ART: Carsten Höller: Decision at Hayward Gallery - Opening Night

'Voluptuous panic upon an otherwise lucid mind.' - Roger Caillois

Carsten Höller, Isomeric Slides, 2015, Image: David Levene

‘Carsten Höller's art is constantly pulling the rug out from under the way we look at the world' - a stand-out metaphor from Hayward director Ralph Rugoff at last night's much anticipated opening; taking over the Southbank space, Belgian artist Höller has certainly bought more than a bit of slapstick back to the art gallery.

Known best for his Turbine Hall slide installation at the Tate Modern - 'Test Site' - in 2006, Höller has repeatedly required not only active participation with his works, but a certain amount of bravado too. Decision is no different, with the whole show based around the concept of duality and - of course - decision making; it's kind of an exhibition full of Sliding Doors moments, minus the confusing Gwyneth Paltrow haircuts. The exhibition is undoubtedly fun (I will shy way from too much detail on the works as part of its dynamism stems from the unknown), but whether these moments of glee really push us to the artistic realisations Höller expects is something I'm still trying to decide on myself.

With mushroom carousels, dice shaped child’s playgrounds, roaming beds and (of course) outdoor slides, the show feels made for our Instagram generation. Furthermore, Höller's interest in the idea of the present/presence, the experience happening now which is so key to much of his work, taps brilliantly in to the modern FOMO-complex. Now we are all about the experience, the present, showing we were there, sharing our presence with the world so that our lives look like one long playground of brilliant moments. Within this contemporary context do the works thrive, or do Höller's pieces lose the provocation of spontaneous delight which their true effect relies on?

Personally it was not the silliest nor most surprising works which I felt particularly moved by, but instead I fell for a simpler piece called 'Pill Clock': an installation whereby every 3 seconds (the length of time 'in which it is possible to create the impression of presence') a single red and white capsule drops from an unknown location in the ceiling, onto the gallery floor. This playful rendering of a time piece had a quiet power to it, one heightened by it's accompanying water fountain which allowed myself and a few other visitors to drop our own pill as we passed, and was definitely the stand out piece for me.

Carsten Höller at Hayward Gallery will be one of the biggest shows of 2015 and its not hard to see why - artistic epiphany or not, you know it'll be one hell of an experience. And here's one decision that we can make for you: book your tickets now and get over there, FOMO is coming for you.

ART & FASHION: The Launch of Maison Mais Non in Soho

Krystyna-Kozhoma-x-Richard-Anderson

Tonight saw the much anticipated launch of new gallery Maison Mais Non on Greek Street, Soho. Hailed as London's 'first fashion gallery' and run by Micheál Neeson (son of Liam Neeson and Natasha Richardson), Topes Calland (who my date for the night assures me is THE tutor for celebrity offspring), Nell Campbell and fashion photographer Toby Knott, the launch was always guaranteed to be a pretty hot ticket.

Micheál Neeson and Liam Neeson at Maison Mais Non

Actors Liam Neeson and Ralph Fiennes, poet and it-girl Greta Bellamacina, property heiress India Rose James and model and presenter Rick Edwards were among the attendees, who took in both the fashion gallery and its sister venture The Soho Revue. 

Maison Mais Non

The debut show - named Artist:Artisan - cleverly brought together expert tailors from Saville Row and Central Saint Martins graduates to create and showcase collaborative designs which brilliantly blended the Row's tailoring brilliance with the off-the-wall genius of the fashion students. The show sees Charles Jeffrey, Hayley Grundmann, Krystyna Kozhoma and Masha Reva from CSM working with Saville Row tailors, Chittleborough & Morgan, Anderson & Sheppard, Richard Anderson and Kathryn Sargent.  Hung in a sparse yet dynamic way - think Ikea meets BDSM club - the works were allowed to demonstrate their full potential with little artifice or need for special effects. 

Seeing the camaraderie apparent between Micheál and Topes, as well as the fatherly pride emanating off Liam Neeson, it was clear that this project was far from just a glittery spectacle. If they continue to come at the fashion world with such an artful eye, I think Maison Mais Non might just be on to something. 

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GOING OUT: Medea, National Theatre, Review

Of all creatures that have breath and sensation, we women are the most unfortunate. 

I was lucky enough to be invited to the press preview for the National Theatre's new production of Medea last night, a much anticipated re-staging of Euripides' heart-wrenching Greek tragedy which combines the acting talents of Helen McCrory with the musical genius of a certain Miss Alison Goldfrapp.

Being a huge enthusiast of Greek literature and Goldfrapp's brilliantly unique talent, I was excited to see what this new production would bring to this wretched tale of love, deceit and infanticide. Mostly, I was highly impressed by the power of Carrie Cracknell's direction, which breathed a new lease of life into a well worn Classical text.

Hailed by many as a proto-feminist play, Euripides' work is undoubtedly moving, exploring the en-gendered power struggles of his day. At times I felt the actors failed to fully connect with the polemics of the play - perhaps feeling that the dramatics of the original script did not fit within a more modern setting and realistic acting style. However, with current news stories still eulogising on the morals of the modern women - 'magaluf girl' perhaps the most prominent heroine of our latest cautionary tale - I couldnt help but feel the world's were not so disparate. Though the context of Euripides' text and Cracknell's Medea is outwardly so different, much of the heroines monologues were still devastatingly close to the bone; motherhood, sexuality, feminine worth, all are still common political battle grounds, with the female body as an object of trade between sides. At times, I felt the actors could have connected with the intemporality of these issues more emotively, conveying the sheer desperation of women who lose control over their own female form.

One aspect where the play successfully utilised its modern setting was in the brilliant Contemporary choreography of Lucy Guerin. The chorus of the play, made up entirely of women from Medea's new city, danced themselves into a bewitching frenzy as the play progressed, exemplifying the destructive attraction of Euripedes' cruel heroine, as well his beautifully crafted play as a whole.

The National Theatre's new production of Medea is sure to enthral a whole new audience, breathing life into a play which still hums with energy thousands of years on. I would certainly recommend a trip to watch it; followed by a trip to where ever Medea got that fabulous silk jumpsuit...

GC http://www.nationaltheatre.org.uk/shows/medea

GOING OUT: Kensington Roof Gardens/ Babylon Review

Kensington Roof Gardens (in the sun!)

Having never been one for Valentine's Day I wasn't quite sure what to expect when the boyfriend told me he'd organised a day out for us. What transpired was a fantastic, if rainy visit to Kensington Roof Gardens and a trip to the gate cinema to see Dallas Buyers Club. Though rain and AIDS films might not scream romance to most - it was a great way to pass a day I'd usually all but ignored.

Babylon - Bar

If you haven't been to Kensington Roof gardens yet then you're in for a treat. Hidden around the corner from High Street Kensington tube, the bar and restaurant easily boast some of the best views of London - even on a sodden day in mid-Feb. Ok, so we couldn't sit out on the roof terrace and the pink flamingos were distinctly hidden from view, but the Babylon restaurant made more than enough effort to ensure we still had a brilliant Valentine's lunch.

Babylon - Bar & Restaurant

The food was delicious - I went for braised pork cheeks followed by duck and the other half opted for smoked salmon starter and chicken breast. Washed down with a glass of prosecco and a couple of glasses of delicious red wine (don't ask me which - I didn't chose) it was a brilliant way to treat ourselves.

Roof Gardens at night

I think a lot of the big name places in London have somewhat rested on their laurels and often don't live up to expectations - but Babylon and Kensington Roof Gardens are still going all out to ensure every experience there is special. I would definitely recommend it for a fancy date, just perhaps try a less rainy day than us!

Do you agree? Let us know below!

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Flamingos!

FILM: Cutie and the Boxer

I watched Cutie and the Boxer for the first time this weekend - what a beautiful documentary! Reminded me why I love working in the art world...

Check out Nowness' video of Ushio and Noriko to whet your appetite:

And catch it on BBC's brilliant Storyville series before April here.

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MUSIC: Reviews: 2013 - Girlplay

Ok, so I might be a bit late on this - but 2013 really was a killer year for some of my favorite female artists, home and abroad, new and old. Of course I loved Ye's Yeezus, Disclosure's Settle and a bit of Arctic Monkeys AM, but away from the testosterone, there's 4 albums that stood out for me - ones that I'm sure to be hammering way into 2014. 


'I woke up like dis... I woke up like dis' - ***Flawless feat. Chimamanda Ngozi Adichie

1. Beyoncé (Yoncé, Bey, Mrs Carter etc etc) - Beyoncé

Drunk in Love feat. Jay-Z

What can I say about this album? - it's dominated conversations between me and most of my female friends for the past month, and it's caused full-blown arguments at recent meals out. From the moment my best friend woke me with the news that Queen B had dropped a whole 'visual album' overnight, I've developed a proper love affair with the record. Arrestingly different from first listen, this album is also a MASSIVE grower - from Pretty Hurts via Superpower to Drunk in Love, Beyoncé takes us on a journey into her life as a mother, wife, sister, business woman, sexual-being and full blown feminist; the latter in particular has attracted a great deal of attention, and solidified my respect for the artist. The track ***Flawless samples from a Tedx talk given by Nigerian author Chimamanda Ngozi Adichie, entitled "We should all be feminists" (catch it here). I was lucky enough to hear Chimamanda speak about her life and work back in 2007 and she's been a great influence ever since - it's brilliant to see Beyoncé bringing her to the masses. Dismiss Yoncé as pop-machinery if you will, but no other artist in my lifetime has so successfully sound-tracked my existence from angsty teen to 'Grown Woman'. All hail Beyoncé . 

'Feminist - a person who believes in the social, economic and political equality of the sexes' - ***Flawless


'Belly flop into a swimming pool of sound' - Faith feat. Laurence Aldridge

2. VV Brown - Samson & Delilah

The Apple

I don't think I've known a record as well as this one in forever, after playing it on repeat when it first dropped back in September. Hailed by Popjustice as 'one of the albums of the year' and generally sending shockwaves through a music industry that had all but written her off, Brown's self-released Samson & Delilah redefined my ears. The album as a whole had a beautiful synchronicity to it, which meant listening to it in its entirety was a complete pleasure- something we need more of in today's single focused world. Favourite tracks include the beautiful duet Faith, the haunting Substitute for Love and the almost Killers-esque Ghosts. Having been lucky enough to watch VV Brown four times this year - including her brilliant Jools Holland performance in October - I can safely say she's got a new superfan. I'll be keeping a close eye on watch she does next.

'We rule the world, and chase down our enemies' - Igneous



'I drink some Cointreau, keep it in my poncho' - Y.A.L.A.

3. M.I.A - Mathangi

M.I.A - Y.A.L.A.

Like VV Brown, M.I.A has been busy getting her creative genius to work in the fashion industry whilst still making killer beats. Her brilliant Versace collaboration hit stores about a month before her fourth record - and promised me that her new venture would be as visually stunning as it was audibly cool. Mathangi's blend of hindu iconology and internet hashtags clearly demonstrates M.I.A's ability to breezily straddle old and new, high culture and pop culture. But M.I.A is nothing if not divisive, and a recent chat with my male friend saw him call her flow 'annoying'. The thing is, with M.I.A sometimes I think thats kind of the point. Still as achingly trendy as a London hipster, M.I.A has managed to retain that teen-like anarchist spirit way into her thirties. Her songs sound like no one else, and whether you think that's a good thing or a bad thing, you can't deny that Mathangi breaks new barriers. Kicking out Y.A.L.A, Come Walk With Me, Bad Girls and Bring the Noize whilst strutting to work, or pre-drinking with the girls, is still my favourite past-time. 

'If you only live once why we keep doing the same shit? Back home where I come from we keep being born again and again and again, thats why they invented karma' - Y.A.L.A.



'I need someone who knows, someone who gives a fuck' - Enemy

4. Kelela - Cut 4 Me

Floor Show

The importance of the production on this debut mix-tape from Kelela is clear from the decision to name check the producer on every track. Stripped down and yet richly melodic, the 30 year-old LA based singer has created her own distinct genre alongside  briliiant array on contributors. Sonically and lyrically Cut 4 Me has a sad and sexy sound throughout, reminding me slightly of Delilah's 2012 offering: From the Roots Up. Kelela has been lauded as 'one to watch in 2014' and Cut 4 Me was namechecked on more than few 'Album of the year' countdowns, I only hope this wont prove too much hype to sustain. We will have to cross our fingers and wait... 

'Sad we couldn't go any deeper, something tells me you're a keeper' - Bank Head


So there's my round-up of the girls that soundtracked 2013 for me. In 2014 keep an eye out for Twigz' debut album, Azaelia Bank's notoriously delayed 'Broke With Expensive Taste', Grimes' rumoured 'Visions' follow up and a potential L Boogie comeback?

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FKA Twigs - Water Me

Azealia Banks - Liquorice

Grimes - Genesis

Lauryn Hill - Mystery of Inequity

MUSIC: Clean Bandit @ Digital – 27th October 2013

This weekend I found myself as the happy recipient of a last minute ticket for a band that I’d heard a whisper of but didn’t know nearly well enough to know what a live show would be like. I usually like to know a brief history and at least half of a bands’ back catalogue to not only inform myself on who exactly I’m watching, but also to know what songs I can afford to miss when my Red Stripe runs empty.

Clean Bandit were a band introduced to me by my housemate, and for the first time in a long time I find myself faced with a conundrum – they’re an act so obscure that I have no point of reference to recommend them.

Usually it’s relatively easily to conjure at least a vague image of what to expect by comparing what two bands would have birthed said artist had they copulated – for example London Grammar could easily be the result of an unprotected fumble between The Eurythmics and The xx. However with Cambridge-born Clean Bandit, there are not so much two parents but more a rich back history of cross-breeding more commonly seen in mongrels than in musicians. You wouldn’t think that electric pop, hints of garage and classic strings would work well if all sloshed together, but somehow Clean Bandit manage it.

With a reputation almost as underground as the leaky seafront venue, I was surprised not only to see a full house but also a support act that actually held my attention rather than encouraging me to slope off the smoking area where my housemate is bargaining a roll up from an eighteen year old. Mausi, a London-based electro-pop outfit, churn out tunes that are irritatingly catchy and impossible not to dance to. Their energy apparently knows no bounds, and a post-performance investigation on SoundCloud proves that this positivity isn’t just limited to live shows; you can hear more of their material here.

After a brief break and a fifteen year old fan faceplanting the floor, Clean Bandit ascend the stage with barely an introduction and immediately throw themselves into the show. The band holds no bars during their performance, combining an almost endless list of influences in a genre broadly coined as “folktronica”. Clean Bandit perform with the passion and timing that you’d expect from a band that have been doing this for years, let alone from a fresh-faced group that look as if they could have just left their first practise session in a garage in Greenwich after handing in their dissertation.

I find it surprising that NME damply rated their 2013 single Dust Clears as a song that “gently requests that you shuffle on the dance floor for 10 seconds or so rather than demand you hit up an all-night rave”. Whilst admittedly I find their recorded releases a little lacklustre when compared to their live set, the less-than-enthusiastic reception wasn’t entirely deserved.

Several singles are available through Spotify which I would recommend to those who have a healthy set of bass amplifying headphones and an active imagination. A favourite track from the set could possibly be “Wildfire”, a song with a beat that vibrates the gyrating crowd and doesn’t seem at all out of place at Digital, a dance den that hosted Disclosure only months before.

As this was the closing night of their recent tour, those looking to witness Clean Bandit at their genre-bending best may have a worthwhile wait ahead to see them at their best.

MS

Music Review: Frank Ocean at 02 Academy Brixton

This summer Frank Ocean returned to the UK for two sold out shows at the O2 Academy Brixton; his first headline appearances since the release of his debut studio album Channel Orange in 2012. Between the release of said album, a publicised confessional blog post confirming his love for another man and a car park scrap with the human scab that is Chris Brown, Ocean has more than built a name for himself outside of his previous affiliation with offensive outfit Odd Future. Following his success at ceremonies such as the Brits and Grammy’s, hype stood at its highest, leaving Frank with a lot to prove.

The first thing that instantly hits me about Frank Ocean performing live is the odd sense of calm and sensibility. He doesn’t appear with the swag that one might presume from the friend of the infamous Tyler the Creator, but almost seems to apologise for his presence as if it were an intrusion; his demeanour is oddly reminiscent of a boyfriend when you first introduce them to your parents. Frank’s performance begs for instant forgiveness.

Positioning himself directly between a stage-side spotlight and a passing cloud of dry ice, Ocean is obscured as his vocals emanate eerily unseen. Purposeful to never be pigeon-holed, his voice ranges with an ethereal ease – soul, hip hop and RnB roll together without so much as a pause for breath. Ocean flows seamlessly between tracks with a lack of audience interaction which admittedly is a little irritating, only briefly stopping to announce the performances of previously unheard tracks “Feel California” and “Anything for You”. Alongside singles from Channel Orange, Ocean digresses to his backlog of early mix-tapes throughout his set, featuring an acappella version of “Swim Good” from Nostalgia, Ultra where his lyrics are echoed by the audience, his own vocals almost drowned out.

Clearly not forgetting his past as Christopher “Lonny” Breaux (as he was known before changing his name), Ocean includes the little known track “Acura Integurl” from The Lonny Breaux Collection, that although lasts less than two minutes could possibly be one of the most beautiful songs I’ll experience this decade. “Pyramids” receives the biggest reaction of the evening, having become somewhat of a cult classic without ever selling well as a single (only reaching No.129 in the UK chart), and the audience sway in synchronicity, hypnotised by the hook of the synthesiser.

The show ends rather abruptly, the house lights return to full beam and the lack of encore is a little disappointing but perhaps not surprising, given Ocean’s reluctance to engage despite his obvious brilliance. Although his vocals never falter, I couldn’t help but feel the need to clamber onstage to offer a consoling cuddle and a promise that everything with be alright.

Despite this, it is Frank Ocean’s sheer gift as a rapper, poet, singer and songwriter that enables him to still stand tall as a truly unique and unparalleled talent. 

MUSIC: M.I.A Brings the Noize - gold edition

Um so M.I.A. has dropped two brilliant videos for Bring The Noize and DSD's are buzzing.

First up is the straight video, all blue lights, pink hair and gold nails.

Then came the Matangi Gold Edition - a blinged out, 24k video which reminds us why she does promos so well.




Were still not quite sure when the fourth album (Matangi) will come out, but we're waiting with baited breath. Up until then this'll keep us nicely pumped. 'Paul Simon' on acid indeed.

ART: Break Glass For a New Beginning - Magnus Gjoen

This is the last week you can catch Magnus Gjoen's striking show 'Break Glass for a New Beginning' at artrepublic Soho. Hailed as 'Exodus for Generation-X' the exhibition debuts original works produced and exhibited by Gjoen, from prints to sculptures and ceramics.

My interest was initially sparked in Gjoen due to his history working as a designer at Vivienne Westwood. It's nothing new to see the arts and fashion worlds collide, but there was something particularly delicious in noticing an ostensible touch of the Vivienne Westwood punk-sensibility in Gjoen's weirdly beautiful pieces. 

'Break Glass for New Beginning's twisted sense of humour makes the show a bit of a must see for art fanatics and cynics alike, so make sure you pop down to the New Compton gallery before this saturday and check it out; never has Genesis looked so f***ing trendy.


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REVIEW: DoubleTree by Hilton Hotel London - Tower of London

Being complete Londonphiles, me and my latest squeeze (what does that even mean?) love nothing more than booking a weekend together in the big Smoke. Of course, this isn't always cheap or easy, and we've stayed in some "interesting" places. Recently, however, we found the DoubleTree Hilton by the Tower of London and booked it last minute - and I really couldn't recommend it enough (in fact I'm back this weekend for my birthday!). After realising we'd booked an 'accessible room' which was sadly bathtub free - I have to bath at a hotel - they helped me upgrade to a 'city suite'.

The suite is really worth the upgrade fee if you fancy a bit of understated luxury. Floor length windows provided a unexpectedly fantastic view across the Thames and Tower Bridge from the lounge area - which meant that, instead of going out for an afternoon drink after check-in, we opened up our welcome bottle of Red and enjoyed the space for a bit.

After dinner at Bodega Negra (which is fabulous too) we came back to try out the DoubleTree's top floor bar. With an amazing roof terrace for the warmer months the bar must take some beating for views. Going recession chic we tried their bottle of Prosecco which finished off the night perfectly.

The room was more than comfortable and breakfast in bed the next day, whilst looking out over the Thames, was a great indulgence! With Apple TV/computers in all the rooms we lounged around, watched the Labyrinth on DVD (cant get enough of Bowie and his codpiece) and surfed the net till late check out. It was all so relaxed and easy, it truly felt like a little mini-break.

What really makes DoubleTree Tower of London stand apart though is the excellent service. In the short time we stayed everyone made sure we made the best of our stay and couldn't do enough to help - and in the end that's what matters. A big thank you especially goes to Amy who did all she could to accommodate us!

A big thumbs up for the quietly stylish and swanky DoubleTree London - I look forward to relaxing there again soon!

ART: Nuart / Numusic Festival Norway

Last week I was lucky enough to travel to Stavanger, Norway for a work trip to Nuart/ Numusic festival. Stavanger isn't exactly a place I'd have considered travelling to normally, I'd kind of written of Scandinavia as a group of Sarah Lund's in jumpers and clogs, and Breivik hadn't exactly given Norway the best PR recently. However when it's free and and riddled with handsome street artists (oooh yes - don't believe me google HowNosm - You're welcome) I was there with ghetto gold knobs on.

Being the Bible belt of Norway Stavanger is sort of an odd location for a subversive art show, but it works. Tou Scene, the main hub of both Nuart and Numusic festival, was an old brewery and evoked that kind of 'Dalston-cool' vibe, minus the artifice. With disco balls in old beer vats and makeshift stages and dj booths erected over the brewery's 3 stories, this was the real deal, somewhere between a sexed-up youth club and a genial warehouse party.

Joining the music venue is a series of long tunnels which were handed over to some of the biggest names in street are, for them to do what they will with them. The likes of Saber, Eine, Ron English, Mobstr, HowNosm, Aakash Nihalani and Neils Shoe Meulman (who you might know from his Mos Def and Louis Vuitton collaboration about Muhammad Ali - see below) all contributed to turning Tou Scene into a sort of Nat Gal for street art (except far fucking noisier). Over the weekend Tou Scene become the centre point for this 'Cannes' of street art, where we talked graffiti, advertising, politics, smoking slippers and 'beef'.

Despite the high levels of testosterone - I thought we were going to be one member down at one point - and copious amounts of beer (the only thing we could drink for free) I found Stavanger decidedly escapist. The festival - built on ideas of unrestrained self expression, beauty and freedom - and set within the beautiful fjords of Norway (which you can tour on boat ) and crazy toy town buildings of Stavanger, was an unique experience.

Eine

I highly recommend the NuArt and NuMusic festivals to those who want to try a completely different festival vibe. By day wander the streets of Stavanger for chance encounters with ephemeral artworks, then by night nod your head or skank your heart out to the likes of The Orb, Mad Professor and CasioKids - you can't get more Scandinavian cool than that.

MUSIC: M.I.A Bad Girls Video

Anyone that has had to live with me will tell you that I'm obsessed with music videos; I still watch and copy them religiously like a teenage girl. Last week I stayed over at a male friend's (OK, yes a friend with benefits...) and subjected him to '100% Rihanna' and 'The Best of Britney' on Vevo for hours  (WM suggested this is 'single girl behaviour' - so perhaps I will limit it to 'Me' time in future).

I also fucking LOVE M.I.A, so what with her releasing her promo for 'Bad Girls' two days ago and her impending Super Bowl performance alongside Nicki Minaj and Madonna (who's video for Give Me All Your Luvin' leaves me a bit cold), I thought it was time to feature my girl.

Bad Girls sees M.I.A team up with French director Romain Gavras, who also shot the highly controversial promo for 'Born Free'. Whilst 'Bad Girls' doesnt have the same overtly political stance of the previous video, and certainly not even half of the shock value, it it still likely to draw a few raised eyebrows. Set in the Middle East - shot in Morocco - it shows street racers, immense car stunts and women with guns working ghetto fabulous hijabs; very 'if Versace did Burqas...'

The result reflects completely the high-fashion cultural mish-mash that defines M.I.A's work. This is what I love about artists like Maya, Kate Bush, Goldfrapp and 80s/90s Maddona - their videos are visual portrayals of the main event: the music. Other artists (yes sorry Lady Gaga) sometimes swamp their tracks with overdone promos.

So enjoy - I'm off to refine my 'middle east goes ghetto' look before this summer. GC

HAIR AND BEAUTY: Review: Batiste Dry Hair Shampoo

When I went to collect my 'leftovers' from a guy I'd been seeing recently there were 3 staples which had allowed the memory of me to haunt his room: wedge shoes, a body con dress and a can of Batiste dry shampoo. Surprisingly it was the fact that he'd remembered the last item which made the exchange so bittersweet; not only had it been bought for my first 'morning after' at his, but it showed that in the short time we'd been together, he'd kinda worked me out.

In dreaming up the title for this blog we wanted to find something that encapsulated what the DSD's were all about. Our champagne lifestyles (funded by lemonade salaries) are kinda messy and fast-paced; there are a few aluminium covered idols worshipped in our busy young female world: 'cocktails in a can','gin in a tin' and, last but certainly not least, Batiste dry shampoo.

Nothing beats Batiste for doing exactly what it says on the tin. After a quick spray your hair is refreshed - cleaner, bouncier and volumised - and at around only £3-4 for a standard size, what's not to like? Now whilst we all agree on Batiste dry shampoo as a must-have, each DSD has their ultimate favourite:

DW and AW are 'Tropical' girls - both being suckers for the summery coconut scent.

WM likes it XXL - with the spray not only washing your hair, but really pushing it to the max. She was so shocked by the results of her first XXL experience is was pretty much the first thing she told me about the next day!

Personally, after getting it from work as an Xmas present (which now is an office resident) my favourite is the newest scent: 'Wild'.

Go figure, of course, that the tag-line for this can is 'sassy and daring' and marks itself as the 'perfect partner for when your out on the prowl'; i.e. its pretty much my daily companion...

This week I also tried Batiste's 'light and blonde' spray which contains a slight colour so that darker roots are lifted. At the moment I'm kinda working a 'dip-dye lite' hairstyle so I'm not sure if it works for me, but with someone like CM, who is blessed with natural blonde locks, these cans will help hide your sins.

Batiste also comes in a range of different sizes. Of course size matters to the DSD's and although the travel cans might be handy, at only 50ml we find they rarely satisfy our needs. When dedicated to a dry shampoo lifestyle, you really can't beat the huge 400ml whoppers.

So here at Dry Shampoo Diaries, although our lifestyles might be a bit disposable- with dates, fashions and boyfriends that come and go- there is one relationship we can always rely on for a bit of a boost. And it all comes in an extra-large can.

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