Peter Som Is His Own Homme …
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Black Brooklyn Renaissance Digital Archive Sherif Sadek, Akhnaton Films
Black Brooklyn Renaissance (BBR) Digital Archive About the Digital Archive CONTENTS This digital archive contains 73 discs, formatted as playable DVDs for use in compatible DVD players and computers, and audio CDs where indicated. The BBR Digital Archive is organized according to performance genres: dance, music, visual art, spoken word, community festival/ritual arts, and community/arts organizations. Within each genre, performance events and artist interviews are separated. COPYRIGHT Black Brooklyn Renaissance: Black Arts + Culture (BBR) Digital Archive is copyright 2011, and is protected by U.S. Copyright Law, along with privacy and publicity rights. Users may access the recordings solely for individual and nonprofit educational and research purposes. Users may NOT make or distribute copies of the recordings or their contents, in whole or in part, for any purpose. If a user wishes to make any further use of the recordings, the user is responsible for obtaining the written permission of Brooklyn Arts Council (BAC) and/or holders of other rights. BAC assumes no responsibility for any error, omission, interruption, deletion, defect, delay in operation or transmission, or communications line failure, involving the BBR Digital Archive. BAC feels a strong ethical responsibility to the people who have consented to have their lives documented for the historical record. BAC asks that researchers approach the materials in BBR Digital Archive with respect for the sensibilities of the people whose lives, performances, and thoughts are documented here. By accessing the contents of BBR Digital Archive, you represent that you have read, understood, and agree to comply with the above terms and conditions of use of the BBR Digital Archive. -
The Decline of New York City Nightlife Culture Since the Late 1980S
1 Clubbed to Death: The Decline of New York City Nightlife Culture Since the Late 1980s Senior Thesis by Whitney Wei Fulfillment of the Requirements For the Degree of BA Economic and Social History Barnard College of Columbia University New York, New York 2015 2 ii. Contents iii. Acknowledgement iv. Abstract v. List of Tables vi. List of Figures I. Introduction……………………………………………………………………7 II. The Limelight…………………………………………………………………12 III. After Dark…………………………………………………………………….21 a. AIDS Epidemic Strikes Clubland……………………..13 b. Gentrification: Early and Late………………………….27 c. The Impact of Gentrification to Industry Livelihood…32 IV. Clubbed to Death …………………………………………………………….35 a. 1989 Zoning Changes to Entertainment Venues…………………………36 b. Scandal, Vilification, and Disorder……………………………………….45 c. Rudy Giuliani and Criminalization of Nightlife………………………….53 V. Conclusion ……………………………………………………………………60 VI. Bibliography………………………………………………………………..…61 3 Acknowledgement I would like to take this opportunity to thank Professor Alan Dye for his wise guidance during this thesis process. Having such a supportive advisor has proven indispensable to the quality of this work. A special thank you to Ian Sinclair of NYC Planning for providing key zoning documents and patient explanations. Finally, I would like to thank the support and contributions of my peers in the Economic and Social History Senior Thesis class. 4 Abstract The purpose of this thesis is to investigate the impact of city policy changes and the processes of gentrification on 1980s nightlife subculture in New York City. What are important to this work are the contributions and influence of nightlife subculture to greater New York City history through fashion, music, and art. I intend to prove that, in combination with the city’s gradual revanchism of neighborhood properties, the self-destructive nature of this after-hours sector has led to its own demise. -
Education, Training and Capacity Development in Poverty Reduction and Food Security
THE ROLE OF EDUCATION, TRAINING AND FAO CAPACITY DEVELOPMENT IN POVERTY REDUCTION AND FOOD SECURITY TO CONTACT THE AUTHORS Lavinia Gasperini Senior Offi cer, Agricultural Education Natural Resources Management and Environment Department Food and Agriculture Organization of the United Nations Viale delle Terme di Caracalla 00100 Rome, Italy e-mail: [email protected] David Acker Raymond and Mary Baker Chair in Global Agriculture Professor, Agricultural Education College of Agriculture and Life Sciences Iowa State University Ames, Iowa 50011 USA e-mail: [email protected] THE ROLE OF EDUCATION, TRAINING AND CAPACITY DEVELOPMENT IN POVERTY REDUCTION AND FOOD SECURITY David Acker Iowa State University College of Agriculture and Life Sciences Lavinia Gasperini Natural Resources Management and Environment Department Food and Agriculture Organization of the United Nations (FAO) FOOD AND AGRICULTURE ORGANIZATION OF THE UNITED NATIONS (FAO) - 2009 Reprinted 2009 The designations employed and the presentation of material in this information product do not imply the expression of any opinion whatsoever on the part of the Food and Agriculture Organization of the United Nations (FAO) concerning the legal or development status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. The mention of specifi c companies or products of manufacturers, whether or not these have been patented, does not imply that these have been endorsed or recommended by FAO in preference to others of a similar nature that are not mentioned. ISBN 978-92-5-106237-1 All rights reserved. Reproduction and dissemination of material in this information product for educational or other non-commercial purposes are authorized without any prior written permission from the copyright holders provided the source is fully acknowledged. -
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). -
Gillian Laub CV 2021
Gillian Laub (b.1975, Chappaqua, New York) is a photographer and filmmaker based in New York. She graduated from the University of Wisconsin-Madison with a degree in comparative literature before studying photography at the International Center of Photography, where her love of visual storytelling and family narratives began. Laub’s first monograph, Testimony (Aperture 2007), began as a response to the media coverage during the second Intifada in the Middle East, and a desire to create a dialogue between apparent enemies. This work is comprised of portraits and testimonies from Israeli Jews, Israeli Arabs, Lebanese, and Palestinians all directly and indirectly affected by the complicated geopolitical context in which they lived. Laub spent over a decade working in Georgia exploring issues of lingering racism in the American South. This work became Laub’s first feature length, directed and produced, documentary film, Southern Rites that premiered on HBO in May 2015. Her monograph, Southern Rites (Damiani, 2015) and travelling exhibition by the same title came out in conjunction with the film and are being used for an educational outreach campaign, in schools and institutions across the country. Southern Rites was named one of the best photo books of 2015 by TIME, Smithsonian, Vogue, LensCulture, and American Photo. It was also nominated for a Lucie award and Humanitas award. "Riveting...In a calm, understated tone, Southern Rites digs deep to expose the roots that have made segregated proms and other affronts possible. Southern Rites is a portrait of the inequities that lead to disaster on the streets of cities like Baltimore and Ferguson, Mo.” - The New York Times Laub has been interviewed on NPR, CNN, MSNBC, Good Morning America, Times Talks and numerous others. -
Vogue Magazine the Glossy Has Spawned an Industry of Imitators, Two Documentaries, a Major Hollywood Film And, Perhaps Most Enduringly, a Modern Dance Craze
Lookout By the Numbers Vogue Magazine The glossy has spawned an industry of imitators, two documentaries, a major Hollywood film and, perhaps most enduringly, a modern dance craze. Itís also gone through some serious changes over the course of its 121 years in print. In recent years, the fashion bible has traded willowy models for celebrities of all kinds, a trend that reached its apex in April when the left-leaning, Chanel-shaded Brit Anna Wintour (the magazineís seventh editor in chief) decided to put ó gasp! ó a reality star on its cover. But even with young upstarts nipping at its Manolos, the periodical that popularized tights and the L.B.D. continues to thrive under its time-tested principle. That is, while other magazines 15 teach women whatís new in fashion, Vogue teaches them whatís in vogue. Approx. age at which Anna Wintour Here, a look at the facts and figures behind fashionís foremost franchise. — JEFF OLOIZIA established her signature bob $200,000 13% Wintour’s rumoredored annual clothing allowance of covers featuring celebrities during Wintour’s first five years 916 PagesP in the Favorite cover model by editor: SeptemberSepte 2012 issue, Anna Wintour: Vogue’sVogue largest to date 93% AMBER VALLETTA Vogue’sVoVogue’gue’ longest tenuredd editors:editors: of covers featuringg celebritiesc 17x over the last five years (still on the masthead)d) Diana Vreeland: Anna Wintour – 29 years A samplingsampling BRIGITTE BAUER Phyllis Posnick – 27 years of the 19 exotic exotic & animalsanimalsimals in fashionfashi on JEAN SHRIMPTON Grace Coddington – 26 years 19x each spreadsspreads Hamish Bowles – 22 years alongsideala ongside famous famous Reigning cover queen ladies:ladies:dies: 37 CheetahC (Kim Basinger, April ‘88) Number of years the longest ElephantEle (Keira Knightley, June ‘07) 26 reigning editor in chief served (Edna Woolman Chase, 1914-1951) SkunkSk (Reese Witherspoon, June ‘03) Number of times Lauren Hutton has fronted the magazine GibbonGi (Marisa Berenson, March ‘65) 8 (Nastassja Kinski, Oct. -
Anna Wintour: the Truth Behind the Bob
Katie Coon Marisa Kurtz Tyler Goodson Christina Karem Anna Wintour: The Truth Behind the Bob Kloeppel’s original article—Anna Table of Contents Wintour: The Truth Behind The Bob Pg 3: Letter from The Editor Pg 4: Celebrity as Rhetoric Pg 5: Language of Fashion Pg 6: Popular Philanthropy Pg 7: Politics en Vogue Pg 8: Aesthetics Pg 9: Conclusion Pg 10: Works Cited THESIS Kloeppel’s article outlines how Anna Wintour uses celebrity driven rhetoric to further her own celebrity, and while her ar- gument is valid, Kloeppel’s article is unsuccessful as a web- text because of it’s disorganization, lack of interactive ele- ments, and it’s navigation difficulties. Letter from the Editor “Letter From The Editor” serves as more than just a premise upon which to introduce the work of the author. The “Letter From The Editor”—where the author’s professor explains and examines the academic environment in which her students completed scholastically rigorous course projects, where she illuminates the highly successful outcome of her student’s rhe- torical and multimedia skills through the outcome of such projects, broad- casting Tara Kloeppel (the author of the piece to follow) as exemplary of such. The “Letter From The Editor” serves not only to promote authorial credibility (as it does successfully), but also to present an important com- ponent of the medium, a component at the heart of her student’s argument, the editorial letter present in every successful magazine. As the “Letter” begins, Greer—the author of the introduction and professor of Women in the Nineteenth Century at UMKC—jumps right into the pool of credibility and makes a “Wow” worthy splash as soon as the article begins. -
RADICAL RENAISSANCE 60 Foreword by Renzo Rosso Text by Dan Thawley It Is About Emotion and Lifestyle
ASSOULINE / PRE FALL 2016 RADICAL RENAISSANCE 60 Foreword by Renzo Rosso Text by Dan Thawley It is about emotion and lifestyle. I am looking for designers and brands who can create iconic items with modernity. —Renzo Rosso “Denim was freedom, denim was the biggest dream,” says Renzo Rosso of the early days of Diesel, the premium casual brand he launched in 1978 revolutionizing the denim market. Today, Rosso stands at the helm of OTB, the alternative luxury fashion group that encompasses iconic fashion brands Diesel, Maison Margiela, Marni, Viktor&Rolf. These companies are connected by the same streak of rebellion that has marked Rosso’s own career—a sense of going against the grain and a commitment to creation that goes above and beyond commercial restraints, each of them embodying in their own way the group’s mantra, “Only The Brave, challenging the rules, fostering creativity”. Radical Renaissance 60 traces the evolution of this forward-thinking visionary and his group of companies that bring humanity and philanthropy to the workplace and marry craftsmanship with industrial production. Featuring provocative photography from the most eye-catching campaigns, groundbreaking runway shows, and previously unreleased behind-the-scenes images, this volume explores the worlds of design visionaries from Martin Margiela (making an unexpected cameo appearance) to John Galliano, from Consuelo Castiglioni and Nicola Formichetti to Viktor Horsting and Rolf Snoeren, making it a must-have for any fashion enthusiast and industry professional. In the early 1970s, a young Renzo Rosso commandeered his mother’s sewing machine to create a pair of extravagantly flared pants. -
Fashion Week Miami Beach
FUNKSHION: Fashion Week Miami Beach is a fi ve day event that provides an intelligent, innovative platform for progressive, established, and emerging designers to showcase their collections to media, celebrities, international buyers, and select style makers. The shows are geared towards designer diffusion collections and innovative lifestyle brands. Designers will integrate music into their shows, many personally selecting their favorite celebrity DJs or bands to preside over their runway spectacles. funkshion noun fusion of music and fashion worlds Real Time Funkshion ART Celebrating 15 seasons of Funkshion: Fashion Week Miami Beach, two artists created 15 art installations / sculptures inspired by fashion, music and Miami Beach. For 15 days in the tradition of the Real-Time- Art concepts Djordje IsHere and Vladimir composed one sculpture a day using recycled and found objects from the Funkshion warehouse. They even set up a temporary photo studio at the premises to shoot pictures of the art sculptures using Funkshion runway lights for fashion shows. The 15 works of art produced represent their creative answers to the connection of the art and fashion worlds – the outcome is extraordinary pieces created with limited resources and in limited time. Funkshion takes over Ocean Driveve withwith two custom built venues on the beach: Maxim Magazine Parkk on NinthN presented by FILA and the main tent where designers suchuch as Nicole Miller, Miss Sixty, Fred Perry, Marithe and Francois Girbaudaud andan others showcased their new collections. Among attendees werere P. Diddy,D Alonzo Mourning, Brian Grant, Patricia Fields and others. FunkshionFunk benefi ted Brian Grant and Alonzo Mourning Charities. -
We Reinvent School Index
We reinvent School Index 4 general information courses 6 Undergraduate 8 Associate 10 Master 14 Seasonal 16 E-learning 18 contacts 2 3 general information Polimoda is recognized worldwide for its high-quality fashion education. Listed in global fashion brands. The 92% placement rate and notable alumni such as Edgardo Osorio (Aquazzura), Fran- school rankings as the top fashion school in Italy and the top 5 in the world, Polimoda prides cesco Risso (Marni), Lucie and Luke Meier (Jil Sander) and Fabrizio Fabbro (The Row) confirm itself on its professional training by means of highly specialized working and research method- the success of the Polimoda method, an approach based on fostering extensive industry links ologies. With an annual student count of over 2000 students, of which 70% are international and a work-oriented pedagogy. students, Polimoda is not only an educational institute but a creative campus: a hotbed for vi- sionaries and opinion leaders from the worlds of fashion, culture and education. In recent years, Polimoda has established prestigious partnerships with industry leaders such as LVMH, Richemont, Gucci, Valentino, Salvatore Ferragamo, Missoni, Vogue Italia and WGSN. With its headquarters in Florence, the beating heart of the “Made in Italy” brand, Polimoda is a Educational programs are supported by collateral events, meetings, collaborations and appoint- center where the very DNA of Italian excellence entwines with an international vision. Founded ments with key international figures including Marina Abramović, Alber Elbaz, Marco Bizzarri, in 1986 as part of an initiative conceived and financed by the Cities of Florence and Prato and Renzo Rosso, Suzy Menkes and Laudomia Pucci. -
The Ethics of the International Display of Fashion in the Museum, 49 Case W
CORE Metadata, citation and similar papers at core.ac.uk Provided by Case Western Reserve University School of Law Case Western Reserve Journal of International Law Volume 49 | Issue 1 2017 The thicE s of the International Display of Fashion in the Museum Felicia Caponigri Follow this and additional works at: https://scholarlycommons.law.case.edu/jil Part of the International Law Commons Recommended Citation Felicia Caponigri, The Ethics of the International Display of Fashion in the Museum, 49 Case W. Res. J. Int'l L. 135 (2017) Available at: https://scholarlycommons.law.case.edu/jil/vol49/iss1/10 This Article is brought to you for free and open access by the Student Journals at Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Case Western Reserve Journal of International Law by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. Case Western Reserve Journal of International Law 49(2017) THE ETHICS OF THE INTERNATIONAL DISPLAY OF FASHION IN THE MUSEUM Felicia Caponigri* CONTENTS I. Introduction................................................................................135 II. Fashion as Cultural Heritage...................................................138 III. The International Council of Museums and its Code of Ethics .....................................................................................144 A. The International Council of Museums’ Code of Ethics provides general principles of international law...........................................146 B. The standard that when there is a conflict of interest between the museum and an individual, the interests of the museum should prevail seems likely to become a rule of customary international law .................................................................................................149 IV. China: Through the Looking Glass at The Metropolitan Museum of Art.......................................................................162 A. -
OTB Presnetation
Ragione sociale: OTB SPA Via dell'Industria 2 36042 Breganze (VI) OTB is the parent company of iconic fashion brands Diesel, Maison Margiela, Marni, Viktor&Rolf, Paula Cademartori, and state-of-the-art companies Staff International, and Brave Kid. Our brands are globally recognized as the brands of unconventional, individual consumers. OTB reveals its brands' true essence and character: innovative and iconic, unique and daring. Carrying this vision into the future, our brands not only change the way consumers see themselves but also the world around them. Founded and chaired by Renzo Rosso, the Italian entrepreneur who created Diesel, the group embodies his spirit and vision. OTB believes in pushing the boundaries of fashion and lifestyle, offering a portfolio of global brands to a new breed of consumers - those who challenge traditional perceptions, preferring to embrace fashion on their own. Standing for "Only the Brave," even the name OTB reflects the group's values: passion and creativity, and a pragmatic approach to building global brands. www.otb.net OTB Spa sta cercando giovani data scientist per potenziare il proprio team Advanced Analytics, da coinvolgere in progetti di analisi e di modellazione dei dati, di monitoraggio delle performance e dei KPI in ogni ambito aziendale, sia per indentificare trend correnti che per sviluppare modelli previsionali. Si richiede dunque forte interesse per l'implementazione di modelli statistici e analitici. Requisiti: - Laureando/a o neo laureato/a, in Scienze Statistiche, Data Science, Matematica applicata o affini - passione per i dati e buone basi di informatica - ottima conoscenza di software statistici (es. R) - forti capacità analitiche - forti capacità relazionali e comunicative - attitudine al team working e al problem solving - inglese fluente Titoli preferenziali: - capacità di utilizzo di database relazionali (es.