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Displaying items by tag: Riccardo Tisci
ChicGeek Comment Fashion Weeks: September's Issues
September is fashion's month. Once bulging fashion magazine issues - remember those?! - the start of fashion's most important selling season, and, of course, fashion weeks makes September the most important month of the year for the, estimated, global $1.5 trillion fashion industry.
Above - Louis Vuitton's COVID LV Shield hitting stores in October
Fashion week is the canary in the mine and the biggest to suffer from the pandemic. Events which combine travel and vast numbers of people aren't going to work right now, and, therefore, puts the traditional idea of fashion weeks into a strange predicament. While many fashion councils are trying to push 'business as usual', it is far from it.
New York has started, but few would have realised. Designers sitting out New York Fashion Week, this season, include Marc Jacobs - its biggest draw - plus Ralph Lauren, The Row, Pyer Moss, Michael Kors, Telfar, Oscar de la Renta and Brandon Maxwell. Those still taking part can have a socially distanced crowd of just 30 people, while, before, traditional shows ranged into the multiple of 100s. London's fashion week runs from 17th September - Tuesday 22nd September 2020 with the same strict controls.
Fashion weeks is the fashion business in an event and drives focus and attention from outside its bubble to retail and the idea of purchasing something 'new' to consumers. They are also extremely old fashioned and had less and less relevance way before COVID 19.
While the majority of fashion shows are pointless, a few images, brands, designers will emerge that stick and steer the fashion industry into that direction for the next six months. It's also a coming together of people and a temperature test of the industry. But, they have become bloated and drawn out exercises in wasting time and money when fashion can no longer afford either. Limos driving groups of pampered people all over town for 10 mins feels dated and indulgent.
The major of women's fashion weeks - New York, London, Milan & Paris - managed to scrape through COVID in February and March at the beginning of the year. This will be the first test of how major fashion weeks will run with a global pandemic hanging over it. Some brands, like Louis Vuitton and YSL, have done separate shows over the past few months, but nothing like previous years.
Left - LFW's Digital Schedule home page
This season, the London Fashion Week the schedule has been split into three sections and includes brands showing digitally, physically or both - 'phygital'. The gender neutral showcase will run from Thursday 17th to Tuesday 22nd September 2020 and include both digital activations on www.londonfashionweek.co.uk and physical events, adhering to government guidelines on social distancing. The schedule will host over 80 designers including 40 womenswear, 15 menswear, 20 menswear & womenswear and 5 accessories brands. There will be a total of 50 digital only activations, 21 physical and digital, 7 physical only and 3 designers who will activate through a physical evening event only.
The LFW digital platform, launched in June for the men's calendar, will continue to serve as the Official Digital Hub and will be freely accessible to everyone, industry professionals and global fashion consumers alike. The British Fashion Council says. "LFW is one of the few international events to still be going ahead in London, proving the industry's resilience, creativity, and innovation in difficult times. Now more than ever, the BFC acknowledges the necessity to look at the future of LFW and the opportunity to drive change, collaborate and innovate in ways that will establish long-term benefits, develop new sustainable business models and boost the industry's economic and social power. The British Fashion Industry faces enormous challenges due to the impact of COVID-19 and the BFC keeps on calling on Government to support a sector which in 2019 contributed £35 billion to the UK economy and employs over 890,000 people (Oxford Economics, 2020)."
Having a traditional 'schedule' for barely 28 shows seems old fashioned. As fashion blogger @bryanboy tweeted to his 502.4K Twitter followers regarding NYFW, this week, "It's really annoying how designers still get an individual time slot for what essentially is a release for a pre-taped short film. No one cares!! Just do a date and release it on the morning or afternoon of that day and it doesn't matter if it overlaps with other designers".
Right - Burberry Horseferry check face mask coming soon
It's the equivalent of waiting in all day for an e-mail. Nobody has time for this, especially when it feels like most of this stuff won't be ordered or bought anyway. Maybe just have a single release date, hub for content and publicise that?
The most anticipated London show is Burberry's. Rumoured to be Riccardo Tisci's last, it will be held outdoors. Burberry will use Twitch's 'Squad Stream' function, which allows users to view multiple perspectives of the show at a time and chat with fellow viewers using the service's chat window. It will be live-streamed without an audience.
LFW designer Emilio De La Morena is presenting an exhibition rather than a traditional catwalk show. Called 'Troubles SS'21', it is an assimilation of fashion, film, and sculpture into a "consolidation of the designers professional and personal journey in conjunction to the global pandemic".
Fashion's optimistic hope has been that this pandemic will blow over and we'll get back to the normal fashion week circus asap. Fashion weeks work in the future and were hoping that by the time the 2021 collections come out this will all feel like a bad dream, but, it's also realistic to think otherwise. Fashion is fickle, when the pandemic is over any product will instantly feel dated and obsolete. It is difficult to know how much time and money to invest in it.
Adar Poonawalla, CEO of the world's largest vaccine manufacturer, saying that not enough COVID-19 vaccines will be available to inoculate the global population until at least the end of 2024. According to Poonawalla, pharmaceutical companies are not increasing production capacity quickly enough to vaccinate everyone faster. "It's going to take four to five years until everyone gets the vaccine on this planet," Adar Poonawalla, chief executive of the Serum Institute of India, said.
Some brands are incorporating PPE protection into their collections. Louis Vuitton has designed a coronavirus face shield which can also be flipped up and used as a sun visor. The LV Shield will be available to purchase from 30th October 2020 in selected Louis Vuitton stores worldwide for around £700. Burberry face masks are coming soon on the brand's website, strange they haven't released these faster, and are donating 20% from the selling price of each face mask to the Burberry Foundation COVID-19 Community Fund operated by The Burberry Foundation to support communities impacted by the pandemic globally.
Fashion weeks as an idea is still important, it just needs to reinvent itself for life post-pandemic. Mega brands can still blow millions on a pointless extravaganza, but for smaller designers and brands it can be their slim opportunity to be scouted and brought to attention. It also reaffirms the importance of seeing, feeling and experiencing fashion, but with many influencers shunning fashion week and with the amount of traditional magazine press dwindling, who is it for exactly?
We do need to see. Digital is all a bit unreal. We may as well be dressing avatars. You also have a better memory of items in real, it's the equivalent of a school trip, they're fully rounded and you can picture yourself wearing it. But, is it that worth £100,000s to brands? Fashion week is a preview and is also important for brands to know what to make and order. We've tried 'See now, buy now' and now's the time for digital presentations. Is the future for fashion weeks somewhere in-between? Or does that just take us back to square one?!
Buy TheChicGeek's new book FashionWankers - HERE
Published in Comment
Adar Poonawalla
Serum Institute of India
LV Shield
See Now Buy Now
The Chic Geek Style Awards 2019
As we end the decade, it's time to look back at the highs (& low) of its final year and acknowledge those doing great things in men's grooming and fashion. Hype is still just as important and the mega brands just keep getting bigger, but the great thing about fashion, and the reason I love it, is good ideas can come from anywhere.
Here's to 2020 being the year of the Fashion Wanker - BUY TheChicGeek's new book - FASHIONWANKERS - HERE and owning it. Remember, it takes one to know one!
Best Label of 2019 Bottega Veneta
Just as Gucci starts to slow, Kering has Bottega Veneta creating all the hype thanks to it's new British designer Daniel Lee. A graduate of Central Saint Martins College of Art, he has worked at Maison Margiela, Balenciaga and Donna Karan. Prior to joining Bottega Veneta, Lee was Director of Ready-to-Wear Design at Céline and he's created a strict yet sexy reinterpretation of the Bottega Veneta signatures such as their basket weave leather.
It cools yet strict, minimal yet interesting and its influence is now everywhere.
Left - Bottega Veneta SS20
Best New Label of 2019 Carne Bollente
Carne Bollente is an independent Paris-based brand established in 2014 by Hijiri Endo,
Théodore Famery and Agoston Palinko. They focus on the relationship between sex and positivity, to allow people to embrace their own sexuality and kinks through their clothes. By pairing straightforward streetwear staples with scenic sex illustrations, which manage to cover a wide scope of sexual taboos without verging on the problematic, Carne Bollente inject irreverence and provocation into no-frills basics.
Left - Carne Bollente - Bimbo Unchained 2 Blue Denim Jacket - €230
Best High Street of 2019 Jaded London
The High-Street became something of a dirty word this year. It's tough out there and menswear has been hit harder than most. While some brands ditched menswear entirely, others have taken the plunge and really gone for it.
Fun and affordable, Jaded London gets on all the big trends without the price tags. The made for Insta clothes are by brother and sister team, Grant and Jade Goulden, who launched in 2013. Dior Saddle bag for £40, anyone?
Best Grooming Product 2019 GilletteLabs
This year we were introduced to the first heated razor and its good. Part of the new 'GilletteLabs' stable, the stainless steel warming bar has adjustable temperature levels and a wireless magnetic charging dock to make this a revolutionary shaving sensation. Much higher than the usual Gillette price tag, it will be interesting to see how popular this has been.
Left - GilletteLabs - Heated Razor - £199
Best Grooming Brand 2019 Baxter of California
It's getting increasing difficult to stand out in the crowded men's grooming market and with everybody jumping on the unisex band wagon anyway, where does it leave it? Baxter of California now has the expertise of L'Oréal behind it and is a reliable mid-priced grooming brand. Based on its Californian surf heritage since 1965, it was one of the first in men's grooming. For an everyday easy product I swear by the Oil Free Moisturiser.
Below - Baxter of California - Oil Free Moisturiser - £24
Fragrance of the Year 2019 - Ostens Impression Patchouli Heart No.1
Ostens was a new fragrance brand this year and completely won me over to patchouli.
This scent by Domitille Michalon-Bertier includes rosemary, lavandin, lavender absolute, immortelle absolute LMR, ciste labdanum absolute and is gorgeous. Easily my favourite of the year.
Left - Ostens Impression Patchouli Heart IFF-LMR No. 1 - 50ml - £85
Most Stylish Programme 2019 - Chernobyl
Possibly not the most stylish, but definitely the most memorable and impactful. Chernobyl took us on a jaw-dropping adventure in 1980s Ukraine charting the meltdown of the nuclear reactor. The wardrobe of drab Soviet suiting and military garments seemed to bookend the current trend of vintage dress down.
Best Menswear Collaboration 2019 - Moncler Genius
Moncler did the clever thing for our short attention span times and commissioned a new designer to do a new collection every few weeks and keep dropping throughout the season. Designers have included Craig Green, Simone Rocha, Pierpaolo Piccioli of Valentino, Richard Quinn, 1017 Alyx 9SM and Palm Angels, along with two of the brand's own labels, 1952 and Grenoble.
It has kept it fresh, reliable and is producing some of the best outerwear to suit every fashion wanker's taste.
Left - Craig Green Moncler Genius
Special ChicGeek Award 2019 - Drake's
Charting its own preppy course, Drake's has stealthy positioned itself as the bastion of contemporary classic British menswear. The new store on Savile Row shows they're continued success and with Michael Hill's tasteful eye over everything, it's the most colourful quality menswear you're going to find anywhere. Expanded far beyond its original silk ties and accessorises, it's now a full men's outfitters and the type of British label the Japanese and Koreans go crazy for.
Right - Drake's new Savile Row store
Most Stylish Man of 2019 Timothée Chalamet
A best dressed person is somebody you can't wait to see what they put on next. Anybody who leaves you guessing and then smashing it out of the park is always the most interesting and therefore crowned best dressed.
This year I recognise Timothée Chalamet who famously said he doesn't have a stylist. "I don't want to work with a stylist or anything. I've been following designers like Raf, Haider Ackermann, Hedi Slimane—these guys are like rock stars. They're artists." he told Frank Ocean in a Q&A for VMan magazine in 2018.
Hi skinny frame and romantic locks have made him a youthful menswear pin-up who isn't afraid to try something new.
Turkey of 2019 - Burberry
I just don't get it. Riccardo Tisci has stripped all the personality out of Burberry. Rather than building on Christopher Bailey's legacy and momentum, he seems intent on doing the opposite. Prices have gone up and the original ideas have gone down. It all just looks like it's trying too hard and doesn't have any identity.
It's seems intent on ignoring the hero product of the trench and opting for gimmicks. If the Chinese stop buying, they're going to need to change things quickly. It will be interesting to see whether sales are sustained at a label that has lost its kudos amongst the fashion crowd.
Burberry - Large Logo and Kingdom Detail Nevis Backpack - £1090
The Chic Geek Awards
GilletteLabs
Thursday, 16 May 2019 14:33
ChicGeek Comment New Burberry Working?
Arguably the finest looking retail street in London, Regent Street's sweeping thoroughfare is home to the world's largest Burberry store. The former theatre and cinema is a huge, cavernous stage for the only domestic luxury mega-brand the UK has. What you'll notice recently, as you walk past, there is never anybody in it. Worryingly, the store always looks empty of customers, and, as is often the case in fashion, you don't need to see financials or figures to see whether something is instinctively selling or not.
After two distinctly underwhelming, but vast collections under new Creative Director Riccardo Tisci, the first results are in and it doesn't bode well. Sales are flat in a market that has seen stellar performances from Kering and LVMH. Burberry's sales grew by just 2% to £2.7B over the year to March 2019 with an adjusted operating profit of £438m. According to Bain & Company, the luxury goods and experiences market grew by 5% in 2018 and to put this into further context, LVMH was up 10% and Kering was up an incredible 26.3% over the same period.
Left - Gigi Hadid in Burberry's latest campaign. The collection could easily be confused with Fendi
After Burberry's huge growth under previous Creative Director, Christopher Bailey, the brand's new strategy is to take the brand more upmarket and completely change the feeling and identity of the brand. Marco Gobbetti, Chief Executive Officer, who hired Tisci, puts a positive spin on it in the brand's latest financial release, "We made excellent progress in the first year of our plan to transform Burberry, while at the same time delivering financial performance in line with expectations. Riccardo Tisci's first collections arrived in stores at the end of February and the initial reaction from customers is very encouraging. The implementation of our plan is on track, we are energised by the early results and we confirm our outlook for FY 2020."
The two stores Burberry had in Knightsbridge have closed and are now a trashy souvenir shop and while they said they are taking a new store above the Tube station, it is a long way off from opening with only the facade currently standing.
The only hope is that they are still selling in China. There was a report in Jing Daily, the leading digital publication on luxury consumer trends in China, in April, that said Burberry had shut down four retail stores in Shanghai since August 2018, with the latest closure occurring on March 31, when the brand ceased the operation of its flagship store at the city's L'Avenue, which it opened in 2013. The article said "the company had been laying off Chinese staff in preparation for the closure until only seven of them remained". The publication also said the permanent closure of the L'Avenue store represented a "landmark event" in Burberry's perceived exit from Shanghai.
According to the results, in Asia, it's seen low single digit growth in Asia Pacific, Korea and China, stable in Hong Kong and declining in Japan. Which is worrying. Burberry is also cutting costs to shore up the balance sheet.
The company is pinning all its hopes on the new Tisci product. The statement said "The first deliveries of Riccardo Tisci's products arrived in stores at the end of February. Although it is currently a small portion of our offer, the initial reaction from customers has been very positive with sales of the new collections delivering strong double-digit percentage growth." It's not clear what the growth is in comparison to.
The company says it is currently on a multi-year journey to transform and reposition Burberry. "FY 2019 and FY 2020 are foundational years where we will re-energise the brand, rationalise and invest in our distribution and manage through the creative transition, after which we will accelerate and grow."
In retail, they say they are focused on refreshing flagship stores, with over 80 retail doors expected to be "aligned" by the end of FY 2020. "To ensure we are focusing our resources on the most impactful locations, we will also be closing 38 smaller, non-strategic retail stores in secondary locations. In wholesale, we stepped up our wholesale rationalisation in the second half of the year, phasing out non-luxury doors." says the financial statement. In total, Burberry closed a net 18 stores (seven mainline, nine concessions and two outlets) in the year and new openings included the relocation and expansion of the Dubai flagship and openings in Shin Kong Place, Xian (China). Fourteen retail stores had been aligned to the new aesthetic by the end of the period.
Tisci's first collection 'Kingdom' hit stores in February, but it didn't create the much needed desire within the fashion community which ripples out to consumers. In that period, we've seen Givenchy fly, Gucci continue to power on and Bottega Veneta get a new designer and start to make waves. Unless you make positive gains from the energy around a new star creative designer, the energy quickly falls flat and the new Burberry seems to have been striped of identity during its rebrand.
Riccardo Tisci's and Christoper Bailey's Burberrys were always going to be very different. One was incredibly successful and turned the company into a global, billion dollar player, the other, was a fresh start, hoping to equal the growth and appeal of its predecessor but with a new, more street-like aesthetic while trying to elevate the brand.
Burberry feels like a brand going into reverse and unless new collections start to create some form of excitement people won't be willing to pay more. The momentum it has built up over the past decade will disappear and it will be a tough job to get that back. This feels like a brand to 'sell' before the evidence of the failure of this new strategy becomes even clearer.
2018 The Year of the "ReBland"
At the end of a tumultuous year for traditional retail, and at the start of another, which doesn't appear to offer much respite, there's been a distinct trend in rebranding for both luxury and high-street brands. While you'd expect them to want to stand out, it seems as though they all want to blend into one another. This homogenisation is a case of an expensive "reblanding" exercise. Rebranding means creating a different identity for a brand, from its competitors, in the market, which, in fashion, is even more important especially when you're trying to flog luxury goods and the idea of difference and individuality. This feels like the opposite.
The recent rebland list is long: Belstaff, Celine, Calvin Klein, John Lewis, Burberry, Berluti and Balmain have all gone for simple and bolded logos without any of the details and distinct serifs. Playing it safe, what these new logos and fonts say is a lack of confidence and often change for change's sake.
Left - The recent logo "reblands"
In August, Burberry unveiled its new logo. Replacing the Burberry Equestrian Knight logo with its bespoke Bodoni font, which had been used by the clothing company since 1901, the new logo is the work of celebrated British graphic designer, Peter Saville. It's also worth noting he rebranded Calvin Klein with a similar font when Raf Simons took over and wanted to refresh.
"The new logotype is a complete step-change, an identity that taps into the heritage of the company in a way that suggests the twenty-first-century cultural coordinates of what Burberry could be," Saville exclusively told Dezeen. Somewhat cryptic and full of marketing speak, he describes what he and Riccardo Tisci, the new Burberry Creative Director, settled on as "modern utility," adding, "It looks like it's been there forever, but it's still contemporary."
Right - Hedi's masterstroke?!
Tisci said on Instagram 'Peter is one of our generation's greatest design geniuses. I'm so happy to have collaborated together to reimagine the new visual language for the house.'
Burberry are in the throes of changing everything way before the new Creative Director's impact has been proven. As his first collection hits stores to a rather muted response by the fashion press, it'll be interesting to see how it sells, especially the items with this new logo on.
Seb Law, Fashion Copywriter & Journalist, says, "I really hate that they've added' ENGLAND' to the Burberry logo after London. As if it's London, Texas or something."
It "Seems like an attempt to look 'international' and more premium, but also it's now becoming an established way of a new designer starting at a different house to mark the start of their chapter. Does the general consumer care about this, or is it dive behaviour? Also rebrands cause plenty of chatter in fashion circles and build publicity – see Hedi's previous rebrand of SLP. All press is good press, apparently." says Law.
Hedi Slimane is a designer who likes to put his mark onto a brand and in September it was announced that the French house, Celine would be, controversially, losing its accent. Law and others have been defacing the brand's posters by returning the accent to the first e.
"For me, it's a matter of good use of language. As a copywriter and journalist (with a degree in French), diacritics aren't just a pretty typographic tool to be played around with at the will of a designer, they're an integral part of the word." says Law. "'Celine' and 'Céline' are different words, pronounced differently ('sell-een' and 'say-lean', respectively). he says.
"It's a continuation of the cult of personality over brand, in both cases. Causing a splash, in whatever way possible, seems to be the aim of the game. With Burberry, I'm disappointed that the logo doesn't have a more uniquely British feeling, which the old one did IMO – I do love the interlocking TB print though." says Law. "With Céline, it's a classic case of Hedi doing whatever he wants. Brands should be aiming to exercise their unique personalities; this uniqueness is what attracts customers and maintains a brand's personality. Homogenisation might attract sales, at least initially, and while change is obviously necessary, and often good, these two rebrand exercises feel like they're a bit half-arsed. They've succeeded at building publicity, but is that what a logo redesign should do?" he says.
Left - The new logos are all very similar
On the high-street, John Lewis, in September, rebranded as John Lewis & Partners at a reported cost of £10m. Its first rebrand in 18 years and inspired by the company's 1960s "diamond pattern" motif, John Lewis managed to not only complicate its name but also lose its trademark dark green. Opting for safe black, it was yet another example of this reblanding trend.
In an age when these brands should really be trying to expressive confidence in themselves, these boring logos show a striving for safety and an anti-criticism blandness. It's hard to be critical and negative about something so simple, yet they aren't memorable or standing out. These aren't utility companies. Fashion's current love of the sans-serif is definitely missing something.
Seb Law
Reblanding
ChicGeek Comment Handbags At Brawn?
It could be part of the new push for a genderless society or simply the boundaries being widened for what is, or feels, acceptable for men to wear or carry, but it feels right and looks right for men to carry handbags, right now. This isn't about making a statement or being provocative, it's about design, rather than gender and size, that is dictating what a stylish man carries.
Left - The Dior Saddle bag reborn on Kim Jones' first catwalk for Dior Homme
There are certain styles that are simply great pieces of design or are fashion classics and look just as good on a man's shoulder as on a woman's. This isn't about 'feminising' men, it's just something of beauty that is practical in carrying what needs to be carried. Enough said.
What started with Loewe's ultra-chic 'Puzzle' bag has ballooned to include many other classic women's styles. It was the reintroduction of the Dior 'Saddle' bag on Kim Jones' SS19 catwalk, at his new gig at Dior Homme, in Paris in June, that cemented this new feeling. The #DiorSaddle hashtag featured male influencers reintroducing this style designed by the former Dior Creative Director, John Galliano.
Luke Ross, blogger at Fashion Samaritan, says, "I noticed a real change around 2012 when Hedi Slimanne debuted his first Saint Laurent collection that featured his signature slim cuts that really made pockets obsolete.
"Guys wanted to wear these skinny silhouettes, but the garments just didn't have sufficient pockets" he says. "You couldn't carry a wallet, keys, phone etc in them as it ruined the lines and for the first time we started to see men carrying bags with them that weren't just backpacks."
Right - Spanish influencer, Prince Pelayo
We have so much more to carry today: wallet, phone, keys, charger, water bottle, notebook, that unless you have a coat with huge pockets, a bag is an indispensable accessory for men. Men want the elegance a bag can give their total look, rather than numerous bulging pockets which can make you look dishevelled and untidy.
Alvin Cher of Bagaholicboy, the dedicated blog for bags, fashion and luxury based in Singapore, says, "I think it was just a matter of time before men got more and more confident and realised they were not restricted to just bags made for them. And if the ladies can dip into what was offered for the guys, the guys can do the same too.
"Boys actually loved the Boy Chanel when it first came out. And started buying. Then slowly, but surely, more and more brands came in." he says. "Remember Tisci's Givenchy when they had the Pandora? That was a hit too. Even Mulberry's Alexa was deemed 'boyish' enough by some guys to use. After that the gates opened, Dior did it, so did Gucci, Loewe. Even Celine has fans amongst the men, remember the Cabas that everyone wanted?" says Cher.
"I think everyone played a part by releasing a piece that helped the evolution - Ghesquiére released those 'Arena' leather document cases at Balenciaga that every guy in fashion had and they kind of trickled down as more and more people were carrying ipads and laptops so they could be justified as practical even if they weren't for the everyday man." says Ross. "For me, Loewe really moved things along by making it cool to have a bag that was a replica of a female bag with the Puzzle. It's large enough to look like a duffle bag, but then also can be small enough to look like a camera bag."
This new trend has been pioneered by men's celebrities, bloggers, influencers and street style images, all making the look believable and cool: men seeing other men carrying these types of bags, making it feel contemporary and fresh.
Navaz Batliwalla, founder of disneyrollergirl.net and author of The New Garconne: How to be a Modern Gentlewoman, and champion of androgyny in womenswear says, "With the influence of streetwear on men's luxury, men's style icons like A$AP Rocky and any Korean boy band member you care to mention, have long embraced their fashion-forward side, so increasingly, the idea of carrying a bag that's more exciting than a briefcase or a Uniqlo backpack is no biggie." she says. "Plus, the fact is that everyone is simply carrying more stuff. Why let your outfit down with a sad generic gym bag, when you can have something that's as considered and design conscious as the rest of your outfit?"
Left - Luke Ross, Blogger, Fashion Samaritan
The term 'manbag' was from the age of the 'Metrosexual' and feels just as dated. Who can forget that episode of Friends when Joey becomes too attached to his new shoulder bag, and the ribbing he took from his friends. Looking back, it was huge.
"I think the rise of the reusable tote also fuelled this fire as it became normal for a guy to carry a tote without it looking like a 'manbag'." says Ross.
Men don't need the labels anymore: manbag, mutch - male clutch - or whatever else adds a masculine moniker to a name. I think brands will start to offer more gender neutral shopping areas and put more styles into the men's shopping areas and advertsiing. This is a market growing into another and actually the true meaning of 'unisex'.
So, what should us guys be looking for?
"I'm all for a guy carrying a bag made for ladies, but it still boils down to my proportion ratio. You have to try it on and see if it looks correct visually." says Cher. "I think the time has gone when it comes to specifying which bag suits which gender. More and more brands are coming out with versions that look exactly the same for both guys and girls, so it is all about trying them on, seeing what works and having fun. It is a bag after all at the end of the day, we don't have to be so so serious about it." says Cher.
Right - Blogger - The Modman with the Loewe Puzzle bag
"I think it's about being authentic and genuine to your attire and aesthetic." says Ross "Don't do a tailored suit and then wear some flimsy nylon, touristy looking money bag." he says. "Lastly, buy the bag for what you want it to do not the label. I've bought bags in the past that I wanted because they were cool, but they actually couldn't take that much weight in them before the leather started to warp leaving them at the back of my closet and mind."
The opinion formers in menswear have been carry women's styles of bags for a while now, but with the new Dior grey Saddle bag set to hit stores in February, I think we'll see a huge expansion of men carrying styles that were traditionally seen as women's.
"Men have evolved, which is what fashion is all about anyway." says Cher.
Male handbags were a major trend on the Milan AW18 catwalks - See more here
Puzzle Bag
Bagaholicboy
Alvin Cher
Navaz Batliwalla
Fashion Samaritan
Manbags
The Modman
Men's Accessorises
ChicGeek Comment Burberry's Reboot The Verdict
Burberry has opted to put all its checked eggs into Riccardo Tisci's basket. Before a single collection, except for a couple of teaser T-shirts, they've changed the logo - 2018 is the year of the bland, officially - found an old monogram in the archive - plastered London (& the world) with it - and really committed to this creative director before a single industry or customer reaction.
Unlike Gucci, who rushed out a quick collection with Michele, and tested the water, this has had a six month build up. Need I remind you what happened at Roberto Cavalli or Brioni when they changed everything for a new creative director.
Left - Burberry's new monogram from the archive
Following the departure of Christopher Bailey - more here - whose rainbow swan song ended an era when Burberry was a fashion leader. The winds of fashion changed, Burberry was no longer as relevant and it's been playing catch up recently.
Control, alt, trenchcoat?! The new Chief Executive, Marco Gobbetti, previously at an accented Céline, inserted Tisci, whom he worked with at Givenchy. and proclaims to want to 'elevate' the brand and take it away from 'accessible' luxury. I'm not sure how accessible the current £1500 trench coats are, btw?
The stock market likes the idea - the share price is up 20% so far this year - and is salivating at the higher prices and bigger profits these more expensive items should generate. If only fashion was that simple.
Cut to Vauxhall, and the first show from Tisci's new 'B Series' Burberry. You can shop his first pieces now – available for 24 hours, only on Instagram.
Right - New Burberry projected onto Global Harbor, Shanghai
First impressions is, it's big - 133 looks (crazy) - but doesn't have a clear viewpoint. I would have done a smaller collection - say 40 looks - and kept its message very focussed, strong and styled.
It looked like a Parisian's take on Burberry, and maybe something Phoebe Philo would have done, if she'd got/wanted the job. It's probably too tasteful for the current Burberry customer; they want more check and logos. People go to Zara for these types of clothes, these days. When people buy 'designer' they want a statement, they want a recognisable piece and there didn't seem to be much of that here.
If Burberry wants to do clothes like this, at these prices, then the quality and cut needs to be flawless. There was a couple of nice takes on the trench. I liked the silk scarf details on one.
Brands need to highlight something they're getting behind for that season, be it a bag or a type of coat, and really ram it home. I couldn't see any key bag styles, and, if they're going to elevate the brand, like they hope, then it will all be from accessorises to drive the revenue growth.
The male models, with their 80s gelled back hair, had touches of Tisci's Givenchy in the baggy sweat shorts and luxury sportswear, but there was nothing here you couldn't get at Boss or Louis Vuitton.
Left - Armed with an umbrella, but where was the Britishness? Burberry SS19 Menswear
I was expecting the new monogram to be on everything, it wasn't. I feel like that's a mistake, no matter how tacky it could be. It would be a major sales driver in the all important Asian market and I'm sure we'll see more in these 'drops' of collections we keep hearing about. There could have easily have been a logo segment in this huge collection.
It was chic, at the beginning, with some nice detailing, then the men's section arrived, and then it got all confused towards the end. Sadly, these aren't the type of clothes you'll be thinking about until they come out, there's just too much good competition.
ChicGeek Comment Riccardo Tisci @ Burberry
Burberry announces Riccardo Tisci as Chief Creative Officer effective 12 March 2018.
Well, the cat is out of the bag and Christopher Bailey's replacement isn't Phoebe or Kim, but Riccardo. Something of a Creative Director curve ball, he was speculated to go to Versace, this is an exciting signing - how Premiership?! - because he could take Burberry in any direction.
Left - A sign of things to come? Tisci's Burberry Cromwellian warts 'n' all portrait
While it was all about luxury sportswear at Givenchy, during his 12 years there, his style was more American, masculine and darker in feeling, but it all started to look a bit done when Vetements arrived with its dress-down aesthetic. I think Givenchy wanted to make the brand more feminine and focussed on women's accessorises. While he grew the ready-to-wear he seemed to neglect the beauty and accessory side.
Burberry is more slanted towards ready-to-wear, so this could be good, but I thought they wanted to grow their accessorises business?
So, Burberry opts for an Italian. Tisci's studied and worked in Britain before, he used to be a branch manager of Monsoon, which I love, so he'll have some idea on Britishness and also bring a fresh perspective to it. Out go the Rottweilers and sharks, and in come Corgis, Greyhounds and Beagles maybe?!
I think 'See Now, Buy Now', will be shelved and his first, proper full collection will be for SS19. It'll be interesting to see whether he takes on everything like Bailey did. If the Creative Director does the stores, windows, campaigns, beauty, everything… you get a feel, faster, of how the brand is changing and its new direction. He'll give menswear as much focus as womenswear which is good.
Burberry has a big, new store opening in Knightsbridge, so it'll be interesting to see if Tisci has time to have any input and make changes before that opens.
Burberry is Britain's biggest luxury brand. It's strongest market is arguably the Chinese, at home and abroad. Keeping these consumers happy, buying and increasing will be the main future goal of any Creative Director. But, if he can please the fashion crowd, and instil much needed excitement, then it'll keep the business growing and the shareholders happy. I think his window to make this happen will be much smaller at Burberry than at Givenchy and they'll want to see positive change and fast. Will an Italian do it better?!
See TheChicGeek's Ode To Christopher Bailey - here
Chinese Consumers
Tried & Tested Gentleman Givenchy
The classic touch of lavender is altered by noble iris, that master perfumers Nathalie Lorson and Olivier Cresp placed at the heart of the fragrance. Combined with smooth, sweet pear and in a subtle nod to the original 1975 release, a patchouli-leather accord structures this new woody floral fougère fragrance.
Left - Gentleman Givenchy - 100ml - £66
TheChicGeek says, "Off we went to Paris for the launch of this and even after two days it still wasn't sinking in exactly which way around gentleman and Givenchy were arranged. The new fragrance is called Gentleman Givenchy and not Givenchy Gentleman - do you see what they did there? - which is the original 1975 fragrance and, to many, a classic.
Right - Face - Aaron Taylor-Johnson representing the "Gentle Man"
The new version is getting a lot things right: the face Aaron Taylor-Johnson is a good choice. He looks great in the ad. and the commercial, shot by his artist wife, it sees him dancing and looking hot. The bottle is the classic Givenchy shape and the idea of a "Gentle Man" is modern and reflects the change in masculinity over the 40 years since the original.
The main problem I have is, the fragrance smells like everything else. I'm not getting the original here and it's certainly not memorable. Again, another fragrance not to dislike, but nothing to get excited about either.
With Givenchy's pedigree they should have reintroduced the original with all its seventies-ness to a new generation and re-owned one of the great male fragrances. Givenchy is a storied brand and they have a respected history, they just don't use it enough.
They have a new designer, Clare Weight Keller, and it will be interesting if she has any input into the beauty side of the business which has been neglected under the former Creative Director, Riccardo Tisci."
Left - TheChicGeek giving good "Gentleman" on the red carpet in Paris
Below - TheChicGeek getting his Gentleman Givenchy on in the Eurostar lounge on the way home from Paris
Published in The Grooming Archives
Gentleman Givenchy
Nathalie Lorson
Tried Tested
Aaron TaylorJohnson
Fougeré
ChicGeek Comment - Keller's Givenchy Menswear
French fashion house, Givenchy, has a new Creative Director. British designer, Clare Waight Keller, was announced as Riccardo Tisci's replacement last week.
I remember her at Pringle of Scotland, but because of the way the company was run, and never really made any of the interesting pieces, it was hard to judge her menswear. She then went to Chloe, and while I look at womenswear, there wasn't much noise or attention so I didn't really pay much attention. But, she seems like a good caretaker, at the very least.
Right - Who-bert? Hubert de Givenchy outside his chateau
While not a revolutionary appointment, I think, they - Givenchy (LVMH) , obviously, want to re-feminise the brand, most probably targeted at the women's accessories. Tisci's aesthetic was severe, harsh and a masculine form of sexuality which probably didn't resonate with that many women or the type of women Givenchy see as their customer. Kim K, anyone?!
I remember being told that he wasn't under contract to use Givenchy beauty products in his shows which seems ridiculous when this is the cash cow of the business. There was also a disconnect between the fashion and the beauty side.
The menswear pioneered that designer-sweatshirt-with-a-seasonal-image look and the slide of high-fashion into sportswear. When it was good, it was good, and the menswear had never been on the radar before. Remember when Ozwald Boateng was there for a while?!! Those £500 sweatshirts were jumping off the rails.
So, this leads me to the new menswear, which, excitingly, I don't know what to expect. The first season must be SS18, to be shown in Paris in June. Givenchy is a strange brand in that it has a very strong name, but it is not matched with any identity or imagery. The majority of people wouldn't know who Hubert de Givenchy was from a line-up - Who-bert de Givenchy?! and, apart from Audrey Hepburn, many people wouldn't know a single item of clothing.
So, what should they do? Well, look at Balenciaga. While a newer 'old' brand than Givenchy, this is the first time, under Demna Gvasalia, that its archive has been referenced, but in a way that isn't backward looking. There's a link which makes sense when you're buying a historical name. You want that DNA to move forward and make the label mean something. It gives it a certain weight and grounding yet far from 'archive'.
Givenchy menswear doesn't really have anything direct to reference, but that's the exciting part. There must be plenty in the archive to inspire and bring forward and refresh that we don't know about. Givenchy should look back to look forward. It should also ask the new creative director to oversee all aspects of the business and maybe use the odd lipstick in her show.
Published in The Fashion Archives
Ozwald Boateng


text:
AboutSTDCB
Division of Communicable Disease ControlCurrently selected
Division of Communicable Disease Control > Pages > AboutSTDCB
About the Sexually Transmitted Diseases Control Branch
The mission of the CDPH Sexually Transmitted Diseases (STD) Control Branch is to reduce the transmission and impact of sexually transmitted infections (STI) and viral hepatitis in California, particularly for those communities disproportionately affected by these infections. Because diversity, equity, and inclusion are at the core of our public health work, we embrace and value the contributions of all communities across California to fulfill our public health mission. In collaboration with local health jurisdictions and other community partners in public and private sectors, the STD Control Branch supports equitable STI and viral hepatitis prevention and control efforts by providing statewide leadership, policy, guidelines, training, technical assistance, surge capacity, and outbreak response, and by supporting safety-net service delivery in priority settings and populations.
The STD Control Branch is part of the Division of Communicable Disease Control, within the Center for Infectious Diseases, of the California Department of Public Health. The Chief of the STD Control Branch is Kathleen Jacobson, MD.
All staff can be contacted using the following formula: firstname.lastname@cdph.ca.gov
Phone and Fax:
STD Control Branch
850 Marina Bay Parkway
Building P, 2nd Floor
stdcb@cdph.ca.gov
For Out of State Laboratories, Confidential Morbidity Reports, and Partner Service Referrals

redpajama_set_name: RedPajamaCommonCrawl


Chandigarh: Punjab minister Navjot Singh Sidhu today announced to bring a new and "potent" policy to increase the state government's annual revenue from outdoor advertising to at least Rs 300 crore.
The Local Bodies minister also blamed the previous SAD- BJP government for causing "revenue leakage" by framing a "toothless" law in this regard.
Besides, he claimed that the state had suffered a loss of Rs 2,000 crore from the cable business.
Sidhu also proposed to levy a token amount of entertainment tax to keep a check on the "cable mafia", which he alleged had "proliferated under the previous dispensation".
Punjab is earning a meagre amount of Rs 25 crore annually from outdoor advertising and hoardings in 164 cities of the state as compared to Rs 200 crore being earned by neighbouring Haryana from its municipal areas, he claimed.
Sidhu also hit out at the SAD for allegedly "looting" the state by facilitating individuals in the outdoor advertising and the cable businesses.
"Out of the Rs 25 crore , Rs 10 crore comes from Mohali, Rs 2.5 crore from Zirakpur. Ludhiana alone has the potential to generate income of Rs 150 crore per annum," he said.
Sidhu accused the SAD-BJP government of framing laws pertaining to outdoor advertising and hoardings which catered to vested interests.
"After an inquiry, following a complaint, I came to know that the government cannot levy penalty or make seizure despite violation of the advertisement law.
"They (the previous government) made toothless laws which facilitated only individuals," he said.
Sidhu said, "The aim was to raise the annual revenue from Rs 25 crore to Rs 300 crore from advertisement in municipal areas."
He said his department would propose laws on outdoor advertising and cable businesses which are "potent and will fix accountability".
"An advertisement policy will be brought in consultation with experts in order to increase revenue by 10 times to Rs 300 crore annually in the state," Sidhu said.
Citing an example of "blatant violation of the law", the minister claimed that a particular company was given "undue" advantage in allotting advertisement contract on 82 bus shelters in Ludhiana and that it had resulted in a loss of Rs 100 crore to the state exchequer.
Sidhu said his department will also come out with a cable law, proposing entertainment tax, to check the "mafia".
"I have already submitted a proposal to the chief minister in which a token tax of Rs 2 to Rs 3 is needed to be levied. We might have a token tax which will make people (cable mafia) accountable... and bring them under the purview of law," he said.
The state had witnessed a revenue loss of Rs 2,000 crore because of the "cable mafia", he claimed.
Sidhu had earlier accused the previous SAD-BJP regime of sheltering a private multi-system operator in cable business.


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Higher Education after Covid-19
2020, Covid-19 Chronicles
John Holmwood
The shift from the direct public funding of higher education to fee-based funding supported by student loans was supposed to put university finances on a stable footing and remove them from politics. Yet, after Covid-19, it is clear that fee-based systems of higher education (whether in the UK, Australia or the US) are in crisis, while those that remain publicly-funded (for example, Denmark, Germany, or Netherlands) are not.
In Britain, Universities UK has called for large bailouts to prevent the failure of some institutions and to maintain the system. Universities, it would seem, have become more beholden to politics not less, notwithstanding that government now seems unwilling to help.
The fee-based regime introduced after the financial crisis of 2008 allowed universities to by-pass the politics of austerity. It did so by shifting the burden from current taxpayers to students (and future taxpayers to meet the shortfall in loans unpaid at the end of the re-payment period).
This new regime represented a generational redistribution that was justified by claiming that education was an investment in human capital and future earnings. In other words, higher education would be marketed as a positional good and universities were allowed to compete for students on the basis of their position within rankings. Instead of ameliorating inequality, as previously imagined, universities would become integral to its reproduction.
The general widening of inequality within the population has been matched by a similar widening within higher education. There are wider differentials in academic salaries within marketized university systems when compared with those in publicly-funded systems. The professorial minimum salary is around £67K, with the average professorial salary calculated by the THE (in 2015/16) as being around £80k. Some professorial (and equivalent administrative and managerial salaries) are very considerably higher.
Within the Russell Group salary differences have also widened concurrently with the increased use of temporary and zero hours contracts and outsourced services. This is also a generational issue as older academics are protected and unfavourable contracts are imposed on early career colleagues. This 'polarisation' within institutions is matched by polarisation across institutions. As Alison Wolf has shown, since 2011 a higher proportion of income has accrued to the (24) Russell Group institutions compared with post-92 institutions.
What, then, are universities called to do in the current crisis? We know what Universities UK is asking for. It seeks a multi-billion pound bailout, a student number cap at present levels + 5%, Full Economic Cost (FEC) on directly-funded government research, and a doubling of QR. The first will place universities in hostage to government. The second is designed to allow Russell Group universities to recoup some of their losses on their overseas student income business model. It will put greater pressure on post-92 institutions deflecting possible closures onto institutions that serve local communities.
The government seems ideologically committed to not remove the numbers cap, in the name of social mobility, but are unwilling to address the consequences for social mobility of the closure of universities in localities dependent on their local institutions of higher education as both a source of education and of employment. Their only understanding of social mobility is one organised in terms of education as a positional good.
A doubling of QR will be monopolised by Russell Group universities, but will, in large part, be spent on maintaining high salaries. The large part of this support will sustain salaries that have been inflated by overseas student income and flaws of FEC.
In the meantime, universities are preparing to meet the immediate financial crisis with the familiar range of measures – the cutting of temporary and zero-hour positions, a freeze on posts, and the removal of postgraduate and postdoctoral scholarships – which impact most upon early career academic staff. Just as in other sectors, the actions are at the cost of younger generations. They will be condemned to the full effects of a likely recession. Cynics within the university sector reflect that this will mean that demand among home students for university places in the new academic year will likely be strong because there is little alternative. Perhaps, too, graduating students can be persuaded to take on even more debt to fund postgraduate places because the graduate job market has dried up.
Little attention has been paid to the fact that the labour market problems that will persuade students into higher education will also make it difficult for students (and their families) to support themselves. This follows from the government transfer in 2016 of a means-tested system of grants to a loan, and its failure to increase the amount that is available from its woefully inadequate level. The increase in home undergraduate and home postgraduate applications will be more likely to come from those in a position to afford the costs and will exacerbate existing inequalities.
As countries struggle with the Covid-19 economic catastrophe there are calls that consequent fiscal burdens should be shared fairly. As a leader for the Financial Times put it, "How we act now will shape humanity's future. Death is all around us. Let us seek a resurrection into better lives for all." We can all tell ourselves that we will vote for higher taxation and redistribution in the future, but what if the answer lies in the present within each sector? What might a higher education committed to 'pre-distribution', rather than redistribution look like?
First, universities should not be allowed to expand their home student numbers but should be capped in proportion to the actual volume of applicants (which may be smaller) and this cap should reflect and reverse the aggressive competitive accumulation of students of the past 5 years.
Second, if QR income is to be increased, partly in response to fears about a reduction in external funding, Full Economic Cost should be limited to a maximum salary equivalent to the professorial minimum salary at each institution. Otherwise, in so far as salaries are paid externally, there is no constraint upon universities to restrict higher salaries because they can recoup the cost. This was recognised as a problem by the Wakeham Report with regard to the indirect costs element of FEC, but applies equally to the salary element.
Third, professorial salaries could be reduced to the minimum for their grade, with lower salaries reduced to the average for the grade. This could be lifted gradually as the financial situation improves, but would in the meantime, provide a reset of UK higher education back to salary structures similar to the higher education system of European countries.
Such a re-set would also enable the justification of public support for what otherwise looks like a privileged sector. In the absence of any expected public-funding, US universities have had to announce more radical approaches to salary cuts and unpaid furloughs for staff (for example, at University of Arizona and Johns Hopkins) than anything yet proposed in the UK.
All these measures would be progressive in relation to the current distributive inequities within the system and would create sufficient funds that would enable universities to invest in early career academic posts and studentships. No doubt universities would still call for extra funds, but it would be clear that they had an intention to spend those funds in the public interest. Student fees would likely be frozen, but, given that universities have argued that they do not represent a disincentive to applicants, they would also be in a position to lobby for the restoration of funding for student maintenance and also for the proper funding of further education. Student living costs, especially for families hard-pressed after the crisis and with falling household incomes, should be a priority.
Such measures would return higher education closer to what obtained before 2010, albeit with a more radical pre-distributive twist. It would not abolish student fees, leaving that as a future possibility. But it would invest in addressing inequalities in access to universities and it would reduce the impact of the market on the stability of the system. Former Ministers for Education, David Willetts and Jo Johnson and architects of a higher education system that has been brought to its knees by Covid-19 (unlike publicly-funded schools), argue that there is nothing intrinsically wrong and that it would be a mistake to return to student numbers caps.
In 2009 the EU Commission assessed different higher education systems in Europe and the US and Japan. They compared private and public systems for teaching and research outcomes and for value for money. The Nordic systems and Netherlands did well, while private systems such as the US, did badly. However, the UK came top in all categories. Since then, the UK – more specifically, England – has moved in the direction of the US toward a less effective and efficient system (with increased cost of marketing and administration), as well as one that is less resilient to global shocks.
There is an analogy with health systems, too. No one doubts that the US has some of the world's top hospitals, just that it has one of the world's most inefficient and poorly performing health systems. If we listen now to the pleas of our 'top universities' we will threaten the effectiveness of an education system that could be returned to work for everyone and serve all communities.
John Holmwood is professor of sociology at the University of Nottingham and was co-founder of the Campaign for the Public University (a campaign that ran between 2010 and 2017 when the Higher Education Act 2017 completed the infrastructure for the marketisation of higher education in England).


text:
Nominally nonpartisan humor
twissblog
Vladimir Putin singlehandedly captures Ukrainian town of Debaltseve
Debaltseve—breaking a months-long stalemate in the war between the Ukrainian government and Russian-backed rebels, Vladimir Putin today captured the key Ukrainian town of Debaltseve, killing dozens of Ukrainian soldiers and pushing the bulk of the army several miles to the west.
"We were pinned down in street fighting, taking cover from enemy fire, when all of a sudden this shirtless guy gallops up on a horse," said a rebel soldier named Yuri. "He charged straight at the enemy lines, disabled their riflemen with some amazing judo moves, then drove the rest of them back with throwing stars and a blowgun."
The Russian government denied that there had been any involvement of the Russian government in Putin's remarkable one-man assault. "While early reports suggest that indeed a man named Vladimir Vladimirovich broke the back of the CIA-backed spy army in Debaltseve, there is no reason to believe that he had any affiliation with the Russian government," said a spokesman. "Although if he did, he would probably be a wise leader, full of strength and vision but also compassionate to the needs of the poor and the sick, loved by children, and trusted by animals."
Shortly after reversing the tide of the Ukrainian civil war, Putin led a flock of migrating cranes to their winter breeding grounds, helped a local sawmill meet its quota by knocking over hundreds of trees with his bare hands, and then went scuba-diving in a nearby pond and found several ancient amphorae. He was unable to find an additional forty dollars per barrel of oil, however, as he had previously promised to do.
We had a hard time choosing between this classic photo and one of Putin shooting a whale with a crossbow.
Tags: current events, funny, humor, international, news, politics, putin, russia, satire, top stories, ukraine
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text:
Works of Thérèse
Letters - LT
School notebooks - French
Holy cards
Family members and photos-albums
Places they lived
Schooling of the girls
Holy cards given to TH
The sickness of Thérèse at 10
Journey to Rome
Charcoals and paintings
In Carmel
Texts read in the refectory
Little words for Feast Days
Distribution of the texts of TH
-> Story of a Soul
-> The critical editions after 1956
Distribution of the representations of TH
Therese and the First World War
The Process: the holiness of Therese
Béatification et canonisation
Correspondence of the family after 1897
Select a folio in Manuscript A
02 recto
02 verso
51 verso et 52 recto notes
Ms A 55r
[55r°] ever caressed by him before. He told me all was not lost, that he was very happy I was making the trip to Rome to strengthen my vocation, that instead of crying I should rejoice. He added that the following week, before going to Lisieux, he'd speak about me to the pastor of St. James and [5] I would receive an answer from him in Italy. I understood it was useless to make further entreaties, and besides I had nothing to say, having exhausted all the resources of my eloquence.
The Bishop brought us out as far as the garden. Papa amused him very much by telling him that in order to appear older I had put up my hair. (This wasn't [10] lost on the Bishop, for he never spoke about "his little daughter" without telling the story of the hair.) Father Révérony wanted to accompany us to the end of the garden, and he told Papa that never had the like been seen before: "A father as eager to give his child to God as this child was to offer herself to Him!"
Papa asked him for a few explanations about the pilgrimage, among them how one [15] must dress to appear before the Holy Father. I still can see him turning around in front of Father Révérony saying: "Am I good enough as I am?" He had told the Bishop that if he didn't allow me to enter Carmel, I was going to ask the Sovereign Pontiff. Papa was very simple in his words and manners, but he was so handsome, and he had a [20] natural dignity about him which must have pleased the Bishop, accustomed to see himself surrounded by people who knew all the rules of polite society; but the King of France and Navarre in person, along with his little Queen, was not one of these.
When in the street again my tears began to flow, not so much because of my sorrow but because of my little Father who had made a useless trip. He had his heart set on sending a telegram to the Carmel announcing a favorable answer from the Bishop and was obliged to
© Washington Province of Discalced Carmelite Friars, Inc
http://www.archives-carmel-lisieux.fr/english/carmel/index.php/51-60/55/55-recto#sigProGalleriabf8f7c0c69
Realization C1E


text:
Why IndiGo has signed a lopsided deal with loss-making Qatar Airways?
In a codeshare agreement, Qatar will possibly guarantee a minimum number of passenger traffic (or seats) every week to IndiGo which is doing direct flights from seven domestic airports - Delhi, Mumbai, Hyderabad, Chennai, Kozhikode, Kochi and Kannur - to Doha at the moment
Manu Kaushik
Updated Nov 08, 2019, 8:21 PM IST
Recently, IndiGo announced a codeshare agreement with Doha-based Qatar Airways. The agreement is one-sided that gives Qatar Airways the privilege to place its code (QR) on IndiGo's flights between its hub Doha and three key cities for IndiGo (Delhi, Mumbai and Hyderabad). IndiGo, however, is deprived of reciprocal rights to place its code (6E) on Qatar Airways' flights.
The question arises as to why the market leader IndiGo has agreed to sign a deal with Qatari carrier, which has been posting net losses for the past two years. At the official presser, IndiGo's CCO (chief commercial officer) Willy Boulter told Business Today that the agreement is the first step to their partnership, which he hopes would expand in the times to come.
The deal seems to favour Qatar by giving it access to additional capacity through IndiGo. The Doha-based carrier has reportedly (almost) exhausted its bilateral seats with India (24,292 per week), and since the Indian government is unwilling to give additional seats to Qatar - which is asking for about 42,000 additional seats per week - IndiGo deal would instantly increase its capacity to the India market.
Also Read: Fix A320neo engines or get grounded: DGCA tells IndiGo
This is a big boost for the Middle-eastern carrier that is battling blockade from a coalition of Gulf countries such as Bahrain, Egypt, Saudi Arabia, and the UAE since June 2017. These countries have banned Qatari aeroplanes to use their airspace which has resulted in the airline taking longer time -about 25 minutes more than their previous flight schedule - to avoid certain blocked airspace, and thereby jacking up their fuel cost. In March 2019, the carrier posted a net loss of $639 million, up 826 per cent from a year ago.
"It's a simple seat selling arrangement. What's surprising is that it's not a bilateral agreement. Since 2009, the bilateral seats for Qatari carrier have not been increased by Indian authorities. The deal gives Qatar ability to add capacity indirectly," says an aviation expert.
But what's in it for IndiGo? There are perhaps two reasons why IndiGo signed this deal. In a codeshare agreement, Qatar will possibly guarantee a minimum number of passenger traffic (or seats) every week to IndiGo which is doing direct flights from seven domestic airports - Delhi, Mumbai, Hyderabad, Chennai, Kozhikode, Kochi and Kannur - to Doha at the moment.
Also Read: Why IndiGo wants to buy 300 Airbus planes when it's already sitting on 430 aircraft order
"Selling seats is a tough thing. IndiGo has found a partner to sell its seats on the Doha route; its net share would go up," says Devesh Agarwal, an aviation blogger.
IndiGo is going to benefit from the large frequent flier programme of Qatar Airways. Gulf countries have huge Indian diaspora; some of those are frequent fliers of Qatar Airways. If they are travelling to India, especially to Delhi, Mumbai and Hyderabad, they would prefer IndiGo's flights (coded with QR) as they could redeem the mileage points earned with Qatar Airways. IndiGo is also ramping up its international capacity with an aim to grow the contribution of international segment revenues to the overall topline, which stood at 17-18 per cent in 2018/19.
Last December, IndiGo signed its first codeshare agreement with Turkish Airlines to tap European destinations such as Amsterdam, Athens, Paris, Prague and Brussels. Experts say that due to diplomatic challenges between India and Turkey, this partnership can offer only limited upside. Hence, there was a need for IndiGo to look for another partner. IndiGo has recently ordered 300 planes of various types from Airbus, including the long-range A321XLRs, which would help the airline reach some European destinations on its own.
The other reason for IndiGo to join hands with Qatar Airways is that it could perhaps be a precursor to a bigger deal between the two carriers. IndiGo sees Qatar Airways as an equity partner in the long term. Although Group CEO of Doha-based carrier Akbar Al Baker said that the airline is keen to take a stake in IndiGo but it will wait until issues at the promoter level get resolved. IndiGo's founders Rakesh Gangwal and Rahul Bhatia are engaged in a legal battle in the London Court of Arbitration over the allegations of corporate governance slippages levelled by Gangwal camp against the Bhatia camp.
Currently, Indian FDI (foreign direct investment) regulations allow 49 per cent stake in domestic airlines and Qatar Airways has reportedly shown interest in acquiring about 10-15 per cent stake in IndiGo which controls 48.2 per cent of the domestic market.
Qatar is also buying stakes in airlines across the globe, be it International Airlines Group (IAG), Cathay Pacific, LATAM Airlines Group, and Air Italy. Last year, the Gulf carrier acquired 5 per cent stake in China Southern, and the two airlines have already announced plans for a codeshare agreement that will begin in January next year. Much like India, China is one of the fastest-growing aviation markets in the world. Global aviation body IATA predicts that China will replace the US as the world's largest aviation market by 2024 whereas India will displace the UK for third place in 2025.
"It seems that the idea behind these investments is to get hold of the board, the operations of these airlines, and have some influence. This is unlike Etihad Airways' strategy, which had integrated its investee airlines into Etihad Airways Partners, which is not the case here," says an aviation consultant.
Codeshare agreements are common in the aviation industry, more so with airlines that are part of global alliances. The details of IndiGo-Qatar Airways' agreement are still sketchy, but it seems that both partners have more to gain and less to lose from the deal.
Published on: Nov 08, 2019, 8:03 PM IST
Posted by: Chitranjan kumar, Nov 08, 2019, 8:03 PM IST


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Montoy v. State, 62 P.3d 228 (Kan. 2003).
This case explored the issue of what is required in notice pleading. In exploring this case, the court concluded that notice pleading required a short and plain statement of the claim showing that the pleader was entitled to relief. Id. at 229.
In this case, numerous students representing African Americans, Hispanic, and disabled groups, along with two large school districts, sued the State of Kansas, the Governor, the State Board, and the Commissioner of the Kansas State Department of Education. Id. at 230. After asserting their claims, the plaintiffs alleged additional constitutional claims that included: (1) a violation of a requirement created by the legislature that dealt with the financing of public education under the Kansas Constitution; (2) a violation of equal rights protection under the Kansas Constitution; and (3) a violation of substantive due process rights under the Kansas Constitution. Id. After reviewing these additional claims, the district court ruled in favor of the defendants and concluded that the plaintiffs failed to present these claims in their notice pleading. Id. On appeal, the plaintiffs claimed that the district court erred by excluding their claims on the grounds that they were outside the notice pleading. Id. at 230-31.
In addressing the plaintiffs' argument, the Supreme Court of Kansas first looked to the decision of the district court to exclude the additional claims made by the plaintiff. Id. at 231. According to the district court, the plaintiff alleged additional claims that were not contained in the notice pleading and Kansas law required that a challenge to the constitutionality of a statute be specifically raised in the notice pleadings. Id. Furthermore, the district court concluded that the plaintiff had the opportunity to modify their notice pleading to include these additional claims but failed to do so. Id.
After the Supreme Court of Kansas reviewed the decision of the district court, it was determined that the question at issue was whether, consistent with notice pleading, the existing claims of the plaintiffs were broad enough to include these additional constitutional claims. Id. The court noted that since the adoption of the Kansas Rules of Civil Procedure, Kansas courts had followed the rules of notice pleading. Id. Moreover, the court stated that Kansas Law required a "short and plain statement of the claim showing that the pleader was entitled to relief." Id. Additionally, the court noted that they look at a statement broadly when judging whether a claim had been stated. Id. Further, the court indicated that the purpose of the statement was to give notice of the substance of the plaintiffs' claims. Id.
According to the court, the plaintiffs' additional claims were not outside of the notice pleading. Id. at 232. Therefore, under the broad interpretation of the statement required by the rules of notice pleading, the court held that the district court erred in refusing to consider the excluded claims. Id.


He started in the late 80's. He began his eighteen-year career that led him to become the resident DJ of the most established and undisputed Sicilian hinterland. The numerous exhibitions in different cities will lead him to undertake collaborations. With Metamorphosis and Atmospheres will be on tour for several years in the best club giving birth to our first After and After the in Sicily playing alongside the best dj 's the international scene. Recognized his musical taste, the search of the sounds and the constant desire to spread an alternative music always ahead of the times and fashions, Marco Giannone writes, composes and presents to its DJ sets always clean and tailored to each event. It will then automatically record the beginning of a journey that begins with Andrea Centorbi in 2000 will be produced vinyl records '40 Nights' and 'December's Party' present in the playlist of Radio Deejay for several weeks. The first recording contract with the Company JT JT Vannelli in 2003 and will lead to the production of other 2-disc 'Another star' and 'Shake it down' they'll find excellent results. This will be very sold and will remain for several weeks in the charts.Later in 2010, the Bang Records released 'House is in my soul.' The following year he participated in the compilation 'Studio 58 - Compilation One' collection made by the homonymous club Studio 58 where it is resident DJ. In 2013 comes with 'Broken Heart' and 'Five Trips'. There have been numerous collaborations over the years as an organizer and artistic director of several clubs, dealing not only music but also offer corporate marketing utilizing all media platforms. Marco Giannone continued his work with passion and determination of the precise objective of contributing to musically enrich all generations of fans continues to grow. In 2014 he began his collaboration with the label MusicSelection Records and celebrates the release of the Music Selection Compilation # 1 on sale now at all music stores.


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Tag Archives: Kami Thompson
Won't Be Long Now
Issued earlier this week on Topic Records (TSCD822) 'Won't Be Long' is the first album from Linda Thompson since 2006 (and only her third collection of wholly new material this century). Although she's hardly prolific, her albums have always been worth waiting for and this one is no exception.
I've always loved Linda Thompson's voice since I first heard her sing alongside former husband, Richard, back in the seventies. It's an enormously expressive alto – with a slight edge but one that gives it a certain vulnerability rather than harshness.
The support cast is pretty classy. The main collaborators are producer Ed Haber and also son Teddy who who supplies the main acoustic guitar parts as well as contributing two of his own songs and co-writing another four with his mum.
Others from the extended family also contribute – especially on the Anna McGarrigle/Chaim Tannenbaum song 'As Fast As My Feet'. I can remember hearing the composer perform this in London at the Shaw Theatre (now demolished) back in the eighties – but I think it only made it onto record last year. The lead vocal on this uplifting uptempo track is taken by daughter Kami while daughter Muna joins Linda on backing vocals. An astonishingly mature Thompson-esque electric guitar solo is taken by Linda's teenage grandson Zak Hobbes and it also features bass by Jack Thompson (Richard, but not Linda's son) and drums are provided by Fairport Convention's Gerry Conway, with whom Linda first recorded in 1972 as part of The Bunch!
Other backing musicians include Richard himself, accompanying her with some sensitive acoustic guitar on her self-penned opener, 'Love's For Babies And Fools', which harks back to their work as a duo ("Let better pens than mine/ Extol the joys of love divine/ Before I ruled love out/ I searched every north and south").
In addition there are appearances by David Mansfield, and British folk royalty Dave Swarbrick, Martin Carthy (along with his daughter, Eliza) and John Kirkpatrick.
There are nine further songs in the collection, a couple of which are traditional – including a live, unaccompanied version of 'Blue Breezing Blind' Drunk' and one which appeared on the soundtrack of the film Gangs of New York ('Paddy's Lamentation'). The song that first grabbed me though was 'If I Were A Bluebird' – which shows off Linda Thompson's melancholic vocal to great effect, contains great guitar from David Mansfield and is the sort of song than in ten years, many people may well think IS traditional.
Although I'm not going to list the remaining tracks, be assured that none of them are 'fillers' The time it's taken to assemble this collection means that it has strength in depth
Eagle-eyed fans will note that the image above is from the lyrics booklet rather than the CD cover and is included because it's autographed!
Tags: Dave Swarbrick, Gerry Conway, John Kirkpatrick, Kami Thompson, Linda Thompson, Richard Thompson, Teddy Thompson, Zak Hobbes


Here are some of the suggestions you should try to make your workplace a safe environment for everyone.
As a business owner, you are responsible for the safety of your employees, customers, and anyone else who walks through your company's doors. This is why you should focus on creating a culture of safety at your place of business. Here are some suggestions to improve the safety of your workplace.
You should also make a point to regularly inspect your workplace for potential risks. During your inspection, look for things like malfunctioning equipment, uneven flooring, leaky pipes, dim lighting, and so on. Addressing these hazards quickly will ensure that your employees, customers, or other third-parties do not experience an accident on your business's premises. Additionally, during your inspections, make a point to ask your employees about any concerns that they have. If someone does bring something to your attention, make sure you address it right away. Not only will this prevent an accident, but it will also show your staff that you value their concerns and opinions.
These are some of the essential safety tips you should employ at your place of business. Remember, having the right commercial coverages in place is another way to keep your business safe. For assistance with all your commercial insurance needs, contact the experts at Patterson & Associates in Richardson, Texas today.


Longing for the taste of a summer tomato? This is the next best thing. The slow roasting process yields a flavour-packed punch to the taste buds. Sounds tedious, but trust me, it's just delightful. And so much better than the sun-dried tomatoes you buy in a jar! Well worth the long roasting time.
I threw them on top of a rice and lentil dish as a garnish, but they could also be used to top some ricotta on crusty bread, maybe with a little balsamic reduction. Or on top of pasta with some Parmesan and basil.
Whatever you don't use right away (or eat off the pan like I did) can be put in a jar, topped up with olive oil, and refrigerated for use later. Imagine the possibilities!
1. Preheat the oven to 225F.
2. Slice the tomatoes in half and put them on a baking sheet.
3. Drizzle the tomatoes with olive oil, then salt and pepper them.
4. Roast them for 2 – 2.5 hours, until they have lost most of their moisture but are not crispy. You will need to watch them for the last half hour or so if the process so you don't overdo them.
5. Let the tomatoes cool and then place them in a jar. Add olive oil to cover the tomatoes, and store the far in the fridge. The olive oil can be used for cooking foods like tomato sauces, and making salad dressing.


The MCFX by 15 minutes is the newest drone width flight time that is taking flight and stealing the hearts of the masses. 15 minutes of flight time might disappoint some pilots but it is most other drones of this size. At this time of writing the MCFX quadcopter was on FreeX's store, but you can find it elsewhere such as Amazon. It's quite compact for a excellent, fantastic and modern drone, and very light at 840g. The function keys are very easy to hold onto, which is excellent for beginners or those who are just starting out with aerial photography. It can stay in air for up to 15 minutes with single battery charge. Still, it includes a GPS in both quadcopter and remote, which enables Follow Me mode.
Even though there are a few cons that may be a bit of a red flag, the pros definitely outweigh the bad here. This drone also includes a more substantial, robust and smarter LED Lithium Battery, which indicates the drone's charge level. The joysticks are made of material that makes them incredibly easy to control and manipulate, and are great for agile maneuvers each time. This drone unit possesses 11.1V 3S 3000mAh Li Battery battery inside, it is capable enough to offer maximum flight time of 15 minutes. Other amazingly useful features are Barometer Altitude Hold: drone will lock on a specific height and maintain it autonomously without pilot's input. This drone has embedded GPS technology, enabling the user to better pilot the drone with stable GPS-Positioning, Return Home, and Follow Me for more advanced users. Be Aware: The MCFX is a ready-to-fly drone, so you can start having fun straight out of the box. Their number one goal was to design a drone that was easy to use.
You will be amazed at its specifications!. All in all, the flight performance is a decent one. With a manufacturer price that simply cannot be beaten, it's one heck of a drone. Furthermore, drone includes OSD Live data, directly displayed on the FPV (First Person View) monitor built-in into the remote controller. Since the drone tracks the remote and autonomously follows it, without any pilot's input, it is perfect for selfies. The MCFX utilizes altitude hold so you can easily maintain a consistent altitude. It is simply the best package with all advanced features including built-in GPS. The joysticks are made of a material that makes them incredibly easy to control and manipulate and are great for quick maneuvers each time. We never needed to use the trim controls as the MCFX flew beautifully out of the box.
If you are looking for a small portable drone that is still capable of taking perfect video from GoPro then you need to consider the MCFX from FreeX. MCFX is crafted with a stylish, beautiful and modern like a charm where all components are well adjusted inside a perfectly finished body. There are so many hidden features that we need to discuss and you will be impressed to get such an excellent feature pack. It has features incorporated into its design to give the quadcopter additional functions and a better flight control system, which is pretty neat. The 15 minutes flight time is impressive most drones this size and in this price range can't make it 10 minutes. And of course, we at Gadgetine are always delighted to bring to you the most noteworthy, accurate and remarkable drone-related information.


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Partia włoska – otwarcie szachowe, które charakteryzuje się posunięciami:

 1.e4 e5
 2.Sf3 Sc6
 3.Gc4 Gc5
Partia włoska, nazywana również giuoco piano, co po włosku oznacza spokojną grę, jest debiutem otwartym. W klasyfikacji encyklopedii otwarć szachowych jest oznaczona kodami ECO C50-C54.

Pierwsze opisy tego debiutu były zawarte w manuskrypcie z Getyngi (ok. 1490 roku) i książce Luisa Luceny z 1497 roku. Do końca XIX wieku była jednym z najpopularniejszych sposobów rozgrywania początkowej fazy partii. Stosowali ją powszechnie dziewiętnastowieczni mistrzowie, między innymi Louis de la Bourdonnais, Paul Morphy i Adolf Anderssen. W XX wieku jej popularność znacznie spadła, niemniej do dzisiaj sporadycznie pojawia się w turniejach arcymistrzów. Chętnie grywali ją Aleksander Alechin, Max Euwe i Paul Keres, jednak raczej przeciw mniej utytułowanym przeciwnikom.

W trzecim ruchu (3.Gc4) biały goniec atakuje najsłabsze w obozie czarnych pole f7 (bronione jedynie przez króla) i uniemożliwia czarnym ruch pionem na pole d5. Analogiczną funkcję spełni odpowiedź czarnych (3...Gc5).

W pozycji na diagramie białe mają do wyboru trzy podstawowe plany. Najczęściej grają 4.c3, co przygotowuje atak piona d na centralne pole d4, ale pozostawia również możliwość przesunięcia tego ataku na później i wsparcia piona e4 ruchem d3. Natychmiastowe 4.d3 prowadzi do wariantu zwanego giuoco pianissimo (gra bardzo spokojna), uważanego za dość pasywny. Najbardziej agresywnym czwartym posunięciem białych jest 4.b4, które oferuje piona w zamian za możliwość zbudowania solidnego centrum i szybszego rozwoju figur. Ten wariant nosi nazwę gambitu Evansa.

Wybrana literatura
 Tim Harding, George Botterill, The Italian Game, Batsford 1977
 Jakow Estrin, Die Italienische Partie, Stuttgart 1985.
 Jözsef Pálkövi, Italienische Partie und Evans Gambit, Caissa Chess Books 1998
 Jan Piński, Italian Game and Evans Gambit, Everyman Chess 2005.

Linki zewnętrzne
 Chess Opening Explorer: 1. e4 e5 2. Nf3 Nc6 3. Bc4 Bc5

Włoska partia

redpajama_set_name: RedPajamaWikipedia


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If you or a family member suffered an injury due to someone else's negligence, naturally you have many concerns. You're worried about the severity and extent of the injuries, getting the best care possible, incurring medical bills and massive debt, or the inability to work.
You have the right to justice and financial compensation! However, if you try to deal with the opposing party on your own, you may never get the compensation you're entitled to and the justice you deserve. They are in business to protect themselves and they will do everything in their power to pay you as little as possible.
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When it comes to the service we provide our clients, the following are just the beginning. Here are a few examples of how our Burbank personal injury attorney can make your life easier after an injury:
At our Law Firm, we care about our clients. You are our number one priority. We will do everything in our power to make the whole process as fast and easy as possible.
Every year there are about 20,000 personal injury claims filed in the United States. There are various causes and injuries for these claims. At our personal injury law firm in Burbank, we have the ability and resources to handle almost any of these types of cases. In the past decade, our personal injury lawyers have represented clients with:
No matter the cause or your injury, we can help. We understand what you're going through and we will take the burden off your shoulders!
Call (818) 408-8292 now for instant help or fill out the form below and we will call you back. All calls are free and confidential, so there is no risk to you. Our local personal injury lawyer is here to answer all your questions.
At our law firm, we do not charge any upfront fees and you only pay when you receive a settlement. Never let cost concern or prevent you from taking action. You have been injured and have the right to compensation. We are here to help you.
An injury can occur out of nowhere. You can go from perfectly healthy to in pain. Your quality of life can decline in an instant. While there are many different types of injuries you can seek compensation for, some of the most common ones are arm and leg injuries, breaks and fractures, loss of vision or hearing, neck and back injuries, scrapes and cuts, chest injuries, and head injuries. After an injury, the most important thing to do is to seek immediate medical help. During the initial checkup, discuss all your injuries with your doctor. The doctor will likely prescribe physical therapy or other treatments. Make sure to keep documentation of all your injuries and treatments. It will help straighten your case.
Following your initial doctor's visit, you should contact a personal injury lawyer. They can help protect your rights and preserve evidence to ensure you receive maximum compensation.
Know Your Rights - California Personal Injury Laws
After an injury, the personal injury laws in California allow you to bring a claim or lawsuit against the responsible party. Generally, you have two years from the date of the incident to pursue compensation. If you do not act before the deadline, you may lose your right to a settlement. Therefore, you must take immediate action after an incident.
You as the plaintiff can seek compensation for general damages and special damages.
General Damages in a Personal Injury Claim or Lawsuit
General damages are the non-economic damages such as pain and suffering from the injury you have sustained.
Special Damages in a Personal Injury Claim or Lawsuit
Special damages are economic damages such as medical bills, the loss of earnings, and all other out-of-pocket expenses.
The laws surrounding damages are complex. Each incident has to be thoroughly investigated and all damages have to be proven before you can obtain a settlement. That is why it is extremely important to work with an experienced personal injury lawyer that has a history of getting results. At our law firm, you don't have to worry about anything. We will handle everything for you.
Burbank is in Los Angeles County and is one of the best places to live in California. The neighborhood is safe, family-friendly, and beautiful. As of 2019, there were 103,703 people living in the city. It covers zip codes 91501, 91502, 91503, 91504, 91505, 91506, 91507, 91508, 91510, 91521, 91522, 91523, and 91526. Some of the busiest roads in Burbank are Glenoaks Blvd., Victory Blvd., Olive Ave., Magnolia Blvd., San Fernando Road, Alameda Blvd., Verdugo Ave., and Hollywood Way.
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Your damages will depend on the type of case you have. Each case is different. Only a California injury lawyer will be able to tell you. For example, if you have suffered an injury that requires medical treatment, you may be entitled to current and future medical expenses, lost wages from your job, pain and suffering, emotional dress, and other inconveniences associated to your case. Contact us today for a case evaluation. Our attorney can review your case for free and give you a proper analysis.
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Every personal injury case is different. There are many factors that will determine the length. Some cases can last as quick as a month while others can take longer. Generally speaking, the longer your case takes, the more likely you are in getting a bigger settlement. It is vitally important to work with a Los Angeles personal injury lawyer that will not just simply settle your case for quick results. At our law firm, no matter the client or injury, we always fight for maximum compensation.
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Your personal injury claim or lawsuit will most likely not go to trial, but you should be prepared for that possibility. At ALPC Law Firm, we conduct a thorough investigation of every case and go at the opposing party with full force to prevent that from happening. If the other party will not properly compensate you for your injuries, then we will not hesitate to take them to court.
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Our Burbank personal injury attorney is available 24/7 to answer any questions you may have. The best time to contact us is right after your injury. This will allow us to guide you to a top settlement and avoid anything that will jeopardize your case.
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