, Edinburgh, which travelled to CAC Málaga and Kunstmuseum Bern, and her 2011 Hayward Gallery exhibition, Tracey Emin, Love is What You Want.
A consummate storyteller, Emin engages the viewer in her candid portrayal of the most intimate aspects of her private life with all its indiscretions, insecurities and imperfections. Using her own experience – and frequently her own body – as source material for the work, Emin explores ideas of self-portraiture and narrative disclosure, both intimately bound up with her own biography. Emin grew up in the seaside resort of Margate and her work often refers to traumatic episodes from her childhood as well as to her chaotic teenage years, which resulted in unexpected pregnancies and abortions. She anecdotally recounts episodes from these years in a unique form of confessional works of art that often resonate with their audience. As the art critic Roberta Smith has written, ‘the best thing is simply Ms Emin herself, an artist who tells all, all the truths, both awful and wonderful, but mostly awful, about her life.’

Viewing: 28 June – 1 July 2014, Christie’s King Street



Christie’s is honored to present the sale of Francisco José De Goya y Lucientes: Graphic Masterpieces from a Private Collection on January 28, 2014. Featuring 35 important examples the sale encompasses a survey of his graphic work, containing imagery which sheds light on the tumultuous times in which he Goya lived.

One of the highlights of the sale is an early example of Los Caprichos, a complete set of eighty etchings first published in 1799. These prints exposed the corruption that earned Goya’s homeland the appellation Black Spain. Here, Goya mocks the peasantry’s superstitious belief in witchcraft, the arrogance of the nobility, and the widespread corruption of the Catholic Church. It offers a kaleidoscope view of evil, encompassing prostitutes, imagined witches and goblins. In order to protect himself from the wrath of the Inquisition, Goya masked his satire by means of images that could inspire multiple interpretations. This subtle layering of meanings is one of the hallmarks of Goya’s genius.

Never before had any artist presented such a complex group of images, which effortlessly show the mundane and the supernatural. Conceived and executed in less than three years, the project as a whole involved an extraordinary amount of labor as many of the etchings are masterpieces in their own right. Technically, Goya was one of the first artists to work in aquatint and used the medium to its full effect – layering veils of tone one upon the other, sometimes coarse and granular and other times smooth or so fine that it resembles watercolor wash. One of the earliest series, Los Caprichos became Goya’s most popular and influential and was largely responsible for Goya becoming known outside Spain.