OVV Original Vogue & Value

Total Page:16

File Type:pdf, Size:1020Kb

OVV Original Vogue & Value TRADE MARKS ORDINANCE (CAP. 559) OPPOSITION TO TRADE MARK APPLICATION NO. 304450572 MARK : CLASS: 9 , 14 , 18 , 24 , 25 , 26 , 35 APPLICANT : SHANGHAI XINGDU GARMENTS CO., LTD. (上海型度服飾有限公司) OPPONENT : CONDE NAST ASIA/PACIFIC INC. ______________________________________________________________________ STATEMENT OF REASONS FOR DECISION Background 1. On 6 March 2018 (“Application Date”), SHANGHAI XINGDU GARMENTS CO., LTD. (上海型度服飾有限公司) (“Applicant”) filed an application (Application No. 304450572)(“subject application”) under the Trade Marks Ordinance (Cap. 559)(“Ordinance”) for registration of the following mark: (“subject mark”) 2. Registration of the subject mark is sought in respect of the goods and services in classes 9, 14, 18, 24, 25, 26 and 35 as set out in Annex 1 (“subject goods and services”). - 1 - 3. Particulars of the subject application were published on 25 May 2018. CONDE NAST ASIA/PACIFIC INC. (“Opponent”) filed a notice of opposition on 24 August 2018 with a statement of grounds of opposition (“Statement of Grounds”). In response to the notice of opposition, the Applicant filed a counter-statement on 14 November 2018. 4. The Opponent’s evidence consists of a statutory declaration of David Geithner, the Vice President of the Opponent, made on 19 March 2019 (“DG’s Declaration”). 5. The Applicant’s evidence consists of a statutory declaration of He Fan, a legal counsel of the Applicant’s legal adviser in relation to intellectual property matters, made on 31 October 2019 (“He’s Declaration”). 6. The opposition hearing took place before me on 2 March 2021. Ms. Clare Leung, Counsel, instructed by Global IP Agent Company Limited appeared for the Opponent, and Mr. Norman Hui, Counsel, instructed by Fairbairn Catley Low & Kong appeared for the Applicant. I reserved my decision at the conclusion of the hearing. Grounds of opposition 7. In the Statement of Grounds, the Opponent states that it is the proprietor of the trade mark “VOGUE” and other trade marks incorporating the word “VOGUE” (collectively, the “Opponent’s Marks”, and each, an “Opponent’s Mark”). Details of the Opponent’s Marks registered in Hong Kong are set out in Annex 2. 8. The Opponent claims that the subject mark should be refused registration under the following sections of the Ordinance: (a) sections 3(1) and 11(1); (b) sections 11(4) and 11(5)(b); (c) section 12(4); and (d) sections 11(5)(a) and/or 12(5). Relevant Date 9. The relevant date for considering the opposition is 6 March 2018, i.e. the Application Date. - 2 - Evidence of the Opponent 10. According to DG’s Declaration, the Opponent is an American mass media company established in the USA, and published lots of famous magazines and periodicals including Vogue, Vanity Fair, Glamour, Brides, Self, GQ, GQ Style, The New Yorker, Allure, Q, Teen Vogue, etc.. The Opponent’s publications have been issued in many countries/region including but not limited to the USA, France, Australia, Japan, Mainland China, Hong Kong, etc.. The VOGUE publication was first founded in 1892 as a newspaper and was then purchased by the Opponent in 1905, it thereafter changed to a magazine that focus to women and covering topics including fashion, beauty, culture, living and runway. As of today, the VOGUE magazine has 23 international editions including VOGUE CHINA, TEEN VOGUE and VOGUE PARIS.1 Exhibits “DG-1” and “DG-2” include copies of the Opponent’s Certificate of Incorporation and change of location of registered office certificate in USA. Exhibit “DG-3” includes a print-out from Wikipedia on the VOGUE magazine. Exhibit “DG-4” includes print-outs from (i) some websites in Chinese with information on the Opponent’s group; and (ii) Wikipedia on the Opponent. 11. Geithner avers that the Opponent is the proprietor of the trade mark “VOGUE” and other trade marks incorporating the word “VOGUE”, and has applied for and obtained registrations thereof in many countries. The Opponent first registered the mark “VOGUE” in USA in 1908 under class 16. The Opponent also registered trade marks with the word “VOGUE” in Mainland China and Hong Kong. Exhibit “DG-5” includes the print-out of the online search results from the Trade Marks Registry on Opponent’s Marks registered in Hong Kong. 12. Geithner avers that the Opponent has committed considerable resources in marketing and promoting the Opponent’s Marks worldwide and use them extensively within and outside Mainland China and Hong Kong. The Opponent released the Chinese edition of the VOGUE magazine “VOGUE CHINA” in Mainland China in 2005, and 300,000 initial copies were sold out when the magazine first debut. VOGUE CHINA magazine currently has 1.6 million printing copies circulated in Mainland China. Exhibit “DG-6” includes a copy of statement issued by the China National Publications Import and Export (Group) Corporation on its import and distribution of VOGUE magazines in Mainland China since 1988. Geithner further avers that the VOGUE magazine has also been the most popular magazine in many provinces in Mainland China in terms of retail 1 DG’s Declaration, paras 5 to 7. - 3 - sales figures and their promotion and marketing values.2 Exhibit “DG-7” includes (i) a copy of 營業執照 of 北京開元策略信息諮詢有限公司; (ii) a document titled “關於報刊 零售市場監測項目概述” by 北京開元策略信息諮詢有限公司 summarizing the results of “Market Intelligence Report on China’s Print Media Retail Distribution” from 2008 to 2014 on several magazines in Mainland China including VOGUE CHINA; and (iii) copies of extracts of the “Market Intelligence Report on China’s Print Media Retail Distribution” from 2011 to 2014. However, there is no breakdown of the sales figure of VOGUE CHINA by the year in the reports. There is also no evidence as to the extent to which VOGUE and/or VOGUE CHINA magazines being circulated or sold in Hong Kong prior to the Relevant Date. 13. Geithner avers that there are many articles on “Baidu” introducing the VOGUE magazine and a lot of super movie stars and top models appear on its cover. The magazine also organized a lot of large scale activities relating to fashion in Mainland China and invited celebrities to participate.3 Exhibit “DG-8” includes print-outs of articles and search results on Baidu in relation to the VOGUE magazine and the Opponent. Exhibit “DG-9” includes print-outs of some covers of VOGUE CHINA magazine featuring movie stars and top models from Mainland China, Hong Kong and overseas. Exhibit “DG-10” includes copies of articles from Baidu and other Chinese websites on interviews and appearance of artists and celebrities in VOGUE CHINA, and articles on activities organized by VOGUE CHINA. There is, however, no evidence as to the number of searches/viewers/visitors from Hong Kong in respect of those articles and search results. There is also no evidence exhibited that any of the activities organized by the Opponent took place in Hong Kong and there is no evidence to the extent to which these activities were broadcast in Hong Kong or otherwise reached the Hong Kong public through the Internet or other media. It is also noted from the exhibits that some of the activities were held after the Relevant Date. 14. Geithner avers that in view of the worldwide reputation of the VOGUE magazine, a lot of well-known and international brands placed advertisements in it. Exhibit “DG-11” includes print-outs of samples of a variety of brands’ advertisements placed in VOGUE CHINA and some overseas edition of the VOGUE magazine. There is however, no evidence as to what extent the various editions of the VOGUE magazine have been circulated or viewed in Hong Kong prior to the Relevant Date. Geithner further avers that the Opponent also lined up with the China Merchant Bank to issue a credit card named as “VOGUE me” in Mainland China. Exhibit “DG-12” includes a copy of an article relating 2 DG’s Declaration, paras 10 to 12. 3 DG’s Declaration, paras 13 to 15. - 4 - to the launch of the card.4 There is no evidence as to whether the credit card is promoted and/or available for application in Hong Kong. 15. Geithner avers that as a leading figure in the fashion industry, VOGUE CHINA’s editorial director was invited to be a member of the judging panel of a fashion design competition organized by a TV show in Mainland China.5 Exhibit “DG-13” includes copies of articles on VOGUE CHINA’s editorial director appearing on TV shows in Mainland China. There is, however, no evidence as to the extent to which the TV shows were broadcast or viewed in Hong Kong or otherwise reached the general public in Hong Kong. 16. Exhibit “DG-14” includes a print-out of the online search results from the Trade Marks Registry on the subject mark. Geithner avers that the subject application covers goods and services in Classes 9, 25 and 35, which are similar or identical to the specifications of some of the Opponent’s Marks (i.e. Registration Nos. 302468395, 302468412, 303092814AA, 303092823AA, 303375577 and 303375586). Geithner further claimed that one of the components of the subject mark “Original Vogue & Value” contains the word “Vogue”, which is the same as the Opponent’s Marks. As such, owing to the high distinctiveness and goodwill of the Opponent’s Marks, the use of the subject mark will likely cause confusion to the public. Geithner further avers that since the subject mark highlighted the concept of “Original Vogue”, coupled with the overlapping of some of the subject goods and services with those registered under the Opponent’s Marks, the subject mark is very likely to be perceived by the public as being derived from or connected with the Opponent’s Marks.6 17.
Recommended publications
  • Vogue China, April 2018, Pp
    Guo, Avita, “Universe of Sands,” Vogue China, April 2018, pp. 288-291 This March, Gagosian opened Jennifer Guidi’s first solo exhibition in Asia. The artist, aka the “IT girl” in American art circles, will also have the world premiere of her new body of triangular-shaped canvases during the Hong Kong art season. After nearly two decades of creative experiments with paint and sand, Guidi’s art has gradually turned into an introspective spiritual journey, while the artist herself has also evolved from a quiet girl hailing from a desert city to a top-rated artist much sought after by the world’s rich and famous. With craftsman-like dedication and the grace of an urban sophisticate, Guidi has created a spiritual universe that often stares us right in the face. Being an LA artist, Jennifer Guidi is often billed as “the rising West Coast painter”, a label that has somehow stuck. But unlike other “rising artists” such as Oscar Murillo and Guan Xiao, who were born in the 80s, Jen- nifer was born in 1972 in Redondo Beach on the coast of California, and grew up in Palm Desert. The style of her works is unmistakably Californian, boasting a palette and texture informed by her personal experience – an adolescence spent moving around with her family from the East Coast to California, followed by a relocation from Manhattan Beach to Orange County before settling in the quiet city of Palm Desert. Her mother was en- amored with Van Gogh’s prints, while her father was an art and fashion aficionado working at a typical country club, whose influence led to a series of artistic encounters that sparked little Guidi’s interest in painting.
    [Show full text]
  • “Power Femininity” and Popular Women's Magazines in China
    International Journal of Communication 10(2016), 2831–2852 1932–8036/20160005 “Power Femininity” and Popular Women’s Magazines in China EVA CHEN National Chengchi University, Taiwan Western women’s glossy magazines (“glossies”) have made increasing inroads in the Chinese market and advocate a “power femininity,” which celebrates women’s assertive individualism and power as consumerist agency. While this power femininity has global neoliberal resonances, it also taps into the unique postsocialist Chinese context, where the liberation of individual desires, including the material and the sexual, is linked with a strongly felt need to undo a past socialist wrong that repressed people and deprived them of what should be an inalienable human right. This concept departs from the caregiving, self-sacrificial, and family-oriented “natural femininity” promoted in local women’s magazines in terms of aspiration, assertiveness, and a nativist-versus- international divide, yet ultimately both the Western and local women’s magazines are united by a shared stress on the need to cultivate a distinct Chineseness in the feminine ideal and to position women’s magazines as an integral part of the Chinese nationalist project of modernization and progress. Keywords: Chinese femininity, Chineseness, neoliberalism, women’s magazines Contemporary women’s magazines in China are no longer politicized Party tools of the socialist era and instead are market driven and highly popular among women from all walks of life. Since China’s 2001 accession to the World Trade
    [Show full text]
  • Vogue on Yves Saint Laurent
    Model Carrie Nygren in Rive Gauche’s black double-breasted jacket and mid-calf skirt with long- sleeved white blouse; styled by Grace Coddington, photographed by Guy Bourdin, 1975. Linda Evangelista wears an ostrich-feathered couture slip dress inspired by Saint Laurent’s favourite dancer, Zizi Jeanmaire. Photograph by Patrick Demarchelier, 1987. At home in Marrakech, Yves Saint Laurent models his new ready-to-wear line, Rive Gauche Pour Homme. Photograph by Patrick Lichfield, 1969. DIOR’S DAUPHIN FASHION’S NEW GENIUS A STYLE REVOLUTION THE HOUSE THAT YVES AND PIERRE BUILT A GIANT OF COUTURE Index of Searchable Terms References Picture credits Acknowledgments “CHRISTIAN DIOR TAUGHT ME THE ESSENTIAL NOBILITY OF A COUTURIER’S CRAFT.” YVES SAINT LAURENT DIOR’S DAUPHIN n fashion history, Yves Saint Laurent remains the most influential I designer of the latter half of the twentieth century. Not only did he modernize women’s closets—most importantly introducing pants as essentials—but his extraordinary eye and technique allowed every shape and size to wear his clothes. “My job is to work for women,” he said. “Not only mannequins, beautiful women, or rich women. But all women.” True, he dressed the swans, as Truman Capote called the rarefied group of glamorous socialites such as Marella Agnelli and Nan Kempner, and the stars, such as Lauren Bacall and Catherine Deneuve, but he also gave tremendous happiness to his unknown clients across the world. Whatever the occasion, there was always a sense of being able to “count on Yves.” It was small wonder that British Vogue often called him “The Saint” because in his 40-year career women felt protected and almost blessed wearing his designs.
    [Show full text]
  • Vogue Media Kit 2019
    MEDIA KIT 2019 EDWARD ENNINFUL OBE A NEW ERA OF BRITISH VOGUE “Before I got the job I spoke to certain women and they felt they were not represented by the magazine, so I wanted to create a magazine that was open and friendly. A bit like a shop that you are not scared to walk into. You are going to see all different colours, shapes, ages, genders, religions. That I am very excited about.” - Editor-In-Chief, Edward Enninful, OBE The first issue under Enninful was The December 2017 issue. VA N E S S A K I N G O R I M B E “I’m excited to assume this highly-coveted role. In a moment when continuous change across the communications; fashion and luxury industries creates dynamic and exhilarating opportunities for the strongest media brands, Vogue’s unrivalled equity sets it apart as the best of the best.” - Publishing Director, Vanessa Kingori, MBE Vanessa is the first new Publishing Director at British Vogue in a quarter of a century. Having begun her tenure in January 2018, she ushers in a new direction in Vogue’s business strategy. BRITISH VOGUE LEADERSHIP TEAM ACHIEVEMENTS & AWARDS 2018 Edward Enninful OBE Vanessa Kingori MBE Goldsmith’s, University of London | University of the Arts London | Honorary Honorary Fellowship Doctorate “Enninful’s trailblazing work on Italian and “The first female publisher in British Vogue’s American Vogue and W Magazine led to his 102 year-long history, Vanessa Kingori MBE is appointment at British Vogue – where he has instrumental to the creative vision and continued to innovate and inspire.” emphasis on diversity
    [Show full text]
  • Title List of Rbdigital Magazine Subscriptions (May27, 2020)
    Title List of RBdigital Magazine Subscriptions (May27, 2020) TITLE SUBJECT LANGUAGE PLACE OF PUBLICATION 7 Jours News & General Interest FrencH Canada AD – France Architecture FrencH France AD – Italia Architecture Italian Italy AD – GerMany Architecture GerMan GerMany Advocate Lifestyle EnglisH United States Adweek Business EnglisH United States Affaires Plus (A+) Business FrencH Canada All About History History EnglisH United KingdoM Allure WoMen EnglisH United States American Craft Crafts & Hobbies EnglisH United States American History History EnglisH United States American Poetry Review Literature & Writing EnglisH United States American Theatre Theatre EnglisH United States Aperture Art & Photography EnglisH United States Apple Magazine Computers EnglisH United States Architectural Digest Architecture EnglisH United States Architectural Digest - India Architecture EnglisH India Architectural Digest - MeXico Architecture SpanisH MeXico Art & Décoration - France HoMe & Lifestyle FrencH France Artist’s Magazine Art & Photography EnglisH United States Astronomy Science & TecHnology EnglisH United States Audubon Magazine Science & TecHnology EnglisH United States Australian Knitting Crafts & Hobbies EnglisH Australia Avantages HS HoMe & Lifestyle FrencH France AZURE HoMe & Lifestyle EnglisH Canada Backpacker Sports & Recreation EnglisH United States Bake from ScratcH Food & Beverage EnglisH United States BBC Easycook Food & Beverage EnglisH United KingdoM BBC Good Food Magazine Food & Beverage EnglisH United KingdoM BBC History Magazine
    [Show full text]
  • Nordstrom Unveils New Fall Fashion Campaign
    Nordstrom Unveils New Fall Fashion Campaign August 7, 2017 Retailer showcases fashion through the lens of photographer Max Farago and director Clara Cullen SEATTLE, Aug. 7, 2017 /PRNewswire/ -- Today, Nordstrom, Inc. launched a new national brand campaign shot by photographer Max Farago with video by director Clara Cullen, which celebrates the best of fall fashion. The campaign will debut on August 7 in the U.S. and on September 4 in Canada with print, digital, social, out of home and video components. The campaign vision and concept was developed by Olivia Kim, Vice President of Creative Projects at Nordstrom, who has set the creative tone for the retailer's last five brand campaigns. Kim along with her creative team tapped Farago and Cullen, the husband and wife creative duo favored by the fashion world, to bring their vision to life. The campaign features intimate and honest portraits of models and non-models alike, minimally edited and styled how people really dress to depict a modern and relevant perspective on a high-fashion campaign. The full campaign imagery and videos can be seen at Nordstrom.com/Fall2017. "People are the foundation of Nordstrom," said Kim. "Our customers and employees are at the center of everything we do. They are our friends and our friends-of-friends, and this season we wanted to convey a sense of community and celebrate real people who are doing great and extraordinary things, who inspire us in our everyday lives. "We see the brand campaigns as our opportunity to tell our most fashion-forward story, yet this season we put the focus back on the people.
    [Show full text]
  • Dorothy Todd's Modernist Experiment in British Vogue, 1922 -1926, by Amanda
    This work is protected by copyright and other intellectual property rights and duplication or sale of all or part is not permitted, except that material may be duplicated by you for research, private study, criticism/review or educational purposes. Electronic or print copies are for your own personal, non- commercial use and shall not be passed to any other individual. No quotation may be published without proper acknowledgement. For any other use, or to quote extensively from the work, permission must be obtained from the copyright holder/s. “A plea for a renaissance”: Dorothy Todd’s Modernist experiment in British Vogue, 1922 -1926 Figure 1 Amanda Juliet Carrod A thesis submitted for the degree of Doctor of Philosophy in English Literature June 2015 Keele University Abstract This is not a fashion paper: Modernism, Dorothy Todd and British Vogue "Style is thinking."1 In 1922, six years after its initial inception in England, Vogue magazine began to be edited by Dorothy Todd. Her spell in charge of the already renowned magazine, which had begun its life in America in 1892, lasted until only 1926. These years represent somewhat of an anomaly in the flawless history of the world's most famous fashion magazine, and study of the editions from this era reveal a Vogue that few would expect. Dorothy Todd, the most enigmatic and undocumented figure in the history of the magazine and, arguably within the sphere of popular publications in general, used Vogue as the vehicle through which to promote the innovative forms in art and literature that were emerging at the beginning of the twentieth century.
    [Show full text]
  • P Ho T O a U C T Io N
    VIENNA, OCTOBER 2ND 2020 PHOTO AUCTION 77, ALFRED EISENSTAEDT EXPERTEN SPECIALISTS PROF. JOHANNES FABER 22. Gründer der Galerie Johannes Faber in Wien, OSTLICHT Kunsthändler und Experte für klassische PHOTO AUCTION Fotografie; zahlreiche Ausstellungen, Preise, Freitag, 2. Oktober 2020, Stipendien und Publikationen. 17 Uhr (MESZ) Founder and director of Galerie Johannes Faber in Vienna, art dealer and expert for classic VORBESICHTIGUNG photography; numerous exhibitions, awards, ab Mittwoch, 23. September scholarships and publications. nach persönlicher Vereinbarung: PHOTO [email protected], Tel.: +43 1 996 20 66 17 ND AUCTION 22 OSTLICHT ANNA ZIMM PHOTO AUCTION Kunsthistorikerin, Expertin für Fotografie, Researcher. Friday, October 2nd 2020, Seit 2008 bei OstLicht (früher WestLicht) Photo Auction. 5 pm (CEST) Art historian, Photographs Specialist, Researcher. Working for OstLicht (former WestLicht) Photo Auction VIEWING since 2008. from Wednesday, September 23rd [email protected] only by appointment: [email protected], Tel.: +43 1 996 20 66 17 MICHAEL KOLLMANN Kurator Fotobuch WestLicht / OstLicht, Begründer vom Vienna Photo Book Festival, Fotobuch- UPDATED BUYER’S Herausgeber und Experte für seltene Fotobücher. PREMIUM Photo book curator WestLicht / OstLicht, founder The total purchase price for of the Vienna Photo Book Festival, editor of photo all lots consists of the hammer books and expert for rare photo books. price plus the premium of Absberggasse 27, 26 % (incl. 5 % VAT) for lots [email protected] 1100 Vienna, Austria remaining in the EU. Tel.: +43 1 996 20 66 17 For lots that are exported to For general enquiries third countries or purchased about this auction, email with a valid VAT number the should be addressed to premium is 20 %.
    [Show full text]
  • Op in Vogue Elena Galleani D'agliano 2020
    OP IN VOGUE ELENA GALLEANIELENA D’AGLIANO 2020 Op in Vogue Elena Galleani d’Agliano Op in Vogue Master Thesis by Elena Galleani d’Agliano Supervised by Jérémie Cerman Printed at Progetto Immagine, Torino MA Space and Communication HEAD Genève October 2019 Vorrei ringraziare il mio tutor Jérémie per avermi seguito in questi mesi, Sébastien e Laurence per il loro indispensabile aiuto al Musée des Arts Décoratifs, Oliver and Anna per avermi dato una mano con l’inglese, Alexandra e gli altri tutor per i loro incoraggiamenti e la mia famiglia per il loro instancabile supporto. 5 10 18 34 43 87 108 88 A glimse of the Sixties 90 The Optical Woman Portfolio 91 The diffusion of Architectural 64 prêt a porter Defining Op 44 The Guy visions in Mulas 18 92 Economic impli- fashion Bourdin’s elegance 67 Who are you, 34 Fashion pho- cations 11 Definition of The relation- 48 The youth quake William Klein? 21 tography in the 96 Basis for further Op Art according to Bailey Franco Rubar- ship with the Sixties 70 experimentations: 13 The influen- source 52 The female telli, the storyteller 36 Defining Op the Space Age Style ces Op art and emancipation throu- 74 Swinging with 27 photography 102 The heritage 108 Epilogue 14 Exhibitions its representation gh the lens of Hel- Ronald Traeger 83 Advertising mut Newton today 111 Bibliography and diffusion on Vogue 78 Others 57 Monumentality in Irving Penn 60 In the search of other worlds with Henry Clarke Prologue The Op Op Fashion Sociological Epilogue fashion photography implications 7 8 9 Prologue early sixty years ago, mum diffusion, 1965 and 1966.
    [Show full text]
  • CHRISTIAN PATTERSON ​Was Born in Fond Du Lac, Wisconsin and Lives
    CHRISTIAN PATTERSON was born in Fond du Lac, Wisconsin and lives in New York, New York. He is a self-taught ​ artist. His conceptually grounded, narratively driven, visually layered work has been described as novelistic, subjective documentary of the historical past, and often deals with themes of the archive, authorship, memory, place and time. It includes photographs, drawings, paintings, objects, video and sound. Patterson is the author of three books, including the critically-acclaimed, award-winning Redheaded Peckerwood (2011, Recontres d’Arles Author Book Award) and ​ ​ Bottom of the Lake (2015). He is a Guggenheim Fellow (2013) and winner of the Grand Prix Images Vevey (2015). ​ His work is in the collections of the National Gallery of Art, Los Angeles County Museum of Art (LACMA) and J. Paul Getty Museum, among others. He has lectured, mentored and taught widely. He is represented by Robert Morat Galerie, Berlin. SOLO EXHIBITIONS 2016 Gong Co., Festival Images, Vevey, Switzerland ​ 2016 Bottom of the Lake, CONTACT Photography Festival, Toronto, Canada ​ 2015 Bottom of the Lake, Robert Morat, Berlin, Germany ​ 2015 Bottom of the Lake, Athens Photography Festival, Athens, Greece ​ 2014 Redheaded Peckerwood, Transformer Station, Cleveland, OH ​ 2013 Redheaded Peckerwood, Rose Gallery, Santa Monica, CA ​ 2012 Redheaded Peckerwood, Robert Morat, Berlin, Germany ​ 2012 Redheaded Peckerwood and Sound Affects, Robert Morat, Hamburg, Germany ​ ​ ​ 2008 Sound Affects, Kaune-Sudendorf, Cologne, Germany ​ 2007 Sound Affects, Robert Koch, San
    [Show full text]
  • Understanding Fashion a Qualitative Content Analysis of the Audience Reactions to the Covers of British Vogue April 2021
    Understanding Fashion A Qualitative Content Analysis of the audience reactions to the covers of British Vogue April 2021 Piotr Talarek Media and Communication Studies – Culture, Collaborative Media, and Creative Industries One-year master 15 credits Spring/Summer 2021 Supervisor: Temi Odumosu Word count: 16 102 Abstract This thesis aims to examine different independent fashion audience reactions to the covers of UK Vogue April 2021, which featured four upcoming models of color: Mona Tougaard, Janaye Furman, Achenrin Madit, and Precious Lee. The study focuses on responses gathered from two fashion sources: The Instagram account Diet Prada, and a fashion forum called The Fashion Spot. In addition, the design has been extended by The Fashion Spot fashion crowd’s reactions to the Vogue Italia July 2008 also known as “The Black Issue”. The thesis intends to associate the main research problem with the magazine industry and digital world of fashion, media producers and advertisers, the issue of power and female models diversity on the covers of Vogue. The study employs a method of qualitative content analysis. Additionally, Stuart Hall’s encoding and decoding model has been implemented to define the message displayed on the fashion magazine covers and to examine the readers' reactions based on the collected data. The findings show that even though the UK Vogue April 2021 covers met with positive reactions and approval from independent industry voices, some concerns have appeared. While British Vogue has been praised for its decision to feature four black models on the covers, it has been mentioned that other international editions of Vogue did not decide to follow this idea.
    [Show full text]
  • INTERVIEW: Javid Kroaci
    Discours d’ouverture de la Journée Magazine : Bruno Lesouëf, Président du SPM « Applis, monétisation, réseaux sociaux : 3 leaders étrangers dévoilent leurs stratégies » Mathias Müller von Blumencron, DG du Groupe Der Spiegel et responsable des produits numériques du groupe James Bilefield, Président Condé Nast Digital International Kelly Murphy, General Manager tablet products, Meredith Group Animé par Arnaud De Saint Simon, Président du Groupe Psychologies et Président du groupe stratégique numérique du SPM Mercredi 4 avril 9h00 – 10h30 SPM – Journée Magazine 04.04.2012, Salons Hoche Discours d’ouverture de la Journée Magazine - Bruno Lesouëf, Président du SPM Bonjour à tous. Bienvenue à la Journée Magazine 2012 pour la sixième rencontre annuelle des éditeurs, organisée par le SPM, toujours en pointe de la réflexion prospective de l’ouverture internationale et du partage d’expérience. Le programme que nous avons imaginé colle bien entendu à nos interrogations et nos projets du moment. L’année étant incontestablement celle de la tablette, nous avons fait une large place à ce nouveau support qui fédère les rédactions et surtout qui redonne le sourire aux directions financières. iPad égal I paid, comme le résume l’explorateur du tour du monde des innovations en presse magazine. Si le numérique interroge nos organisations, il dynamise aussi la relation avec le lecteur qui n’est plus anonyme, il autorise des nouvelles formes d’interactivités, qu’elles soient rédactionnelles ou publicitaires, et refondent la relation entre annonceurs et marques média. Nous analyserons, sur la base d’un sondage annonceur, l’évolution de la perception des marques magazines après avoir écouté les éditeurs étrangers les plus engagés dans ces nouvelles pratiques et ces nouveaux marchés.
    [Show full text]