Bargains Abound at the Prada and Gucci Outlets the Details
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Luciano Pavarotti Is Dead at 71
September 6, 2007 Luciano Pavarotti Is Dead at 71 By BERNARD HOLLAND Luciano Pavarotti, the Italian singer whose ringing, pristine sound set a standard for operatic tenors of the postwar era, died Thursday at his home near Modena, in northern Italy. He was 71. His death was announced by his manager, Terri Robson. The cause was pancreatic cancer. In July 2006 he underwent surgery for the cancer in New York, and he had made no public appearances since then. He was hospitalized again this summer and released on Aug. 25. Like Enrico Caruso and Jenny Lind before him, Mr. Pavarotti extended his presence far beyond the limits of Italian opera. He became a titan of pop culture. Millions saw him on television and found in his expansive personality, childlike charm and generous figure a link to an art form with which many had only a glancing familiarity. Early in his career and into the 1970s he devoted himself with single- mindedness to his serious opera and recital career, quickly establishing his rich sound as the great male operatic voice of his generation — the “King of the High Cs,” as his popular nickname had it. By the 1980s he expanded his franchise exponentially with the Three Tenors projects, in which he shared the stage with Plácido Domingo and José Carreras, first in concerts associated with the World Cup and later in world tours. Most critics agreed that it was Mr. Pavarotti’s charisma that made the collaboration such a success. The Three Tenors phenomenon only broadened his already huge audience and sold millions of recordings and videos. -
Narratives of Italian Craftsmanship and the Luxury Fashion Industry: Representations of Italianicity in Discourses of Production
This is a repository copy of Narratives of Italian craftsmanship and the luxury fashion industry: representations of Italianicity in discourses of production. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/136104/ Version: Accepted Version Book Section: Dallabona, A orcid.org/0000-0002-1051-9389 (2014) Narratives of Italian craftsmanship and the luxury fashion industry: representations of Italianicity in discourses of production. In: Hancock II, JH, Muratovski, G, Manlow, V and Peirson-Smith, A, (eds.) Global Fashion Brands: Style, Luxury and History. Intellect , Bristol, UK , pp. 215-228. ISBN 9781783203574 © 2014 Intellect Ltd. This is an author produced version of a paper published in Global Fashion Brands: Style, Luxury and History. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Alice Dallabona University of Leeds Narratives of Italian craftsmanship and the luxury fashion industry: representations of Italianicity in discourses of production ABSTRACT In the last few years many luxury fashion labels like Gucci have emphasized, in their communication, the various types of craftsmanship involved in the creation of their pieces as a mean of providing history and additional value to their products. -
A Discussion of a Luxury Apparel Brand Strategy in an Emerging Market: Conceptual Model with Network Perspectives
A Discussion of a Luxury Apparel Brand Strategy in an Emerging Market: Conceptual Model with Network Perspectives Rachaya Kaolawanich1, Hiroko Oe1, Yasuyuki Yamaoka2, Chih Yuan Chang1 1Bournemouth University, UK 2The Open University of Japan [email protected] Abstract Keywords luxury brand; apparel; Vietnam, This study explores the Burberry apparel brand’s position and its network perspective strategic behaviour seeking new customers in the new market. This exploratory research pays particular attention to business potential and opportunities in an emerging market, Vietnam. To evaluate Burberry’s strategies and the potential, the collaborative network relationships are discussed in details, that is followed by the discussion of the key themes for Burberry to consider in the Vietnamese market, where Burberry has recently begun expanding its businesses. The outcome of the study suggests that the Western luxury brand apparel needs to understand the targeted markets’ systems and consumer behaviour, from there it is inevitable to design strategic plan how to engage the stakeholders in the ubiquitous supply chain relationships. In the end, a conceptual model with network perspectives is proposed: The model will be an analytical framework with key agenda items for the luxury brand which aims to enter the new market, and also the research limitations and further research opportunities are discussed. I. Introduction 1.1 Burberry as the Royal Brand from the UK Burberry is one of the UK’s premier fashion apparel brands, founded in 1856 and currently taking steps towards becoming a global luxury fashion brand. It sells 'British' style and is well-known for its traditional, iconic trench coats, which are a symbol of the brand. -
Company Profile
COMPANY PROFILE JUNE 2015 INFO FILES • The Prada Group • Creativity and manufacturing • Raw materials • Logistics • Distribution • Licences and Joint Ventures • Prada Group figures June 2015 www.pradagroup.com 1 “Careful observation of and curiosity about the world, society, and culture are at the core of Prada’s creativity and modernity. This pursuit has pushed Prada beyond the physical limitations of boutiques and showrooms, provoked an interaction with different and seemingly distant worlds, and introduced a new way to create a natural, almost fashionless fashion.” Miuccia Prada and Patrizio Bertelli June 2015 www.pradagroup.com 2 THE PRADA GROUP Prada was founded in 1913 by Mario Prada, Miuccia Prada’s grandfather, in Milan. Located in the prestigious Galleria Vittorio Emanuele II, Prada was an exclusive, stylish store selling luggage, accessories and luxury goods, in fine materials and of sophisticated workmanship. The Milan store quickly became a firm favourite with the aristocracy and the most sophisticated members of the European elite. In 1919 Prada received the warrant of “Official Supplier of the Italian Royal Household”, and since then has been entitled to display the royal Savoy coat of arms and figure-of-eight knots alongside the company logo. Miuccia Prada and Patrizio Bertelli started working together in the late 70’s, laying the foundations of the international expansion that was to come. Patrizio Bertelli broke new ground in the luxury goods sector, introducing a new business model in which he kept direct, internal control over all processes, applying uncompromised quality criteria across the entire production cycle. Miuccia Prada’s creative talent and avant-garde approach attracted the attention of the global fashion industry, while her ability to look at the world from an unconventional vantage point allowed her not only to anticipate, but quite often, to set new trends. -
RCA Victor LCT 1 10 Inch “Collector's Series”
RCA Discography Part 28 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor LCT 1 10 Inch “Collector’s Series” The LCT series was releases in the Long Play format of material that was previously released only on 78 RPM records. The series was billed as the Collector’s Treasury Series. LCT 1 – Composers’ Favorite Intepretations - Vienna Philharmonic Orchestra [195?] Rosca: Recondita Amonia – Enrico Caruso/Madama Butterfly, Entrance of Butterfly – G. Farrar/Louise: Depuis Le Jour – M. Garden/Louise: Depuis Longtemps j’Habitais – E Johnson/Tosca: Vissi D’Arte – M. Jeritza/Der Rosenkavailier Da Geht ER Hin and Ich Werd Jetzt in Die Kirchen Geh’n – L Lehmann/Otello: Morte d’Otello – F. Tamagno LCT 2 – Caruso Sings Light Music – Enrico Caruso and Mischa Elman [195?] O Sole Mio/The Lost Chord/For You Alone/Ave Maria (Largo From "Xerxes")/Because/Élégie/Sei Morta Nella Vita Mia LCT 3 – Boris Goudnoff (Moussorgsky) – Feodor Chalipin, Albert Coates and Orchestra [1950] Coronation Scene/Ah, I Am Suffocating (Clock Scene)/I Have Attained The Highest Power/Prayer Of Boris/Death Of Boris LCT 4 LCT 5- Hamlet (Shakespeare) – Laurence Olivier with Philharmonia Orchestra [1950] O That This Too, Too Solid Flesh/Funeral March/To Be Or Not To Be/How Long Hast Thou Been Gravemaker/Speak The Speech/The Play Scene LCT 6 – Concerto for Violin and Orchestra No. 2 in G Minor Op. 63 (Prokofieff) – Jascha Heifetz and Serge Koussevitzky and the Boston Symphony Orchestra [1950] LCT 7 – Haydn Symphony in G Major – Arturo Toscanini and the NBC Symphony Orchestra [195?] LCT 8 LCT 9 LCT 10 –Rosa Ponselle in Opera and Song – Rosa Ponselle [195?] La Vestale: Tu Che Invoco; O Nume Tutelar, By Spontini/Otello: Salce! Salce! (Willow Song); Ave Maria, By Verdi/Ave Maria, By Schubert/Home, Sweet Home, By Bishop LCT 11 – Sir Harry Lauder Favorites – Harry Lauder [195?] Romin' In The Gloamin'/Soosie Maclean/A Wee Deoch An' Doris/Breakfast In Bed On Sunday Morning/When I Met Mackay/Scotch Memories LCT 12 – Concerto for Piano and Orchestra No. -
Prada Pdf, Epub, Ebook
PRADA PDF, EPUB, EBOOK Miuccia Prada,Patrizio Bertelli | 704 pages | 01 Feb 2010 | FONDAZIONE PRADA | 9788887029444 | English | Madrid, Italy Prada PDF Book In , the high fashion brand Miu Miu , named after Miuccia's nickname, launched. Purple 1. Prada launched its women's ready-to-wear collection in , and the designs came to be known for their dropped waistlines and narrow belts. Size - A purse is a smaller version of a handbag that you may wish to use for carrying extra cards, money, small photos, or other items. Dior Fine Jewelry. The purchase gained Prada a foothold in Germany, and months later Jil Sander resigned as chairwoman of her namesake company. Funding Universe states that "At the very least, Prada had a voice as one of Gucci's largest shareholders a 10 percent holding would be required for the right to request a seat on the board and would stand to profit tidily should anyone try to take over Gucci. Retrieved July 21, Best Offer. In , after 6 years of restoration Prada opened an events space in a historic residence in the Rong Zhai district of Shanghai, China. The logo for the label was not as obvious a design element as those on bags from other prominent luxury brands such as Louis Vuitton. More refinements More refinements Archived from the original on May 21, Jewelry 1. On December 14, , Prada was forced to pull a new range of accessories and displays from its stores following complaints that they featured " blackface imagery. Retrieved June 2, Yellow 3. Retrieved May 23, Archived from the original on April 20, Delivery Options see all. -
Enrico Caruso
NI 7924/25 Also Available on Prima Voce ENRICO CARUSO Opera Volume 3 NI 7803 Caruso in Opera Volume One NI 7866 Caruso in Opera Volume Two NI 7834 Caruso in Ensemble NI 7900 Caruso – The Early Years : Recordings from 1902-1909 NI 7809 Caruso in Song Volume One NI 7884 Caruso in Song Volume Two NI 7926/7 Caruso in Song Volume Three 12 NI 7924/25 NI 7924/25 Enrico Caruso 1873 - 1921 • Opera Volume 3 and pitch alters (typically it rises) by as much as a semitone during the performance if played at a single speed. The total effect of adjusting for all these variables is revealing: it questions the accepted wisdom that Caruso’s voice at the time of his DISC ONE early recordings was very much lighter than subsequently. Certainly the older and 1 CAVALLERIA RUSTICANA, Mascagni - O Lola ch’ai di latti la cammisa 2.50 more artistically assured he became, the tone became even more massive, and Rec: 28 December 1910 Matrix: B-9745-1 Victor Cat: 87072 likewise the high A naturals and high B flats also became even more monumental in Francis J. Lapitino, harp their intensity. But it now appears, from this evidence, that the baritone timbre was 2 LA GIOCONDA, Ponchielli - Cielo e mar 2.57 always present. That it has been missed is simply the result of playing the early discs Rec: 14 March 1910 Matrix: C-8718-1 Victor Cat: 88246 at speeds that are consistently too fast. 3 CARMEN, Bizet - La fleur que tu m’avais jetée (sung in Italian) 3.53 Rec: 7 November 1909 Matrix: C-8349-1 Victor Cat: 88209 Of Caruso’s own opinion on singing and the effort required we know from a 4 STABAT MATER, Rossini - Cujus animam 4.47 published interview that he believed it should be every singers aim to ensure ‘that in Rec: 15 December 1913 Matrix: C-14200-1 Victor Cat: 88460 spite of the creation of a tone that possesses dramatic tension, any effort should be directed in 5 PETITE MESSE SOLENNELLE, Rossini - Crucifixus 3.18 making the actual sound seem effortless’. -
Luciano Pavarotti 1 PHILLIP GEORGE
21ST CENTURY MUSIC NOVEMBER 2007 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $84.00 per year; subscribers elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $10.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2007 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy. -
The 100 Most Renowned Luxury Brands and Their Presence in Europe's Metropolitan Centres
Glitter and glamour shining brightly The 100 most renowned luxury brands and their presence in Europe’s metropolitan centres Advance • Luxury shopping streets Europe • July 2011 2 Worldwide luxury market has emerged stronger from the financial crisis The global market for luxury goods has emerged from the financial uses images of diligent craftsmen and companies seek to add crafts crisis significantly faster than expected. The likes of Burberry, Gucci firms with long traditions to their portfolios. At the same time, the Group, Hermès, LVMH, Polo Ralph Lauren, Prada and Richemont east-bound shift of manufacturing activities, which was in full swing have recently reported double-digit sales growth or even record an- before the financial crisis, has slowed down significantly. nual sales, which has also reflected favourably on their share prices. Companies’ own store networks have played a significant role in all Rising requirements in the areas of marketing and logistics these success stories, with their retail operations typically growing March saw the launch of Mr Porter, the new men’s fashion portal of ahead of their other divisions. Most recently business has mainly Net-a-Porter, the world’s leading e-commerce seller of luxury goods. been driven by Asia. With the exception of Japan, this is where the Yoox most recently reported a continuing rise in its sales figures. All luxury brands have recorded the highest growth rates. In particular major luxury labels have considerably expanded the online shopping luxury fashion makers have greatly benefited from the booming Chi- offerings on their websites and feature them prominently in their nese market. -
Altagamma Retail Evolution
ALTAGAMMA RETAIL EVOLUTION January 22nd 2015, Milan Luca Solca, Managing Director, Global Luxury Goods Exane BNP Paribas Luca Solca Paola Bertini Hui Fan +44 (0) 20 3430 8503 +44 (0) 20 7039 9521 +44 (0) 20 3430 8507 [email protected] [email protected] [email protected] Value Creation and Luxury Goods 1. Improving ROIC and producing superior TSR go hand in hand ROIC improvement (2013-02, % ppts) vs. TSR (2002-13, %) 700% Burberry 600% R² = 72% Inditex 500% Richemont 400% Hermes Swatch H&M 300% LVMH TSR (2002-2013, %) 200% Luxottica Kingfisher 100% M&S Kering 0% (10%) (5%) 0% 5% 10% 15% 20% 25% ROCE (incl. Gross Goodwill) improvement (2002-2013, % points) Exane BNP Paribas 2 Value Creation and Luxury Goods 2. Luxury goods companies have turned into retailers Sales Split – Retail / Wholesale (%) LVMH Kering - Luxury Hermès Burberry Prada Richemont Swatch Luxottica Hugo Boss Tod's Ferragamo Moncler Cucinelli Retail FY 12 64% 68% 82% 71% 81% 54% 19% 61% 47% 60% 65% 51% 28% FY 13 65% 68% 82% 70% 84% 55% 21% 59% 54% 64% 64% 57% 36% FY 14E 64% 70% 83% 71% 85% 58% 24% 58% 58% 64% 64% 61% 41% FY 15E 64% 71% 85% 73% 85% 59% 25% 57% 60% 65% 65% 64% 43% Wholesale + Licensing FY 12 36% 32% 18% 29% 19% 46% 82% 39% 53% 40% 35% 49% 72% FY 13 35% 32% 18% 30% 16% 45% 79% 41% 46% 36% 36% 43% 64% FY 14E 36% 31% 17% 29% 15% 42% 76% 42% 42% 36% 36% 39% 59% FY 15E 36% 30% 15% 27% 15% 41% 75% 43% 40% 35% 35% 36% 57% Exane BNP Paribas 3 Value Creation and Luxury Goods 3. -
Where Disruptive Technological Innovation Meets Luxury Fashion PICBE | 740
New approaches to customer experience: where disruptive technological innovation meets luxury fashion PICBE | 740 Jacqueline-Nathalie HARBA Bucharest Academy of Economic Studies, Bucharest, Romania [email protected] Abstract. Consumer behavior is shifting radically with the rise of e-commerce and new technologies. As a result, luxury retailers are forced to embrace a variety of technologies to keep their customers engaged. How do brands captivate shoppers and provide the customer experience that will satisfy their desires? Through dissemination of literature and case studies on examples from the industry, this paper presents a detailed discussion on the new approaches to customer experience in the luxury fashion industry, in the context of a modern economy that is highly shaped by disruptive technological innovations. The discussion includes two detailed case studies, focusing on two key themes that define contemporary customer expectations: the story – discussing customer’s desire to be immersed in the narratives behind catwalk collections, and the experience – discussing the use of technology to create a unique retail space through the use of online and mobile specific technologies. The first case study focuses on how new technologies provide brands with new opportunities to present their products through narratives. Using famous luxury retailers Dior, Givenchy and Prada as examples, the case study provides a detailed discussion on the use of virtual reality and augmented reality as tools that enable customers to project themselves into the story behind a catwalk show and become active characters in the narrative, through the use of technological devices. The second case study focuses on the importance of merging the online and the traditional brick-and-mortar store. -
Luxury Groups Want to Let Consumers Use Blockchain to Verify Goods 20 April 2021
Luxury groups want to let consumers use blockchain to verify goods 20 April 2021 recording a variety of information to be shared publicly. The Bulgari, Cartier, Hublot, Louis Vuitton and Prada brands are already active on the platform, the statement said, adding that discussions were underway for others to join. LVMH Managing Director Toni Belloni called the blockchain "a great opportunity for our sector to strengthen our connection with customers by offering them simple solutions to get to know our products better." He said he hoped other luxury goods makers would Credit: CC0 Public Domain join the consortium. "By joining forces with other luxury brands on this project, we are leading the way on transparency Luxury groups LVMH and Prada along with Cartier and traceability." announced Tuesday they are joining forces on a blockchain that will allow consumers to LVMH is the worlds' leading luxury group, uniting authenticate their goods. dozens of brands including Bulgari, Christian Dior, Givenchy, Kenzo and Tiffany and Company. Called the Aura Blockchain Consortium, the initiative will offer a secure method for consumers Cartier is part of the Richemont, which is the to access information about to a product's history, world's number two luxury group that also owns including the materials used and craftmanship. penmaker Mont Blanc and a number of watchmakers. Luxury groups have long worried about fake copies of their products, and they are keen to let © 2021 AFP customers know about how they are made in order to build their brands. "Consumers can easily and transparently follow a product's lifecycle, from conception through distribution, with trusted data throughout, and thus strengthen their relationship with their favourite luxury brands," the companies said in a statement.