Le designer italo-argentin Emilio Sansolini rend hommage aux plus grands clubs de foot avec une série d’illustrations imaginant ce que pourrait être leur maillot dans un style vintage et minimaliste. Tout ce qui encombre d’habitude un maillot a disparu pour laisser place au strict minimum. Du Real Madrid au PSG en passant par Manchester City, voici une série qui ravira tous les fans de ballon rond.
Interview: the former head of two Parisian fashion houses has discouraged students from setting up their own brands because the industry is overwhelmed by too many new names.
Olivier Theyskens, who has previously headed Rochas and Nina Ricci, told Dezeen that the fashion industry is unable to cope with the surplus of young designers starting their own labels.
“It’s saturated,” said Theyskens during an exclusive interview during Seoul Design Week in November. “During New York’s fashion weeks, you have shows with young designers when you barely have a third of the seats taken by people.”
“These days, there is an over-offering of new brands,” he added. “Now in every season and every fashion week, you have 10 or 12 new names. I think it’s scary.”
The 37-year-old Belgian designer dropped out of university to start his own label in 1997, during what he called a “boring moment” in fashion. After five years working on his own collections, he moved to Paris to head the creative team at Rochas before transferring to a similar role at Nina Ricci.
Four-and-a-half years ago, Theyskens joined New York-based brand Theory but left the company last June to pursue other interests – including spending three months creating a wedding dress for one of his friends.
For today’s young designers wanting to follow in his footsteps, he believes that the internet – which didn’t exist when he started out – is making it harder for them to get noticed.
“Professionals in fashion are overwhelmed with the images and websites. It’s very tough to get their attention,” he said.
As a solution to the over-saturation, he suggested that students interested in fashion should pursue other areas of the industry.
“They don’t necessarily need to be ‘the designer’,” he said. “Students don’t realise that there are other aspects of the industry where they could find a very strong place. A lot of kids that like fashion could become amazing merchandisers, they could become amazing sales people, they could become PRs or they could work more in ateliers.”
Related story: Graduates should “work for nothing” says D&AD chairman
Theyskens defended the role that unpaid internships play in the fashion industry and their importance to both companies and the individuals undertaking them, but warned that students shouldn’t get into the habit of working for free.
“For a lot of students it’s important not to get into a spiral of doing one internship after another. But they are not victims, they are people that are responsible for their own lives and the evolution of their life, and they are making choices.”
Read an edited version of the interview below:
Dan Howarth: Can you explain a bit about your background?
Olivier Theyskens: I started my career about 17 years ago. I’ve had a lot of different chapters in my design life. For a while I had my own brand in Brussels, then I moved to Paris and I worked with Rochas and Nina Ricci there. Then I moved to New York and worked for Theory, which I left in June. So there’s four moments.
Since I was born, I was obsessed with dresses and fashion. It came naturally to me. I went to school in Brussels for two years before I dropped out and I launched my own brand instantly. At that time, I was just making everything myself. It started very small of course, but very quickly it became a brand with a rhythm of shows in Paris.
Dan Howarth: What are you focussing on now that you’ve left Theory?
Olivier Theyskens: I only left Theory recently, in June. I committed to do a dress for one of my girl friends, she wanted the wedding dress of her dreams. I’ve been used to doing some of these kinds of dresses with ateliers that have whole crews that are able to work on it, but this time I thought I’m just going to do it. It’s terrible but I worked for three months on that dress.
Dan Howarth: Do you think fashion designers need to keep that craft aspect?
Olivier Theyskens: It depends slightly. Fashion is always looking for innovation and the future, but if you just show a collection that looks like this building [Zaha Hadid’s Dongdaemun Plaza in Seoul] in a way that’s polymorphic and without seams, two seasons after if you keep doing that you’re just going to make people bored. Two seasons after your should probably come back with a crafty, old-fashioned collection that you suddenly need seamstresses and the old ways for.
It’s a funny thing for me, in fashion there is a lot of play with revivals and bringing back something old. My own way is to combine something old and something new. I think that with craft, there is now mystery about that when it comes to couture, it can be highly innovative but it can also be used to further perfect old types of manufacture to produce a garment.
Dan Howarth: [During a talk earlier in the week] Rem Koolhaas spoke about how as an architect he’s learnt a lot from the fashion industry. Are there things that fashion can learn from architecture?
Olivier Theyskens: Of course. Many fashion designers train as architects before they start. When I work on the volume of something, I’m a bit of an architect. When I was younger, I did mock-ups of chairs and played with cubes. I would spend hours constructing things, I love it. I think we have something in common, a way to fold and bind materials to create volumes.
I’m not an architect because I love the body so much, there’s something highly sensual in the approach to making something for the body. Working on androgyny, highly feminine, highly masculine things is something I’m attracted to. I always loved dance, I always loved the body. That’s why I’m really into clothing, and I’m fetishistic on the aesthetics and beauty of people. But I love architecture, I love design in general. I think we have a lot of things in common. I might create a line of furniture one day, that would be something I’d love to do.
Dan Howarth: The fashion industry relies on internships. Do you think that they’re useful and valuable?
Olivier Theyskens: It’s good for certain people to do internships, I’ve seen some interns who have started to work at my place and learn a lot of things, and when they left I imagine someone could hire them. Though for a lot of students it’s important not to get into a spiral of doing one internship after another. But they are not victims, they are people that are responsible for their own lives and the evolution of their life and they are making choices. If they don’t want to do an internship then very well, they can go and find a job in another way. But some people find this a solution.
I really think we have to assist and help the maximum people that are starting their career and professional life, but at the same time they have to also be facing the realities. I always feel that it’s fine for me to welcome a group of interns every season and I try to keep them for the shortest time possible. Enough time for them to learn what they need to learn and specialise in a certain activity, but after they have to go and find something else, or we should hire them. This is my ethic if we have an intern that is staying for six months in the company. If we are very happy with the work that the intern does, we should try to see a way we can hire that person and give them a real job.
The reality is that companies in fashion need a certain amount of people, but we can’t have a huge team and teams are always evolving. Interns are coming at specific moments when activities are more important so they’re a huge help. Sometimes I think they know it, and they’re happy to be there, but they know it’s because suddenly we need more hands.
Personally, when I dropped out of school I thought “oh god, what have I done?” I took all my personal drawings – I was drawing since I was a teenager so I had a huge pile of ideas, concepts for glasses and bags – and I went to Jean Paul Gaultier in Paris. The person who was there said that I had to leave all those drawings and wait for a call and I thought “I just can’t leave this”. It’s a mind full of ideas, there are a million things there and I thought that I’d be taking a risk that I just didn’t want to take. I kept my drawings and went back to Brussels and I decided I wouldn’t do an internship.
But after, I found I wasn’t prepared for some aspects of the activities – I don’t know if I would have learned them from internships – but there was a lot of things that I still needed to learn about having a professional life with responsibilities. I wasn’t really sure about how to face and manage them.
Dan Howarth: What was it like setting up your own company at such at early stage?
Olivier Theyskens: It was a very good idea, but I don’t know if it’s the best way nowadays. I didn’t have much money at all, I was thinking that I should use the amount of money that school was costing me for my own things. I had a lot of little bits of fabrics that my grandmother collected for me since I was a child, a lot of things I could play with. I started to do a collection with what I had. It was impossible to produce after, so I couldn’t take any orders but I used that collection as a way to present myself.
I did a proper show, all of the models were showing for free, everyone was just giving a hand. I got a lot of support and at the same time, I had started having some publications like in Face magazine and Isabella Blow saw some of my things and put them on the cover of the Sunday Times. The very early clothes that I did instantly had a very incredible group of people decide to shoot them.
I got recognition very quickly. People came to the first show that I did when I was showing things made out of antique fabrics and in my little showroom after the first person to open the door was the head buyer at Barney’s. She couldn’t believe that I didn’t want to sell anything and I promised the season after that I would have something for them. It gave me time to meet factories, to convince them to work for me and to wait for payments. I found my way like that. I had no financial partner, it was very tricky and a lot of pressure working like hell, but it had to start one way or another.
Dan Howarth: Why did you decide to leave Theory?
Olivier Theyskens: I’d been at Theory for four-and-a-half years and I really wanted to learn about that field of the industry: how you engineer more accessible clothes and have a better organisation for production. In our world, it’s an aspect that is crucial to understand. When I started at Theory I felt my role was different, it wasn’t just about being an artistic director that says “I want to do yellow or orange”. It was more partnering to make a company of that scale evolve and get to another level of its history. I felt that after the four years that we did it, my mission was accomplished in a way.
I believe I made the right choice to go there because these last five years have seen a tremendous evolution in the mid-market sector. The most active and dynamic evolution in accessories, of new brands and lots of brands competing for design propositions. A lot of brands were inspired by the famous shows of Paris and producing extremely well-made, almost copies of the Paris fashion shows.
So it was an interesting challenge to keep true integrity at Theory with our own designs and our own way of creating products and quality, in a very competitive sector that is selling clothes to people who don’t always know fashion, that do not always know that things are lifted from other collections and that there is probably a copyright ethic behind the products.
Dan Howarth: Would you recommend for young designers to start their own companies and brands, as you did?
Olivier Theyskens: I receive this question a lot and I think I can never answer it the same twice. Especially these days, there is an over offering of new brands. If I put it into perspective of when I started, I think one of the reasons why people supported me a lot was that there was a boring moment between 1994 and 1998, when no new designers were really showing up. When I started it was a moment when Raf Simons started, followed by Jeremy Scott. There was a little group of new stuff showing up, and I think that suddenly people felt excited.
Now in every season and every fashion week, you have 10 or 12 new names. I think it’s scary. If someone really talented, in any situation, could be a good star and it might work – if someone is truly strong today. At the same time, a lot of brands that are less prepared, they are facing tough situations with so many new brands.
Dan Howarth: So there’s a fear of the industry becoming oversaturated?
Olivier Theyskens: It’s saturated. During New York’s fashion weeks, you have shows with young designers when you barely have a third of the seats taken by people. It’s tough. I know some young designers for whom the PR agency says “you have to do a show” and they will spend all their money on that and it will have zero impact. The people who show up will be the ones that couldn’t go to better shows. It’s tough, so I think for young designers they have to find more professional support to show that they have the right people on their side. You have to be more professional now when you start than before.
Also, if I compare again to when I started, there was no internet. When I wanted to show my work, I couldn’t download pictures of it. I did pictures and I made 50 little portfolios of them and I sent them to a person I knew at a PR agency in Paris. I just asked “who are the 50 most important people in fashion that I should send these pictures to?” There was Isabella Blow and there was Suzy Mendes. These people received this portfolio.
It’s not something that can happen today. Professionals in fashion are overwhelmed with the images and websites. It’s very tough to get their attention.
Dan Howarth: What might be a solution to this?
Olivier Theyskens: If I was in this situation, I would still be in school. You have to show you’re extremely talented, you have to be really strong. There are professionals that can see if you’re really able to cut a coat. Also, you have to feel convinced that it’s really your thing.
Dan Howarth: And you think it is advisable for students to work with brands to realise that?
Olivier Theyskens: Yeah, but also every summer the schools are difficult. Students don’t realise that there are other aspects of the industry where they could find a very strong place. Some of the people doing internships for me, they became super specialist in generating amazing prints or opening a business for trims and providing to all the houses in Paris. But a lot of kids that like fashion could become amazing merchandisers, they could become amazing sales people, they could become PRs or they could work more in ateliers. They don’t necessarily need to be the designer. It just depends on each person, and if they have something to express.
I’m seeing a school later today, and I have to think about Louise Wilson. I visited her earlier this year when I went to do a lecture at Central Saint Martins, she was complaining that students had no guts in their creation today and she was bored by everything she saw. I know she was a tough cookie but I think she meant it. She said that too many students coming from comfortable lives came to the school thinking they would get everything they want. She was showing what they were doing and she said that the most creative people in her group might be inspired by a shell or by a tree for their collection, and it’s going nowhere. It lacks the guts of the cool guys I had in the 1990s. She was saying that it needs to be shaken up.
I’m not sure how reliable this information was, it might be a little bit true. But when you start you have to shake everything up – you don’t necessarily have to be a rebel but you have to do something that moves people, so they get attracted and want to understand what that person is having in his or her mind. That is going to be amazing for the future.
The post The fashion industry is “saturated”
says Olivier Theyskens appeared first on Dezeen.
Each facet that makes up the facade of this community building in Poland by OVO Grabczewscy Architekci is covered in a sheet of shiny ridged copper to create the impression of flames (+ slideshow).
Katowice-based studio OVO Grabczewscy Architekci designed the Museum of Fire after being asked to create a cultural pavilion for the city of Żory in southern Poland, near both the Czech and Slovakian borders.
It serves as a tourist information and community centre, but also hosts local history exhibitions.
When the medieval city was founded in the 12th century, a forest was razed to produce the open space. The name of the city is derived from the process used to create this earlier Slavic settlement called Zar – meaning fire, burnt or flames – which provided the basis for the design.
“It became obvious to us, that the building should look like a fire,” said OVO Grabczewscy Architekci co-founders, Barbara and Oskar Grabczewski.
Shards of copper jut from the ground and crumple into a flame-like formation. Beneath this cladding is a shell of reinforced concrete.
Up-lights positioned around the perimeter of the building set the reflective facade ablaze at nighttime.
The irregular form of the building was dictated by the limitations of the site. It sits on an unusual plot, sandwiched between a petrol station and the main access road for the city, and contends with a number of pre-existing underground structures.
“The plot had a lot of disadvantages, especially a great number of underground infrastructure that left only very strange, irregular shaped piece of land to build on,” explained the architects.
An irregular plan of two storeys accommodates these existing services, with the angular projecting volumes above ground representing the subterranean plan like the tip of an iceberg.
“The strange shape on the plot suddenly started to resemble dancing flames,” said the architects.
Two angled metal fins project out from one side of the building to conceal the sliding glass doors of the main entrance. Two further entrances are set into crevices in the structure.
Inside, elements of both concrete and copper can be seen across the walls, while the ceiling complements the exterior form with a folded white surface veined like the underside of a leaf.
A lobby and information area are located across the ground floor, while an exhibition hall and support spaces are submerged below the ground.
A room located off the main reception area can be used as a gathering spot for screenings and talks. The black latticework of the chairs chosen for the space reference the folded ceiling.
Glazed stairwells lead down from a cobbled walkway connecting the lobby and theatre to the exhibition hall. This space was only decided upon by the client during the excavation process for the building.
The floors are paved with small pieces of black stone throughout, which continue onto the plaza that surrounds the building.
The landscaping around the museum creates separation from the main road that runs across the front of the site.
“The building and the landscape work together to create a symbiosis of space consisting of museum itself, pedestrian paths running through the pavilion and green walkways,” said the architects.
The architects plan to develop this patch of land into an outdoor exhibition space, named Garden of Fire. They envision that it will be used to host the city’s Festival of Fire, a procession that takes place each summer to commemorate the great fire that destroyed much of the city in 1702.
Photography is by Tomasz Zakrzewski / archifolio.
Project credits:
Architects: OVO Grabczewscy Architekci Katowice (Barbara Grabczewska, Oskar Grabczewski)
Project team: Beata Kosok, Marta Musiał, Agnieszka Krzysztonek, Martyna Wojtuszek
Main contractor : Voyage Sp. z o.o., Żory
Copper facade: Grande Polska Sp. z o.o.
Lightning: ES – System Polska Sp. z o.o.
The post Copper panels give a flame-like appearance
to Museum of Fire in Poland appeared first on Dezeen.
Since ROCCAT swept through the gaming scene like a snowstorm, award after award has rained down on their ingenious products which are all perfectly tailored to meet gamers’ needs. ROCCAT is the industry-leading German manufacturer of professional gaming peripherals, and developer of extensively customizable second-screen applications. They develop, manufacture, and distribute our products worldwide from a single source. To support their steadily growing Industrial Design Team, they are looking for an Industrial Designer f/m in Hamburg.
The right person for this job will have 3+ years of product design experience , preferably in consumer electronics, automotive, sports gear or something similar. An outstanding portfolio, preferably with already realized product designs, and at least a Bachelor’s degree in Industrial Design or Product Design are required as well. Apply Now.
$(function() { $(“#a20150130”).jobWidget({ amount_of_jobs: 5, specialty: “industrial design, mid-level staff” }); }); (more…)
No no, it’s not official, but it does look like a group of game designers may have managed to capture the infernally infuriating experience of putting together IKEA flatpack furniture in virtual reality. Höme Improvisåtion as the game is called (complete with appropriate Scandinavian accents) is apparently one creation to come out of last week’s Global Game Jam, a 48-hour event challenging developers to create the best games in a presumably messy weekend of pizza and coding.
Declaring itself “the world’s most fun and accurate cooperative furniture assembly experience”, the below video gives an amusing introduction to the objective and gameplay. Apparently, the game begins as flatpack furniture box lands at it’s own whim in your livingroom (we all know that feeling) leaving you to assemble the pieces before the next items arrive. Oh, it gets worse. The creators have refrained from including assembly instructions in the mix (clearly damaged and vengeful IKEA flatpack veterans/victims) leaving you to assemble the objects in your strange, isometric home on the fly. Don’t worry though, these sick sadists offer up some useful troubleshooting advice—“If ever you don’t know what to do, just think like a Scandinavian industrial designer”.
Amy Leverton’s passion for denim has seen her journey across the globe to find the latest, oldest and most unique denim looks around, be they vintage wonders or the very newest threads from Japan. Her upcoming book, “Denim Dudes” showcases a number……
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Nickelodeon to Offer Streaming Service as Viacom Steps Up Digital Efforts (NYT)
Nickelodeon, the entertainment group focused on children’s programming, said on Thursday that it would start a new subscription streaming service in March that will be available outside traditional cable or satellite television packages. Reuters Viacom CEO Philippe Dauman did not offer much detail, including pricing, about the subscription offering, but said more information will be revealed next month. Deadline It won’t carry the Nickelodeon brand name, and most of the details of the mostly mobile service will have to wait until the channel’s upfront presentation to advertisers in the spring, Dauman told analysts Thursday morning. Although it will be introduced there, he declined to say whether it would include advertising. THR The decision to offer a way to see the popular kids network without cable or satellite TV subscriptions follows a trend in the entertainment industry. In recent months, HBO, CBS and other networks have announced similar plans. WSJ There are roughly 10 million broadband-only homes that don’t subscribe to pay television, according to some industry estimates. The challenge for traditional media companies will be to attract those customers without cannibalizing their lucrative existing businesses based on cable and satellite TV subscriptions.
Amazon’s Net Sales Up 20 Percent in 2014 (GalleyCat)
Amazon’s fourth quarter 2014 net sales reached $29.33 billion, a 15 percent increase compared to the $25.59 billion net sales the company reported in the fourth quarter 2013. THR The Seattle-based tech giant has announced adjusted earnings per share of 45 cents, a significant amount higher than the 18 cents per share that analysts had been expecting. For the full year, Amazon reported a 20 percent increase in revenue to $88.99 billion and a loss of 52 cents per share. Mashable The company’s Prime service grew its membership by 53 percent worldwide off a base of “tens of millions” in 2014. The profit is good news for Amazon, which had recently seen its shares dip as the company announced continued losses in previous quarters. For 2014, Amazon still lost $241 million after logging a profit of $274 million in 2013. Variety Amazon, which is gunning for Netflix in the subscription-video space, invested $1.3 billion in its Prime Instant Video last year, according to founder and CEO Jeff Bezos. Netflix, by contrast, spent $3.8 billion in 2014 on additions to its streaming-content library globally, up from $3 billion the year prior.
‘Sorry, Joe’: CNN’s New Day Brags About Winning Streak (TVNewser)
CNN’s New Day has momentum, and the network is ready to brag about it. In a full-page ad in The New York Times Thursday, CNN teased MSNBC’s Morning Joe host Joe Scarborough, saying “Sorry, Joe, while you were leaning forward, we were moving ahead.” Variety The ad then goes on to detail how New Day has beaten Morning Joe for the fourth consecutive month in snaring the most viewers and for the seventh consecutive month in capturing viewers between 25 and 54 — the demographic most favored by advertisers in news programming. Mediaite HLN’s Morning Express has also overtaken Joe, beating the MSNBC show in the demo for nine straight months. What makes this ad particularly incisive is that when New Day began to outpace Morning Joe last spring, Scarborough chalked it up to MH370 coverage.
Viacom Net Earnings Drop, U.S. Ad Sales Fall 6 Percent (THR)
Viacom on Thursday reported fiscal first-quarter financials affected by currency fluctuations and ratings challenges. Deadline For the quarter that ended in December, Viacom reported net income of $500 million, down 8.6 percent from the period in 2013, on revenues of $3.34 billion, up 4.6 percent. The revenue number was short of the $3.41 billion that analysts anticipated. Not including a charge for a pension settlement and a one-time tax expense, earnings came in at $1.29 a share, a penny ahead of consensus. B&C Operating income for Viacom’s Media Networks unit, which includes Nickelodeon and MTV, was down 1 percent to $1.104 billion in the quarter. Revenues were up 4 percent. The company said domestic affiliate revenue rose 8 percent and worldwide affiliate revenues were up 6 percent. Domestic advertising revenues were down 6 percent. Worldwide advertising revenue was up 3 percent, with the acquisition of Channel 5 in London creating a 60 percent increase in international advertising revenues.
Univision Extends CEO Randy Falco’s Contract Through Early 2018 (THR)
Univision Communications said Thursday that it has extended the employment agreement of president and CEO Randy Falco through January 2018. Variety Under Falco, Univision has invested in bringing its content to new and nontraditional audiences. The company, the largest Spanish-media operation in the U.S., has helped to launch El Rey Network, a new English-language cable outlet led by director Robert Rodriguez; Fusion, a news-and-entertainment cable network jointly owned with ABC News; and streaming-video hub UVideos. Univision has also grown more aggressive under Falco’s aegis, making the case to advertisers that a growing audience of Spanish-speaking Americans deserves more consideration — and ad dollars. Deadline Univision now has 16 broadcast, cable and digital networks as well as 61 TV stations, 61 radio stations, and multiple online products. Falco’s also credited for helping to forge the company’s Fusion joint venture with ABC, investing in El Rey, and creating bilingual digital video network UVideos.
Showtime Inks Exclusive Licensing Deal With Canada’s Bell Media (THR)
Canadian broadcaster Bell Media has signed a long-term licensing deal with U.S. cable channel Showtime to raise its game against Netflix Canada. Bell’s pact with Showtime parent CBS will see the Canadian broadcaster bring the Showtime brand and exclusive access to hit shows to pay TV service The Movie Network and Bell’s newly launched SVOD CraveTV. Deadline Over the course of the new pact, both of those outlets will become Canada’s exclusive home of Showtime-owned first-run programming along with the majority of its catalog of scripted and unscripted series, documentaries and specials. Variety In the past, Showtime had licensed individual shows to Bell Media outlets, just as it does with foreign TV outlets around the world. But the Showtime-branded blocks are a first for CBS Corp.’s pay TV service, which has grown dramatically in stature in the U.S. but has virtually no international presence as a brand unto itself.
Al Jazeera Wants This Memo Leaked (TVNewser)
Salah Negm, the director of news for Al Jazeera English, is grateful that an internal memo outlining style guidelines was leaked this week. In fact, he sent a memo to staff calling the leak a “blessing” and thanking whoever leaked the information. Poynter / MediaWire Negm sent a memo to employees Thursday with the subject line “TO BE LEAKED.” In it, Negm thanks the employee or employees who have leaked memos about the news organization’s attitude toward events such as the Charlie Hebdo shooting and decisions not to use the words “terrorist” and “Islamist.”
Google Misses Its Q4 And Wall Street Is Fine With That (Re/code)
Somebody else might see their stock tank if they missed their revenue and earnings goals, but Google did just that, and now its stock is headed up, a couple percent in after-hours trading. THR Google Inc. reported higher revenues for fiscal 2014 of $66 billion, an increase of 19 percent over the prior year, on Thursday. Revenue for the fourth quarter was $18.1 billion, an increase of 15 percent over the same quarter a year earlier. That was a bit below Wall Street analyst estimates of $18.7 billion for the quarter.
The FCC Wants Your Broadband Internet to Be Faster, So It Changed The Definition (Mashable)
Internet service providers will now need to offer faster service if they want to label their products as “broadband.” The Federal Communications Commission voted on Thursday to change the minimum speeds for what can be considered broadband Internet. WSJ Additionally, the FCC’s biggest ever auction of wireless spectrum closed Thursday and drew a record $44.9 billion in bids, a boon for taxpayers and a sign of the growing cost of supporting Americans’ smartphone habit.
National Journal Magazine Hires John B. Judis as Senior Writer (FishbowlDC)
National Journal magazine has hired John B. Judis as a senior writer, announced Richard Just, editor of NJ magazine, Thursday afternoon. Judis, author and former senior editor for The New Republic, will write feature stories for the magazine in his new role — including the next issue’s cover story, “The Emerging Republican Advantage.”
Major Changes Coming to InStyle, StyleWatch (FishbowlNY)
Time Inc. has made some major changes involving the InStyle and People StyleWatch leadership teams. For starters, Ariel Foxman — currently InStyle’s editor — has been promoted to editorial director of both brands, a new role at the company.
Spotify Seeks to Raise About $500 Million (WSJ)
Music streaming service Spotify AB is working with Goldman Sachs Group Inc. on a new round of private fundraising, potentially putting off an initial public stock offering for another year, said people familiar with the matter.
Obama to House Dems: Don’t Read Huffington Post (Politico / Dylan Byers on Media)
President Barack Obama warned House Democrats on Thursday not to read the Huffington Post if they want to be informed on trade issues. “Get informed, not by reading the Huffington Post,” Obama said at the House Democratic retreat in Philadelphia, according to a source in the room.
Modern Farmer Lives (Capital New York)
Observers sounded the death knell for Modern Farmer, the food and culture magazine, when The New York Times reported that it had ceased publication Friday. But it isn’t dead yet: the magazine has hired Sarah Gray Miller to oversee its operations on an interim basis, it announced Thursday.
Warner Bros., Sony to Launch Streaming Video Service in SE Asia (Variety)
Warner Bros. and Sony Pictures Television are teaming up with Singapore’s Singtel to launch a streaming video service in South East Asia. The companies have formed HOOQ to offer more than 10,000 Hollywood films and TV shows, as well as local-language content via streams or downloads on a variety of platforms.
FishbowlNY Fishbowl Five with Terri White, Editor of Time Out New York
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Time Travel est une série de la photographe Flora Borsi. Elle s’est intégrée avec un appareil photo numérique et un smartphone dans une collection de vieilles photos en noir et blanc d’icônes telles que Marilyn Monroe, les Beatles et Andy Warhol. A travers des anachronismes, elle s’interroge sur comment aurait été cette époque si les fans avaient eu nos ressources technologiques.
Ever judged a book by its cover? Amsterdam creative studio Moore has reversed the well-known idiom – designing a sleeve that scans your face and won’t open unless approached without prejudice (+ movie).
The Cover That Judges You has an integrated camera and facial-recognition technology that scans the face of whoever approaches.
If the awaiting reader shows too much emotion – either overexcitement or under-enthusiasm – the book will remain locked.
Only when pulling a neutral expression will the scanner allow an Arduino micro-controller to unbolt the lock and let the user browse inside.
“Our aim was to create a book cover that is human and approachable-hi-tech,” Thijs Biersteker of Moore told Dezeen. “If you approach the book, the face-recognition system picks up your face and starts scanning it for signs of ‘judgement’.”
Moore designed The Cover That Judges You as a prototype for the Art Directors Club Netherlands‘ 2015 annual, which is filled with an edited selection of creative work.
The camera is positioned at the top of the cover, above a screen that feeds back the image when it detects a face in close proximity.
Abstracted facial features that form the shape of the screen allow the prospective user to line up their eyes, nose and mouth in the optimum position.
Once the correct alignment is obtained, the screen turns green and a signal is sent to the Arduino board that opens the chunky metal lock.
“We often worry about scepticism and judgement getting in the way of amazement,” said Biersteker. “Judgement should never hinder relentless enthusiasm of seeing things for the first time.”
The project was undertaken in collaboration with digital production studio This Page Cannot Be Found, branding manager Marlies Olbertijn and developer Adrien Jeanjean.
Other unusual book designs include a food company publication that has to be baked before reading, a sanitation manual that filters contaminated water and an annual report that turns green in the reader’s hands.
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Our job of the week on Dezeen Jobs is for a director of design, exhibitions and future planning at the V&A museum, whose recent exhibitions have included the Candela installation (pictured) and the political activism-focused Disobedient Objects. Visit the ad for full details or browse other architecture and design opportunities on Dezeen Jobs.
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exhibitions and FuturePlan at the V&A appeared first on Dezeen.
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