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Agency: Premium Models, E.M.A Model Management, Mission Models Height: 5' 10½ '' (179 cm) Bust: 30'' (76 cm) Waist: 23½'' (60 cm) Hips: 34'' (86 cm) Shoes: 9 US (40.0 EU) Eyes: Blue Hair: Red/Brown |
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Kaisa Orgusaar
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Martin Ristal
Quote:
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agency: E.M.A Model Management height: 186 cm hair: light brown eyes: blue shoes: 43 |
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Fatou
Agency: St. Claire Modeling
Height: 5'9"
Chest: 32"
Waist: 23"
Hips: 34"
Shoe: 8.5
stclairemodels
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Nuka A
Exquisite dark-haired beauty from Georgia. Signed with the same agency as Tako. (Look Models). Elegant & charming :heart:
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Height: 174 cm / 5'8.5"
Bust: 78 cm / 31"
Waist: 59 cm / 23"
Hips: 85 cm / 33.5"
lookmodels.ge
Height: 174 cm / 5'8.5"
Bust: 78 cm / 31"
Waist: 59 cm / 23"
Hips: 85 cm / 33.5"
lookmodels.ge
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Paula Pancerovaite
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agency: IMG Milano mother agency: Baltic Model Management height: 179 cm / 5'10.5" bust: 80 cm / 31.5" waist: 59 cm / 23.5" hips: 89 cm / 35" hair: brown eyes: brown |
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Thi Thuy
instagram/marilove357
Mother Agency: SMC Model Management
*No stats at the moment
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Martine
Fourteen year old Norwegian beauty just signed with Select Model Management in London :bunny:
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instagram/nikkiscoutcastproduce
instagram/nikkiscoutcastproduce
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Lucy Markovic
instagram / lucy.markovic
17 years old from Gold Coast, QLD, Australia. Newly signed to IMG Sydney.
Height: 181cm
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Kasia Sulikowska
New face with Rebel Models
Height: 181 cm
Bust: 78 cm
Waist: 60 cm
Hips: 85 cm
Eyes: Blue
Hair: Blonde
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rebelmodels.pl
Height: 181 cm
Bust: 78 cm
Waist: 60 cm
Hips: 85 cm
Eyes: Blue
Hair: Blonde
rebelmodels.pl
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Clare Crawford
New face signed with Ludlow Scout :magic:
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Height: 5'10"/ 178cm
Bust: 31.5"/ 80cm
Waist: 25"/ 63cm
Hips: 35"/ 88cm
Agency: Dulcedo (Montreal)
instagram/ludlowscout
Height: 5'10"/ 178cm
Bust: 31.5"/ 80cm
Waist: 25"/ 63cm
Hips: 35"/ 88cm
Agency: Dulcedo (Montreal)
instagram/ludlowscout
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Jessica Luostarinen
as far as I can remember, Jessica has been modeling for more than a year but i couldn't find a thread for her here.
I think that she would have been perfect for Marc Jacobs fw15 show and campaign.
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nischmanagement.se
majormodel.com
I think that she would have been perfect for Marc Jacobs fw15 show and campaign.
Quote:
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Agency: Major Model Management - New York Height: 5'9.5" Bust: 32" Waist: 24" Hip: 34.5" Shoe: 7.5 US Hair: Red Eyes: Hazel |
majormodel.com
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Fashion (as we know it) is Obsolete
10 APRIL 2015
BY KAM DHILLON
Talking Trends With Li Edelkoort
The trend forecasting industry remains a relatively new phenomenon and the now unloveable terms ‘trendsetter’ and ‘trendy’ were not even coined until 1960 and 1962 respectively. Despite its infancy, there is one overlord who leads the guard in astutely packaging prophetic thoughts, and that’s Li Edelkoort. Following Li Edelkoort’s masterclass at NJAL’s multi-sensory pavilion at d3, it’s a timely moment to examine the significance of trend watching with the most influential trend forecaster today and her journey to becoming the industry’s certified tastemaker.
Fortune telling has existed for centuries, but the art of trend forecasting is an infant in comparison. It relies on more than an innate feeling, and rather it’s a systematic analysis of compiled observations that leads to identifying a trend. The term began to be used more generally in the 19th century to refer to the way in which things changed over time. The textile industry was the first to adopt the term in order refer to changes in design styles. However, its widespread use only came after the 1960s–breaking out from the confines of the scientific and commercial worlds, and the public alike began to identify with the term.
Today, the trend forecasting industry is a burgeoning beast, and it recently acquired a value of £36 billion and almost every blue-chip company wants in. There’s one particular modern-day soothsayer who comfortably claims the lauded title of the world’s most influential fashion forecaster and that's Li Edelkoort. Born in the Netherlands in 1950 and based in Paris, Edelkoort advises fashion companies and consumer brands around the world. In 2003, Time magazine named her one of the 25 most influential people in fashion and she also was director of Design Academy Eindhoven from 1998 to 2008.
It’s been an interesting journey for Li Edelkoort, whose expertise in re-shaping consumer tastes across several industries can’t be underestimated. Edelkoort says “trend forecasting is much like archaeology but to the future”, and such a statement refers to the importance of recording and refining information. From predicting the growing importance of white and nudging Estée Lauder to launch a skincare product based on milk to inspiring Nisan to launch five cars in acid-bright hues in Japan–her insight and intuition has become an invaluable tool in capturing imagination and relies entirely on absorbing and distilling everything in contact with the human sensorium. All of us have the tools to do it, yet it requires a delicate balance of creativity and pragmatics to distill curiosity into certain conviction. In NJAL’s exclusive interview with Li Edelkoort–the trailblazer of future-forecasting charts her journey to the top and elaborates on exactly why she announced fashion as obsolete.
Tell us about how you became a trend forecaster?
It started with a fashion design competition in a Dutch newspaper to “create a new carnival design”. It was in my early student years and I submitted a rather fashionable design; a skirt was worn over a pair of shorts, and it was a very new and avant-garde look for that time. The organisers gave me a special mention since that season, fashion shows in Paris all showed the same concept as I had designed. They wondered how could this kid in the middle of nowhere have known what Paris is showing! In the early years of my career after art school, I was a buyer for the womenswear department of a famous Dutch department store, de Bijenkorf. I somehow always knew what customers were going to buy. Soon after, I moved to Paris and entered the trend forecasting industry; at first with Mafia and later with Nelly Rodi, both of whom inspired my future.
You state ‘trend forecasting is like archeology but to the future’, can you please elaborate on this?
I use the same methods as archeologists who dig into a site. They are able to find small fragments of our past and with the information they find, they can construct how people would have lived; what food they were eating, what clothes they were wearing, about hierarchy in society and ritual celebrations. I do the same thing, only that I dig into the future, tracking the zeitgeist of tomorrow. When I have enough fragments, I connect them with each other and a new trend emerges.
At Design Indaba 2015, you fired a broadside at the fashion industry by declaring it as dead. Is the loss of a real relationship with fashion painful for you?
Absolutely. I love fashion myself. It’s not easy for me to say fashion is over the way we previously knew it, and that it’s old-fashioned. In my work, I sometimes have to say things, which are not coming from a personal preference; I’m only the messenger. This statement is part of my new Trend Union forecast about the future of the industry, one in which I feel we will focus our attention on garment-making and say goodbye to current marketing attitudes. This is a strategic statement that is available in my trend book and is used by companies to plan for tomorrow.
Though fashion has lost touch with the world, and what people want–it also proliferates mainstream society like never before in large part due to the Internet. Mass-culture is permeated by fashion and this cross-pollination consumes all our faculties. How do you think fashion has changed since the Internet?
Clients always tell me how afraid they are of the impact of the Internet and online shopping. But I’m convinced that we are living in a moment where off-line can’t survive without online and the other way around. Online needs off-line and this will always be the case. Since the late 1990s, I have forecast that the more digital we become, the more tactile our fingers will be, and this is why textiles and materials have become so three-dimensional today.
Are there any new materials that are being co-opted into future fashion that you’re particularly excited about?
We have never seen such an enormous impact of active wear on fashion as we see now. In Asia, entire department store floors are now dedicated to active wear brands. Famous designers are embracing smart textiles, sports gear, backpacks, sneakers and more. Fabric developers are mixing design with science, looking at more bio-technical ways to create fabrics and garments. So much so, that I recently started a trend book specifically about active wear trends for menswear and womenswear.
Is the fashion topography changing with the rise of emerging economies and can these markets (who have been typecast as consumers of fashion) deliver their own niche fashion perspective to the global stage?
I strongly believe in the growing importance of the southern hemisphere, including on its border the Gulf and South Asia. This is also why I was pleased launch Edelkoort Arabia in Dubai to cater to their needs (edelkoortarabia.com). These southern countries were used to copying trends from Europe and America and felt like they were a season behind the rest of the world. When I travel to countries such as Brazil, South Africa, Australia and India, I sense huge potential and now tell my clients there to pretend they are a season ahead. From food and lifestyle to summer fashions, this region has the capacity to influence global style from a local perspective.
Is intelligent, uncensored and thoughtfully considered critique possible in fashion right now?
Yes, it’s a perfect timing. Social media has proven that people want to critique, vote and debate. My anti-fashion statements have ignited a lot of discussion online and in the press, so I’m excited about this spring’s conference tour to present these trends in different markets. Fashion is in dire need of change and therefore some serious reflection.
You’ve predicted the comeback of couture. Do you think this could reshape how mass society conceptualises fashion?
This exodus of fashion will change the landscape of what is the culture of clothes. My hunch is that we will see the comeback of couture as a major benefit. After all, it is in the atelier of couture that we will find the laboratory of this labor of love. Suddenly the profession of couturier will become coveted and the exclusive way of crafting couture will be inspiring all others. Perhaps ultimately leading to the selling of patterns to the department stores, just like the previous arrival of prêt-à-porter. Making history turn round and inspiring people to understand that making their own customised clothes is possible again, in various forms and at any price-point.
You’ve previously said that fashion is insular and is placing itself outside of society. Has it lost touch with what’s going on in society?
Absolutely. In my anti-fashion manifesto, I explain in ten reasons why the current fashion system is obsolete. From education to marketing, production and journalism, fashion doesn’t correlate with who we are anymore, while other industries such as design and communication have kept up with the times. Change can come but we first have to admit that the whole situation is rather ridiculous. Once we agree and there is consensus, there will be possibilities for new and exciting ways of enjoying the way we dress ourselves. In my new trend book, I give some direction to start celebrating actual clothes again.
If forecasting is about spotting subtle signs of change, filtering them and giving them a name–then what advice do you have for bourgeoning tastemakers today?
It’s about a definite point of view. Everyone is nowadays very well informed about style. I even wonder whether we can still speak of one avant-garde class. I’m amazed by the knowledge of style within everyday households and fashion is not even aware of this social intelligence. Consumers are curating their own wardrobe and they don’t need to be told what sets to buy in order to look good. So everyone, has in fact, become a tastemaker. People need to be informed about textiles and that thro-away fashions are not sustainable. They should be themselves and enjoy garments, swap them, upcycle them or try to shop for magical pieces that move them.
What are the problems with fashion education in 2015?
The lack of textile awareness is one challenge; the false illusion that all students will become catwalk designers is another. Accepting students on financial grounds instead of artistic merit is another problem. Garment design is an industrial design profession and so we should embrace better designers of fashion products of quality and fair trade.
What’s inspiring you right now?
Society, and it’s longing to be together instead of alone. Students work together in art and design schools and even after graduation they stay in couples and teams. We’re done with individualism where it’s all about me, me and me. People are ready to gather together and share ideas, talents, skills and experiences. A move towards more humanity is inspiring me right now.
BY KAM DHILLON
Talking Trends With Li Edelkoort
The trend forecasting industry remains a relatively new phenomenon and the now unloveable terms ‘trendsetter’ and ‘trendy’ were not even coined until 1960 and 1962 respectively. Despite its infancy, there is one overlord who leads the guard in astutely packaging prophetic thoughts, and that’s Li Edelkoort. Following Li Edelkoort’s masterclass at NJAL’s multi-sensory pavilion at d3, it’s a timely moment to examine the significance of trend watching with the most influential trend forecaster today and her journey to becoming the industry’s certified tastemaker.
Fortune telling has existed for centuries, but the art of trend forecasting is an infant in comparison. It relies on more than an innate feeling, and rather it’s a systematic analysis of compiled observations that leads to identifying a trend. The term began to be used more generally in the 19th century to refer to the way in which things changed over time. The textile industry was the first to adopt the term in order refer to changes in design styles. However, its widespread use only came after the 1960s–breaking out from the confines of the scientific and commercial worlds, and the public alike began to identify with the term.
Today, the trend forecasting industry is a burgeoning beast, and it recently acquired a value of £36 billion and almost every blue-chip company wants in. There’s one particular modern-day soothsayer who comfortably claims the lauded title of the world’s most influential fashion forecaster and that's Li Edelkoort. Born in the Netherlands in 1950 and based in Paris, Edelkoort advises fashion companies and consumer brands around the world. In 2003, Time magazine named her one of the 25 most influential people in fashion and she also was director of Design Academy Eindhoven from 1998 to 2008.
It’s been an interesting journey for Li Edelkoort, whose expertise in re-shaping consumer tastes across several industries can’t be underestimated. Edelkoort says “trend forecasting is much like archaeology but to the future”, and such a statement refers to the importance of recording and refining information. From predicting the growing importance of white and nudging Estée Lauder to launch a skincare product based on milk to inspiring Nisan to launch five cars in acid-bright hues in Japan–her insight and intuition has become an invaluable tool in capturing imagination and relies entirely on absorbing and distilling everything in contact with the human sensorium. All of us have the tools to do it, yet it requires a delicate balance of creativity and pragmatics to distill curiosity into certain conviction. In NJAL’s exclusive interview with Li Edelkoort–the trailblazer of future-forecasting charts her journey to the top and elaborates on exactly why she announced fashion as obsolete.
Tell us about how you became a trend forecaster?
It started with a fashion design competition in a Dutch newspaper to “create a new carnival design”. It was in my early student years and I submitted a rather fashionable design; a skirt was worn over a pair of shorts, and it was a very new and avant-garde look for that time. The organisers gave me a special mention since that season, fashion shows in Paris all showed the same concept as I had designed. They wondered how could this kid in the middle of nowhere have known what Paris is showing! In the early years of my career after art school, I was a buyer for the womenswear department of a famous Dutch department store, de Bijenkorf. I somehow always knew what customers were going to buy. Soon after, I moved to Paris and entered the trend forecasting industry; at first with Mafia and later with Nelly Rodi, both of whom inspired my future.
You state ‘trend forecasting is like archeology but to the future’, can you please elaborate on this?
I use the same methods as archeologists who dig into a site. They are able to find small fragments of our past and with the information they find, they can construct how people would have lived; what food they were eating, what clothes they were wearing, about hierarchy in society and ritual celebrations. I do the same thing, only that I dig into the future, tracking the zeitgeist of tomorrow. When I have enough fragments, I connect them with each other and a new trend emerges.
At Design Indaba 2015, you fired a broadside at the fashion industry by declaring it as dead. Is the loss of a real relationship with fashion painful for you?
Absolutely. I love fashion myself. It’s not easy for me to say fashion is over the way we previously knew it, and that it’s old-fashioned. In my work, I sometimes have to say things, which are not coming from a personal preference; I’m only the messenger. This statement is part of my new Trend Union forecast about the future of the industry, one in which I feel we will focus our attention on garment-making and say goodbye to current marketing attitudes. This is a strategic statement that is available in my trend book and is used by companies to plan for tomorrow.
Though fashion has lost touch with the world, and what people want–it also proliferates mainstream society like never before in large part due to the Internet. Mass-culture is permeated by fashion and this cross-pollination consumes all our faculties. How do you think fashion has changed since the Internet?
Clients always tell me how afraid they are of the impact of the Internet and online shopping. But I’m convinced that we are living in a moment where off-line can’t survive without online and the other way around. Online needs off-line and this will always be the case. Since the late 1990s, I have forecast that the more digital we become, the more tactile our fingers will be, and this is why textiles and materials have become so three-dimensional today.
Are there any new materials that are being co-opted into future fashion that you’re particularly excited about?
We have never seen such an enormous impact of active wear on fashion as we see now. In Asia, entire department store floors are now dedicated to active wear brands. Famous designers are embracing smart textiles, sports gear, backpacks, sneakers and more. Fabric developers are mixing design with science, looking at more bio-technical ways to create fabrics and garments. So much so, that I recently started a trend book specifically about active wear trends for menswear and womenswear.
Is the fashion topography changing with the rise of emerging economies and can these markets (who have been typecast as consumers of fashion) deliver their own niche fashion perspective to the global stage?
I strongly believe in the growing importance of the southern hemisphere, including on its border the Gulf and South Asia. This is also why I was pleased launch Edelkoort Arabia in Dubai to cater to their needs (edelkoortarabia.com). These southern countries were used to copying trends from Europe and America and felt like they were a season behind the rest of the world. When I travel to countries such as Brazil, South Africa, Australia and India, I sense huge potential and now tell my clients there to pretend they are a season ahead. From food and lifestyle to summer fashions, this region has the capacity to influence global style from a local perspective.
Is intelligent, uncensored and thoughtfully considered critique possible in fashion right now?
Yes, it’s a perfect timing. Social media has proven that people want to critique, vote and debate. My anti-fashion statements have ignited a lot of discussion online and in the press, so I’m excited about this spring’s conference tour to present these trends in different markets. Fashion is in dire need of change and therefore some serious reflection.
You’ve predicted the comeback of couture. Do you think this could reshape how mass society conceptualises fashion?
This exodus of fashion will change the landscape of what is the culture of clothes. My hunch is that we will see the comeback of couture as a major benefit. After all, it is in the atelier of couture that we will find the laboratory of this labor of love. Suddenly the profession of couturier will become coveted and the exclusive way of crafting couture will be inspiring all others. Perhaps ultimately leading to the selling of patterns to the department stores, just like the previous arrival of prêt-à-porter. Making history turn round and inspiring people to understand that making their own customised clothes is possible again, in various forms and at any price-point.
You’ve previously said that fashion is insular and is placing itself outside of society. Has it lost touch with what’s going on in society?
Absolutely. In my anti-fashion manifesto, I explain in ten reasons why the current fashion system is obsolete. From education to marketing, production and journalism, fashion doesn’t correlate with who we are anymore, while other industries such as design and communication have kept up with the times. Change can come but we first have to admit that the whole situation is rather ridiculous. Once we agree and there is consensus, there will be possibilities for new and exciting ways of enjoying the way we dress ourselves. In my new trend book, I give some direction to start celebrating actual clothes again.
If forecasting is about spotting subtle signs of change, filtering them and giving them a name–then what advice do you have for bourgeoning tastemakers today?
It’s about a definite point of view. Everyone is nowadays very well informed about style. I even wonder whether we can still speak of one avant-garde class. I’m amazed by the knowledge of style within everyday households and fashion is not even aware of this social intelligence. Consumers are curating their own wardrobe and they don’t need to be told what sets to buy in order to look good. So everyone, has in fact, become a tastemaker. People need to be informed about textiles and that thro-away fashions are not sustainable. They should be themselves and enjoy garments, swap them, upcycle them or try to shop for magical pieces that move them.
What are the problems with fashion education in 2015?
The lack of textile awareness is one challenge; the false illusion that all students will become catwalk designers is another. Accepting students on financial grounds instead of artistic merit is another problem. Garment design is an industrial design profession and so we should embrace better designers of fashion products of quality and fair trade.
What’s inspiring you right now?
Society, and it’s longing to be together instead of alone. Students work together in art and design schools and even after graduation they stay in couples and teams. We’re done with individualism where it’s all about me, me and me. People are ready to gather together and share ideas, talents, skills and experiences. A move towards more humanity is inspiring me right now.
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Mae Whitman
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Mae Margaret Whitman (born June 9, 1988)[1] is an American actress, singer and voice artist. She is known for her roles as Ann Veal in the TV series Arrested Development (20042006) and Amber Holt on the TV series Parenthood (201015), for co-starring in the films Scott Pilgrim vs. the World (2010) and The Perks of Being a Wallflower (2012), and for starring in the comedy The Duff (2015). Her first major studio role was as the President's daughter in the 1996 film Independence Day. She also voiced Katara in the animated television series Avatar: The Last Airbender, Little Suzy in Johnny Bravo, Rose/Huntsgirl in American Dragon: Jake Long, April O'Neil in the 2012 generation of Teenage Mutant Ninja Turtles, Tinker Bell in the Tinker Bell movies, and Yuffie Kisaragi in the video game Kingdom Hearts. |
zimbio
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Jane Russell
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Ernestine Jane Geraldine Russell was born on June 21, 1921 in Bemidji, Minnesota. Her father was a United States Army lieutenant and her mother had been a student of drama and an actress with a traveling troupe. Once Mr. Russell was mustered out of the service, the family took up residence in Canada, but moved to California when he found employment there. The family was well-to-do and although Jane was the only girl among four brothers, her mother saw to it that she took piano lessons. In addition to music, Jane was interested in drama much as her mother had been and participated in high school stage productions. Upon graduation, Jane took a job as a receptionist for a doctor who specialized in foot disorders. Although she had originally planned on being a designer, her father died and she had to go to work to help the family. Jane modeled on the side and was very much sought-after especially because of her figure. She managed to save enough money to go to drama school, with the urging of her mother. She was ultimately signed by Howard Hughes for his production of The Outlaw (1943) in 1941, the film that was to make Jane famous. The film was not a classic by any means, but was geared to show off Jane's ample physical assets. Although the film was made in 1941, it was not released until two years later and then only on a limited basis due to the way the film portrayed Jane's assets. It was hard for the flick to pass the censorship board. Finally, the film gained general release in 1946. The film was a smash at the box-office. Jane did not make another film until 1946 when she played Joan Kenwood in Young Widow (1946). She had signed a seven year contract with Hughes and it seemed the only films he would put her in were those that displayed Jane in a very flattering light due to her body. Films such as His Kind of Woman (1951) and The Las Vegas Story (1952) did nothing to showcase her true acting abilities. Probably the pinnacle of her career was in Gentlemen Prefer Blondes (1953) as Dorothy Shaw, with Marilyn Monroe. This film showed Jane's comedic side very well. Jane did continue to make films throughout the 1950s, but the films were at times not up to par, particularly with Jane's talents being wasted in forgettable movies in order to show off her sexy side. Films such as Gentlemen Marry Brunettes (1955) and The Revolt of Mamie Stover (1956) did do Jane justice and were able to show exactly the fine actress she was. After The Fuzzy Pink Nightgown (1957) (a flop), Jane took a hiatus from films, to dabble a little in television, returning in 1964 to film Fate Is the Hunter (1964). Unfortunately, the roles were not there anymore as Jane appeared in only four pictures during the entire decade of the 1960s. Her last film of the decade was The Born Losers (1967). After three more years away from the big screen, she returned to make one last film called Darker Than Amber (1970). Her last play before the public was in the 1970s when Jane was a spokesperson for Playtex bras. Had Jane not been wasted during the Hughes years, she could have been a bigger actress than what she was allowed to show. Jane Russell died at age 89 of respiratory failure on February 28, 2011 in Santa Maria, California. |
theguardian.com
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Janet Leigh
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Janet Leigh was born Jeanette Helen Morrison on July 6, 1927 in Merced, California, the only child of Helen Lita (Westergaard) and Frederick Robert Morrison. Her maternal grandparents were Danish, and her father had British Isles and German ancestry. Her parents often moved from town to town. Living in apartments, Jeanette was a bright child who skipped several grades and finished high school when she was 15. A lonely child, she would spend much of her time at movie theaters. She was a student, studying music and psychology, at the University of the Pacific until she was "discovered" while visiting her parents in Northern California. Her father was working the desk at a ski resort where her mother worked as a maid. Retired MGM actress Norma Shearer saw a picture of Jeanette on the front desk and asked if she could borrow it. This led to a screen test at MGM, a name change to Janet Leigh, and a starring role in The Romance of Rosy Ridge (1947). MGM was looking for a young naive country girl and Janet filled the bill perfectly. She would play the ingénue in a number of films and work with such stars as Errol Flynn, Gary Cooper, James Stewart, Kirk Douglas and John Wayne. She starred in a number of successful films, among them Act of Violence (1948), Words and Music (1948), Little Women (1949), Holiday Affair (1949), Angels in the Outfield (1951), Scaramouche (1952), Houdini (1953), The Naked Spur (1953), The Black Shield of Falworth (1954), Living It Up (1954), My Sister Eileen (1955), Safari (1956), and the Orson Welles film noir classic Touch of Evil (1958). Janet's films ranged from comedies to westerns to musicals to dramas. Of her more than 50 movies, she would be most remembered for the 45 minutes she was on screen in Alfred Hitchcock's Psycho (1960). Even though her character was killed off early in the picture, she won a Golden Globe Award and was nominated for an Academy Award as Best Supporting Actress. Her next film was The Manchurian Candidate (1962), in which she co-starred with Frank Sinatra. For the rest of the decade, her appearances in films were rare, but she worked with Paul Newman in Harper (1966). In the 1970s, she appeared on the small screen in a number of made-for-television movies. In 1980, she appeared alongside her daughter Jamie Lee Curtis in The Fog (1980), and later, in Halloween H20: 20 Years Later (1998). Janet Leigh died at age 77 in her home in Beverly Hills, California on October 3, 2004. |
Classic Movie Hub pinterest
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Tiffany & Co. F/W 15.16 : Liu Wen
weibo.com via PRYMASQUOUS
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Last Movie You Saw #9 - Part 6
This is a continuation thread, the old thread is Here
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Kelin Dillon
NewFace with DNA & Social New York :heart:
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Hong Kong rents are too high even for Gucci
Not sure if there's a similar topic existing already.
From South China Morning Post
From South China Morning Post
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Monday, 17 August, 2015 by Jing Zhang Hong Kong's economy has been shaky ever since the Occupy protests, with spending down across the board. What was once deemed a blip now looks to be a problem that may have long-lasting effects. Luxury giant Kering, which owns Italian brand Gucci, has been in a dispute with Hongkong Land over its sky-high rent, and says it might consider closing stores in the region if the problem isn't resolved, as reported in the Post last week. Burberry, also experiencing falling sales, has expressed similar intentions, while watch brand TAG Heuer announced recently that it's closing its Russell Street store in Causeway Bay owing to high rent. Hong Kong used to be a sure thing for big fashion and luxury stores. This new uncertainty is creating a general lack of confidence in the economy. If even these luxury giants, usually supported by steady, enthusiastic mainland spending, are wobbling, what does this mean for other fashion brands and stores? Those that have always felt the pinch of Hong Kong's cutthroat rents are the small businesses and indie labels. Not only have they been overshadowed by multinational luxury giants in terms of consumer recognition and spending, they've also been either squeezed out of up-and-coming areas or never given a chance to open a shop in the first place. "It's unfair how the law and rental system tend to protect only the landlords here," says Hong Kong-based designer Marco Vedovato, of start-up men's tailoring label Iter Itineris. He used to have a flagship store in Central, but had to move to Wan Chai's Sun Street. He adds: "Due to the climate, shopping practice and the city's infrastructure, it's almost impossible for an independent label to survive unless they are given a huge budget to play with." Designers such as Johanna Ho, a veteran of the Hong Kong fashion industry, opened her first flagship store on Wyndham Street in Central last year. Despite being one of the most recognised local names in fashion and supported by media and celebrities alike, it still took her more than a decade to get the store and, even now, she says it's a challenge. Gucci wants to renegotiate rents with Hongkong Land. "I won't lie and say that we are not struggling [with the costs of running the label]," Ho says. "Having the logistics of a store, having prices rising all the time with production in China and then, of course, the rising rents here in the city. "The crazy fact is that even though the economy is not doing well, landlords insist on raising rents. We are reconsidering whether to keep the store open. It's sad and it was a big leap to have a real standalone boutique, and I feel very proud to have done it, but at the end of the day, business is business." In a city of mega malls and high streets lined with the same international fashion brands, small visible local operations such as Ho's are vital to the retail and fashion landscape. They are arguably what give a city character. Stores such as Liger; or Sheung Wan's Niin's jewellery boutique and Square Street; Shine in Causeway Bay; and Vein, Kapok and Delstore in the Star Street area of Wan Chai are gems of the local fashion culture. Even if not all of them stock Hong Kong designers, they are Hong Kong-grown and independent retailers that contribute creativity to the local industry. But all these stores could be pushed out if landlords continue on the current path of greed and focusing only on the bottom line. Today, Ho says that "businesswise, there's more a move into e-commerce." And if the online retailers sprouting up in the city are anything to go by, the move to digital is in full swing. This is both a sign of hope and of frustration, as physical retail is clearly failing local creatives. Tania Reinert, co-founder of local sustainable fashion e-tailer A Boy Named Sue, explains her decision to forgo a bricks-and-mortar store in the city: "We chose to go online to have a deeper global reach as our product was quite niche, but we had a goal to open a store since Hong Kong customers often prefer physical shopping over online. But after analysing costs, we realised it would cost HK$40,000 minimum to rent a small space - so we gave up." While there might be a few interesting start-up projects around and some government funding for the industry, the reality is it's extremely difficult for start-ups to find affordable spaces with high traffic. "This means the city is full of big boys with big budgets," says Reinert. "Independent boutiques are a real rarity." |
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