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Back Alexis Carrington
WEDNESDAY, FEBRUARY 1 8 , 2 0 0 9 PAGE 1 3 Welcome back Alexis Carrington It was bound to happen sooner or later — power dressing a la ‘Dynasty’ hit the catwalks at Fashion Week. Expect the look in a store near you soon BY SAMANTHA CRITCHELL AP, NEW YORK audience wanting more after a glimpse of MISS SIXTY bareness from a back-closure keyhole opening or Miss Sixty kicked off its show Sunday with a a slit on the back of a skirt. black, acid-wash denim romper with a low-slung There was very little that was overtly sexy waist with a chain detail, with a strapless acid- — and that’s what was so tantalizing: The clothes wash jumpsuit right on its heels. draped the models just the right way and were Designer Wichy Hassan followed those looks made of slinky-yet-sophisticated fabrics. Karan up with nylon puffer pieces and a colorful pop-art captured strength that has become a trend here, print of fashion-magazine covers that was best but there was also a womanliness that not every designer has embraced this season. used on a windbreaker that was worn with skinny The crowd included White House social jeans and a tank top covered in “peace” graphics. secretary Desiree Rogers, who had one of the Most of the jeans had the skinniest of legs, best seats in the house next to Vogue Editor in some looking painted on the models. The lower Chief Anna Wintour. waist was in most instances refreshing, but the dropped-crotch trousers that almost hung to CAROLINA HERRERA knees were silly and unflattering. -
Macy's and G-III Sign Exclusive Agreement for DKNY Women's
March 27, 2017 Macy’s and G-III Sign Exclusive Agreement for DKNY Women’s Apparel and Accessories NEW YORK--(BUSINESS WIRE)-- Macy’s, Inc. (NYSE:M), one of the nation’s premier retailers, and G-III Apparel Group, Ltd., a leading manufacturer and distributor of apparel and accessories under licensed brands, owned brands and private label brands, today announced an agreement under which Macy’s will serve, beginning February 2018, as the exclusive U.S. department store for sales of DKNY women’s apparel and accessories. Under the agreement, Macy’s exclusivity covers DKNY women’s apparel, handbags and shoes, in addition to women’s and men’s outerwear and swim, which will be available at Macy’s locations nationwide and on macys.com. Macy’s and G-III will work closely on brand extensions and exclusive products that build upon the founding principles of the iconic New York–based brand. The agreement also plans for increased and enhanced DKNY shop-in- shops in Macy’s stores. “We want to create partnerships that offer our customers products and experiences that they can find only at Macy’s, and DKNY is a fashion-first brand we know our customers love,” said Jeff Gennette, president and chief executive officer of Macy’s, Inc. “By offering exclusive access in key categories, we are confident that DKNY will quickly become one of our top brands. Their remarkable global recognition combined with our expansive footprint make Macy’s and DKNY a perfect partnership.” “We believe that Macy’s is the ideal partner as we implement our strategy for DKNY to be the premier brand in the world for women’s apparel and accessories,” said Morris Goldfarb, chairman and chief executive officer of G-III. -
February 16, 2010 • $3.00
WWDTUESDAYFebruary 16, 2010 • $3.00 5th AVE AT 54th ST shop online diesel.com S NEW YORK TEXTILES: FASHION WEEK: NEWS: Michelle The trends for 3FWJFXTPG 0CBNBEFTJHOFS spring 2011 at Maria Pinto to $BSPMJOB)FSSFSB Première close, page 24. 5IPN#SPXOF Vision, page 22. Zac Posen and more, BTXFMMBT'BTIJPO Scoops, pages 10 to 20. SECTION II: collections/fall ’10 WWDMagic NEW 8PNFOT8FBS%BJMZt5IF3FUBJMFST%BJMZ/FXTQBQFSt'FCSVBSZ t YORK WWDTUESDAY Ready-to-Wear/Textiles Collar Me Beautiful NEW YORK — Donna Karan celebrated her 25th year at her house with a chic, urbane fall collection, which was mostly black. Highlights included great furs and terrific coats. Here, one striking example in a play of fur and leather textures with a bold collar, a leading motif in the collection. For more on the shows, see pages 10 to 20. A New Material Girl: Madonna Said in Talks To Launch Fashion Line By David Lipke */5)&(308*/(-07&"''"*3 CFUXFFODFMFCSJUZBOEGBTIJPO POFPGUIF CJHHFTUOBNFTPVUUIFSFJTDMPTFUPHFUUJOHJOUP the groove: Madonna. 5IFQPQJDPOJTJOUBMLTUPMBVODIB DPOUFNQPSBSZXPNFOTDPMMFDUJPOXJUI BHSPVQPGMJDFOTFFTUIBUXPVMECFTPME FYDMVTJWFMZBU.BDZT BDDPSEJOHUPTPVSDFT 5IFNFSDIBOEJTFXPVMEJODMVEFBQQBSFM BDDFTTPSJFT JOUJNBUFTBOEGPPUXFBS-BCFM OBNFTVOEFSTFSJPVTDPOTJEFSBUJPOGPSUIF QSPEVDUMJOFTJODMVEF.BUFSJBM(JSMGPSUIF BQQBSFMBOE5SVUIPS%BSFGPSUIFMJOHFSJFBOE VOEFSXFBS i5SVUIPS%BSFwXBTUIFUJUMFPGBGJMN XIJDIEPDVNFOUFE.BEPOOBTHSPVOECSFBLJOH #MPOEF"NCJUJPOXPSMEXJEFDPODFSUUPVS See Madonna, Page4 PHOTO BY THOMAS IANNACCONE PHOTO BY 2 WWD, TUESDAY, FEBRUARY 16, 2010 WWD.COM Scorsese -
Retail Product Merchandising: Retail Buying-Selling Cycle
Retail Product Merchandising: Retail Buying-Selling Cycle SECTION 2: Establishing the Retail Merchandise Mix Part 1: The Basics of the Retail Merchandise Mix Part 1: 1-2 Industry Zones in the Apparel Industry Fashion products, especially in the women’s wear industry, are categorized by the industry zone in which they are produced and marketed. Industry has designated these zones as a) Haute Couture or couture, b) designer, c) bridge, d) contemporary, e) better, f) moderate, g) popular price/budget/mass, and g) discount/off price. Often the industry emphasizes the wholesale costs or price points of the merchandise in order to define the zone. However, price alone is not the major factor impacting the placement of the merchandise in the zone. Major factors impacting the zone classifications include the following criteria: . fashion level of the design (i.e., degree of design innovation inherent or intrinsic to the merchandise) . type and name of designer creating and developing the design concept . wholesale cost and retail price of product . types and quality of fibers and fineness of fabrications, trims, and findings . standards of construction quality or workmanship quality. In summary, the classification of a zone is based on the type of designer creating the product, design level of the product, type and quality of fabrications, standards of the workmanship, and the price range of the merchandise. Therefore, depending upon the lifestyle of the target consumer, the fashion taste level of that consumer (i.e., position of product on the fashion curve), and the current fashion trend direction in the market, the retailer, when procuring the merchandise mix, selects the industry zone(s) which offer(s) the product characteristics most desired by the target consumer. -
Postnormal Imaginings in Wes Anderson's the Darjeeling Limited
Postnormal Imaginings in Wes Anderson’s The Darjeeling Limited Perpetuating Orientalist and neocolonial representations, biases, and stereotypes as pretentious comedy is the new creed of the American New Wave Movement JOHN A. SWEENEY THE HISTORY OF THE INDIAN RAILWAY SYSTEM PRESENTS A FABLE SOME 150 YEARS old—one that helped to defne the very topography of the sub-continent and its people. Emphasizing the lasting impact of trains on India, Srinivasan observes, “Railways made India a working and recognizable structure and political and economic entity, at a time when many other forces militated against unity. Through their own internal logic, their transformation of speed and the new dynamic of the economic changes they made possible, the railways defnitively altered the Indian way of life” (Srinivasan, 2006, pxiii). While assisting in the alteration of identities, Indian railways simultaneously united and partitioned the sub-continent on a seemingly unimaginable scale. “If you dug up all the rail track in India and laid it along the equator,” writes Reeves, “you could ride around the world one-and-a- half times.” This enormous enterprise, which occurred when the idea of “India” as an integrated political unit “remained very much an imaginary notion,” originated as the fanciful legacy of British rule, which sought a material means to coalesce its occupation (Reeves, 2006, pxiii). The railway was both the cause and efect of Britain’s colonial sovereignty; the very “idea of establishing and expanding a railway system in India ofered the most vibrant excitement in colonial mind” (Iqbal, 2006, p173). The vast colonial East-West Afairs 75 project was “the work of the capitalist interest in Britain” but it “fourished and expanded frst on ground which was essentially ‘mental’” (Iqbal, 2006, p183). -
Wwd0906web.Pdf
CH_WWD_BornIn1928_CoverWrap_14.75x10.75_Mech_Final.indd 1-2 8/30/13 11:18 AM CH_WWD_BornIn1928_CoverWrap_14.75x10.75_Mech_Final.indd 3-4 8/30/13 11:19 AM RAW FOOD GO-TO VIDEO JUERGEN TELLER BRINGS HIS UNMISTAKABLE STYLE MAKEUP ARTIST BOBBI TO PHOTOGRAPHING THE BROWN IS LAUNCHING A CUISINE AT THE LEGENDARY YOUTUBE CHANNEL AIMED ITALIAN HOTEL IL PELLICANO. AT MILLENNIALS. PAGE 14 PAGE 22 EXCLUSIVE Kering Buys Stake In Joseph Altuzarra By JESSICA IREDALE NEW YORK — Joseph Altuzarra is the latest emerg- ing designer to be brought into the Kering portfolio. WWD has learned that Kering, previously PPR, has taken a minority stake in Altuzarra. The deal closed Thursday, two days before the designer shows his FRIDAY, SEPTEMBER 6, 2013 ■ $3.00 ■ WOMEN’S WEAR DAILY spring collection in New York. At his Howard Street studio Thursday afternoon, as he was in the midst of WWD fi ttings, he was excited but admittedly tired. “It’s been a superexciting week because [the Kering deal] was all coming together and the collection came in,” said Altuzarra, wearing a T-shirt and camoufl age pants, as Vanessa Traina and various design assistants went through the racks of the spring collection. The designer declined to disclose Kering’s percent- age interest in his company, but emphasized that “it was very important for me to keep [Kering] a minority stake at this point and for us to keep control of Altuzarra. They were incredibly supportive of that decision and Building really understanding of it, and that was also very rare.” “We are delighted to invest in Altuzarra to ac- company the development of this promising fash- ion house,” said Alexis Babeau, managing director, Kering Luxury division. -
Modernist Frontiers
PRESS RELEASE Modernist Frontiers – Then and now Avantgarde Kommunikation mbH is pleased to announce that its EXPO 2017 cooperation partner Garage will host the international architectural conference at EXPO 2017 | 22 – 23 July (Munich/Astana, 19 July 2017) On the occasion of the EXPO 2017 in Kazakhstan, this weekend the two- day international conference will take place at the Astana Contemporary Art Center. Initiated by Garage, the conference has been called to provide a context for discussion on Almaty’s modernist architecture (1960s–1980s), presenting it to the international expert community and launching a conservation campaign for this extremely important part of the former Kazakh capital’s architectural history. The Garage Museum of Contemporary Art, Moscow and the Parisian museum Réunion des musées nationaux – Grand Palais are cooperation partners of the international creative agency Avantgarde, which was commissioned with execution and overall coordination for the Astana Contemporary Art Center (ACAC). In an effort to bring together different points of view and create an interdisciplinary environment for the study of modernist architecture in Almaty, researchers from a range of countries and different academic communities will speak at the conference. It will present various views on both the history of postwar modernist architecture and on contemporary problems in the restoration of such architecture and its adaptation to new functions. The program The first day of the conference, “The Regional Specifics of Soviet Modernism,” will set the historical and theoretical context for the discussion of Soviet architectural heritage in the former republics of the USSR. The first session will contrast shared aspects of Soviet heritage with regionally unique traits in the architecture of the former Soviet republics. -
Going Everywhere and Nowhere from Moscow to the Urals – How Curatorial Delusions of Global Grandeur Betray Russian Art
GOING EVERYWHERE AND NOWHERE FROM MOSCOW TO THE URALS – HOW CURATORIAL DELUSIONS OF GLOBAL GRANDEUR BETRAY RUSSIAN ART BY SIMON HEWITT I : A MOSCOW MIRED IN MEMORIES A BANNER was dangling from the giant triumphal portico of VDNKh, beneath the two collective farmworkers brandishing their bale of straw. It advertised the 6th Moscow Biennale – the number 6 allotted spiralling arms to resemble a Catherine Wheel. But the banner was challenged by a bigger hoarding wheeled on to the piazza below, blowing the trumpet of a separate festival called Circle of Light . The Biennale’s main show was taking place just behind Lenin in VDNKh’s Central Pavilion (also known as Pavilion N°1), erected in 1954 and topped by a 350-foot spire modelled on the St Petersburg Admiralty. The Biennale was meant to open at noon. I tried to find the entrance but couldn’t. There were no signs. No information about where and when the Biennale could be visited. Yuri Albert’s immortal line breezed through my mind: The Biennale cannot and will not take place . The 6 th Moscow Biennale had been having well-publicized financial problems. Was it so bankrupt that it had ceased to exist, morphing instead into a Conceptualist joke? VDNKh, six miles north of Red Square, was the sixth venue for the Moscow Biennale’s main exhibition. It had previously been held in the former Lenin Museum near Red Square; the under-construction Federation Tower at Moscow City; the newly restored Garage (now Jewish) Museum during its brief Abramovich/Zhukova tenancy; the renovated ArtPlay cultural and commercial complex; and, in 2013, the Manezh. -
Russian Meddling in Western Elections, 2016-2017: a Preliminary
RUSSIAN MEDDLING IN WESTERN ELECTIONS, 2016-2017: A PRELIMINARY PROBE By Guillermo Lopez Sanchez A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in International Studies May 2018 Committee Members: Dennis J. Dunn, Chair Ronald Angelo Johnson Sandhya Rao COPYRIGHT by Guillermo Lopez Sanchez 2018 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Guillermo Lopez Sanchez, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS I express my gratitude to Dr. Dennis J. Dunn, Professor of History and Director of the Center for International Studies at Texas State University. His dedication, knowledge, and support since I began the Master of Arts with a major in International Studies were invaluable. In addition, my appreciation is extended to Dr. Ronald Angelo Johnson, Associate Professor in the Department of History; and Dr. Sandhya Rao, Professor in the Department of Mass Communication, for their outstanding advice and assistance. Collectively, they strengthened my resources, asked probing questions that helped me sharpen my focus, and provided valuable insights that benefitted my research. I also wish to express my appreciation to Jeremy Pena, Coordinator of Academic Programs at the Center for International Studies, for his administrative support. -
Garage Museum of Contemporary Art Presents: Kholin and Sapgir
GARAGE MUSEUM OF CONTEMPORARY ART PRESENTS: KHOLIN AND SAPGIR. MANUSCRIPTS May 20–August 13, 2017 Free Admission This summer, Garage Museum of Contemporary Art presents an exhibition of documents relating to the poetry of Igor Kholin (1920–1999) and Genrikh Sapgir (1928–1999), offering fresh insight into the work of two pioneers of Soviet nonconformist literature. Their names are often encountered together: in literary analysis, in publications on Russian contemporary art, and on children’s book shelves. Kholin and Sapgir met in 1952 and became close allies. Both were members of the first postwar unofficial community of artists and poets, known as the Lianozovo group, and pupils of its leader, artist Evgeny Kropivnitsky. They worked alongside some of the key names in Russian postwar art, including Oskar Rabin, Lydia Masterkova, and Vladimir Nemukhin. Bohemians of the 1960s and 1970s, their avant-garde poetry was unpublishable until the advent of perestroika. They were heroes of the literary underground, pioneers of samizdat, and featured in the first issue of the samizdat poetry journal Sintaksis, published by Alexander Ginsburg in 1959. Both combined an innovative style of writing with a strong commitment to truth, and a genuine interest in the life of ordinary people. They fused expressionism and realism, with an acute sense of the tragedy of the everyday and the poetics of the absurd. Their funny and moving “barracks poetry” quickly became part of Soviet folklore, often quoted by people who had never read the original texts. Kholin and Sapgir led a double life typical of nonconformist writers and artists of the post-Stalin era: showing their work only to a small audience of friends and admirers, they took odd jobs to make a living. -
Signature Redacted
Perspectives on Film Distribution in the U.S.: Present and Future By Loubna Berrada Master in Management HEC Paris, 2016 SUBMITTED TO THE MIT SLOAN SCHOOL OF MANAGEMENT IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN MANAGEMENT STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2016 OFTECHNOLOGY 2016 Loubna Berrada. All rights reserved. JUN 08 201 The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic LIBRARIES copies of this thesis document in whole or in part ARCHIVES in any medium now known or hereafter created. Signature of Author: Signature redE cted MIT Sloan School of Management May 6, 2016 Certified by: Signature redacted Juanjuan Zhang Epoch Foundation Professor of International Management Professor of Marketing MIT Sloan School of Management Thesis Supervisor Accepted by: Signature redacted Rodrigo S. Verdi Associate Professor of Accounting Program Director, M.S. in Management Studies Program MIT Sloan School of Management 2 Perspectives on Film Distribution in the U.S.: Present and Future By Loubna Berrada Submitted to MIT Sloan School of Management on May 6, 2016 in Partial fulfillment of the requirements for the Degree of Master of Science in Management Studies. Abstract I believe film has the power to transform people's lives and minds and to enlighten today's generation like any other medium. This is why I wanted to write my thesis about film distribution as it will determine the future of the industry itself. The way films are distributed, accessed and consumed will be critical in shaping our future entertainment culture and the way we approach content. -
Announcement
Announcement 51 articles, 2016-05-14 12:14 1 Remembering Martin Friedman (1925–2016) — Magazine — (1.03/2) Walker Art Center Martin Friedman, the director of the Walker Art Center from 1961 to 1990, passed away May 9, 2016, at age 90... 2016-05-14 07:06 15KB www.walkerart.org 2 united states pavilion presents 'the architectural imagination' at venice architecture biennale the exhibition showcases the exploration of four sites in detroit, michigan and the result sees 12 projects on display by 22 american architects. 2016-05-14 08:30 4KB www.designboom.com 3 Sonic Youth visits the Walker Before they headed to the Minnesota State Fair last night for a rain-soaked concert with the Magic Numbers and The Flaming Lips, Sonic Youth stopped by for a tour of the Walker galleries with Perform... 2016-05-14 10:05 789Bytes blogs.walkerart.org 4 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented... 2016-05-13 21:21 1KB gdusa.com 5 Artists Installing: Lee Kit Hong Kong artist Lee Kit spent the past two-and-a-half weeks in the gallery working on his site-specific installation for his first solo museum exhibition in the US, Lee Kit: Hold your breath, dance... 2016-05-14 11:11 835Bytes blogs.walkerart.org 6 What is a Contemporary Collection? Thoughts on the Walker Moving Image Commissions and the Ruben/Bentson Moving Image Collection The Walker Moving Image Commissions is an online series in which five artists responded to selections from the Ruben/Bentson Moving Image Collection.