Seamen show their sense of fashion

It was not exactly what any of them had in mind when they enlisted, but this week seven able seamen in Portsmouth have been working as models to give 500 sailors an opportunity of expressing an opinion on seven different uniforms submitted by civilian and naval designers at the request of the service. In groups of 20 the sailors have watched their mates parade the new uniforms and then filled in a questionnaire, awarding points to each style. Audiences at the modelling sessions have been limited to 20 on the advice of a Ministry of Defence psychologist. He suggested that if a large group of sailors was let in to observe the modelling sessions, the comments might not be as controlled as the Admiralty wanted. Instead, the models - all of them volunteers - have come through with a minimum of catcalls, wolf-whistles, and ribbing. Yesterday, a special show was put on for the press from which all sailors but the models were excluded. Somewhat self-consciously, each of the models walked on to the Victoria Theatre’s stage yesterday, most of them suffering from the same problem that besets amateur actors - not knowing what to do with their hands. Eight strides one way, eight strides back, and a pause to demonstrate how the blue collar of the particular uniform detached itself, completed the individual performance. Then all returned to stand in line with an eighth sailor in the present uniform, for comparisons to be made. A committee of 16 senior naval officers, including three Wrens, will take the final decision on the new uniforms after the opinions of the 500 ratings have been analysed. The new uniform will be given to 100 sailors for a 12-month trial before it is finally issued to 25,000 ratings. A survey of more than 2,000 sailors last year indicated that most men wanted a uniform which was easier to maintain and easier to get on and off, but there was no general desire for the new uniform to look radically different from the present “square rig” design. Supplied with results of the survey, each of the designers has discarded the old tubular bell-bottom trousers, which required five or seven - according to the height of the seaman - horizontal creases, which had to be put in with an iron.

Star signings: eight standout Premier League football kits for 2015/16

It’s the summer transfer window, time to get rid of the dead wood and brighten things up with new signings. That’s not just in your team’s dressing room but in your wardrobe, too. Here is a selection of the best of the Premier League’s parade of pricey new kits that you might not be too embarrassed to wear on the terraces. Swansea away Kyle Bartley of Swansea City Facebook Twitter Pinterest Kyle Bartley of Swansea City. Photograph: Tony Marshall/Getty Images The fashion view: How to make an impact on the pitch before you even kick a ball? Dressing in a combination of lime green and navy blue should do it. Swansea’s away kit is a very Nike Huarache colourway, and a contrast to home, which is white, elegant and very minimal, just as you might expect for a team dubbed the Swans. This kit shows they have something else in their locker: a bit of flair. With a statement like that, Garry Monk’s team has the potential to move into the top six this season – in the fashion league, anyway. (LC) The sport view: Kermit-green shorts, plus humbug-stripe shirt, crowned with super-weird sponsors’ logo containing full coded details of the forthcoming robot apocalypse. Continues the Swansea tradition of experimental away kits. Unfortunately this one looks like it was designed by a toddler on a Haribo high. (BR) Norwich City third Sébastien Bassong of Norwich City Facebook Twitter Pinterest Sébastien Bassong of Norwich City. Photograph: Paul Chesterton/Focus Images Ltd The fashion view: For football fans, the third kit is in the hinterland of the sport – a sort of niche choice to wear in the stands, like buying APC over Levi’s. In Norwich’s case this season, the cult of the third kit may be quite small – their third shirt has already come up against winces of pain from the online football community, due to the unusual colour combination: stripes of green, mustard and primrose. Actually it’s very middle-America in the 70s (think The Brady Bunch) and, therefore, as we say in fashion, totally now. (LC) The sport view: Kitschy nightmare. Two main problems here: (a) a strong resemblance to a 1970s geography textbook diagram of sedimentary rock formation; (b) a strong resemblance to Norwich’s other two kits, making this one not just tasteless but pointless. Two-goal head start to the opposition. (BR) Watford home Watford's José Manuel Jurado Facebook Twitter Pinterest Watford’s José Manuel Jurado. Photograph: David Davies/PA The fashion view: Watford’s return to the Premier League this season has been marked by the club with a kit that visually spells out their nickname, the Hornets. It’s yellow and black, just like the insect. Still, the Kate Middleton school of literal dressing (tennis whites for Wimbledon etc) is swerved a bit by having the stripes graduate as they go up the shirt, bringing a bit of a Bridget Riley look to proceedings. Op Art on the pitch at Vicarage Road every other weekend, the Premier League in the modern era is a very cultured place. (LC) The sport view: Classic Watford gold with Venetian blind-style black stripes and competing animal motifs. Who would win a fight between a moose, a puma and a hornet? Nobody can say for sure. But at least we know what it might look like now. (BR) Arsenal away Arsenal's Francis Coquelin. Facebook Twitter Pinterest Arsenal’s Francis Coquelin. Photograph: JMP/Rex Shutterstock The fashion view: There seems to be a bit of a thing with triangles on kits this season – both Newcastle United and Arsenal have them. Arsenal’s, as befits a team in the top four, is the more luxe version. Theirs comes in gold and with a smart little V at the neck. This is the second season the London team have worked with Puma, and the fitted shape and ultra-stretchy fabric continue on the shirts. A hybrid of a Chris Froome cycling jersey and Kardashian-worthy gym Lycra, they’re great for football professionals but may prove less forgiving for fans. Expect to see a Clock End revival of the roomier JVC shirt as a result. (LC) The sport view: Classic Arsenal blue and yellow, but with a respectful nod to casual terrace culture in the 1980s with those golfing-sweater diamonds. Horrible in an interesting way. (BR) Manchester City home Manchester City's Bacary Sagna (L) and Vietnam's Vo Huy Toan at My Dinh stadium in Hanoi, July 2015. Facebook Twitter Pinterest Manchester City’s Bacary Sagna (L) and Vietnam’s Vo Huy Toan at My Dinh stadium in Hanoi, July 2015. Photograph: Hoang Dinh Nam/AFP/Getty Images The fashion view: Manchester City have clearly been reading up on fashion trends and know that the polo shirt is the item of the season. Their home kit isn’t strictly speaking a polo – that’s reserved for tennis – but the little collar and poppers at the neck are nice, safe and classic, without reinventing the wheel. An honourable mention here goes to an away kit that involves sleeves covered in the pattern of moon craters, to reference the fans’ penchant for singing the song Blue Moon. We’ll have to wait to see which one’s the hit at the Etihad this season. (LC) The sport view: Retro number that references both the stark, white dog collar of the great early-1970s kit and the kind of business shirt worn by aggressive, middle-aged yuppies in the 1980s. Lovely big expanse of blue. One for the high street. (BR) West Brom away Rickie Lambert of West Brom celebrates with team mates after scoring Bristol Rovers v West Brom, 31 Jul 2015. Facebook Twitter Pinterest Rickie Lambert of West Brom celebrates with team mates. Photograph: JMP/Rex Shutterstock The fashion view: Take away the humongous logo for an Asian betting company, and there’s something almost old school about the West Bromwich Albion away kit. It’s the maroon colour, skinny black stripes and the curly letters spelling out WBA on the crest. This appeals in a world where vintage football kits do a brisk business on eBay (Tottenham’s Holsten ones, and the Manchester United Sharp-era). Perhaps the move is down to Tony Pulis, a man who is no stranger to style. His signature navy baseball cap sold out of the team shop when West Brom announced he was to become manager earlier this year. (LC) The sport view: A reprise of West Brom’s classic deep red, recreated as a Rothko-style nightmare of overpowering deep-gloom maroon. Block colours always work and this should look pretty frightening as a team kit. (BR) Chelsea away Chelsea's Eden Hazard Facebook Twitter Pinterest Chelsea’s Eden Hazard. Photograph: Darren Walsh/Chelsea FC/Press Association Ima The fashion view: Sometimes a kit’s logo can overwhelm the rest of the design (see Manchester United’s giant Chevrolet). But, weirdly, Chelsea’s deal with Yokohama Tyres actually adds something. The typeface recalls the excellent first collection of Luella Bartley and Katie Hillier for Marc by Marc Jacobs and looks – in a good way – like a bobbly Sunday League kit that you might find on the rails of a vintage store. The fact that it’s actually worn by millionaires who won the Premier League last season makes us like it even more. (LC) The sport view: Unusual move having the French flag on both sleeves, but reminiscent of the old-school Chelsea white also worn for the 2012 European Cup-winning season. Claims to have “special stitching” that makes players move faster. Perhaps John Terry can wear three of them. (BR) Bournemouth away

The fashion photographer who was homeless for six years

hen I graduated from the University of Charleston, I didn’t foresee myself living homeless for a large period of my adult life. To begin with, it started out as wanderlust. After I graduated, I decided to backpack around Europe. I’d always wondered if I could become a model, but it wasn’t until I headed to Brussels that I got signed. So began a four-year stint modelling around Europe. This was 1984. I walked for Versace, Moschino, Missoni, designers like that. I did French Vogue, too. I was OK, but I wasn’t the cat’s miaow. But it instilled in me a new sort of lifestyle, living hand to mouth, absorbing different cultures. I moved back to New York via San Francisco when I heard my father was dying. I was 29, and I had been modelling on/off for four years. I got signed to a few low-key agencies in New York and juggled this with some waitering. I also started an acting course. I had a bit of money and some savings from my modelling and moved into an single-room occupancy – a small room without running water and a communal bathroom. It looked like an Edward Hopper building from the outside, but not so much inside. Still, it was very affordable – $200 a month – and in West Chelsea before it was trendy. I was pretty happy. From 1996 onwards I got sporadic work as an actor. I went to an extras audition for a Woody Allen film and played an art gallery owner in Celebrity. My next break was in Sex and the City as Carlo, the “fabulously wealthy billionaire boyfriend with a tiny penis”. I had a run of luck with that. Mark Reay returns to his former rooftop home in this clip from Homme Less. In 2000, my father died, so my need to stay in New York wasn’t mandatory. That’s when the wanderlust sprung up again, so I did the proverbial second run as a model, except this time I was in my 40s. Now I was older, with salt-and-pepper hair, but much more marketable. I moved around Europe again, and started taking photographs, to see how that went. I knew the fashion world, so I’d go to the shows and hang around backstage taking pictures. People knew me from my modelling and I got a few decent shots. I figured I might have an eye for it and maybe I could make some money from it. I was shot for Arena, did some TV work, stuff like that. It sounds glamorous, doesn’t it? But I never got the campaigns. That’s where the money is. I foolishly believed I would make a decent income as a model – I was signed to Ford and Wilhelmina in New York; they’re both big agencies – but it’s very hard to make a living from modelling. No one really talks about it. By this point, I was back to living on savings. I got money through work as a waiter, and I made a few bucks when I sold a photostory to a website, but I was still subletting tiny rooms in New York. I had a couple of photography projects in mind, so I went back to that. One project involved going to the south of France, where the super-wealthy hung out, and working as a photographer-for-hire. I thought it was a great idea, so I set off to stay with a friend who lived in Juan-les-Pins with just my camera and my laptop. Like a lot of my ideas, it was a good one that produced no results. After a few weeks, worried that I’d overstayed my welcome, I left for St Tropez with just my belongings and wound up sleeping in the hills. It wasn’t so bad to start. I would store my laptop and cameras in a duffel bag in a garbage bag and hide it in the bushes. I had a small bedroll with me so I could sleep. I would get up at 6am, go to the park and head to the restaurants that had those outdoor sinks. I’d wash myself down, wash my t-shirt or shirt so it could dry in the sun and slick back my hair with water and go sit in a cafe. Because I had a certain look, no one really questioned it. I just looked like a well-off man in shorts and a T-shirt. I had the confidence to just sit there, and I knew I wasn’t doing anything wrong.

New model army: Iranian fashion revolution moves above ground

In northern Tehran’s Oxygen Royal health and fitness centre, a group of 20 young men have gathered, each wearing identical black T-shirts inscribed with a big white DFW, the abbreviation for Darab fashion week. The centre is located in the affluent and historical district of Gheytarieh in the foothills of the Alborz mountains, which tower over Iran’s capital. With its VIP members and advanced exercise machinery, you may as well be in Beverly Hills. Instead, the centre is the venue for Iran’s male models to practise strutting the catwalk under the aegis of a professional trainer, who will also prepare them for the castings that will follow. After a day of hard work, the results are promising. All the men have been offered contracts for Darab’s forthcoming event in September, planned to take place at the Esteghlal hotel. Before this if I were to mention to the authorities that I wanted to found a modelling agency nobody would listen to me Sharif Razavi, modelling agent After more than three decades of resistance and struggling underground, fashion is finally gaining a foothold in the Islamic Republic. As fashion weeks mushroom across Iran, the need for more models has significantly increased. Most models at Oxygen Royal are hired by Behpooshi, a modelling agency that last year became one of the first to obtain official permission to operate. The agency has 50 male and 30 female models, linking them with event managers such as Darab. “If I say that fashion in Iran has gone through a revolution in the past year, I haven’t exaggerated,” Sharif Razavi, Behpooshi’s director, told the Guardian. “In around 30 years since the revolution, we saw around 10 to 15 catwalks in the country,” he said, “but in the last year alone, we’ve seen more than a hundred.” Behpooshi began seven years ago but like many others involved in the fashion industry in Iran, the agency operated underground.Then two and half years ago, Razavi wrote to the office of the Iranian supreme leader, Ayatollah Ali Khamenei, and asked for a religious edict to find if Islam forbade fashion and modelling. To his delight, it didn’t. He pursued the matter with the authorities at the ministry of culture and Islamic guidance. And this effort opened doors. “Before this if I were to mention to the authorities that I wanted to found a modelling agency nobody would listen to me but things changed,” Razavi said. A model wearing an Iranian-style manteaux and scarf. Facebook Twitter Pinterest A model wearing an Iranian-style manteaux and scarf. Photograph: Photographer: Afra Pourdad/Afra's Corner Rayan Baghdadi, with many followers on Instagram, was among the 20 men practising at Oxygen Royal. “Modelling is now my job and I’m taking it very seriously,” said the 23-year-old. “When you are a model, you can’t do so much things other people do, like drinking or eating fast food, you are always conscious about what you do and what you eat.” Baghdadi, who recently performed at Tehran fashion week held at the sumptuous Sam Centre complex on the city’s most expensive street, Fereshteh, said significant improvements have been made in the past couple of years. “The authorities now issue licences to each model and those who want to participate in public events and catwalks, should apply for a licence and its ID card. The underground fashion is fading.” He has even had international experience, doing catwalks in Dubai to promote the works of designer Rahil Hesan, who is half-Iranian. Mahan Farokhmehr, Darab’s chief executive, echoed Baghdadi. “In the past two years, the atmosphere has changed positively,” he said. “The ministry has set up a body called the working group for bringing order to fashion and clothing which regulates fashion in Iran and grants permission for holding events. What took place underground a few years ago, is now happening in public.” There has been progress but big challenges remain. Some people still have negative views about fashion in Iran Dana Mashalahpoor, model Despite this, red lines persist. Darab fashion week, Farokhmehr said, will feature the works of young Iranian designers, including Mohsen Asgari and Neda Sadeghi, over two days. But while women can go and watch the men’s catwalk shows, men are not allowed to attend the women’s shows. Although the event is held in public, attendance is by invitation-only. “We wouldn’t have enough space if we were to open it to the public,” Farokhmehr said, adding that 2,700 people are expected to participate. Not all Iranian models, however, have applied for a licence. Dana Mashalahpoor, 28, has been particularly successful but his route to fashion has been entirely different to that of Baghdadi. Although he has worked with big companies, including foreign brands, he has never been invited to walk a catwalk at home. “Fashion is becoming more serious in Iran and that’s a good thing,” he said. “You’ll see plenty of people interested in fashion today in the country compared to a few years ago. There’s a wave, a strong wave but we’ll have to be careful and do it right.”

Why I designed a fashion range for women with larger breasts

ael Aflalo, the founder of LA fashion brand Reformation, says she created the I’m Up Here collection because she has “a lot of friends with bigger busts and I was sick of them complaining”. Said friends will no doubt now be silenced. Aflalo’s range is that rare thing – proper fashion specifically designed for women between C and DD cups. Now in its second season, and with Daisy Lowe modelling the very affordable clothes (around £50 for the bodysuit, £140 for the dress), and she has cornered a nice untapped market. But what can it teach us about dressing when you have bigger boobs? Daisy Lowe models the I'm Up Here Collection by Reformation Facebook Twitter Pinterest Daisy Lowe models the I’m Up Here Collection by Reformation Photograph: Guy Lowndes/Reformation According to Aflalo, the key is dressing to your body even if that goes against dominant fashion trends. “A lot of people go for the model off-duty as the default but I’m curvy and that doesn’t work for me,” she says. “Instead, I look to someone such as Sophia Loren or Josephine de la Baume.” So, drapey black vests and hoodies are out; blouses and high-waisted jeans are in. The underappreciated artistry of the professional bra fitter Read more When designing this collection, insights came from talking to women about what they wanted out of their clothes. It turns out that’s pretty much the same thing whatever size bra you are. “We did a survey, and women said they were proud of their bodies but didn’t want to be completely on display,” she explains. “Most of us when getting dressed want to feel beautiful but not like we’re objectifying ourselves.” That’s something that fits into the rest of the Reformation world. Launched in 2010, Aflalo’s brand makes clothes that are sustainable, fun, sexy but speak to women. She has already worked her magic with the petite market – with a range designed for women 5ft 4in and under, named Don’t Call Me Cute. Daisy Lowe modelling the I'm Up Here Collection by Reformation Facebook Twitter Pinterest Daisy Lowe modelling the I’m Up Here Collection by Reformation Photograph: Guy Lowndes/Reformation The I’m Up Here first launched last season but Aflalo feels they have nailed it this time around – with Lowe as the face, and careful testing of the designs on several women working at Reformation who have larger busts. “They tried everything on,” she says. “We started to call them the titty committee.” Humour like this and the title of the collection, also known as Big Boob Problems, will surely bring a smile to potential customers’ faces. As will the clothes. “I really wanted to make clothes for how women feel and what they want their clothes to represent,” she says. “And I always think it’s better to say something in a humorous way than a regular way.”

Are tattoo artists right to refuse to adorn necks and hands?

hen Jane Marie, a woman in her late 30s, walked into a tattoo studio on a Sunday afternoon in early summer, she was expecting to walk out with a tattoo of her daughter’s name. Marie, however, was outraged to learn that tattoo artist Dan Bythewood refused to grant her request because of the placement of the tattoo – on Marie’s neck. Bythewood explained that the studio, New York Adorned, had a policy not to tattoo the hands or necks of people who weren’t already visibly tattooed. Although tattoos have shed much of the stigma once attached to them, their rapid rise in popularity has opened up a new set of challenges. Tattoo artists are finding clients are asking for images or placements which might be problematic. As a result, artists walk a tightrope between respecting a client’s wishes, and maintaining their professional integrity. “Every artist has his or her own politics and belief system within tattoos,” Matthew Marcus, owner of Three Kings tattoo studio, says. “Whether it be hands and necks, or it’s the type of imagery. What do I do if someone comes in and they want a racist tattoo? Or a sexist or homophobic one?” Three Kings, which has locations in Manhattan and Brooklyn, doesn’t have a rigid policy on hand or neck tattoos. Marcus says he leaves it up to his artists to make their own choices about what they’re comfortable tattooing. Leaf Chang Leaf Chang at work. Photograph: Leaf Chang “What a lot of people don’t realise is that when people say no to something it’s because of their comfort level,” Marcus says. “You should actually be thankful that they’re telling you that they might not be the best person to do it.” Marcus himself tattoos hands or necks. He says he’s happy tattooing anywhere on the body, in fact. He draws the line, however, at portraits. He says they scare him. “The idea of tattooing someone’s child’s face on their body and the chance of messing that up? No thank you.” At Into You, a well-known tattoo parlour in London, owner Alex Binnie has a similar policy of leaving it up to the individual artists to make the call. “I hope my artists will look at the whole situation – who is the person, how old are they – and make a decision based on that,” Binnie says. Into You used to have a much stricter policy, at a time when hand and neck tattoos were more taboo. Binnie got his own neck tattooed in the late 1980s. “It was considered outrageous then,” he says. “The only people who had neck tattoos then were, generally speaking, tattoo artists. It was the mark of a tattoo artist.” Marcus agrees, saying that when he first started getting tattooed 15 years ago, heavily tattooed people and visible tattoos were few and far between. “If you wanted a hand or neck tattoo and you wanted to represent yourself in that way, you had to understand that you’re accepting a very different responsibility for the role that you were playing in society from that point on.” Binnie says he thinks the permanency of tattooing is one of the reasons it’s so popular right now. “People want to be able to feel something in the increasingly transient meaningless of contemporary society. It makes them think ‘I really do feel this’.” Andrew Timming, a management professor at the University of St Andrews, says that 40% of US households have a least one member with a tattoo. Timming cautions, however, that despite this rise in popularity, visible tattoos may still be an employment hindrance. Timming has studied the perceptions of recruiters towards visible tattoos and found that they are less likely to secure employment, especially in customer-facing jobs. Timming thinks tattoo artists should be able to refuse clients’ tattoo requests. “Tattoo artists are professionals – they need to be able to make decisions,” he says. “Sometimes they make decisions for personal reasons, sometimes they make decisions because they think it’s in the best interest of the client. But you can’t take away that right.” Leaf Chang, owner of Brooklyn’s Gnostic Tattoo shop, also thinks it’s for the tattoo artist to make a call whether or not to tattoo. “I definitely do not think the client should expect to get whatever they want in a tattoo shop, just like you wouldn’t go to the tailor and presume to tell them how to cut your suit,” he says. Chang says he assesses hand and neck tattoo requests on a case-by-case basis. He says it’s the artist’s prerogative to not tattoo something they’re not comfortable with, because their reputation is on the line. “Our name is attached to our work,” he says. “So we have just as much of a stake in your tattoo as you do.” Marcus says that while he may not agree with every tattoo idea, it’s his job to educate them about the implications of their decision. “I try to let people see all angles of their decision” he says. “If they still want to go ahead and do it after that, for me that’s where my responsibility ends.” It has long been argued whether tattooing is an art form or not. Marcus, however, isn’t interested in getting caught up in that debate: for him, people get tattooed for various reasons and one is no more valid than another. “Sometimes you’re making art on somebody, and sometimes you’re just doing a tattoo.”

Nature at its most awe-inspiring

Cruise holidays offer many experiences that are unique and often life-affirming – sailing past the Statue of Liberty in New York as dawn breaks or watching dolphins surfing the bow wave are just two. Sailing into a Norwegian fjord on glassy water, with mountains and ancient glaciers in the distance has to be another one of those experiences. Fjord cruises are becoming increasingly popular, and it’s easy to see why. The view from the water is unparalleled – you simply can’t fathom their sheer magnitude and scale from land, and you can often access places that would take hours to reach by land. By cruising, you’re also able to see natural wonders from a different angle – what other form of travel allows you to sail past a glacier whilst sipping champagne, or witness a waterfall tumble into the water below from the comfort of your balcony? Wherever you go in Fjordland, you’re likely to see stunning scenery, but there are a couple of spots that are guaranteed to leave you awestruck. First is the mighty Sognefjord – the world’s longest navigable fjord. At its head, you’ll find Skjolden with its UNESCO World Heritage Urnes Stave Church and of course its stunning views. Nearby, you’ll also find Jostedal Glacier, the largest glacier in mainland Europe. Visitors can walk the glacier, kayak in its meltwater and even partake in a spot of white-water rafting if that takes your fancy. As for Sognefjord itself, this spectacular stretch of water boasts towering cliffs, tumbling waterfalls and a simply stunning shoreline. Further north, you’ll find the island of Spitsbergen and the town of Ny-Ålesund – one of the most northerly settlements in the world. Just 1,000km (600 miles) from the North Pole, this rugged wilderness is visited by P&O Cruises twice in 2012. Both cruises sail in the summer – giving passengers the opportunity to experience the natural phenomenon of near 24-hour daylight. The area is famed for its glaciers; in fact two thirds of Spitsbergen’s area is covered by them – giving visitors the chance to get up close to them and the wildlife that lives on and around them. One of the most famous sightseeing spots in the fjords is the gigantic Pulpit Rock, which can be seen when you visit Stavanger. Your jaw will hit the deck of your tour boat as you sail up Lysefjord and the huge rock face comes into view. Towering nearly 600m (2,000ft) above the water like a stone skyscraper, this cliff face is like nothing you’ll have ever experienced before. For the more active, you can hike to the top of the rock for possibly one of the most beautiful views in the world as you tower over the fjord and surrounding countryside. P&O Cruises offers an excursion to the base of pulpit rock. For more information visit their site. Whilst a cruise north to Norway’s beautiful fjords may not guarantee you the sun of a Caribbean or Mediterranean cruise (although it can be hot and sunny in the fjords too – I managed a slight tan when visiting in June last year), you’ll likely discover a holiday that offers much more. You’ll see sights that leave you in awe of nature’s power and beauty, as well as ancient fishing villages. For more information on P&O Cruises northern holidays and some of the amazing sights that you can experience, head over to www.pocruises.com.