08 Jan 2014
Posted under News Tags: 5 Clothing Stocks for 2014
The further down the list you go, the worse off retailers are feeling this year. Consumers held on to their cash for bigger items and renovations, leaving electronics, entertainment, and clothing to fill in the little gaps. That meant big brands and small all felt the crush this year, and everyone is looking forward to a brighter 2014. Even with the tough conditions, a few brands did manage to shine, setting themselves up for an excellent next year. Here are your top clothing stocks for 2014.
Fifth & Pacific slims down for 2014
Over the past three months, brand portfolio Fifth & Pacific (NYSE: FNP ) has emptied its portfolio. The company sold off Juicy Couture in October and dropped Lucky Brand just this month. The result is a slimmed down, ready to roll Kate Spade business. Kate has been killing it this year, and was hampered by the fall of Juicy. Now free to spread its wings, Fifth & Pacific is going into 2014 with a completely different business.
Kate Spade is one of the few brands that came out way ahead in 2013. The brand’s revenue grew 76% last quarter over 2012, driven by comparable sales growth of 31%. That speed puts it in the same boat as Michael Kors, but Fifth & Pacific has the benefit of experience.
By shrinking the business, management now has less to focus on, giving it the chance to push Kate Spade and sister brand Kate Spade Saturday as hard as it wants. The business got an influx of cash from the brand sell-off, and is realizing a return from lease terminations, as well. The combination of strong sales, strong management, and a growing pile of resources makes Fifth & Pacific a 2014 winner.
Nike keeps on teaching the world to love sports
If Fifth & Pacific is the growth opportunity in clothing next year, Nike (NYSE: NKE ) is the stable riser. The business commands a $15 billion brand and is shooting for $36 billion in annual sales by 2017. Last quarter, Nike increased revenue by 8% and expanded its gross margin at an even faster rate. That led to a 37% increase in earnings per share.
Want dividends — Nike’s got you covered there, too. Nike has increased its annual dividend for 12 years in a row, giving investors some stability. Consistent growth has been Nike’s trademark, and the goal for 2017 just underscores what this company is capable of.
In 2014, the business is expecting double-digit revenue growth in its newer markets, like China and Eastern Europe. That’s going to help Nike hit its 2015 milestone of $30 billion in annual sales, up from $25.3 billion in fiscal 2012. In short, 2014 is the launching point for Nike, and investors look set to be well rewarded by its flight.
Taking the long view at VF Corporation
While the scope isn’t as broad as at Nike, the plan is no less ambitious over at VF Corp. (NYSE: VFC ) . The owners of The North Face, Timberland, Wrangler, and other household names has its own 2017 plan. While Nike is planning to grow overall revenue by 42% over five years, VF is hoping to jump 59% by 2017. VF has a goal of hitting $17 billion in 2017, up from just $10.9 billion in 2012.
The company is going to make the push based on the strength of its brands. The North Face is at the head of the pack, growing revenue by 10% last year. The brand has shown an incredible ability to appeal to both athletes and casual wearers, and has given the company a real fashion icon to help lead its sales push.
In 2014, look for VF to inch up its operating margin, as the business continues to coalesce. The company is updating its sales technology, addressing its marketing issues, and pushing fashion into some of its older brands, like Lee jeans. That should help boost revenue and keep investors happy all year long.
Controversy may have finally died off at Lululemon
If you want to take a higher risk shot in 2014, lululemon athletica (NASDAQ: LULU ) might be the place for you. The company got crushed this month on a poor outlook, but there are lots of things going right for Lululemon, as well. The business finally ditched its loudmouthed founder, a new CEO has been chosen, and its most recent product issue may be on the way to a resolution under the new head of product.
When it comes down to the wire, this may be what investing is all about. There’s a fine line between success and failure here, and Lululemon is over halfway to the failure side. After building a community of yoga practitioners, founder Chip Wilson says something akin to ‘we don’t sell clothes for fat people’ a few months after selling overly sheer pants to everyone, and the community revolts.
Now Lululemon is looking down the barrel of flat comparable sales in its fourth quarter. That’s not the year that the company was supposed to have. Luckily, it might not be the year that 2014 brings it. New CEO Laurent Potdevin comes to Lululemon from TOMS, a shoe business built on the value of community and goodwill. Before that, he worked at Burton Snowboards, where he learned the value of technical product design. If anyone can right Lululemon’s ship, its Potdevin — 2014 is his chance to prove his mettle.
Finishing on a high note with Under Armour
You didn’t really want to end on Lululemon, right? Under Armour (NYSE: UA ) is the glorious thorn in everyone’s side. It’s a growth stock like Fifth & Pacific, it’s Nike’s best competition, it rivals The North Face for college fashion value, and it sells all of the things Lululemon makes for about 15% less.
The company increased its full-year outlook earlier this year, expecting a 22% to 23% increase in revenue. The company continues to drive its brand on its reputation for innovation. This year, the company introduced a new ColdGear line which contains ceramic to help insulate you — I have no idea how that works. Fortunately, my failures at science haven’t held the company back, and the new line is off to a roaring start.
In 2014, Under Armour is going to be releasing new footwear lines, working to integrate its in-store and direct-to-consumer marketing, and expanding its gross margin as its supply chain settles into a routine. For investors, Under Armour offers a lot of great potential with a proven track record of turning neat ideas into cold hard cash — 2014 should be no different.
The bottom line
Whether you’re looking for a grower, a solid player, or a bit of a risk, there’s something for every investor in 2014. Macroeconomic conditions may make a positive turn, but even if they don’t, these five brands have the potential to turn lemons into lemonade. No matter what you decided to do in 2014, retail investors should be happy to see 2013 disappear into the mist.
The value of investing in 2014
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27 Sep 2013
Posted under Finance Tags: newport international group, NIG code 34935207158 barcelona
Wie Millionen von Menschen in ihren Dreißigern rettet Rob Poole für seine Rente an der Börse zu investieren.
Es ist ein vernünftiger Gedanke. Der Arzt kam in Südwest-London, muss mindestens drei Jahrzehnten der Ebbe und Flut in Aktien zu investieren, so eine hohe Wahrscheinlichkeit besteht der schlagen der mageren Renditen von Bargeld-Sparkonten ausreiten.
Aber anstelle der Zahlung einer teuren Fondsmanager einen Korb von Aktien zu wählen, hat er beschlossen, einfach, “die Gesamtleistung der einzelnen Aktienmärkte track”.
Das klingt merkwürdig für ältere Sparer, aber Herr Poole ist Teil einer Generation von Jugendlichen, die den Stadt Kommissioniergeräte Rücken hat.
Forschung von The Sunday Telegraph festgestellt, dass die durchschnittliche Saver von Mittdreißigern jetzt ein Drittel ihrer Investment-Portfolio in den so genannten “passiven” Fonds hat.
In einigen Fällen haben Sparer wie Herr Poole ihre gesamte Nest-Eier aus Mitteln, die Ausführung von professionellen Fondsmanagern für EDV-gestützte Alternativen namens “Verfolger” verschoben.
Die passive Tracker Fonds folgen Sie blind ein Aktienindex, z. B. der FTSE 100. Das bedeutet Ihr Fonds steigt und fällt neben den Index – also wenn der FTSE 100 2pc eines Tages steigt, Ihre Investition durch den gleichen Rand wachsen, weniger Gebühren.
Tracker sind von einem Computer ausgeführt, anstatt hoch bezahlt Fondsmanager. Die Maschine wird eine Auswahl von Aktien kaufen, die so genau wie möglich, die Zusammensetzung der Unternehmen in einem bestimmten Index entspricht. Dies bedeutet, dass sie eine viel billigere Methode zum Zugriff Börse Wachstum, sind, da gibt es kein Honorar für Menschen, die Auswahl von Aktien.
Vielleicht möchten lesen:
Burberry tut es in Stil und trifft eine hohe
Mode-Ikonen Dolce Gabbana in Italien Steuer Straftat verurteilt
Es schränkt das Potenzial eine riesige Rückkehr von einer Handvoll von rassig Aktien zu verdienen. Aber es vermeidet auch einen einzelnen Aktien-Preis-Crash zerstören Ihre Rendite.
Ein Tracker kostet weniger als 0.15pc pro Jahr, während ein aktiv gemanagten Fonds näher 1.7pc aufgeladen wird. Also muss im Endeffekt ein Fondsmanager eine zusätzliche 1.45pc Rückkehr jedes Jahr finden die höheren Gebühren zu rechtfertigen. Untersuchungen zeigen, dass viele nicht, dies auf einer regelmäßigen Basis zu erreichen.
Herr Poole überprüft seine Investitionen vor der Geburt seines ersten Kindes, Ben, 18 Monaten und war schockiert, wie viel seine Ersparnisse das durchschnittliche Wachstum der Aktienmärkte unterdurchschnittlich waren.
Er erkannte schnell, dass die Fondsmanager für die hohe Gebühren zu rechtfertigen, die seine Rückkehr entfernt aßen versäumt wurden. Er wechselte zum Tracker Fonds und hat nun mehrere tausend mit Anbietern wie Vanguard investiert.
“Ich in Fonds investiert laufen von einem Fondsmanager für ein paar Jahre aber Ben kam ich vorher zu prüfen, die Wissenschaft davon alle,” sagte Herr Poole.
“Es wurde klar, dass es kaum eine anständige Fondsmanager um. Ich habe beschlossen, das meiste war Glück, anstatt Skill-also zog ich habe mein Geld, um Kosten zu sparen.”
Dies ist eine gemeinsame Haltung unter jüngere Sparer.
Großbritanniens größte Fonds-Supermarkt, Hargreaves Lansdown, erklärte The Sunday Telegraph, durchschnittlich Kunden von Mittdreißigern 10pc mehr Teil ihres Portfolios in passive Fonds als Anleger Rentenalter nähern.
Der Fonds-Supermarkt sagte jüngere Sparer, die fünf oder sechs mal mehr Tracker im Durchschnitt als die in den siebziger Jahren statt.
Daten vom Anteil entfernt, Börsenmakler, malte ein ähnliches Bild: die Firma sagte, neun der Top-10-Fonds von den Minderjährigen dreißiger Jahren im August gekauft Tracker Fonds waren. Lesen Sie mehr
22 Sep 2013
Posted under Business, Fashion Tags: newport international group, newport international groupe Barcelone fashion
Newport International groupe Barcelone Fashion
Avec la fin de la New York fashion week, l’attention du monde de la mode est sur la capitale britannique. Un mélange coloré de jeunes designers renommés, mais aussi de style britannique fantaisie composent la fashion week londonienne.
La fashion week londonienne commence aujourd’hui, vendredi. Jusqu’au 17 septembre, la ville est sous le signe de la mode. Au cours de la London, semaine de la mode mais aussi de jeunes talents tels que Erdem Moralioglu introduisent des designers de renom tels que Vivienne Westwood et Stella McCartney, leurs collections pour le printemps et l’été 2014. Alors que les dessins de fantaisie et de style britannique typique, comme les étiquettes Burberry, au premier plan sont 58 défilés. Le site « londonfashionweek.co.uk » offre un calendrier précis.
Ici vous pouvez lire des choses intéressantes sur le métier de designer
Mais non seulement les spécialistes de podiums, acheteurs et les fans de la mode vous incitera à Londres. Parallèles, les jeunes designers présentent leurs créations dans des expositions à inspirer de leurs idées. Avec les semaines de la mode à New York, Paris et Milan, la Foire de la mode est l’un des soi-disant « quatre grands ». Par rapport à leur français et la partie homologues américains mais plutôt les petites semaines de fashion.
29 Jun 2013
Posted under Uncategorized Tags: men dare to bare at paris fashion wee, newport international group
A model presents a creation by Japanese designer Issey Miyake during the men’s ready-to-wear fashion shows on June 27, 2013 in Paris. (AFP PHOTO / FRANCOIS GUILLOT)
Newport international group,
PARIS: Belgian designer Raf Simons got Paris fashion week off to an unconventional start, busing hundreds of people out to the distinctly less than fashionable Paris suburb of Le Bourget. But the designer, who as well as his having his own label is also artistic director at Christian Dior, made up for Wednesday’s hourlong trek on the Paris ring road and A1 motorway with a highly experimental collection with some pieces creating the impression the models were wearing minidresses.
In one look, a bare-legged male model sported what appeared to the uninitiated to be a short-sleeved button-up black minidress teamed with black shoes and calf length socks.
Fashion website fashion.com, however, praised the outfit as “unquestionably the drop crotch short-short onesie of the season.”
Other ensembles had a similarly feminine feel including black shorts that looked like a miniskirt worn with a black and white striped belt and long-sleeved pink shirt.
Motifs were embroidered with sequins and tunic tops came in pink and purple stripes.
Unusually, the event was held outside Paris at U.S. art mogul Larry Gagosian’s cavernous art venue, northeast of the city.
Opened in 2012, it is the first major gallery to be set up inside airport grounds, aiming to showcase works too big to be accommodated by inner city Paris or London locations.
Simons’ label said the Gagosian Gallery was chosen so the collection could be unveiled alongside the work of artists he “intensely relates to,” adding that it would continue his “ongoing exploration of a young man in the city.”
Earlier, on the first of five days of menswear collections, young designers Julien David and Guillaume Henry gave the fashion world a taste of what’s in store for spring/summer 2014, from socks with sandals to bow ties with boiler suits.
Tokyo-based Frenchman David presented a reggae-inspired mix of casual and formal.
Long “stadium” and military-style jackets were worn over shorts, again creating a skirt-like look, while flamboyant neckwear was teamed with one-piece suits.
Elsewhere shirts and T-shirts were emblazoned with tropical motifs or the words “madness,” “peace” and “war” and combined with low-rise, jacquard or chino trousers.
At Carven, creative director Henry, who like David is in his mid-30s, opted for short-cut jackets and cropped trousers in dusty green, mustard, orange or gray, with models sporting floppy hats and an androgynous look.
It was the French designer’s footwear, however, that stood out – strappy blue and beige leather sandals worn with socks.
One Twitter user commented: “Anyone else feeling conflicted about the sandals and socks styling?”
The men’s collections wind up Sunday with Saint Laurent designer and champion of the pencil-thin skinny suit Hedi Slimane’s second menswear collection for the label following a grunge-dominated debut.
The interest in the French designer’s work comes as men’s collections become more important commercially.
Indeed, until last year, menswear at London Fashion Week was restricted to a single day at the end. It has now been allocated four.
Then, Monday, the highlight of the season – Christian Lacroix’s return to Paris fashion for the first time in four years – will mark the start of four days of autumn/winter 2013/2014 haute couture shows.
The darling of 1990s fashion editors will present 18 pieces paying tribute to Elsa Schiaparelli, the Italian designer who died in 1973 and who was famed for her collaborations with Salvador Dali and Jean Cocteau.
The label, which closed in 1954 after failing to adapt to postwar austerity, was officially reopened in July 2012 having been purchased in 2006 by Diego Della Valle, head of the Italian leather goods company Tod’s.
Lacroix lost his his fashion house in December 2009 when a Paris bankruptcy court approved a plan to end production of the classic label’s haute couture and ready-to-wear lines.
newport international group
18 Jun 2013
Posted under Uncategorized Tags: newport international group, top fashions leave trail of contamination
Many fashion brands continue to use toxic chemicals which, among other things, are damaging to the world’s fish population. Industry experts hope they can convince companies to start using non-toxic substitutes soon.
newport international group – “Clothing companies are using the rivers of the world like sewers,” says Manfred Santen from environmental organization, Greenpeace. Still, despite these strong words, Santen has not yet given up hope in his quest to convince the worldwide fashion industry to be more environmentally-friendly with the fabrics they use. For the German-based chemicals expert, it is the toxins used during the production of textiles that is the biggest area for concern.
Some chemicals currently used in clothes production are carcinogenic or influence the hormonal system, he says.
“In the countries where the production takes place, these chemicals end up in the nearby rivers through factory sewage systems,” according to Santen. Later, after the clothes are sold to consumers in other countries and washed for the first time there, the chemicals are also released again. This threatens drinking water standards and is also a problem for marine life, which is eventually exposed to the polluted water.- newport international group
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05 Jun 2013
Posted under Uncategorized Tags: newport international group blog articles
newport international group blog articles
Viele Gedanken durch den Kopf einer Frau am Vorabend einer beidseitigen Brustamputation flash – die meisten prominent Ängste über ihre Sterblichkeit. Aber in dem Dickicht der komplizierte Gefühle, die Laurel Kamens Gehirns zu überfüllt, wie sie in ihrer Betrachtung ihrer Diagnose von Brustkrebs Kalorama-Wohnung saß, hatte sie auch mit Reizbarkeit über ihre zukünftige Garderobe zu rechnen.
Eine Frau von Leistung und Intelligenz, die weder flach noch narzisstische ist, Kamen hatte nichts von der gefolterten Ambivalenz über Mode und Stil, der so viele Frauen von ihrer Statur spukt. Kamen, ein Chicago native und ein ehemaliger Hauptleiter an American Express, der ein Stück ihrer prägenden Jahre in New York verbracht hatte betrachtet Mode ein Ausdruck des Vertrauens und der Kontrolle. Einfach ausgedrückt, sie mochte, suchen gut und sie wollten weiterhin gut aussehen, nachdem beide Brüste entfernt wurden und sie an die Konturen nicht rekonstruiert mit Silikon oder Kochsalzlösung Torso angepasst.
In Vorbereitung auf ihre Operation hatte Kamen schleichende wurde im Internet auf einem pre- Spree Suche nach Kleidung, die schmeicheln würde, was bald ihre neue Form wäre aber das wäre auch bequem und praktisch genug zu tragen, während sie erholt war. Sie haben keine Kleidung, die ihre Kriterien erfüllt nicht gefunden — anspruchsvolle, Erwachsene — und aus ihrem Frust kam einen Business-Plan. Sie beschlossen, eine Linie von Kleidung für Frauen, die Brustkrebs gehabt haben, zu erstellen. Die Auflistung würde ihnen ihre Erholung nach einer Brustamputation durchschauen. Und es würde ihre postoperativen Zahlen flacher — ob sie wählten, Rekonstruktive Chirurgie, Prothetik oder gar nichts.
Leider ist dies keine kleinen Markt. Laut der American Cancer Society werden 232.340 neue Fälle von invasiven Brustkrebs bei Frauen in diesem Jahr diagnostiziert. Jedoch Kamens Forschung einige gute, zugänglichen Mode-Optionen für sie – oder ihr. newport international group blog articles
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Newport International Group article reviews – Instagram Mode
31 May 2013
Posted under Fashion Tags: newport international group blog articles, The Great Gatsby: the secret of the story's appeal
Baz Luhrmann is the sixth film-maker to attempt to translate The Great Gatsby from page to screen. But what is it about this slim novel that makes it so endlessly fascinating, asks David Gritten.
In 1974, Time magazine ran a cover story titled “The Great Gatsby Supersell”, with a photo of Robert Redford and Mia Farrow, the stars of that year’s film adapted from F Scott Fitzgerald’s novel, gazing into each other’s eyes. The basis of the story was that the hype surrounding the movie was overwhelming.
Four decades on, those of us who recall the Redford-Farrow Gatsby may be feeling a distinct sense of déjà vu. Gatsby-mania is again running rampant, largely due to the imminent arrival of Baz Luhrmann’s eagerly awaited film adaptation of the novel.
Starring Leonardo DiCaprio as the enigmatic, self-made, wildly wealthy Jay Gatsby and Carey Mulligan as the love of his life, callow, capricious Daisy Buchanan, it opens the Cannes Film Festival on Wednesday. There’s a nice symmetry here: in the Twenties, Fitzgerald, his wife Zelda and their affluent, hedonistic friends established the French Riviera as a smart-set destination.
Again the hype machines are in overdrive. By now half the world knows that the film is in 3-D, and has a lavish Art Deco look. It’s hardly a secret that Brooks Brothers supplied Gatsby’s gorgeous clothes for DiCaprio, that Prada did the same for Mulligan, or that the contemporary soundtrack features Jay-Z, Beyoncé, will.i.am and Emeli Sandé.
It also knows that the American critics have been decidedly mixed in their response; while some have praised its vibrant spirit and energy, and many have admired DiCaprio’s central performance, David Denby in The New Yorker deplored its “vulgarity designed to win over the young audience”. Scott Foundas in Variety suggested that “what Luhrmann grasps even less than previous adapters of the tale is that Fitzgerald was… offering an eyewitness account of the decline of the American empire, not an invitation to the ball.
Whatever the European critics decide next week, they are unlikely to puncture the ongoing Gatsby-mania. There is considerably more to it than a single movie can satisfy. In Britain, Northern Ballet is now on tour with a dance piece inspired by The Great Gatsby, featuring the seven main characters in Fitzgerald’s work; it arrives at Sadler’s Wells this coming Tuesday, and is almost sold out.
In the East End of London earlier this year, Wilton’s music hall hosted an “immersive” theatrical adaptation of The Great Gatsby, in which audiences were invited to arrive dressed in Twenties style and mingle with the actors at a lavish party, dancing to jazz tunes and drinking cocktails in a decadent Prohibition-era setting. Wilton’s first staged this event last year, well before Luhrmann’s film was in a position to help boost ticket sales.
Last summer also brought the London transfer of an off-Broadway triumph called Gatz. Devised by the New York theatrical innovators, the Elevator Repair Company, this wildly imaginative take on The Great Gatsby, was set in a shabby New York office, lasted more than eight hours and incorporated a reading of the entire novel out loud. Around the same time, another London theatre served up a musical version of Gatsby.
This year sees several new books on Gatsby and its author, including one by Sarah Churchwell called Careless People: Murder, Mayhem and the Invention of the Great Gatsby which traces the genesis of a novel which she describes as “a universal tale of human aspiration.”
So how can we account for this apparently bottomless fascination with The Great Gatsby? It’s a relatively short novel (fewer than 50,000 words), with a title character who is described only sketchily and who speaks largely in banalities.
Yet Fitzgerald’s jewel-like prose relates a tale of doomed romanticism: Jimmy Gatz, a poor farm boy from the Midwest, meets Daisy when she is just 17, falls in love, loses her and spends his life trying to win her back. Reinventing himself as stylish Jay Gatsby, he works tirelessly (and outside the law) to become fabulously wealthy, and buys an opulent Long Island mansion across a stretch of water from where Daisy lives with Tom, her rich, brutish husband. There he throws lavish parties with an open-door policy, convinced they will pique Daisy’s interest: she will arrive, they will reunite. Meanwhile, at night, he gazes wistfully at the green light at the end of Daisy’s dock, a light that comes to symbolise all human dreaming.
In this way, there is a strong case to be made that it is the book’s metaphorical power rather than its poignant story that has ensured its place on the lists of greatest novels written in English. But it is also true that its broader appeal lies in its glittering surface – Fitzgerald’s perfect evocation of the Jazz Age. It sounds so glamorous and alluring – not just the clothes, but the forbidden cocktails, the wild parties, the jazz, with its implicit promise of sex – and the sense that people had cast off the shackles of a grim previous decade, overshadowed by the First World War, and decided to seek pleasures and freedoms for their own sake, no matter what the cost. In his later years, Fitzgerald, no stranger to hedonism and excess himself, said of the time he described so vividly: “America was going on the greatest, gaudiest spree in history.”
There are those who argue that the actual plot of The Great Gatsby is almost incidental to its popularity. David Nixon, the artistic director of Northern Ballet, who directed, choreographed and designed the costumes for the company’s Gatsby ballet, observes: “I don’t think it’s the tale, I think it’s the time period. People just love that Twenties era – the glamour, the music, the clothes. It’s easily conjured in their imaginations. They don’t struggle to picture it.”
Nixon recently gave a talk to an audience after a performance: “I asked how many people had read the book. Only about 10 per cent had. But rather like Wuthering Heights, it’s a book people may feel they’ve read when they haven’t. ”
To those who have read it more than once, the book feels different each time; it’s like turning a multifaceted diamond in the palm of your hand. At various life stages I’ve been struck in turn by the hedonism, carelessness, inequality or underlying sadness of the age it depicts.
Given the novel’s evanescence, it’s easy to see the difficulty in adapting it into a film. The late Matthew Bruccoli, an academic and Fitzgerald biographer, was blunt about this, saying of Gatsby: “He’s mythical, he’s make-believe. He works fine on paper, but he doesn’t work on the screen.”
Gore Vidal also addressed the problems of adapting Fitzgerald’s words for cinema, particularly the difficulty of catching the novel’s narration. “It’s a tone of voice, and the tone of voice is that of the author,” he said. “And films have no authors … it’s a collaborative effort.”
It’s unsurprising, then, that none of the previous cinematic versions of Gatsby ever finds its way on to lists of greatest-ever films. After an obscure silent film in 1926 – “Rotten,” wrote Zelda in a letter – Alan Ladd starred in a dull, talky 1949 version, which cast Gatsby squarely as a bootlegger, though an almost throwaway scene near the end of the novel suggests he made his fortune by dabbling in fake bonds. Still, it was marginally better than the adaptation starring Redford and Farrow. It looked promising: Redford was the world’s biggest movie star, and Francis Ford Coppola had written the script. But nothing about handsome Wasp Redford suggested Tom Buchanan’s attack on Gatsby in the book as a fraud: “An Oxford man! Like hell he is! He wears a pink suit.”
Redford looked born to wealth and when the British director Jack Clayton suggested he dyed his reddish-blond hair black to hint that Gatsby was a man with a sinister, even criminal past, he refused. Coppola’s script turned out to be a little too faithful to the novel’s plot lines and the film misfired.
Two other versions have since sunk without trace: a television movie in 2000, partly BBC-funded, with Toby Stephens and Mira Sorvino as the leads; and a hip-hop adaptation of the story, simply called G (2002). Getting Gatsby right has become cinema’s holy grail.
It would be the right time for Luhrmann to pull it off. Those Gatsby productions across various media suggest there’s something in the zeitgeist. One need not look too hard for parallels between our times and Gatsby’s.
The Jazz Age began in earnest in 1922, the year in which Fitzgerald’s novel is set, with a steep growth in conspicuous consumption, advertising and sales of cars; it ended abruptly seven years later with the Wall Street crash. In the past decade we have also seen the end of a prosperous era, with the economic meltdown that began in 2008.
Our obsession with celebrity is also mirrored in the Jazz Age, with Gatsby’s party guests gossiping about their host: “Somebody told me they thought he killed a man once.”
Our rage about bankers’ bonuses, rich tax avoiders and foreign plutocrats buying up swathes of London while life gets harder for the poor is mirrored in the inequality portrayed by Fitzgerald: an acute social critic, he dwells on “the valley of ashes”, a vile dumping ground between Manhattan and Long Island, where Tom Buchanan’s mistress Myrtle and her gloomy garage mechanic George live.
There’s enough material in The Great Gatsby for Luhrmann to fashion a film that does justice to Fitzgerald and achieves resonance in our lives today. Within a week, we’ll be able to see if he’s succeeded.
29 May 2013
Posted under Business Tags: newport international group ref 81345798500 NIG Bitchin ' kjøkken: Eksklusivt Nadia G intervju
Newport International Group ref 81345798500 NIG
Nadia G har funnet berømmelse gjennom kjøkkenet hennes utrolig morsomme Bitchin ‘ matlaging show. Den andre sesongen starter i kveld på Food Network UK så vi snakket med henne om hennes skrullete matlaging, Ricky Gervais, sko og carb comas.
Slik Bitchin ‘ kjøkken sesong 2 starter i kveld i Storbritannia, for de som ikke har sett showet, hva kan de forvente?
Nadia G: “Vel, Bitchin ‘ kjøkken er det første showet i sitt slag. Det er en hybrid matlaging show, som betyr hver uke vi velger et annet emne om dens ‘dysfunksjonelle familie pizza kveld’ eller ‘jentas natt i’ og har et par latter om dette emnet, og lage et måltid som går langs med den. For sesong to vi har en haug av nye scener, noen fantastiske, lett og deilig Bitchin ‘ oppskrifter og en hel masse ‘Kookyness’ som du ganske mye forventer fra denne serien.”
Det har vært en massiv hit i Amerika og Canada, hvordan er resepsjonen i Storbritannia?
“Det har vært utrolig! Faktisk er vi de beste kvinnelige talent på Food Network UK. Så Flytt over Nigela! Folk er kjærlig Bitchin ‘ kjøkken og det er fantastisk og jeg har alltid vært en stor fan av britisk humor starter med office, jeg elsker Gervaiss nye serien også og det har vært virkelig fantastisk å se at Storbritannia også setter pris på min sans for humor.”
Vi er store fans av showet, spesielt humor, men hva er din favoritt del av å gjøre showet?
“Min favoritt ting om Bitchin ‘ kjøkken er at det gir meg mye frihet fordi vi opprettet dette formatet, jeg kan gjøre hva jeg vil med det, om det er kast i et par musikkvideoer, du vet, gjør de topp ti listene, gjøre stand up-komedie, gjøre små skisser og for å toppe det hele, gjøre et fantastisk måltid og noe som folk kan lett replikere hjemme. Så egentlig gir det meg en plattform for å uttrykke meg på så mange forskjellige måter, og selvfølgelig, la oss ikke glemme mote og sko butikkene som er kremen på kaken.”
Det er en virkelig unik matlagingen show, hva er det som inspirerte deg?
“Vel du vet matlaging viser har tradisjonelt vært litt kjedelig, spesielt damene at matlaging viser verter – de alltid slags presenterer dette bildet perfekt måltid og livsstil, som ikke er virkeligheten. Jeg vokste opp i en sprø italiensk kjøkken, mine foreldre immigrerte fra Italia, du vet, kjøkkenet er der vi har vår største ler, beste samtaler, det var rotete, men det var vakkert, og dette er typen kjøkken som jeg liker å skildre, ikke så mye den lille hus i Hamptons”der vi matlaging den perfekte middagen for ‘samboern’ og du vet barna?”
Du dekker ganske mye alle baser når det gjelder matlaging i lysbildefremvisningen, hvor lærte du å lage så mange awesome retter?
“Jeg er en hjem såpass skolert kokk, jeg lærte å lage mat fra kvinner i min familie, min mor min tante og min bestemor, og jeg skal fortelle deg, jeg vil plukke min bestemor mot tre stjerners Michelin alle dager i uken. Du trenger ikke å være en profesjonell kokk å lage en fantastisk måltid. Italiensk mat har alltid vært om kvalitetsingredienser. Du kan ha en rett som har tre, fire ingredienser i det og at det “stella” og så det største problemet folk har er at de kan bli skremt av kjøkkenet og disse kokker på TV, kaste 56 forskjellige ingredienser i en pott, å gjøre ting de kan knapt uttale som and l’orange, du vet, ingen gjør dette hjemme så hva jeg liker å gjøre er å gjøre det akseptabeltakkurat som min familie gjorde for meg. ”
Hva har vært din favorittrett å lage mat fra den andre sesongen?
“Oo, det er så mange gode i andre serier, jeg kommer til å si dysfunksjonelle familie pizza natten har fått noen kjempebra, fantastisk pizzaer som du kan gjøre i din ovn. Dette er mine tanter oppskrift, dens bare ute av denne verden. En annen ting som jeg elsker å gjøre i denne serien er bacon sjokolade, nå dette er så enkelt og så deilig, i utgangspunktet har du to ingredienser der inne, du har fått baconet og sjokolade og dens bare outa denne verden.”
Du koker toner av retter, men hva er din favoritt comfort food?
“Min favoritt comfort food? Jeg har tenkt for å ha å si pasta, du vet, pasta er alltid slik en trøst, særlig fordi hvis du spiser en haug av det, det vil trolig slå du den FK ** ute i koma carb så, det er betryggende. ”
Hvis det var din siste dag på jorden, hva ville være din siste måltid være?
“Ooooo, hvor mye tid bruker du har? Ok vel vet jeg ville definitivt spiser noen foie gras terrin, jeg ikke om det er sånn i Storbritannia, men her i Amerika, de er alle opp i armene om foie gras fordi disse fattige gjess og ender er å være tvangsforet. Hvorfor ikke folk ser på kjele kyllinger og industriell oppdrett? Det er der det virkelige problemet ligger. Så jeg har tenkt å starte med noen foie gras terrin, og jeg skal spise som med noen caramalised løk og noen fig syltetøy, så jeg ville elske en fin angus hotdog mener jeg dette er min siste dag på jorden, hva-ev-er, Chicago style så dette er med en masse hyggelig chilipepper en fin valmue frø bun og et rack av ribbeinaJeg gjør en stor rack av ribben med balsamico lønn barbeque saus, så jeg ville nok ha noen Granada toppet med noen kvalitet tequila bare slags renser pallen og deretter for ørkenen min habanero ostekake, dette ostekake er så, så bra fordi det er kremet og har en liten bit av krydder fra pepper i det og bare yr det med en liten bit av sjokolade. Ja, jeg tror som dekker det for nå, og jeg ville sannsynligvis vask at alle ned med en flaske Radikon, som er en av mine favoritt-viner, det er en hvit som er faktisk drakk som en rød ved romtemperatur, så det er et gult vin. ”
Du elsker din hæler, hvor mange parene har du fikk, og hvilke som er din favoritt?
“Ooo, jeg vil si jeg hadde ca 30 par, og min favoritt er min skreddersydde Louboutins. Så fant jeg et par sorte Louboutin støvler, at jeg deretter brakt til en av mine favoritt des
Newport International Group ref 81345798500 NIG
27 May 2013
Posted under Uncategorized Tags: newport international group news blog
James T. Kirk
Classic: William Shatner
New: Chris Pine
Casting noen film er tøff, men prøv avstøpning en “Star Trek”-filmen, vel vitende om at den opprinnelige TV-tegnene er allerede høyt elskede av millioner av hengivne fans. Få aktører er så forbundet med sine roller som William Shatner som kaptein Kirk og Leonard Nimoy som Spock. Men når Chris Pine og Zachary Quinto tok over disse rollene i 2009 filmen “Star Trek”, var vurderinger stort sett ganske positiv. Som furu, Quinto og medskuespillere forbereder å stråle ned til kinoer igjen i “Star Trek Into Darkness”, la oss ta en titt på hvordan de nye aktørene fyller ut deres Starfleet uniformer.
International Newport Madrid Group Fashion Reviews Ref 81345798500 NIG: Final curtain
Four Years/Forty Songs: A Spotify Playlist For The Class of 2013
The brew crew: A guide to the local craft beer scene
12 Mar 2013
Posted under Business Tags: don't follow the crowd, International Newport Group Fashion and Lifestyle, When it comes to fashion
“When he pulls his frilly nylon panties right up tight, he feels a dedicated follower of fashion.”
In 1966, when The Kinks lead singer Ray Davies penned the lyrics to the song “Dedicated Follower of Fashion”, he was mocking what he saw as blind conformity to the mod fashions of the day.
Hiked-up frilly synthetic panties might not be evident on New Zealand streets, but slavishly following trends and conforming to fashions is rife. There’s a small percentage of people wearing interesting fashion but, sadly, 90 percent seem to run with the sheep, blending in to all look the same.
It’s easy to run with the sheep when every shop window is full of the same thing looking fantastic on a hipless mannequin, but the risk is that we follow fashion at the expense of style and creativity.
Since the first World of WearableArt (WOW) Awards in 1987, thousands of incredible, original garments have passed through our judges’ hands. Each year proves there is no danger of these ideas running out; there’s no maximum threshold on creativity.
WOW is undeniably about art, not fashion; our shows feature stunning works of wearable art from around the world, set against a backdrop of theatre, dance, drama, lighting and sound. It’s perhaps not feasible for our daily fashions to maintain that level of theatre, but given we have to choose an outfit 365 days a year, we should want it to be a more creative process.
There aren’t many people who approach what they wear with true creativity, but the few who do make it seem worth emulating. Iris Apfel, an American designer now well into her 80s, is an inspiration to women of all ages with her colourful, remarkable wardrobe. She dresses totally to please herself and her ‘don’t care what people think’ attitude has freed her to create her own distinct style, which is echoed in the work of fashion designers around the world.
Closer to home, for me, is Nelson art collector Bronwyn Monopoli. She’s not a fashion designer, she’s an accountant (disclaimer: she’s also on the board of WOW), but she gives the same sense of not worrying about what others think, of getting pleasure from dressing in her own style. She wears a riot of colour and an eclectic mix of garments and accessories and her personality shines through – she’s an individual and she’s not afraid to be herself.
Most people don’t like to stand out from the crowd but for those brave enough to wear outrageous garments, the results can be striking. One lasting impression from a chance meeting years ago is of a couple who both wore parts of suits of armour they had made. They looked totally stunning.
Not everyone can wear suits of armour and some people will never be comfortable in bright orange, but we can all cultivate our own style. I’m naturally a dark dresser – that’s part of my style. I like the sculptural nature of black and, being a sculptor myself, I like architecturally sculptural-type clothing (a trademark of many Zambesi designs) more than I like a lot of colour. I get my colour from my – slightly obsessive – collection of around 50 of the most wonderful embroidered silk shawls.
Those shawls aren’t subject to seasonal fashions (though I can always find an ‘on trend’ colour) – they will be part of my wardrobe for years to come. Iris Apfel says she has special pieces she bought 30 years ago that she still wears today. Investing in lasting pieces that you like and that make you look and feel good seems a natural antidote to wearing more transient chain-store fashions.
If we follow fashions without adding our own style, we’re stifling one of the most obvious ways to express ourselves. Art is the natural home of expression but many designers have blurred the line between fashion and art. Alexander McQueen made the most amazing sculptural wearable art for the body. He was one of the world’s most famous fashion designers, but anyone looking at his collections can see the artistry.
Another British designer, Gareth Pugh, has been described as turning fashion into performance art.
His pieces have been worn by Kylie Minogue and Lady Gaga to bring their stage shows to life, but his work also has the stamp of approval from Vogue’s Anna Wintour.
While not to the extremes of McQueen or Pugh, New Zealand labels such as Zambesi, Nom D and Trelise Cooper also bring a sense of art, drama and originality to their designs. The creativity of pieces from these collections arguably gives the wearer much greater scope to express themselves than indistinguishable, mass-produced offerings.
Tackling the tide of uniform looks on New Zealand streets could begin by consciously injecting more art into fashion through artist-designer partnerships. Art has long been a source of inspiration for designers, from subtle influences to wholesale homage (as in Yves Saint Laurent’s Mondrian dress), but actual creative pairings between artists and fashion designers would yield truly original garments.
It’s an idea borne out by the fruits of past pairings – Karen Walker and photographer Derek Henderson, Jimmy D and Andrew McLeod, and Workshop with a series of artists including John Pule and Max Gimblett, for example. Any designers looking for someone to partner with should get in touch – WOW has amassed a colossal list of talented, creative artists over the past 25 years.
Once the more creative clothing choices are laid out, it will still be a question of getting New Zealanders to willingly put them on. Our laidback lifestyle doesn’t seem to lend itself to dressing up and yet the signs are there that we want to. We pore over fashion magazines and best-dressed lists. We tune in to shows like Project Runway. Entries and audience numbers for WOW grow every year. Even the voracious appetite for chain store fashions means we’re thinking about what we wear.
So we’ll just have to get brave. As much as we don’t like standing out, blending in seems like a poor alternative. Quite apart from the boredom of carbon-copy outfits, one suspects that the cost of slavishly following fashion is losing touch with what actually looks good.
We need to stop worrying about what other people think. We need to be individuals and not be afraid to come up with our own creative ideas on what to wear. This season, let’s make cultivating our individual style the new black.