Shoe of the Week – Pour La Victoire Claire Strapped Heeled Sandals

imageYou know your guy always takes you somewhere swanky for Valentine’s Day! So it’s up to you to wear something equally as sexy for the big night. Oh, you’ve already got the dress? Well then lucky lady, you are already halfway there. And our style experts here at the Hive have got a pair of shoes to top it all off!


Pour La Victoire Claire Strapped Heeled Sandals will have your man head over heels for you €¦ literally!


Black leather strappy sky high stiletto sandals with stud detailing will give any dress that seductive edge. Like we said, these slammin’ shoes will top off the outfit! And as for your guy? Well €¦ he’ll just be trying to take them off!


PS. They’re on SALE!



Where to BuyAsos



Price – $120.68



WhoMelimeli was the first to add the ‘Pour La Victoire Claire Strapped Heeled Sandals‘ to the Hive.

Special feature: theatres

DesignBoost – Telefonplan talks at Stockholm Design Week


Dezeenwire:
Jaime Hayon, Neville Brody and Dezeen editor-in-chief Marcus Fairs are among speakers at the DesignBoost – Telefonplan conference taking place from 9 – 11 February at Designens Hus at Telefonplan in Stockholm.

The theme “Design Beyond Design”, will focus on the changing role of designers and how design can make a positive impact. The talks take place as part of Stockholm Design Week. More information about the talks and the full ist of speakers follow.

DesignBoost – Telefonplan

The theme for DesignBoost – Telefonplan is “Design Beyond Design”. Our world and our society are changing rapidly, which also means a changing role for design and the designer. How can we with open-minded thinking and imagination put design in a human context and work on maximising positive impact on all levels? When it comes to ”Design Beyond Design” there are probably many things that needs to be questioned, left could very well be right. The objective of DesignBoost – Telefonplan is to make everybody question, reach awareness and think in new paths.

DesignBoost – Telefonplan is a joint venture between knowledge company Designboost, City of Stockholm, Vasakronan and Konstfack – University College of Arts, Crafts and Design. It takes place 9-11 February at Telefonplan in the southernmost part of Stockholm, Sweden. Telefonplan is in a transformation from a former industrial area into a hub for the creative industries in Sweden.

The theme for the lectures on February 10 is “Design Beyond Design”. The speakers list looks like this:

  • Jaime Hayon – Designer
  • Jennifer Leonard – Design Leader, IDEO
  • Neville Brody – Designer, typographer, art director and brand strategist
  • Jenny B. Osuldsen – Landscape architect and partner at Snøhetta
  • Marcus Fairs – Publisher of Dezeen
  • Anne Mieke Eggenkamp – Chairwoman at Design Academy Eindhoven
  • Ted Persson – Chief creative officer at Greatworks
  • Stefan Ytterborn – CEO and founder POC
  • Lia Ghilardi – CEO Noema Research and Planning
  • Brent Richards – CEO and Creative Director of The Design Embassy Europe
  • Per Cromwell – CEO Studio Total
  • Lisa White – Head of Interiors at WGSN/HomeBuildLife
  • Sante Poromaa – Zen Buddhist master
  • Frida Jeppsson – Design critic and curator
  • Johan Ronnestam – Creative Director, entrepreneur and professional speaker

On February 11 the lectures will concern the changing role of media and the future of the book. The speakers list looks like this:

  • Lasse Winkler – editor-in-chief Svensk Bokhandel
  • Peter Wilcke – head of the publishing house Norstedts
  • Anders Ekberg – CEO Fälth & Hässler
  • Nina Ulmaja – design manager Bonnier
  • Henrik Nygren – art director
  • Jeppe Wikström – publisher Max Ström
  • Marie Arvinius – head of the publishing house Arvinius
  • Staffan Bengtsson – journalist and writer
  • Elisabeth Björkbom – designer

Both days are open for public. No pre-registration of tickets needed. Map to Designens hus at Telefonplan.

University of Iowa Museum of Art Continues Its Battle with FEMA

0627iowawaterarch.jpg

Roughly two and a half years after a flood ravaged the area, the University of Iowa is still finding itself fighting an uphill battle in trying to restore its UI Museum of Art. The building it had been housed in was damaged by the swelling Iowa River during a disastrous flood in the summer of 2008. After the water level had returned to normal and damages were assessed, the Federal Emergency Management Agency agreed to help finance the repair and restoration of the building. This would have been ideal were it not for the insurance issues that arose post-flood. Insurer of the museum’s collection, Lloyd’s of London, told the museum that given the chance of another flood, they would not take the risk of offering insurance again in the museum’s current location. When the University approached FEMA last year with a request to not simply repair the building, but to move to a new, less water-adjacent area, they were denied the funds. Six months later, the University’s appeal of that decision has also been rejected, with FEMA still arguing, despite receiving information about the insurance issue, that “the UIMA suffered less than 50 percent damage and that it could be restored to use as a museum.” Still putting up a fight, the university is now planning on taking the case to both the state-level Homeland Security office as well as FEMA’s headquarters in Washington.

New Career Opportunities Daily: The best jobs in media.

On The Other Side

Un court-métrage de 15 minutes intitulé “On The Other Side” autour des soldats canadiens dans leur tranchée pendant la première guerre mondiale. Dirigé par Robin Veret pendant plus de 2 ans de production, avec une équipe de 30 personnes. Le film a été produit par Dimitri Gochgarian.



side00

Previously on Fubiz

Copyright Fubiz™ – Suivez nous sur Twitter et Facebook

transmediale.11

With RESPONSE:ABILITY, transmediale.11 puts forward a
call for action in terms how we live on and with the Internet today.
Having become a centr..

Stripes and Peignes by Philippe Nigro for Ligne Roset

Stripes by Philippe Nigro for Ligne Roset

Cologne 2011: designer Philippe Nigro presented this series of interlocking pendant lights for Ligne Roset at imm cologne earlier this month. 

Stripes by Philippe Nigro for Ligne Roset

Called Stripes, the shades comprise a series of metal rings with gaps that allow two or more shades to overlap when hung in clusters.

Stripes by Philippe Nigro for Ligne Roset

A floor lamp with two interlocking shades is also available, and a series with interlocking flat panels that work in the same way, called Peignes.

Stripes by Philippe Nigro for Ligne Roset

See also: Confluences by Philippe Nigro for Ligne Roset at last year’s imm cologne.

Stripes by Philippe Nigro for Ligne Roset

imm cologne took place 18-23 January. See all our coverage of the event here »

Stripes by Philippe Nigro for Ligne Roset

More furniture on Dezeen »
More about Ligne Roset on Dezeen »

Here’s some more information from Ligne Roset:


A very spare ceiling light with an asymmetric shade reminiscent of interwoven combs. This asymmetry, these shifts, are strong themes in the work of Philippe Nigro.

Laser-cut shades, transparent cable, brushed stainless steel base.


See also:

.

Jean Nouvel for
Ligne Roset
Ronan & Erwan Bouroullec
for Ligne Roset
Inga Sempé
for Ligne Roset

Covering Kafka with colour

Peter Mendelsund is a book cover designer at Alfred A Knopf in New York and recently became the art director of Knopf imprint, Pantheon. He documents his design work on his blog, Jacket Mechanical, and in his most recent post he ran through a new series of unusually colourful Kafka titles, set to appear in the US in June…

In the post, Mendelsund writes about the fascinating history of publishing Kafka’s work and describes the design process he went through in creating a new look for the forthcoming series, which adamantly forgoes the traditional take on marketing the writer with bleak, dark colouring and unsettling imagery.

“I suppose what some find most relevant and compelling in Kafka,”  writes Mendelsund on Jacket Mechanical, “is his ability to inspire in them that paradoxical feeling that great literature always aspires to arouse in readers – the feeling of the universality of their own alienation. Kafka is the ne plus ultra of alienation – alienation being arguably the defining emotional condition of the twentieth century.

“Maybe loving Kafka means no more than admiring his downright peculiarity – he is just so anomalous and extraordinary a writer, so particular in his assets, so without precursor (despite what Borges would have us believe). Me, well, as the saying goes: I love that he makes me laugh. But I will get to humour later.

“I had been periodically thinking about a Kafka redesign, but actually began work on the project in earnest when I officially took over the art directing duties over at Pantheon a month ago or so (I’m still the associate art director at Knopf, and, some other new things as well … busy times).

“So, as you can see, I’ve gone with eyes here (not the first or last time I will use an eye as a device on a jacket – book covers are, after all, faces, both literally and figuratively, of the books they wrap). I find eyes, taken in the singular, create intimacy, and in the plural instill paranoia. This seemed a good combo for Kafka – who is so very adept at the portrayal of the individual, as well as the portrayal of the persecution of the individual.

“I also opted for colour. It needs saying that Kafka’s books are, among other things, funny, sentimental, and in their own way, yea-saying. I am so weary of the serious Kafka, the pessimist Kafka. ‘Kafkaesque’ has become synonymous with the machinations of anonymous bureaucracy – but, of course, Kafka was a satirist (ironist, exaggerator) of the bureaucratic, and not an organ of it.

“Because of this mischaracterisation, Kafka’s books have a tendency to be jacketed in either black, or in some combination of colours I associate with socialist realism, constructivism, or fascism – ie black, beige and red. Part of the purpose of this project for me, was to let some of the sunlight back in.

“In any case, hopefully these colours, though bright, are not without tension. The typography [is a] script based on an amalgam of Kafka’s own hand, and a wonderfully versatile typeface called Mister K (itself based on Kafka’s own handwriting) by Julia Sysmäläine who works at Edenspiekermann in Berlin.

“These editions will begin coming out in June and July – they are all paperbacks, with maybe a couple in hardcover as well – time will tell. I’m hoping we can do a box set for them after they all come out (which is already designed – and which has the complete parable, Before the Law, printed on the inside.)”

For those interested in the complex history of publishing Kafka, Mendelsund also offers a knowledgable take on the subject as part of the post on the new covers.

“Schocken, which is part of Pantheon Books, has a long and storied relationship with Kafka,” he writes. “Salman Schocken acquired the world rights to Kafka’s works from no less than Max Brod himself in the thirties. Schocken, for various reasons, was exempted from the laws governing the aryanisation of the German presses, and thus was the first press to achieve wide scale distribution of Kafka in Germany. Later, during the war, Schocken published Kafka in its new home in Palestine (in Hebrew), and subsequently, when Schocken opened shop in New York in 1940, Kafka’s works were put out in English translation in addition to the German editions Schocken was still publishing.

“As it turns out, some of the Kafka rights had been sold in the intervening years, and Schocken was put in the position of having to reacquire them. Writes Pantheon managing editor and Schocken editorial director, Altie Karper, when asked if Kafka was on Pantheon’s first list seventy years ago: ‘Interestingly enough, no, because Salman Schocken had licensed the rights to The Trial to none other than Alfred A. Knopf* back in the mid-1930s, when Schocken was still in Berlin and could not have imagined that he would wind up publishing books in English in America. It took him [Schocken] quite some time to wrest the English-language rights back from Alfred when he arrived here and started publishing in 1945. There is a hysterically funny series of inter-office memos between then-Schocken editor, Hannah Arendt, and publisher, Salman Schocken, wherein Arendt flatly states that if Schocken wants those Kafka rights back from Alfred he’d going to have to jolly well get on the phone and speak to The Great Man himself, because Alfred considers her too low down on the totem pole to discuss the matter with her, and refuses to reply to her letters or return her phone calls.’

“Ms. Karper tells me she has in her possession the document, signed by Hannah Arendt, that gives Schocken the rights back ‘for a nominal amount of money.’ Needless to say, I am excited to see this document – and, as an aside, I hope to redesign the Hannah Arendt backlist as well some day.

*Pantheon and Schocken are now imprints of Alfred A Knopf (which is a subsidiary of Random House, which is owned by Bertelsmann, which brings us, by commodius vicus of recirculation, back to German publishing and the Jews, but more on that some other day.)”

Thanks to Peter for the permission to reblog this slightly rearranged version of his original post. More at jacketmechanical.blogspot.com. You can even check out his desk, here.

Moebius Exhibition

Retour sur l’univers de l’artiste Moebius (Jean Giraud) et autour de ces personnages de bandes dessinées, à l’occasion de son exposition “Moebius-transe-forme” actuellement à la Fondation Cartier à Paris. Des clichés réussis d’Olivier Ouadah sont à découvrir dans la suite.



moebius04

moebius03

moebius02

moebius25

moebius26

moebius05

moebius19

moebius18

moebius08

moebius09

moebius10













Previously on Fubiz

Copyright Fubiz™ – Suivez nous sur Twitter et Facebook

Perfect Little Black Dress for Valentine’s Day!

imageNew Zealand based designer, Alexandra Owen, brings us six takes on the little black dress, just in time for Valentine’s Day! These six glorious confections give women with all different figures great choices in the iconic LBD and all of them are sophisticated with an edge.


You could just as easily imagine the cast of Mad Men wearing them as you could imagine yourself wearing them into the perfect little romantic restaurant on a special date night.



Check out more by clicking over to our friends at Couture in the City!