DOCSLIB.ORG

Fashion Exhibitions: a Concept Proposal for Digitally Immersive Experiences

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fashion Exhibitions: a Concept Proposal for Digitally Immersive Experiences Fashion Exhibitions: a concept proposal for digitally immersive experiences. by Annie Whittaker. 1 7,494 words Student number: 29858283 2 3 Executive Summary. his report investigates how consumers view Tand react to fashion exhibition experiences. Responses from primary and secondary research found that there is a greater need for the incorporation of immersive technology for luxury brand storytelling. It is proven this strengthens the ability to effectively communicate the exhibiting brand’s story and increases brand equity by using The analysis finds that fashion exclusivity, leaving traditional sales during the Covid-19 Virtual Reality (VR) technology exhibitions are used as a more exhibition strategies in jeopardy pandemic, as well as the need to (which currently, is relatively creative and expensive tactic until the pandemic’s end. continue brand narrative in the untouched in the fashion of marketing as opposed to face of communication channel industry) to the majority share traditional media campaigns. Following the critical analysis, disruptions. of luxury consumers - digital This tactic increases cognitive is a discussion of a proposed natives, Gen Z and Millenials. engagement by creating concept to address the issues of A compact brand audit follows emotional connections with a lack of immersive experience for luxury brand Givenchy. The The concept of fashion visitors through storytelling, and technology in fashion findings gathered that the brand exhibitions is critically whilst emanating brand exhibitions. This concept sits well below competitors in analysed within this research., authenticity. However, further proposes the integration of a terms of brand presence and It observes that people visit analysis finds that visitors VR experience to communicate consumer engagement. The these attractions for multiple aren’t as stimulated as they the exhibiting brand’s story in information gathered from reasons; entertainment, would expect from a luxury a visually and experientially the audit is applied to the the improvement of knowledge, brand experience. Immersive stimulating way to support the concept through visual aids and and social interactions. Taken experiences and technology are physical exhibition in a way that the 7Ps marketing mix to give from J. Dumazedier’s (1967) found to be lacking, and integral appeals to Gen Z and Millenials. a clearer example of how the definition of leisure, this multi- to marketing efforts of globally In addition to supporting concept addresses the need for faceted definition reveals the renowned luxury brands. the physical exhibition, the more immersive experiences in key factors fashion exhibitions Moreover, the luxury industry proposed VR brand experience fashion exhibitions. should take into consideration has found itself in deep waters as becomes available on-demand to ensure consumer satisfaction. Covid-19 disrupts the economy for consumers at home, that However, for brand’s exhibiting globally, threatening how luxury own VR headsets. This ideation their archives, intentions aren’t brands communicate with their is further backed by evidence simply to display artefacts. consumers whilst retaining of an increase in VR headset 4 5 Contents. Introduction. 8 Methodology. 11 Critical analysis. 12 Concept and Discussion. 20 Image. 1 Image. Why Luxury brands? 27 Brand Recommendation. 32 7 Ps Marketing Mix. 38 Conclusion. 40 6 7 Introduction. ‘let us remember how important it is to ashion exhibitions have been around for hundreds reach new standards of craftsmanship, F of years. As early as 1900, Paris played host to the and the beauty of all the things we use Exposition Universalle, which ‘included a museum devoted to reproduction historical fashion.’ in our daily lives’ (Clark, J. and De La Haye, A. and (King George VI) Horsley, J. 2014). In earlier years, dress was not esteemed worthy of collection, and for museum curators only ‘trimmings and accessories were collected as acceptance among curators, to sustain a long-term relationship world, how brands can ‘harness evidence of craft practice.’ ( be worthy of exhibiting. Since between brand and consumer truly human-first (rather than Clark, J. and De La Haye, A. then, luxury designers and (Choi, H. et al, 2014). consumer-led) thinking to play and Horsley, J. 2014). However, photographers have exhibited a meaningful role in people’s in his speech in 1946 at the their archives globally, with Additionally, the Covid-19 lives’ (Hillier, L. and Gilliand, opening of the Britain Can great success, such as; Fashion: pandemic caught many brands N. 2020), and actually utilise Make It (BCMI) exhibition at the An Anthology by Cecil Beaton off guard. With the closure the extraordinary technology Victoria and Albert museum in 1971; the Yves Saint Laurent of all non-essential stores, available to reach people (V&A), King George VI said “let exhibition at the Metropolitan Econsultancy (2020) predicted everywhere, and engage in us remember how important Museum of Art in New York that UK fashion retail alone will meaningful brand experiences. it is to reach new standards of 1983 organised by Diana see a loss of £12.6bn in 2020, craftsmanship, and the beauty Vreeland; Alexander McQueen’s despite a number of brands This report investigates of all the things we use in Savage Beauty in 2011; Christian continuing to operate their how’s consumers engage in our daily lives” (British Pathé, Dior: Designer of Dreams 2019; online platforms. With this exhibitions, and how the 2014). Displaying contemporary and Christian Louboutin: in mind, brands have found experience could be improved fashion, as opposed to historical L’Exhibition[ist] 2020. themselves ill prepared and to become more immersive artefacts, this exhibition was unable to connect with their utilising modern technology the first of its kind for the The most recent exhibitions consumer above the noise to keep in line with luxury V&A, and attracted a record mentioned above have been of the pandemic, and whilst consumer expectations, with breaking 1.4 million visitors able to use the exhibition consumers have been confined the aim to communicate a (Paul Holberton Publishing, space as an additional platform to their own homes. Should strong and interesting brand 2017). The success of BCMI to engage consumers out of this really be an issue brands narrative that will leave lasting lays with an opportunity to a retail setting. Rather, the are having even in the face of memories and stronger showcase to a war torn Britain, exhibition space allows a brand a pandemic in the 21st century, emotional impacts. Luxury what to expect from industrial to showcase the house’s history what with all the innovative fashion brand Givenchy, will be British design in the years to and it’s narrative, using emotion technology out there? Perhaps it used as an example toward the follow, and ‘emphasised how to connect with consumers is possible that a fashion house end of the report to apply to the intrinsic industrial design was rather than a transaction of yet to adopt an exhibition suggested concept and give a to economic renewal.’ (V&A, goods for money. This enhances platform, could follow in clearer understanding of how 2020). BCMI helped pathe the consumer’s perceptions of the footsteps of BCMI, and and why this concept will work. way for contemporary fashion’s brand authenticity helping to showcase to a post Covid-19 8 9 Metho dology. he research conducted in this report will be used Tto form outcomes based on predominantly secondary methodologies, with some primary methods where possible. The report contains evidence of findings from academic journals, video footage, podcasts, books and ebooks, as well as research and news reports accessed through the University of Southampton library and outside sources. The evidence gathered aims to support the project aim to create an experiential concept Amber Butchart. However, due statistics regarding consumer that strengthens the exhibition to the outbreak of Covid-19 behaviours are used to support experience whilst observing during the early stages of this conclusions about successful consumer/visitor behaviour report being produced, the and/or non successful fashion and technology adoption. gathering of primary research exhibitions. Likewise, data and in this sense is severely limited, statistics from market research In addition, the primary research and reaching the targeted reports are used to observe the methods conducted are in the interviewees more challenging. adoption of certain technologies form of questionnaires. The By the end of the completion amongst consumer groups, Image. 2 Image. respondents are those that have of this report, none of the whereby the results are used visited fashion exhibitions, and potential interviewees had to support the final proposed share their experiences through come forward to participate. outcome of this report. a set of 10 questions. Responses Both questionnaire and were gathered via multiple interview methods followed the The use of qualitative data choice questions and written University of Southampton’s (collected from the primary opinions so as to gain both ERGO processes, to ensure research conducted as well qualitative and quantitive data. adherence to GDPR and health as trusted subject related and safety measures for all literature) is used to form Another desired method for parties involved. valuable arguments to ensure the research was to conduct a well rounded conclusion, interviews with industry Quantitive data and statistics are having considered critically, a specialists from the V&A, Bath used to recognise any possible range of views and opinions on Fashion Museum, and Aro sales growth and/or brand the subject matter. This data has Archive, London, as well as adoption as a result of brands informed the direction of the historian, author and presenter, exhibiting archives. Data and final proposed concept. 10 11 Critical analysis. he V&A has played host to a number of fashion Texhibitions in its time, and the success for both brand and/or hosting museum has ‘Young people are inspired fashion exhibitions further afield.
Load more

Recommended publications
  • Givenchy Exudes French Elegance at Expo Classic Luxury Brand Showcasing Latest Stylish Products for Chinese Customers
    14 | FRANCE SPECIAL Wednesday, November 6, 2019 HONG KONG EDITION | CHINA DAILY Givenchy exudes French elegance at expo Classic luxury brand showcasing latest stylish products for Chinese customers This lipstick is a tribute and hom­ Givenchy has made long­standing age to the first Rouge Couture lip­ ties with China and a fresh resonance stick created by Hubert James Taffin in the country. The Mini Eden bag (left) de Givenchy, which had a case and Mini Mystic engraved with multiples 4Gs. History of style handbag are Givenchy’s Thirty years after Givenchy Make­ The history of Givenchy is a centerpieces at the CIIE. up was created, these two shades also remarkable one. have engraved on them the same 4Gs. The House of Givenchy was found­ In 1952, Hubert James Taffin de ed by Hubert de Givenchy in 1952. Givenchy debuted a collection of “sep­ The name came to epitomize stylish arates” — elegant blouses and light elegance, and many celebrities of the skirts with architectural lines. Accom­ age made Hubert de Givenchy their panied by the most prominent designer of choice. designers of the time, he established When Hubert de Givenchy arrived new standards of elegance and in Paris from the small town of Beau­ launched his signature fragrance, vais at the age of 17, he knew he want­ L’Interdit. ed to make a career in fashion design. In 1988, Givenchy joined the He studied at the Ecole des Beaux­ LVMH Group, where the couturier Arts in Versailles and worked as an remained until he retired in 1995. assistant to the influential designer, Hubert de Givenchy passed away Jacques Fath.
    [Show full text]
  • Givenchy's Red Carpet Legacy
    Style Tribute Givenchy’s Red Carpet Legacy A historian notes how Hollywood style stems from the designer’s ‘marriage’ to Audrey Hepburn By Bronwyn Cosgrave n March 10, French master of the little O black dress Hubert de Givenchy died at the age of 91. But his partnership with Audrey Hepburn throughout the 1950s and ’60s forged a bond between Hollywood and haute couture that lives on. 1 Hepburn in a 1958 fitting That legacy was front and center this with designer Givenchy at his Paris atelier. 2 The awards season. Long black dresses — evoca- designer and his muse in 1 1983. 3 The 1970 facade of tive of the dark, languorous Givenchy gown the French fashion house, that Hepburn, as Holly Golightly, wears in which was founded in 1952. the opening scene of her best-known film, Breakfast at Tiffany’s — dominated the run-up 3 to the Oscars as the formal garb of Time’s Up. The protest movement’s sartorial ethos also resonates with Hepburn’s decision to exclusively wear Givenchy onscreen and at the Oscars through much of her career. After she GETTY IMAGES. / visited Givenchy’s Paris atelier in 1953 — to secure him as her designer for Sabrina — she considered his designs to be her uniform. “I felt so good in his clothes,” she once said. Before Hepburn and Givenchy worked GETTY IMAGES. HEAD: PARAMOUNT together, Hollywood’s relationship with the / French fashion industry had proved fractious. 2 For three of his 1930s productions, Samuel Goldwyn paid Coco Chanel $1 million to create costumes. After working with Gloria Swanson on 1931’s Tonight or Never, she severed her a more youthful mode, interpreting the free- “The biggest thing in my life was winning that relationship with the studio.
    [Show full text]
  • THE POLITICS of Fashion Throughout History, the First Lady’S Style Has Made a Statement
    THE POLITICS OF Fashion Throughout history, the first lady’s style has made a statement By Johanna Neuman rom the beginning, we have obsessed new country’s more egalitarian inclinations. Martha about their clothes, reading into the Washington dressed simply, but her use of a gilded sartorial choices of America’s first la- coach to make social calls led critics to lament that dies the character of a nation and the she was acting like a queen. Abigail Adams, who had expression of our own ambitions. “We cultivated an appreciation for French fashion, was want them to reflect us but also to reflect glamour,” careful to moderate her tastes but failed to protect Fobserves author Carl Sferrazza Anthony, who has John Adams from criticism that he was a monarchist; studied fashion and the first ladies. “It is always he was defeated for re-election by Thomas Jefferson. said that Mamie Eisenhower reflected what many “These Founding Fathers had deep ancestral and in- Americans were, and Jackie Kennedy reflected what tellectual ties to countries where government lead- many American women wanted to be.” ers’ dress was explicitly understood to In a nation born in rebellion against Jackie Kennedy in Ottawa, reflect and represent their august posi- the king, the instinct among public fig- Canada, in an outfit tions,” says historian Caroline Weber, ures to dress regally clashed with the designed by Oleg Cassini author of Queen of Fashion: What PAUL SCHUTZER—TIME & LIFE PICTURES/GETTY IMAGES SPECIAL COLLECTOR’S EDITION 77 AMERICA’S FIRST LADIES Marie Antoinette Wore to the Revolution (2008).
    [Show full text]
  • Audrey Hepburn in Paris
    Through Fashionable Paris in the Steps of Audrey Hepburn Through Fashionable Paris in the Steps of Audrey Hepburn 1. Givenchy headquarters, 3, avenue George V, 8e 2. No. 2, avenue Montaigne, 8e 3. Christian Dior, 30, avenue Montaigne, 8e 4. No. 3, avenue de Matignon, 8e 5. Stamp market, near avenue Gabriel, 8e 6. American Embassy, 2, avenue Gabriel, 8e 7. Maxim’s, 3, rue Royale, 8e 8. Ritz Hotel, 15, Place Vendôme, 1er 9. Palais Royal, 1er 10. Didier Ludot boutique, Palais Royal, 1er 11. Comédie Française, 1, Place Colette, 1er Through Fashionable Paris in the Steps of Audrey Hepburn Audrey Hepburn made five films on location in Paris: was about to film Sabrina. Although the movie was shot in Funny Face (1957), Love in the Afternoon (1957), Charade Hollywood, it was Hubert de Givenchy who made the (1963), Paris When It Sizzles (1964) and How to Steal a glorious dresses that Audrey wears on her return from Million (1966). Funny Face was one of the first American cooking school in Paris. Okay, no apprentice cook who was films to be shot on location in the city and showcases the daughter of a chauffeur could really afford to dress like almost every major tourist attraction. Other films explored that, but that was 1950s Hollywood fantasy for you. some less well known areas. This walk will take you past Audrey and Givenchy hit it off from this first meeting, and locations from all five films in the chic 1st and 8th the rest is history. Arrondissements. A list of other locations easily reached Retrace your steps toward the metro entrance, and turn by metro or Vélib’ is also included for hard‐core fans.
    [Show full text]
  • Walking Tours the Central Paris Set
    Walking Tours The Central Paris Set Table of Contents Culture and History Stroll from Saint Germain to Notre Dame Louvre to Opera Walk Stroll from Saint Germain to the Louvre Walk from the Palais Royal to Pompidou Through Fashionable Paris in the Steps of Audrey Hepburn Stroll from St. Germain to Notre Dame (6th - 5th) 28 Stroll from St. Germain to Notre Dame (6th - 5th) cont’d 1. Carrefour de L’Odeon – starting point 2. 5 Carrefour de L’Odeon – Le Comptoir du Relais 2b. 4-6-8 Cour de Commerce – Un Dimanche à Paris 3. 13 rue de l’Ancienne Comedie – Le Procope 4. 41 rue St. Andre des Arts – Allard 5. St. Severin Church 6. St. Julien le Pauvre 7. 56 rue Galande – Aux Trois Mailletz 8. 50 & 52 rue Galande – Le Chat Huant 9. 14 rue St. Julien le Pauvre – the Tea Caddy 10. 4 rue St. Julien le Pauvre – Hotel Esmeralda 11. 37 rue de la Bucherie – Shakespeare and Co. 12. 21 Quai Montebello – Café Panis 13. Eglise Notre Dame 14. Square de Ile de France - Memorial des Martyrs 2 2 29 Stroll from St. Germain to Notre Dame (6th - 5th) cont’d 15. 55 Quai de Bourbon – Brasserie de l’Île St. Louis 16. 31 rue St. Louis-en-L’ile – Berthillon Ice Cream 3 3 30 Stroll from St. Germain to Notre Dame (6th - 5th) cont’d This tour takes between 2 and 4 hours vards we now see on the right bank. depending on how long you linger. Note the 4. Bistro Allard at 41 St.
    [Show full text]
  • Constructs of Gender and Female Sexuality in Post WWII American and European Cinema
    City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 6-2021 Sartorial Semiotics: Constructs of Gender and Female Sexuality in Post WWII American and European Cinema Patricia Cabral The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4392 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SARTORIAL SEMIOTICS: CONSTRUCTS OF GENDER AND FEMALE SEXUALITY IN POST WWII AMERICAN AND EUROPEAN CINEMA by PATRICIA CABRAL A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2021 ii © 2021 PATRICIA CABRAL All Rights Reserved iii SARTORIAL SEMIOTICS: CONSTRUCTS OF GENDER AND FEMALE SEXUALITY IN POST WWII AMERICAN AND EUROPEAN CINEMA by Patricia Cabral This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts _____________________________ _________________________________________ Date Eugenia Paulicelli Thesis Advisor _____________________________ _________________________________________ Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iv Abstract Sartorial Semiotics: Constructs of Gender and Female Sexuality in Post WWII American and European Cinema By Patricia Cabral Advisor: Dr. Eugenia Paulicelli Cinematic costume design functions as a system of visually-perceived, material and indexical signifiers, an effective and compelling language further informed by styling and embodiment.
    [Show full text]
  • View of Literature
    .51 x 3:; A «7.1. A V .. .1... l\\.v 1.. Iv... A it n . ma reflkfik 1:25.49 2»...st . \ ‘ mm... 49?. m.w..,.nf_....;un..s; o, n x: .._ k . .. A 1.24. 7.. 4 . Z. w A 3 LL 4. _ :1 it m . s ,. _.. ,. g 3 I. ; ; 2:“...‘ ‘ t . .n . a . -i; ,méeawafan. 1 : r vi. i .ri .J 5... k ,t 1..» . $1232.17}.... 05.13. .3) #3:“... 1.6.5... 0.. v 2.78.034 x 3N... 5.1.... 4 .1 1... 1.5.3.If. 1.! 854m . .v o): al!‘ S k. I 6.... .2? ! 9- $319.1! )3 hm. U; "n with. .. ..u,uw.w_§...._ . .fi r, {4%.v .- cw! . flex...43f. 73‘111‘313 l 300\ LIBRARY Michigan 331:» University ‘m‘ r This is to certify that the thesis entitled THE INFLUENCE OF AUDREY HEPBURN AND HUBERT DE GIVENCHY ON AMERICAN FASHION, 1952-1965 presented by KATE ELIZABETH SMITH has been accepted towards fulfillment of the requirements for MASTER QE__ABIS__degree in MOMENT & DESIGN Major professor Date 51.11.10.1— 0-7639 MS U is an Affirmative Action/Equal Opportunity Institution PLACE IN RETURN BOX to remove this checkout from your record. TO AVOID FINES return on or before date due. MAY BE RECALLED with earlier due date if requested. DATE DUE DATE DUE DATE DUE (3511875 2092 6/01 c:/CIFIC/DaeDuo.p65—p.15 THE INFLUENCE OF AUDREY HEPBURN AND HUBERT DE GIVENCHY ON AMERICAN FASHION, 1952-1965 By Kate Elizabeth Smith AN ABSTRACT OF A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Human Environment and Design 2001 Dr.
    [Show full text]
  • Vogue on Hubert De Givenchy Free
    FREE VOGUE ON HUBERT DE GIVENCHY PDF Drusilla Beyfus | 160 pages | 24 Oct 2013 | Quadrille Publishing Ltd | 9781849493130 | English | London, United Kingdom Remembering Hubert de Givenchy’s Best Looks | Vogue Arabia The fashion aesthetic of handsome, aristocratic Hubert de Givenchy combined the traditions of haute couture—creative, luxurious, and perfectionist—with a modern entrepreneurial sensibility. Created by the editors of British VogueVogue on Hubert de Givenchy features biography and history studded with more than 80 images from their unique archive of images taken by leading photographers such as Irving Penn, Patrick Demarchelier, and Cecil Beaton. Drusilla Beyfus has contributed to numerous publications, including British Vogue and the Sunday Times Magazineand has been featured in many TV and radio programs. She is the author of several books on etiquette. We have updated Vogue on Hubert De Givenchy Privacy Policy, effective June 29,to clarify how we collect and process your personal data. By continuing to use this website, you acknowledge that you have read and agree to the updated Privacy Policy. Read More. Social Media Subscribe Blog Contact. Vogue on Hubert de Givenchy. By Drusilla Beyfus. About the author Drusilla Beyfus has contributed to numerous publications, including British Vogue and the Sunday Times Magazineand has been featured in many TV and radio Vogue on Hubert De Givenchy. You may also like. Remembering Hubert de Givenchy – Suzy Menkes Vogue Uh-oh, it looks like your Internet Explorer is out of date. For a better shopping experience, please upgrade now. Javascript is not enabled in your browser. Enabling JavaScript in your browser will allow you to experience all the features of our site.
    [Show full text]
  • The Fabrics As the Protagonists in the Balenciaga Silhouette/Figure
    The fabrics as the protagonists in the Balenciaga silhouette Amalia Descalzo Lorenzo Isem Fashion Bussines Schol, University of Navarra, Spain [email protected] Abstract All creations we call “dresses” have been made with textiles or materials suitable to fit the natural shape of the human body. Tailors, dressmakers, designers and creators of fashion have been aware of the importance of the materials they worked with to implement their ideas. The technical and physical characteristics of the materials have been and are essential when thinking of the structure of a dress. The human body has not anatomically changed so the structure of dresses are subject to cuts set in advance to those that a design must follow. In this sense, fashion designers have known the importance of materials to create the most striking shapes and volumes of the history of fashion and especially today where smart fabrics are more present. Our aim in this paper is to explain how Cristóbal Balenciaga contributed to the fabrics development with his work. Cristóbal Balenciaga (Guetaria 1895 – Javea 1972) was a great designer and connoisseur of all the processes needed to make a garment. The studies made of Balenciaga report that the master had a predilection for certain tissues which gave answers to all his creations. The protagonists’ tissues were the following: velvet, faille, duchess satin, and embroidery for evening dresses, the recurrent use of lace and unique fine wool clothes for the day. Each of these tissues were carefully selected since the characteristics of the materials were crucial to the execution of his creations , to the point of working in direct contact with textile manufacturers, as Gustave Zumsteg from the brand Abraham´s, obtaining the adequate tissue for getting heavy volumes.
    [Show full text]
  • Daily Chronical –
    THE MONDAY, FEBRUARY 1, 2021 Celebrate Quote of the Day Black “The only reason they come History Month to see me is that I know that life is great, and they know I know it.” On This Date ~ Clark Gable 1920 – The Royal Canadian Mounted Police Force was founded when the Royal North-West Mounted Police merged with the Dominion Police. Happy Birthday! Contrary to popular opinion, the motto Clark Gable (1901–1960) began his of the RCMP is “Uphold the law,” career in film in not “Mounties always get their man.” 1924 and soon 1964 – The Beatles’ hit song “I Want became a star. The to Hold Your Hand” reached No. 1 debonair actor won on the Billboard Hot 100 chart. an Academy Award in 1934 for his 2003 – The entire crew of seven comic performance astronauts died when NASA space in It Happened One Night. His shuttle Columbia broke apart as it best-remembered role is that of Rhett returned to Earth. Butler in Gone with the Wind (1939). Celebrity Trivia A leading box office attraction for many years, Gable was known to Arthur Miller wrote The Misfits, Hollywood as “the King.” He made his first original screenplay, as more than 65 films, the last of which a vehicle for his wife, Marilyn was The Misfits (1961). He died of a Monroe. The two divorced just heart attack four months before his prior to the filming of the movie. only son was born. ©ActivityConnection.com – The Daily Chronicles (CAN) ONDAY EBRUARY M , F 1, 2021 Today is Spunky Old Broads Day, celebrating women over 50 who exude courage, wisdom, and vivacity.
    [Show full text]
  • TRANSLATION of the FRENCH DOCUMENT De Reference FISCAL YEAR ENDED DECEMBER 31, 2009 Contents
    TRANSLATION OF THE FRENCH DOCUMENT DE REFERENCE FISCAL YEAR ENDED DECEMBER 31, 2009 Contents LVMH GROUP 1 History 1 Financial higHligHts 2 ExEcutive and SupErvisory BodiEs; Statutory Auditors 5 simpliFiEd organizational cHart 6 BusinEss dEscription 9 MANAGEMENT REPORT OF THE BOARD OF DIRECTORS 23 LVMH Group 23 parEnt company: lvmh moEt hennEssy - louis vuitton SA 49 Human rEsourcEs 67 LVMH and the environmEnt 83 REPORT OF THE CHAIRMAN OF BOARD OF DIRECTORS 97 FINANCIAL STATEMENTS 109 consolidatEd financial statEmEnts 109 parEnt company financial statEmEnts: lvmh moEt hennEssy - louis vuitton sa 179 OTHER INFORMATION 205 corporate govErnancE 205 GenEral inFormation rEgarding the parEnt company; stock markEt inFormation 233 Resolutions for the approval of the combined shareholders’ meeting of April 15, 2010 241 RESPONSIBLE COMPANY OFFICER; FINANCIAL INFORMATION 247 TABLES OF CONCORDANCE 251 This document is a free translation into English of the original French “Document de Référence”, hereafter referred to as the “Reference Document”. It is not a binding document. In the event of a conflict in interpretation, reference should be made to the French version, which is the authentic text. LVMH group HistoRy Although the history of the LVMH Group began in 1987 with the merger of Moët Hennessy and Louis Vuitton, the roots of the Group actually stretch back much further, to eighteenth-century Champagne, when a man named Claude Moët decided to build on the work of Dom Pérignon, a contemporary of Louis XIV; and to nineteenth-century Paris, famous for its imperial celebrations, where Louis Vuitton, a craftsman trunk-maker, invented modern luggage. Today, the LVMH Group is the world’s leading luxury goods company, the result of successive alliances among companies that, from generation to generation, have successfully combined traditions of excellence and creative passion with a cosmopolitan flair and a spirit of conquest.
    [Show full text]
  • AUDREY HEPBURN Audrey Hepburn Was a Fashion Muse As Well As An
    AUDREY HEPBURN CECIL BEATON Audrey Hepburn was a fashion muse as Celebrated society photographer Cecil well as an award-winning actress. From her Beaton spent more than 50 years charming, Oscar-winning performance in Roman scandalizing and shooting fashion editorials Holiday, to her style transformation in and society portraits. From Grace Kelly Sabrina (thanks to Hubert de Givenchy), (a ‘photographic beauty’) to Elizabeth and her collaboration with Cecil Beaton Taylor (‘everything I dislike’), and from in My Fair Lady, Hepburn captivated the Vogue to royalty and the Bright Young worlds of both film and fashion with her Things, Beaton was at the heart of London’s elfin look and delicate frame. She trained Bohemian crowd in the 1920s and 1930s; as a ballerina, but her big break came when everyone wanted their portrait taken by him. French novelist Colette cast her as the lead A prolific diarist, dandy and socialite, he in the stage production of Gigi. It was her went on to curate the V&A Museum’s first on-screen roles, and outfits, in films such fashion exhibition, and won an Academy as Funny Face and Breakfast at Tiffany’s, which Award for his costumes and production made her an enduring style icon. design for My Fair Lady. BILL CUNNINGHAM CHARLES FREDERICK WORTH Bill Cunningham was the legendary New Worth is considered the founding father York photographer who cycled around of haute couture. In the late nineteenth Manhattan in a blue workman’s jacket, century, the Englishman moved to Paris shooting the ‘On the Street’ style pages and established the House of Worth, which for the New York Times from 1989 until 2016.
    [Show full text]