The Upcoming Culture, trends, fashion from London and beyond | The Upcoming Fri, 24 Nov 2017 01:17:36 +0000 en-US hourly 1 Antiporno | Movie review Thu, 23 Nov 2017 21:53:27 +0000 Antiporno: the name itself is a shocking declaration, a manifesto of grotesque and extravagant proportions. This is not a porno; this is an artistic expression. This is not a porno; this is a liberation, this is an experiment, this is a finger to the system! Part of Nikkatsu Corporation’s relaunch of its vintage Roman Porno collection, Sion Sono’s feminist art/softcore porn film takes the viewer through a dramatic, erotic ride with endless twists and turns that’ll leave them disgusted with the fact that they’re slightly turned on by all of it. It’s shocking and it’s bizarre, but it’s provocative. It’s deviant but deliciously, and most importantly, purposefully so.

This exploratory, visceral take on a Roman Porno follows the rules of the niche genre: it’s shot in less than a week, comes in under 80 minutes, and has at least one nude or sex scene every ten minutes. These very particular rules help us make sense of this whirlwind of a movie that’s filled with obscenities and extravagance at every turn. Perhaps it’s best not to focus too heavily on the plot considering it periodically gets turned on its head and takes a new direction, backtracks, and starts over at an almost breakneck pace that’s nearly impossible to keep tabs on. At rise, we are introduced to an eccentric young artist, Kyoko (Ami Tomite), who takes great joy in torturing and humiliating her submissive assistant, Noriko (Mariko Tsutsui), until an offstage director yells “cut!” and a new story, that of actors shooting a porno, unfolds. As Kyoko oscillates seamlessly through worlds and relives moments of sexual discoveries from her past, it becomes unclear which world is the reality and which is the play, but it almost doesn’t matter. This film is a statement, not a story.

While adhering to the rules of the genre, Sono makes a feminist exploration of it. He uses depictions of extremely taboo sexuality involving everything from incest to rape fantasies to sadomasochism as a means to free the women in this movie by playing out the extremes. When Kyoko peeps on her parents having sex at night she is then confused at their anger when she has sex on camera for a porn film. She’s left with a same sense of shame and arrives at the virgin-whore paradox that faces every woman. In this way, Antiporno reclaims women’s sexual freedom. Perhaps the most poignant moment comes when Kyoko auditions for the porno and says, “My nakedness is not smutty, make it smutty. my body is not porn, make it porn”.

Sono asserts, sex in and of itself is normal but we’ve made it taboo. Women are not free, although we all like to pretend they are, to be extravagant with their sexuality. Antiporno is obscenely extravagant in every way: from the lofty, poetic dialogue to the over-the-top acting, to the downright indecent subject matter. It’s borderline self-indulgent but heck, sometimes you need to be to make your point and Sono certainly makes his. Antiporno walks the line of smut and art, porn and sex, and releases women from the binary of the two.

Zoe Tamara

Antiporno is released in selected cinemas on 24th November 2017.

Watch the trailer for Antiporno here:

Jake Bugg at Union Chapel | Live review Thu, 23 Nov 2017 17:27:41 +0000 Jake Bugg broke into the music scene as a young man in 2012. He had the voice of someone twice his age, and the swagger of an 18-year-old with the world at his feet, which is what he was. His urgent, excited music showed a lust for life, but over the next five years his sound relaxed. Bugg’s latest release, Hearts That Strain, is more sanguine than his early albums, and maintains that melancholy that characterises most music created by young men with acoustic guitars. The angst and the speed of his earlier records have fallen away to melodic, calming music.

At the Union Chapel, Bugg plays for the fans, dipping in and out of his back catalogue, mainly performing tracks everyone knows. He opens the show with an ingratiating, nervous energy; as a performer he comes across as grounded and personable. Though he’s grown up a lot in five years, touring big venues and dating supermodels, he’s still in his early 20s and playing to a sold-out venue. He doesn’t come across as jaded or arrogant and he’s funny throughout – referencing the “cringey” music videos that accompanied the songs, or speaking about the boy that wrote them. And the venue is magical: a beautiful old church, serving hot chocolates with the performance. It’s a great, festive vibe.

The singer-songwriter plays only a couple of tracks from his new album, including the hit single Waiting, which goes down well enough. His live versions of early releases are the real highlights, Country Song and They Wont Catch Me are two of the best of the evening. The crowd gets excited when he does the classics: Two Fingers and Lightning Bolt. Performing alone for well over an hour, Bugg makes plenty of little mistakes, but none of them spoil the songs or the mood. He plays fast, complicated guitar and sings wonderfully for the full time he’s on stage.

Jake Bugg’s had his critics of late, and struggling to “find his sound” has been one of the common comments. At the Union Chapel, alone on stage with his guitar, it didn’t feel like this artist was a man in search of his identity, but a man who knows who he is and why his fans love him.

Stuart Ross
 Guifré de Peray

For further information and future events visit the Jake Bugg website here.

Watch the video for

Marie Curie: The Courage of Knowledge | Movie review Thu, 23 Nov 2017 12:07:11 +0000 Not all historical events of significance are worthy of dramatisation. Indeed, if someone was there and had a vested interest in the outcome, then what transpires might be suitably interesting. Making the scientific exploits of Marie Curie into engaging cinema is problematic, which is why the eye roll-inducingly titled Marie Curie: The Courage of Knowledge attempts to paint a portrait of Marie the woman, as well as Marie the pioneering scientist. It’s an admirable attempt, and while there are moments of interest, the end result is disappointingly flat, leaving a sense of indifference to the subject herself. This flatness is even more exasperating given the richness of the physicist’s life.

The film achieves a mood of nobility, largely due to the efforts of Karolina Gruszka as Curie. Her Marie alternates between earnestness and stoicism, and it’s a hard role to play. The complexities of her scientific work are internalised, and it’s difficult to make this work on screen. Director Marie Noëlle attempts to enliven proceedings with a number of visual flourishes, namely enigmatic camera angles and the deliberate softening of colours in key sequences. While these touches are undeniably beautiful to look at, they feel as though they were intended for an entirely different movie. The film’s ambitions are lofty, but unfocused.

Though well-meaning, Marie Curie: The Courage of Knowledge seems almost aware of its own intended worthiness. This creates a challenge of sorts in the audience, posing a question as to whether the characters and events depicted are as profound (and indeed worthy) as they seem to think they are. This is not the case, and it’s as though the feature attempts to inject a sense of passion into events that feel rather dispassionate to an observer. While the film is demonstrably elevated by Karolina Gruszka’s dignified portrayal, Marie Curie: The Courage of Knowledge manages to make an inspirational life seem rather uninspired indeed.

Oliver Johnston

Marie Curie: The Courage of Knowledge is released in selected cinemas on 24th November 2017.

Watch the trailer for Marie Curie: The Courage of Knowledge here:

Two Ways Home: Exclusive video premiere of Outlaws and a chat with the alt-country duo Thu, 23 Nov 2017 09:29:52 +0000 Alt-country duo Two Ways Home have recently released their new single Outlaws, the video for which premieres exclusively here on The Upcoming. This is the first standalone single from the two-piece – Isabella “Isi” Mariee and Lewis Fowler – and it instantly sounds like their most mainstream song to date, featuring soaring instrumentation, luscious vocal harmonies, and a thrilling key change at the climax. We had the chance to speak with the duo about the work behind this new video and the band’s future plans.

How did your new single Outlaws come to life?

Isabella Mariee: Lewis had some lyrics on his laptop he had written a while back and we decided to work on the idea. Weirdly enough the actual meaning of the song only took shape once the song was complete. I feel like the idea was something that was playing on our subconscious and therefore the song came together very naturally. After spending a lot of time co-writing it was nice to get back to just writing as a duo for one song.

Very interesting. We really enjoyed the video – which we are proud to be premiering today – what was your involvement and how does it connect with the meaning of the song?

IM: Lewis and I came up with the concept of the video after playing a life-size chess game. 

Lewis Fowler: Isi was directing the shots as she had a clear vision on what she wanted the video to look like. Dave Proud, the videographer, was amazing at capturing our vision. The video shows Isi adorning herself, getting more and more made up. The chess game shows the journey throughout which she loses in the end. The queen has fallen, so to speak, and the King rules over her. 

In Outlaws you criticise how most people look for happiness in material things. Where do you find your happiness?

LF: It’s more of an observation than a criticism, but throughout our lives we have learnt that human connection is the most important puzzle piece if you want to be happy. As an artist there is nothing more exciting than performing for an appreciative audience and seeing their reactions, so that is definitely something that makes us happy. 

Your songs are usually thoughtful, what other socially relevant topics have you been writing about?

IM: We have recently been very fascinated with the whole same-sex marriage topic and how there are still countries where you can be prosecuted for being gay. It’s so baffling how we are so forward thinking but at the same time so closed minded, and how this relates closely with religion. We believe everyone should be able to chose for themselves what they think is right for them.

How was your experience at the London’s Country Music Week?

LF: It was a great show! We had an early stage time at about 2pm, sandwiched between Jake Morrell and Raintown and we were amazed at how many people came out to see us. It was a special performance for me and Isi, and we had our friend Logan Brill join us on stage for a song we wrote together. The whole day was so much fun and it was lovely to be on the bill with a lot of artists we really respect and who are amazing performers.

Could you tell us about your musical evolution during these three years?

IM: Like many bands we evolve with every new EP, single or song we write. All our EPs came about very differently: the first one was recorded and mixed in Vienna, Austria where I grew up; the second one we recorded a the Dog House in Henley-on-Thames with a producer called MsM; and the third one was recorded and produced at a new studio in London called Popom Studios with our friend Maxim Obadia and then sent to Nashville to be mixed and mastered. The first two EPs don’t contain any co-writes whereas our most recent EP has three. 

LF: In terms of the sound we started by having a very traditional approach to our production and stuck mainly to arrangements that we can replicate live with our bands. As we have moved from EP to EP, worked with different producers, slightly larger budgets and spent more time in the studio  we have developed richer arrangements of our tracks and also experimented with layering bigger sounding drums. On the most recent EP we have a lot more piano/keys/organ than previously, which adds a nice thickness to our sound.

You are known as an alt-country duo but, have you thought about experimenting with other genres?

IM: The term alt-country came about because we didn’t really fit the traditional country formula and the alt refers to alternative, which in my eyes means being a bit different. Really we are a mix of pop, rock, country and folk with some bluesy undertones. So there is a definite urge to experiment with different genres. I’m still waiting to include a rap verse somewhere but to be honest we just write what feels natural and if we get pulled in a slightly unusual direction for a particular song, then we go with it.

What are your biggest inspirations, and what do you enjoy listening to?

LF: Some of my biggest inspirations are The Eagles and Queen. Freddy Mercury has (or had) one of my all-time favourite voices and a way of conveying emotion through his voice like no one else. Bon Iver is also a huge influence and I really admire his ability to adapt and constantly move forward with his songwriting and sound.

IM: When I was young I got inspired by big voices like Mariah Carey and Whitney Houston. Michael Jackson was also always on around the house influencing my musical taste. At the moment I love this country band called Brothers Osborne and also the band Oh Wonder, who are great both live and on the record. 

We know you have a special connection to Nashville and London. Are you planning to co-write songs again with American singers?

IM: Co-writes are an ongoing thing for us. We are definitely planning another Nashville trip soon but are also looking to go a few other places in America to meet up with fellow writers. A few weeks ago Charlie Worsham, a Nashville-based artist, was in London and we had the pleasure of writing with him.

What are your plans for 2018?

LF: We have a monthly writers round called The Round Up, which we will be continuing in the new year, showcasing exciting songwriters and artists. Also we are currently planning a UK tour and possibly trying to gig more throughout Europe. As always we will be writing as much as possible and trying to expand our library of songs.

IM: At the moment we are trying to figure out whether an album or singles are the way forward but to keep up to date with what we’re up to follow us on social media: Instagram, Twitter, Facebook all under @TwoWaysHome.

Maria Barrios

For further information and future events visit the Two Ways Home website here.

Bad Roads at the Royal Court Theatre | Theatre review Wed, 22 Nov 2017 23:59:49 +0000 Natal’ya Vorozhbit’s Bad Roads is like a tight, vaguely experimental short story collection: six snapshots of life as a woman in the current Ukrainian conflict that finds its politics not through its allegiances, but rather in the way it gives a voice to the often voiceless.

Vorozhbit is careful to prevent her characters from becoming vessels of pure misery. There is no doubt that the world of the play is a truly nasty place, where men are constantly threatening to make meat of your body through death or sex. But Vorozhbit repeatedly complicates her narratives, asking what survives of relationships – both sexual and romantic, but also everyday interactions – in the rubble of war. Each story ripples into the next; specific details repeatedly crop up, possibilities splintering off from the same source. It reinforces the idea that these experiences are as shared as they are personal.

After her superlative, hyper-naturalistic work on Victory Condition, Vicky Featherstone goes in the other direction here, complimenting Vorozhbit’s stylistic shifts with a series of sharp choices. Set in Camilla Clarke’s gorgeous debris-strewn forest, the opening scene is a monologue of sorts, a journalist’s bittersweet account of her romance with a solider as she travels to the frontline, peppered with the stories of those she meets on the way. Featherstone injects a further sense of documentary by having these alternately comic and crushing anecdotes spoken into a microphone at the back of the stage, as if played from a tape recording made out in the field. This provides the production with its best method for exploring “how crass it is to talk about love in war”, puncturing the journalist’s wistful tone with the quotidian horrors of conflict.

Yet the most harrowing sequence – a sexual assault that really should be flagged up more clearly for those who might be triggered by such issues – comes later. Featherstone sets the assault in complete darkness; combined with the graphic language and grim sound design the scene is utterly suffocating. It’s almost the inverse of the opening monologue, with love and longing swapped for sexual and emotional abuse. Here compassion becomes a tool for survival, the hostage desperately trying to remind a sadistic soldier of his humanity.

It’s a repeated theme this, people having to scrape away the thick layer of their wartime actions to find the person hidden beneath. This point is underlined in the final scene: a husband and wife seek to extort money from a kind-hearted woman who has accidentally killed their chicken, until they appear to remember they’re not those kinds of people. “Don’t’ tempt us,” they say; Bad Roads seems to be about the impossibilities of avoiding such temptations.

Connor Campbell
Photo: Helen Murray

Bad Roads is at the Royal Court Theatre from 15th November until 23rd December 2017. For further information or to book visit the Royal Court website here.

Starvecrow | Movie review Wed, 22 Nov 2017 15:18:07 +0000 Starvecrow, an exercise in hyper-realism, reveals the homogenisation of privacy and publicity by technology and social media. It immerses the viewer, and masterfully convinces them of its reality by erasing all traces of fiction. The entire picture uses “stolen footage” (obtained by the psychopathic main character, Ben) from smartphones and handheld cameras, shot in first person, often with the actors-cum-cameramen filming themselves as well. Scenes are largely improvised and sit alongside footage of the actors’ actual lives, who all keep their real names and use no makeup, costumes or sets. Consequently, the viewer not only forgets that they are simply watching actors, but is also given the illusion of being physically present at, and even directly involved in, the events happening on screen. Furthermore, the lack of a clearly defined plot allows the interactions between the characters (firstly Ben and his girlfriend Jess, then a group of young friends) to be emphasised. Instead of the plot driving the film and providing the context for such interactions, a story gradually emerges from them: the tale of the minutiae of broken human relationships, studied in close up. What marks this movie out from the crowd, however, is the absence of a selecting principle: everything seems to be recorded, perhaps a comment on how social media is now used.

This comprehensiveness, however, is not innocent: it gradually exposes the abusive potential in close relationships between friends and family members; isolation and despair in the face of technologically afforded connectedness; and how people willingly destroy their own privacy in an attempt to feel that what they do has importance and meaning. These themes are all tied together by the underlying darkness in human beings and how a happy and wholesome public image can so often conceal depths of depravity. This is skilfully expressed through a powerful shift of focus from that “public image” – described and characterised as “sharable” footage – towards the beginning of the film, to a juxtaposition of those same shots with scenes of physical, sexual and psychological abuse. For example, a character called Butchy from the young group is alternatingly shown laughing happily in a pub with friends, and molesting a drunkenly unconscious girl at a party. And yet, because the more violent footage is not self-indulgent, and is reinforced by an excellent original soundtrack (Noel Watson), it does not undermine Starvecrow’s sense of convincing realism, and the darkness that emerges is very disturbing.

Ed Edwards

Starvecrow is released in selected cinemas on 24th November 2017.

Watch the trailer for Starvecrow here:


Blue Hawaii at Pickle Factory | Live review Wed, 22 Nov 2017 13:52:51 +0000 Canadian duo Blue Hawaii, (Raphaelle Standell-Preston and Alex “Agor” Kerby) return to London, playing the intimate Pickle Factory, tucked away behind a busy corner of Bethnal Green. They both appear on stage after a slight delay, having experienced every musician’s nightmare: a busted electribe emx1 adapter aka the drum machine.

The first song of the evening, Free at Last, taken from their 2017 album Tenderness, takes us into club music genre. The muted samples slowly build up, reflecting the simplicity and calmness of the title, with Preston’s vocals passing effortlessly on its buoyancy. Saxophone samples offer a jazz-like quality to what is essentially a chilled dance jam. Blending into the popular hit Versus Game, it is easy to see why Blue Hawaii have such a passionate fan base. Kerby’s samples are addictive to say the least, and he knows just how to build the anticipation before the eventual drop. There is a clear 90s vibe to their sound, but they manage to produce something that is also very current. The lyrics and music work perfectly well together, bridging the gap between pop and electronic, with shots of house and rave. Versus Game could easily become a classic club hit, with the right DJs playing it, while Belong to Myself brings the tone down a little, creating a low tempo in which Preston’s vocals reach striking crescendos.

In Two, from their last album, Untogether (2011), dedicated to the “original Blue Hawaii fans”, is also an ambient track, with a looped beat, whilst Searching for You transports us into a softened garage genre tune. With the addition of saxophone samples, there is a serene Balearic mood that is Blue Hawaii’s signature sound. The live performance has a different vibe and energy to the recorded version, as it should, proving that the pair translate their tunes well to a live set. Do You Need Me is a good example of this, with the addition of bongo drum samples, which Kerby put together in a very short amount of time. Disco number No One Like You represents what is at the core of what this duo are about: gentle club music that gradually builds to a satisfying beat. Completing the set with Try to Be, Preston and Kerby have captured the audience in creating tracks with an ethereal and light quality, combining haunting sentimental lyrics with cool danceable rhythms. Preston understands her vocals well while he is a maestro on the samples, and together they create sumptuous music. Though no instruments, in the classic term, are played tonight, the performance shows the Canadians really do have a talent in creating blissful ambient pop with gorgeous beats.

A quote from their time creating the Untogether album cover perfectly captures the spirit of Blue Hawaii: “…the idea of holding somebody, but not really getting at what is going on at their core…” It is this elusive quality in their sound that makes the duo well worth seeing live.

Selina Begum
Photo: KEXP

For further information and future events visit the Blue Hawaii website here.

Watch the video for No One Like You here:

The Star | Movie review Wed, 22 Nov 2017 11:58:51 +0000 The Star, directed by debutant Timothy Reckart, aims to cash in on the imminent Christmas fervour with a nativity story told through the lens of Bo, the humble mill donkey from Nazareth. Our anthropomorphic adventurer becomes ensnared in the story of the birth of Jesus and, together with a host of other animals, follows Mary and Joseph on their journey to Bethlehem.

Our hero Bo, voiced by Steven Yeun of Walking Dead fame, finds himself in a rut at the mill he is forced to work in, but a series of serendipitous events played out alongside his trusty best pal Dave the dove (Keegan-Michael Key) land him in the care of Mary, with whom he is destined for incident.

The Star is, as expected, laced with Christian sentiment; the majority of the soundtrack is inspired by gospel and hymns, with allegorical elements spliced into the storyline at every opportunity. Characters are seen praying on more than one occasion, and those prayers are invariably answered.

It’s a joyous film, celebrating the first Christmas with trademark Hollywood panache, addressing this much-visited tale in a fun and charming manner. Often this approach can border on the mawkish, unsurprisingly given that it often feels like a church Sunday school production with a $20 million budget.

The interactions between the animals offer a platform for entertaining dialogue and prove the most fruitful space for the actors to gel. There is, for example, a tangible bromance between Bo and Dave, while the camel trio Deborah (Oprah Winfrey), Cyrus (Tyler Perry) and Felix (Tracy Morgan) have an undeniable chemistry evident in every scene they grace.

Disappointingly, a strong cast fails to pack much punch, limited by a script lacking in most departments; the comedic talents of Tracy Morgan and Key are particularly wasted. A cynic may suggest the film, similar to the vast majority of major animation releases, has been produced for the guaranteed financial prosperity, offering the audience a commercial piece, rather than an artistic one.

Deborah the camel cannily predicts that people are going to “remember this night”, they did indeed. It’s questionable, however, how long this film will stick in the memory.

Jake Cudsi

The Star is released nationwide on 24th November 2017.

Watch the trailer for The Star here:

Modigliani at Tate Modern | Exhibition review Wed, 22 Nov 2017 11:51:02 +0000 When it comes to Modigliani, the eyes have it. Cartoonish, blacked out or cross-hatched in palest blue, the gaze of a Modigliani portrait is both immediately present, following you round the room, and strangely absent, as if the personality of the sitter has been effaced through paint. It’s impossible to say exactly how the artist achieves this phenomenon, but the effect is undoubtedly unsettling.

Viewed en masse, as in the new exhibition at Tate Modern, these portraits have a power that is almost auratic. It helps, perhaps, that images of wealthy patrons and famous fellow artists rub shoulders with servants, local children and perhaps even prostitutes.

The diversity of this social milieu, the display implies, is emblematic of the variety of artistic movements, styles and media being experimented in Paris in the 1900s and 1910s. Certainly, traces of almost every famous artist and movement of the era can be seen in Modigliani’s paintings; cubism, pointillism and Cezanne’s post-impressionism can all be identified as influences.

Despite this, however, the artist manages to maintain a strikingly consistent aesthetic throughout his career. His swan-necked, black-eyed figures have now become iconic, and it is a treat to see some of his most important works in the flesh.

At the centre of the exhibition is a collection of 12 nudes, the largest group ever to be shown in the UK. Modigliani’s mastery at manipulating flesh tones makes these paintings an aesthetic sensual delight, but they are perhaps not as revolutionary as the show wants to make out. It seems almost unnecessary to point it out, but these “nudes” are all of women, and they are all pleasingly voluptuous without being overtly sexual in their content. The text points to the inclusion of pubic hair, but its tasteful depiction is no more revolutionary than that found in works by Goya or Courbet from the previous century. These are primarily objects to be looked at for the visual titillation of men, rather than bold proto-feminist depictions of women in charge of their sexuality.

In general, however, the exhibition is a feast for the eyes. Modigliani is a master of his medium and the show at Tate effectively conveys his skill. At times it lacks a clear narrative arc and it sometimes feels more focused on the identity of the sitters than on the artistic developments of the artist (an easy trap to fall into with figurative portraiture). Overall, however, Modigliani is a delightful foray into one of the world’s favourite artists.

Anna Souter
Photos: Daniel Donovan

Modigliani is at Tate Modern from 23rd November 2017 until 2nd April 2018. For further information or to book visit the Tate website here.

Perfect party heels on the high street Wed, 22 Nov 2017 09:39:56 +0000 Whether it’s a festive office function, a Christmas night out with the girls or planning ahead for seeing in the New Year, the party season is just weeks away! We’ve rounded up ten of our favourite party heels for any special occasion this coming December.

Dark Red Feather Sandals, £60, River Island

These statement heels certainly have the wow factor and could be the ideal addition to your LBD this party season.

Knitted Peep Toe Boots, £26.25, Miss Selfridge

Peep toe boots are right on trend and offer a little more coverage on a chilly night out.

Heartless Strappy Sandals, £59, Office

Go all out in these gorgeous sandals from Office. They’ll glam up any outfit, making you instantly party ready.

Rhea Fan Detail Sandals, £46, Topshop

Give yourself a gift this holiday season by sliding your feet in to these beautiful red heels, reminiscent of Christmas wrapping!Glitter Heart Court Shoe, £99, Dune

We have fallen in love with these gorgeous, glittery court shoes. They’re perfect for a turn under the mistletoe.

Ombre Glitter Court Shoes, £40, House of Fraser

Sparkle like the angel on top of the Christmas tree in these stunning court shoes with rose gold, ombre glitter.

Block Heel Sandals, £35, M&S

We are seriously crushing on these navy, velvet block heels. The simple design will go with a whole array of outfits this winter.

Green Velvet Mules, £39, Debenhams

Christmas tree-coloured mules are not something we had ever thought of. However, now that we see them, we need them.

Suedette Cross Strap Heels, £20.99, New Look

You’ll be pretty as a princess in these pink, suedette heels. The cushioned toes and underfoot padding make for the perfect dancing shoes!

Studded Heeled Sandals, £35, Missguided 

Add some edge and sexiness to your party look with these stunning, studded heels from Missguided.

Sophie Cook