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Epson Home Cinema 5030UBe LCD 3D Projector Review Highlights
For 2014, Epson has refreshed all their Home Cinema projectors with incremental performance upgrades. Contrast is greater and black levels are lower thanks to tweaks in the 3-chip D9 LCD light engine. The tremendous light output in both 2D and 3D makes the 5030UBe one of the brightest sub-$3000 projectors I've ever tested. There are THX modes for both 2D and 3D that offer decent accuracy out of the box and are fully adjustable so users can achieve perfect color with little effort. Also returning is the extremely handy wireless HDMI transmitter which allows connection of up to five additional sources. For 3D fans, two pairs of RF-type glasses are included. Read here for more of Secrets' Projector Reviews.
Epson Home Cinema 5030UBe LCD 3D Projector Highlights Summary
- Almost 50 footLamberts of output available if you wish to watch with some ambient light
- Decent out-of-box accuracy in THX and Natural modes
- Excellent calibration results in THX mode
- Conforms to the newer BT.1886 gamma specification
- MHL-compatible HDMI input for connection to smartphones and tablets
- Super-responsive remote
- Wide zoom range and lens shift makes for easy and flexible installation
- Lower black levels than last year
- Auto-iris does not impact gamma performance
Introduction to the Epson Home Cinema 5030UBe LCD 3D Projector Review
With flat-panel prices at historic lows, many people are opting for the inexpensive solution and outfitting their home theaters with a TV rather than a projector. But there is still no substitute for the big-screen experience. When the image tops 100 inches diagonal and you can sit 10 or 12 feet away, it truly exceeds the immersion factor found in most commercial cinemas.
- Design: 3-chip D9 LCD Projector
- Native Aspect Ratio: 16:9
- Native Resolution: 1920 x 1080
- Anamorphic Lens Support: Yes
- 3D formats: Frame-Packing, Side-by-Sside, Top-Bottom
- 2D-3D Conversion: Yes
- Throw Ratio: 1.34 – 2.87
- Lens Shift: 96% Vertical, 47% Horizontal
- Light Output: 2400 Lumens
- Contrast Ratio: 600,000:1
- Iris Control: 2-speed Auto
- Image Size: 30″ – 300″
- Inputs: 2 HDMI 1.4a (1 MHL), 1 x Component, 1 x Composite, 1 VGA
- Wireless Inputs: 5 HDMI
- Control: 1 RS-232, 1 12V Trigger Out
- Lamp power: 230 watts
- Rated Lamp Life: 5,000 (Eco) / 4,000 Hours (Normal)
- Dimensions: 5.5″ H x 18.4″ W x 15.6″ D
- Weight: 18.9 Pounds
- MSRP: $2899.99 or $2599.99 w/o WirelessHD
- 3D Glasses: 2 Pairs Included
- Epson
- SECRETS Tags: Epson, Epson Home Cinema 5030UBe LCD 3D projector, Projector reviews 2014, 3D projectors, THX
Front projection does take some commitment and a bit of cash but there are several high-performing models out there that don't cost much more than a decent HDTV. The largest panels are at the 80-inch mark and will set you back $3000 or more. For the same money, you can buy a decent projector and screen. Choose a room you can make dark and you'll have movie nights that are far better than anything you'll experience at the Giga-plex and you can make your own popcorn!
Epson has owned the sub-$3000 projector market for many years mainly because they do not rest on their laurels. Every time I attend CEDIA, they have a completely refreshed line with improvements in contrast, color accuracy, and convenience. Last year I reviewed the 5020UBe, and found it to be a terrific value. Today I'm checking out the latest THX-certified 5030UBe. The "e" means you get a wireless HDMI transmitter that supports up to five sources and a cable-free link to the projector. If you want to save $300, go for the 5030UB that is identical in every other way. Let's take a look.
Design of the Epson Home Cinema 5030UBe LCD 3D Projector
Like all Epson Home Cinema models, the 5030UBe is a 3-chip LCD design utilizing D9 imaging devices. To deliver high brightness and low motion blur, the projector runs at 240 Hz. It handles 24p Blu-ray discs by repeating each frame 10 times, or you can engage a frame interpolation feature to improve motion resolution. The lamp is Epson's E-TORL design rated at 230 watts. Through an optimized reflector, it delivers greater output than any other projector in its class; almost 50 foot-Lamberts in Dynamic mode.
The chassis retains the retro-Star Wars look from the last two model years. It's made from a matte-finished white plastic with black vents on either side of the center-mounted lens. When turned off, a sliding door protects the optics. Ventilation is extremely quiet thanks to internal baffles and a low-speed fan.
On top there are rings for zoom and focus plus two small wheels for horizontal and vertical lens shift. Installation is very easy thanks to the wide range of these controls. They are all manual and very precise in operation. On the right side is a small control panel with keys for power, source, and menu navigation. There are two adjustable feet on the bottom and four threaded fittings for a ceiling mount.
Around back is a well-stocked input panel with two HDMI ports (one is MHL-compatible); one each of component, composite, and VGA; plus RS-232 and 12v trigger control options. Since this is the UBe model, it includes a wireless HDMI transmitter that supports up to five sources and connects with the projector at distances up to 32 feet with line-of-sight. It also has a USB port which is handy for charging the 3D glasses. If you go all wireless, Epson includes a snap-on cover that conceals the input panel.
Two pairs of 3D glasses are included. They sync by RF and only need to be paired the first time they are used. The battery is rechargeable via the included micro-USB cable and lasts for about 40 hours. They're fairly light and comfortable and fit easily over prescription spectacles. If you want additional glasses, Epson sells them for $99 each.
I'm always impressed by the responsiveness of Epson's projector remotes and this one continues that tradition. Bouncing commands off the screen works every time even in 3D mode. Starting at the top we have discrete power keys and the backlight toggle. Next are keys for PIP and each individual input including the wireless transmitter. A set of transport buttons come next for use with the 5030UBe's HDMI Link feature. In the center is menu navigation along with one-touch access to 3D mode, color mode, and Super Resolution. At the bottom are more projector function keys along with controls for WirelessHD.
Setup of the Epson Home Cinema 5030UBe LCD 3D Projector
I installed the 5030UBe right-side up on a stand behind my seating. The lens was just above the screen's centerline. To connect sources I used both the traditional HDMI inputs and the WirelessHD transmitter which adds five ports to the two on the projector. It worked fine set about six feet away. Its range is 32 feet and you must have line-of-sight for it to operate. You can check the signal strength in the projector's menu.
The menu system is exactly what I saw on last year's 5020UBe. There are six picture modes in 2D and three more available for 3D signals. In a dark environment, THX or Natural is the best choice. They're reasonably accurate without adjustment and top out at around 18 fL. If you have some ambient light, Dynamic can provide almost 50 fL of output. The same mode exists in 3D though the glasses will cut brightness by about 40 percent.
Brightness and Contrast controls can be left at zero if you turn on Epson Super White. This allows rendering of all above-white information with no clipping. Sharpness has an advanced setting where you can tweak vertical and horizontal information separately. It does improve image clarity without obvious edge enhancement when used sparingly.
The Color Temp slider works in 500K increments which makes it too coarse to be useful. There's also a Skin Tone adjustment which can reduce the red push in some content. Of course an instrumented calibration eliminates the need to adjust either of these.
In the Advanced sub-menu you'll find gamma presets plus a curve editor; RGB gains and offsets, and the color management system. All calibration controls produced excellent results during my tests. The CMS works much better than its predecessors in that I was able to adjust color saturation properly. When using any of these features, you should employ the proper tools and test patterns; don't try adjusting them by eye.
Epson has always done a decent job with its auto-iris and this one is the best yet. Turning it on typically alters gamma so that highlights are brighter and blacks look blacker. The 5030UBe achieves the effect without changing the actual gamma curve. It also more than doubles the contrast ratio so it's well worth using. It has two settings, Normal and Fast. Fast works well to hide any brightness pumping but during quiet scenes, you'll hear its operation. It didn't bother me and I enjoyed the improved image depth it provided.
The Signal menu has options for 3D, aspect ratio, deinterlacing, frame interpolation, and a feature called Super Resolution which turned out to be another form of edge enhancement. 3D options include three brightness settings (I used High) along with a depth slider that helped correct parallax errors in one film I watched. You can also convert 2D content to 3D in this menu.
In the Advanced section there is an option called Image Processing. If you plan to connect a console or PC, I suggest setting it to Fast. This will reduce input lag significantly. With all other content, use the Fine setting for better image clarity.
In the Aspect menu, you can enable support for anamorphic lenses. Unfortunately there are no lens memories available for zooming out cinemascope content since the adjustments are manual. Frame Interpolation has three settings plus off. It works well at improving motion resolution without artifacts but like all displays with the feature, it imparts the soap-opera effect. I do like to use it for watching sports or playing games though.
In the Extended menu is a Panel Alignment feature, also known as point convergence. If your particular 5030UBe has issues, you can adjust the alignment of the red, green, and blue sub-pixels to improve uniformity. It will also reduce resolution so only use it if you absolutely have to. My sample looked great so there was no need.
The Memory menu has 10 slots to save your preferred configurations. You can base your calibrations on any picture mode you want and rename the memories too. It's a great way to create day and night modes, or custom color setups for specific content or sources. I wish all displays had this feature.
For calibration purposes, I chose the THX mode which is fully adjustable. I turned on Epson Super White and set Contrast to 4 for a little extra brightness. Gamma was left at 0 since it matched BT.1886 out of the box. I adjusted both the two-point grayscale sliders and four of six colors in the CMS to achieve a fairly high level of accuracy. I also used the Sharpness Advanced settings to add a little clarity to the image. You can turn them up slightly without introducing any ringing. After completing all adjustments, I turned on the auto-iris to improve contrast.
The Epson Home Cinema 5030UBe LCD 3D Projector In Use
I thought I'd start with some challenging material so I cued up the less-than-stellar transfer of Apollo 13. There is a fair amount of film grain present that softens the image and really tests a display's image processing ability. The 5030UBe rendered everything very cleanly. The grain was still present but much less noticeable than usual. Color looked nicely saturated and warm which is appropriate for the period of the story. The image wasn't particularly sharp but given the transfer, I doubt it could look much better.
I took this opportunity to experiment with the Super Resolution feature. It works more subtly than a sharpness control. It still should be used in moderation however. It has five settings and the first four levels added a little crispness without causing edge enhancement.
Gravity is a great contrast torture test. The entire film takes place in orbit around the Earth so part of the picture is always a star field. I could see subtle shifts in black levels as the auto-iris did its thing but ultimately, it improves contrast without calling attention to itself. As you'll see in the benchmarks, it doesn't harm gamma like most irises do. I left it on for all my subsequent viewing.
Using CGI animation to test a display is a little unfair because just about any display looks good with this sort of content. But I couldn't resist watching How To Train Your Dragon. It's a Dreamworks film so it doesn't have the textural detail of a Pixar movie but it does offer lots of bright color and fantastic dark scenes with loads of shadow detail. The surface of the Night Fury dragon was particularly well-rendered with all its scales clearly visible. I also enjoyed the pop of color in all the brighter scenes.
3D Movies
The 5030UBe can convert 2D content to 3D and it does a fair job but nothing can compete with native 3D content. Last year's 5020UBe proved to be the brightest 3D projector I'd reviewed and the 5030UBe achieves around the same light output. It's at least twice as bright as any other 3D projector I've watched.
The Hobbit, An Unexpected Journey is loaded with dark content that looks murky on most 3D projectors. The extra punch provided by the 5030UBe took it to another level. Peter Jackson may be a long-winded storyteller but he does know how to film in 3D. Foreground objects were positioned just right and the entire movie looked natural without any gimmicky effects or in-your-face moments. I had no trouble sitting through the entire thing without a break. It's so nice when you don't have to strain to see detail.
Wreck-It Ralph is a CGI animated film but its 3D is somewhat understated compared to other family movies. Some displays barely show any depth but the 5030UBe had no trouble. Since I was able to preserve accurate color and gamma in the 3D THX mode, the picture didn't suffer from oversaturation or blown-out highlights.
Dial M For Murder is a vintage 3D film from 1954. It was originally released in a two-strip format as well as Stereovision. Its effects are crude at best and the image is very grainy and soft with obvious parallax errors. Fortunately I was able to remove the crosstalk by adjusting the 3D Depth control. Three clicks aligned the left and right images perfectly. Again the 5030UBe's image processing managed film grain well and prevented artifacts.
The Epson Home Cinema 5030UBe LCD 3D Projector On The Bench
I installed the projector right-side-up at a 12-foot throw distance. Test gear included an Accupel DVG-5000 pattern generator, i1Pro spectrophotometer, Spectracal C-6 colorimeter, and CalMAN 5.2 software. Measurements were taken off the screen; Carada Brilliant White, gain 1.4.
With any THX-certified display, the THX mode is usually the best choice when you're not calibrating. Fortunately the 5030UBe enables all its picture adjustments in that mode so you can tweak it to near perfection if you have the right tools. I also measured the Cinema mode just to see the effect of its expanded color gamut. All the results are below.
Here are the grayscale and gamma charts for THX mode, pre-calibration.
I could see even before I took the measurements that the grayscale was too warm. All brightness levels have a reddish cast that is obvious to the eye and even more so to the i1Pro. Gamma tracking is fairly close to the BT.1886 spec but runs a tiny bit dark. Since there's plenty of light output, it isn't a problem. I am surprised to see grayscale tracking this far off in a THX mode however.
As an experiment, I attempted to straighten out the grayscale with the color temp control but it moves in 500K steps; too coarse to hit D65. A traditional calibration using the RGB controls cleans things up nicely though.
After adjustment to the RGB gain and offset sliders, the results are near-perfect. The small spike at 60-percent is not visible to the naked eye. The average error is now 1.13 Delta E; excellent performance. Gamma tracking is a little flatter as well. The more I watch content using BT.1886, the more I like it. I'm glad Epson has included support for it in their latest model.
Turning to color, I first measured the Cinema mode. Epson uses a filter in the light path to expand the gamut a little. The net effect is greater vibrance and saturation at the expense of accuracy.
You can see the gamut is just about large enough to meet the Digital Cinema Initiative (DCI) specs. Luminance is bumped up significantly as well. If you have a dark theater like I do, you won't need the Cinema mode but if you want to have a little ambient light present, it's just the ticket to maintain image integrity. Paired with a high-gain screen, you could have a decent Super Bowl party with the 5030UBe.
If you don't plan to calibrate, THX is a decent fire-and-forget mode for color. The hues of cyan, magenta, and yellow are a little off due to the warm grayscale tracking but saturations are fairly close to their targets. Only blue show some under-saturation in the 20 to 80-percent values. The resulting error is a low 3.43 Delta E.
I had greater success with the CMS than in past Epson models. I was able to correct saturation errors in red and blue as well as fix all the secondary hue issues.
Red is still a little over-saturated at the 100-percent mark but it's right on at the other levels. All other colors are spot-on for both hue and saturation. I also tweaked the luminance levels to a high degree of accuracy. The average error is now only 1.83 Delta E. The 5030UBe's color performance is as good as any high-end display I've reviewed. Once again Epson has achieved stellar results at a very attractive price point.
Contrast Performance
To get maximum output from the 5030UBe, you'll need to use the Dynamic mode. It removes the neutral density filter from the light path and cranks out a searing 49.789 foot-Lamberts. The black level is .0143 fL and the on/off contrast is therefore 3473.5 to 1. This is pretty good contrast performance for a torch mode. Of course, you'll need a completely dark room to see it which defeats the purpose of such a bright setting.
After calibrating the THX mode without the auto-iris, I measured a maximum white level of 17.5302 fL, a minimum black of .0051, and a contrast ratio of 3460.5 to 1. Turning on the iris produced a max value of 17.8807 fL, a black level of .0021 fL, and a contrast ratio of 8705.6 to 1. Usually I avoid auto-irises because of their negative effect on gamma but Epson has achieved un-altered gamma with theirs. I saw no difference in the measurements so I left it on its Fast mode for the entire review. Since it more than doubles the contrast, I recommend using it for all content.
3D Performance
In the 3D THX mode with 3D Brightness on medium I measured a max output of 5.2293 fL through the glasses. This is about half what I saw on last year's 5020UBe. Turning 3D Brightness up to High gave me 9.3487 fL which is higher than any other 3D projector I've measured except the 5020UBe which cranked out over 11 fL for me.
Checking out the Accupel's crosstalk pattern showed a vanishingly low figure of .39 percent. If you see any ghosting in 3D content on this projector, it's the fault of the transfer.
Video Processing
Most sources today do a decent job with interlaced and non-HD content but it's always good to see attention paid in the engineering of any display.
The 5030UBe revealed a couple of minor flaws in my tests. The Overscan failures are due to a single pixel cropped at the bottom of the image in all signal modes. In the 4:2:2 Chroma Burst test, the single-pixel vertical lines were rolled off. The 2:2 pulldown failure is very common as is the Mixed Content Vertical. To pass above-white information Epson Super White must be turned on. Below-black detail is rendered at either setting.
Conclusions about the Epson Home Cinema 5030UBe LCD 3D Projector
- High contrast and accurate color
- Sharp image with plenty of depth
- Lots of light output
- WirelessHD makes installation easier
- Wide zoom and lens shift range
- Terrific value
- Manual lens controls make precise focus a little time-consuming
- THX mode could be more accurate without calibration
The Home Cinema 5030UBe really has no flaws of consequence. It's an exceptionally bright projector with excellent optics and accurate color. Installation in a wide variety of environments is possible thanks to flexible lens controls and a set of well-thought-out picture modes. Whether your room is a black hole like mine or you have some ambient light bleeding in from an adjoining space, you can get an excellent image with little fuss.
Even though Epson hasn't made major changes, contrast seems better than last year. The biggest improvement comes from the new auto-iris which doesn't alter gamma and more than doubles the on/off contrast ratio. In fact the black levels are now within a hair of my reference Anthem LTX-500 LCoS unit and that's saying something.
I think my favorite thing here though is the 5030UBe's 3D presentation. You've undoubtedly read dozens of 3D display reviews all talking about importance of light output and how the 3D glasses really cut that down. That is the negative aspect of active 3D and this Epson is not immune, but to get nearly 10 fL max in 3D mode puts it ahead of any projector I've tested to date except last year's 5020UBe. That's huge because it makes 3D truly enjoyable.
As much as I raved about the contrast and image quality of JVC's X500R, it just didn't deliver enough light in 3D to compel me. I don't currently own a 3D display mainly because it does nothing for me in television form and projectors are just not bright enough to do it well. Epson is the exception to that. While I'm not ready to replace my Anthem just yet, if it were to be abducted by aliens tomorrow, I would probably hang a 5030UBe in its place.
LCD projectors used to be found solely in conference rooms and churches where quality cinema was far from a priority. Epson has worked the technology into something that can truly anchor a high-end theater with a jumbo screen and lots of seating. That they can do this for under $3000 continues to amaze me.
For its continued tradition of ever-improving image quality, rock-solid value pricing, and killer 3D, I give the Epson Home Cinema 5030UBe my highest recommendation.


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Delmore Schwartz
All Night, All Night - Poem by Delmore Schwartz
"I have been one acquainted with the night" - Robert Frost
Rode in the train all night, in the sick light. A bird
Flew parallel with a singular will. In daydream's moods and
The other passengers slumped, dozed, slept, read,
Waiting, and waiting for place to be displaced
On the exact track of safety or the rack of accident.
Looked out at the night, unable to distinguish
Lights in the towns of passage from the yellow lights
Numb on the ceiling. And the bird flew parallel and still
As the train shot forth the straight line of its whistle,
Forward on the taut tracks, piercing empty, familiar --
The bored center of this vision and condition looked and
Down through the slick pages of the magazine (seeking
The seen and the unseen) and his gaze fell down the well
Of the great darkness under the slick glitter,
And he was only one among eight million riders and
And all the while under his empty smile the shaking drum
Of the long determined passage passed through him
By his body mimicked and echoed. And then the train
Like a suddenly storming rain, began to rush and thresh--
The silent or passive night, pressing and impressing
The patients' foreheads with a tightening-like image
Of the rushing engine proceeded by a shaft of light
Piercing the dark, changing and transforming the silence
Into a violence of foam, sound, smoke and succession.
A bored child went to get a cup of water,
And crushed the cup because the water too was
Boring and merely boredom's struggle.
The child, returning, looked over the shoulder
Of a man reading until he annoyed the shoulder.
A fat woman yawned and felt the liquid drops
Drip down the fleece of many dinners.
And the bird flew parallel and parallel flew
The black pencil lines of telephone posts, crucified,
At regular intervals, post after post
Of thrice crossed, blue-belled, anonymous trees.
And then the bird cried as if to all of us:
0 your life, your lonely life
What have you ever done with it,
And done with the great gift of consciousness?
What will you ever do with your life before death's
Provides the answer ultimate and appropriate?
As I for my part felt in my heart as one who falls,
Falls in a parachute, falls endlessly, and feel the vast
Draft of the abyss sucking him down and down,
An endlessly helplessly falling and appalled clown:
This is the way that night passes by, this
Is the overnight endless trip to the famous unfathomable
Comments about All Night, All Night by Delmore Schwartz
Not a member No 4 (11/14/2006 2:34:00 PM)
A nightmare journey to hell, or anywhere - a lacerating portrayal of the human condition - conjured up perfectly. A haunting sequence of visions tied together by that disturbing questioning: 'O your life, your lonely life
What have you ever done with it...' etc. I'm trying in vain to think of a worthy answer! ! (Report) Reply
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Read poems about / on: night, child, water, sick, lonely, silence, woman, light, rain, smile, dark, death, life, children, change, tree, sleep, women
Delmore Schwartz's Other Poems
Famous Poems
Still I Rise
Maya Angelou
The Road Not Taken
Robert Frost
If You Forget Me
Pablo Neruda
Langston Hughes
Annabel Lee
Edgar Allan Poe
Rudyard Kipling
Stopping By Woods On A Snowy Evening
Robert Frost
Do Not Stand At My Grave And Weep
Mary Elizabeth Frye
I Do Not Love You Except Because I Love You
Pablo Neruda
Roald Dahl

subset: commoncrawl


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Oh that was so cooool!
Oh that was so cooool! said Lilly, 5 years young, who I met and painted with today.
Today I set up 'eARTh in the City' in the center of Thornton's Budgens, my local supermarket, to offer a space to create using paint, files and natural forms found in my local Queen's wood. I go there on Wednesdays between 3:30pm and 5pm to offer a space for creativity – for free. People come, chat and are invited to sit with me where I am painting myself. I instructed them of how to use and care for the material available and gently facilitate what emerges. We chat, we connect, we laugh, we play and we share stories of all colours and shapes as we create together. It is such a beautiful way to connect with people never met before. It was such a relief to be in a place where consumption and money spending is one of the main focus to offer a free activity for creativity's sake in our community. Interestingly enough more workshops were requested by the parents for the summer that will be run on the roof of FOOD from the SKY on the roof of Thornton's Budgens.
Here we see how children play and create in the most focus, often silent and deep way…really gorgeous afternoon! What a way to spent my time! Can't wait for next Wed and for the summer ahead meeting up with my community in creativity. Much Love. Azul
Comments2 Responses to "Oh that was so cooool!"
So wonderful the space you are creating for those in your community Azul! Love seeing the photos and watching this path unfold. Zea


text:
Holding fierce pride in their identity, Sikhs have for decades been seen as "off-limits" by the missionary machine but not anymore. In a alarming trend, evangelism has begun to tread on the Sikh faith as well.
Every aspect of Punjabi society is being overwhelmed with this new wave of assertive Christianity. Besides nationwide programs in Hindi, Punjabi television channels have been deluged by Christian programs even though the Christian population of Punjab is less than 1%. Taking aim at Sikh youth, animated films and children's books on Christianity are freely distributed by missionaries.
Because of the strong adherence to tradition by Sikhs, missionaries have attempted to repackage Christianity. Jesus is called "Satguru", church is referred to as "Satsang" and choir singing is called "Kirtan". Choir boys in Punjabi churches wear turbans to attempt to minimize the variation between Sikhism and Christianity. However, despite these attempts to disguise Christianity as a version of Sikhism, missionaries still cannot hide their intent: to destroy the Sikh faith.
While there have been some cases of genuine conversions, economically disadvantaged and illiterate Sikhs often complain that missionaries are using extortive practices such as bribing them with material possessions to change their religion. A young boy whose friends had converted to Christianity explained, "When I asked the boys as to why they have converted to Christianity, they said they had been given cash and free education. In our village alone, 5 to 6 people have converted and, of course, their generations to come would also be Christians."
Gurbachan Singh Bachan, former Secretary of the Shiromani Gurudwara Prabandhak Committee and a proud Sikh, says "People who are converting from Hinduism and Sikhism to Christianity are those who have lost understanding of their own religion… Khalsa [Sikh] institutions and the Government need to educate the people about the values of a religion, and tell them that all religions are equal and no religion teaches us to fight with each other."
Such provocative evangelism in Punjab does not always go unnoticed by the local community. The Open Door Church run by Pastor Harbhajan Singh, a landlord who converted to Christianity from Sikhism, has aggressively converted over 2,800 members of the Khojewala village community. In February of 2004, Singh made derogatory remarks against several Sikh gurus including Guru Granth Sahib. This led to several protests by Sikh youths in front Singh's church in the. The conflict was ultimately resolved by police intervention and an unconditional apology by Harbhajan Singh. Meanwhile, Christian media painted this incident as an example of "Christian persecution."
SikhGiving's experience with Christian missionaries in Punjab
SikhGiving, a small sikh charitable organization was helping a Sikh Patient Jaswinder Singh and his family to cope with their medical costs of approx. $500 a month. "At first we didn't take up the case as we could not afford to support the case for a long period of 3 years", said Vicky Singh, a volunteer of the California based non profit organization.
The family went to the point where Jaswinder's dad, Sohan Singh had to sell his cycle in order to cover a day's medicine cost. Somehow this news spread out in the public that a Sikh Organization is helping Sohan Singh's family. After that, their local Christian group came with an offer to Sohan Singh's family that they can cover his child's entire medical expenses for 2 to 3 years. They were asked to visit the church to receive the money. Sohan Singh went to the Church feeling that he will be given the money as goodwill by the church.
When he went inside, he was taken by the church officials to attend a special ceremony which was to adopt Christianity as his religion. Sohan Singh and his family are from deeply religious Sikh background. He was given instructions by them that if they want to get the financial support then he has to follow the ceremony which indirectly was to leave Sikhism and adopt their religion. Sohan Singh left the church immediately after he found that in their instructions he was told to eat Parshad (religious offering) of Christ (which was meat).
With the generous help of many donors, we are glad that we took up the case of Jaswinder Singh for the next 3 years, providing them financial, physical and emotional help.
"I never thought that this would be happening to someone in Punjab who is in need of help. Instead of helping a needy person, they are making him to do something which he and his family doesn't want to do. It was a direct hit at us showing that Sikhs in Punjab can't help each other and others are lending hand to help them but with strings attached", said Satnam Singh, the director of SikhGiving.
A recent study showed that at least 800,000 are converted to Christianity every year throughout India. In the coming years, this number can significantly increase with attacks on the Sikh faith.


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UI UX Designer (if also do Frontend work is plus) needed for a website
Budget $10-400 USD
Looking for an experienced and Creative UI/UX designer with experience in designing a website platform. We're building an online showcase platform for artists to show their works to each other. There are 6 main pages we would like you to design. Our style is modern, clean and futuristic.
Candidates must be experienced with JavaScript, CSS and HTML and willing to sign NDA.
If you're interested, please provide examples of your work.
92 freelancere byder i gennemsnit $315 på dette job
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I love Luci! Luci Gutiérrez is an illustrator in press, publications and advertising. She is also the co-editor of Garabbattage, a small publishing house and the author of several books! Her work has been contributed to The New Yorker, The New York Times, The Washington Post and La Cama de Pandora (a fiction blog of the spanish newspaper el mundo). In an interview with The New Yorker she describes her work:
Your work has an immediately apparent sense of humor. Yet I don't think of you as a "funny" artist. How do you view the relationship between humor and your work?
I think sense of humor is a question of survival. I'm not interested in humor per se, but irony and black humor. I think these forms are a way of channelling hidden feelings. I feel like it also allows for a certain freedom from inhibition in drawing, which is something that's harder to get in life for me.


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Claire Syrett
Claire Syrett represents Ward 7 on the Eugene City Council. She is a proven leader and effective advocate for progressive issues. Her fair-minded, fact-based approach to tackling tough issues means she can work effectively with people of diverse opinions to move our city forward in a positive direction. Claire stands strong on her principles and works from her core values of equality, compassion and community in her role representing Ward 7 and the city of Eugene.
Claire represents one of the most diverse wards in the city of Eugene. Ranging from downtown to the northern edges of the city boundaries, this ward includes the Trainsong, Whiteaker, River Road and Santa Clara neighborhoods; each one having its own unique character and needs.
What's Happening at City Hall
The block that housed our former city hall is now a blank slate. Our community can look forward to seeing a more accessible and welcoming city hall developed on the southwest corner at 8th and Pearl. This new vision will include plaza space for visitors to enjoy the many pieces of art that were housed at the former city hall and other amenities designed to make our civic center a place people will want to visit and share with others. A new city hall is set for completion sometime in 2016. Keep watching as the project continues.
Current Concerns
No Easy Answers to Homelessness Crisis
This past summer residents in Whiteaker raised strong objections to a proposal to site a rest stop near their properties. The rest stop proposal was ultimately rejected by the city attorney who issued an opinion that the chosen site on private property was ineligible due to its proximity to residential housing. The review by the city attorney was part of the process for siting a rest stop under the city's pilot program which also involves outreach to surrounding residents and business.
In spite of this outcome residents in the area are still upset that the site was even considered for a rest stop and many continue to vocally oppose having this private property used for any kind of shelter or housing for people who are homeless. A common theme heard from these residents is that they bear more than their share of the burden of providing social services in the area and they are tired of being asked to do more.
This points to the very hard reality our city is facing. We have a real need to find more shelter options for those without and at the same time residents worry about the impact of these projects on their own lives. Dismissing these objections as simply NIMBY is not helpful.
Homelessness is a problem with causes beyond the scope of our city government to address but the daily affect is felt in our parks and neighborhoods. We must find places to shelter those without housing, if we don't want them living in our wetlands and parks. But the city faces strong protests in almost every instance when a site is considered. How we move forward, as a community, is the real question here. We must find some consensus on what we will support as a community and move forward towards both short term and long term solutions.


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A number of postdoctoral research fellow positions are available in the Center for Computational Biomedicine at the UTHealth School of Biomedical Informatics at Houston. Candidates will be expected to work on federal and state-funded projects to develop novel methods in clinical natural language processing, text mining and data mining, and apply these methods to clinical and translational research based on Electronic Health Records data, such as epidemiological and genomic studies related to drugs and cancers. The positions are available immediately.
Applicants must have one of the following to be considered:
Salary: NIH post-doc salary scale
Required submission materials: CV, letter of interest, three references and date of availability
Contact person: Dr. Hua Xu, Associate Professor & Director of Center for Computational Biomedicine
Physical address: 7000 Fannin Street, Suite 600, Houston, TX 77030
Email Address: email@example.com
Phone Number: 713.500.3924
Fax Number: 713.500.0360


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Archive for category: News
Spring/Summer 2017 Ready-To-Wear/in Designers, Events, News /by FC
Summary based on vogue.co.uk
3.1 Phillip Lim / New York, 12 September 2016
A Detacher / New York, 10 September 2016
À La Garçonne / Sao Paolo, 25 April 2016
Acne Studios / Paris, 1 October 2016
Adam Selman / New York, 8 September 2016
Adriana Degreas / Sao Paolo, 25 April 2016
Agnona / Milan, 24 September 2016
Alberta Ferretti / Milan, 21 September 2016
Alex S Yu / Vancouver, 23 September 2016
Alexander McQueen / Paris, 3 October 2016
Alexander Wang / New York, 10 September 2016
Altuzarra / New York, 11 September 2016
Andrew Gn / Paris, 30 September 2016
Angus Chiang / Vancouver, 24 September 2016
Atelier Grandi / Vancouver, 25 September 2016
Babyghost / New York, 7 September 2016
Baja East / New York, 9 September 2016
Balenciaga / Paris, 2 October 2016
Balmain / Paris, 29 September 2016
Banana Republic / New York, 12 September 2016
Barbara Bui / Paris, 29 September 2016
Bella Freud / London, 16 September 2016
Birmingham City University / London, 5 June 2016
Blumarine / Milan, 24 September 2016
Boss / New York, 14 September 2016
Bottega Veneta / Milan, 24 September 2016
Carolina Herrera / New York, 12 September 2016
Carven / Paris, 29 September 2016
Central Saint Martins / London, 5 June 2016
Chanel / Paris, 4 October 2016
Chloe / Paris, 29 September 2016
Christian Dior / Paris, 30 September 2016
Dkny / New York, 12 September 2016
Dolce & Gabbana / Milan, 25 September 2016
Dsquared2 / Milan, 25 September 2016
Edinburgh College Of Art / London, 5 June 2016
Emanuel Ungaro / Paris, 30 September 2016
Emilio De La Morena / London, 20 September 2016
Emilio Pucci / Milan, 22 September 2016
Emporio Armani / Paris, 3 October 2016
Escada / New York, 7 September 2016
Fendi / Milan, 22 September 2016
Francesco Scognamiglio / Milan, 16 September 2016
Fun Affair / London, 20 September 2016
Giorgio Armani / Milan, 23 September 2016
Givenchy / Paris, 2 October 2016
Gucci / Milan, 21 September 2016
Hermès / Paris, 3 October 2016
Herve Leger / New York, 8 September 2016
House Of Holland / London, 17 September 2016
HUY-HUY / Vancouver, 16 September 2016
INSOMNIA / Vancouver, 21 September 2016
Issey Miyake / Paris, 30 September 2016
Istituto Marangoni London / London, 5 June 2016
Jason Wu / New York, 9 September 2016
Jil Sander / Milan, 24 September 2016
JWL / London, 20 September 2016
Karl Lagerfeld / Sao Paolo, 25 April 2016
Kate Spade New York / New York, 9 September 2016
Kenzo / Paris, 4 October 2016
Lacoste / New York, 10 September 2016
Lanvin / Paris, 28 September 2016
Louis Vuitton / Paris, 5 October 2016
Marc Jacobs / New York, 15 September 2016
Marchesa / New York, 14 September 2016
Marissa Webb / New York, 8 September 2016
Maxmara / Milan, 22 September 2016
Michael Kors / Paris, 1 October 2016
Miu Miu / Paris, 5 October 2016
Moschino / Milan, 22 September 2016
Mugler / Paris, 1 October 2016
Nicole Miller / New York, 9 September 2016
Nina Ricci / Paris, 1 October 2016
No.21 / Milan, 21 September 2016
Nuska / Vancouver, 24 September 2016
Olivier Theyskens / Paris, 27 September 2016
Opening Ceremony / New York, 11 September 2016
Oscar De La Renta / New York, 12 September 2016
Paco Rabanne / Paris, 29 September 2016
Paul & Joe / Paris, 4 October 2016
Prada / Milan, 22 September 2016
Pringle Of Scotland / London, 19 September 2016
Roberto Cavalli / Milan, 21 September 2016
Rocky Star / London, 12 September 2016
Rohmir / London, 16 September 2016
Saint Laurent / Paris, 27 September 2016
Salvatore Ferragamo / Milan, 25 September 2016
Scotch & Soda / New York, 11 September 2016
Sonia Rykiel / Paris, 3 October 2016
Stella McCartney / Paris, 3 October 2016
Trussardi / Milan, 25 September 2016
Uca Rochester / London, 5 June 2016
Undercover / Paris, 30 September 2016
Valentino / Paris, 2 October 2016
Versace / Milan, 23 September 2016
Victoria Beckham / New York, 11 September 2016
Vivienne Westwood / Paris, 1 October 2016
Catwalk collection from Paris, Milan, London and New York/in Designers, Events, News /by FC
10 Crosby Derek Lam – Pre / 10 FEBRUARY 2016
3.1 Phillip Lim / 15 FEBRUARY 2016
6397 – Pre / 14 FEBRUARY 2016
A Detacher / 11 FEBRUARY 2016
Acne – Pre / 07 JANUARY 2016
Adam Lippes / 13 FEBRUARY 2016
Adam Lippes – Pre / 02 DECEMBER 2015
Adam Selman / 11 FEBRUARY 2016
Adeam / 11 FEBRUARY 2016
AF Vandevorst / 22 FEBRUARY 2016
Agnona / 26 FEBRUARY 2016
Akris – Pre / 02 DECEMBER 2015
Alberta Ferretti / 15 JANUARY 2015
Alexander Lewis / 23 FEBRUARY 2016
Alexander McQueen / 22 FEBRUARY 2016
Alexander Wang / 13 FEBRUARY 2016
Alexis Mabille – Pre / 07 JANUARY 2016
Alice + Olivia / 6 FEBRUARY 2016
Alice Archer / 23 FEBRUARY 2016
Altuzarra / 15 FEBRUARY 2016
Amanda Wakeley / 23 FEBRUARY 2016
Andreeva / 05 FEBRUARY 2016
Anna K / 05 FEBRUARY 2016
Anna Sui / 17 FEBRUARY 2016
Anrealage / 01 MARCH 2016
Anthony Vaccarello / 01 MARCH 2016
Antonio Berardi / 22 FEBRUARY 2016
Antonio Marras / 27 FEBRUARY 2016
Anya Hindmarch / 27 FEBRUARY 2016
Apu Jan / 21 FEBRUARY 2016
Aquilano.Rimondi / 16 FEBRUARY 2016
Area / 11 FEBRUARY 2016
Arthur Arbesser / 29 FEBRUARY 2016
Asger Juel Larsen / 16 FEBRUARY 2016
Ashish / 22 FEBRUARY 2016
Ashley Isham / 20 FEBRUARY 2016
Ashley Williams / 23 FEBRUARY 2016
Asli Polat / 16 FEBRUARY 2016
Assembly / 11 FEBRUARY 2016
Atea Oceanie / 16 FEBRUARY 2016
Au Jour Le Jour / 28 FEBRUARY 2016
Babyghost / 13 FEBRUARY 2016
Baja East / 13 FEBRUARY 2016
Balenciaga / 26 JANUARY 2015
Balmain / 03 MARCH 2016
Banana Republic / 13 FEBRUARY 2016
Barbara Bui / 03 MARCH 2016
BCBG Max Azria / 11 FEBRUARY 2016
Blumarine / 27 FEBRUARY 2016
Bottega Veneta / 27 FEBRUARY 2016
Burberry / 22 FEBRUARY 2016
Cacharel / 02 MARCH 2016
Calvin Klein Collection / 19 FEBRUARY 2016
Carolina Herrera / 15 FEBRUARY 2016
Carven / 03 MARCH 2016
Central Saint Martins MA / 19 FEBRUARY 2016
CG Chris Gelinas / 12 FEBRUARY 2016
Chanel / 08 MARCH 2016
Chloe / 03 MARCH 2016
Christian Dior / 04 MARCH 2016
Christian Siriano / 13 FEBRUARY 2016
Christopher Kane / 22 FEBRUARY 2016
Clover Canyon / 17 FEBRUARY 2016
Co / 16 FEBRUARY 2016
Costume National / 25 FEBRUARY 2016
Creatures of the Wind / 11 FEBRUARY 2016
Cushnie Et Ochs / 12 FEBRUARY 2016
Custo Barcelona / 14 FEBRUARY 2016
Cynthia Rowley / 17 February 2016
Daks / 19 FEBRUARY 2016
Damir Doma / 28 FEBRUARY 2016
Danielle Romeril / 21 FEBRUARY 2016
David Ferreira / 19 FEBRUARY 2016
David Koma / 21 FEBRUARY 2016
David Longshaw / 23 FEBRUARY 2016
Delpozo / 17 FEBRUARY 2016
Dennis Basso / 16 FEBRUARY 2016
Derek Lam / 14 FEBRUARY 2016
Dian Pelangi x Nelly Rose x Odette Steele / 20 FEBRUARY 2016
Diane von Furstenberg / 14 FEBRUARY 2016
Diesel Black Gold / 26 FEBRUARY 2016
Dion Lee / 13 FEBRUARY 2016
Dolce & Gabbana / 28 FEBRUARY 2016
Dondup / 25 FEBRUARY 2016
Dries Van Noten / 02 MARCH 2016
DSquared2 / 29 FEBRUARY 2016
Duro Olowu / 20 FEBRUARY 2016
Each x Other / 01 MARCH 2016
Eckhaus Latta / 15 FEBRUARY 2016
Edda Gimnes / 20 FEBRUARY 2016
Edeline Lee / 19 FEBRUARY 2016
Edun / 14 FEBRUARY 2016
Elder Statesman / 18 FEBRUARY 2016
Elie Saab / 05 MARCH 2016
Elie Tahari / 14 FEBRUARY 2016
Elizabeth & James – Pre / 16 DECEMBER 2015
Ellen Pedersen / 06 FEBRUARY 2016
Ellery / 08 MARCH 2016
Emanuel Ungaro / 04 MARCH 2016
Emilia Wickstead / 20 FEBRUARY 2016
Emilio De La Morena / 23 FEBRUARY 2016
Emilio Pucci / 25 FEBRUARY 2016
Emporio Armani / 26 FEBRUARY 2016
Erdem / 22 FEBRUARY 2016
Ermanno Scervino / 22 FEBRUARY 2016
Escada / 10 FEBRUARY 2016
Esteban Cortazar / 21 FEBRUARY 2016
Ethologie by Jasper Garvida / 22 FEBRUARY 2016
Etro / 26 FEBRUARY 2016
Eudon Choi / 19 FEBRUARY 2016
Faith Connexion / 04 MARCH 2016
Fashion East / 20 FEBRUARY 2016
Faustine Steinmetz / 20 FEBRUARY 2016
Fausto Puglisi / 24 FEBRUARY 2016
Fay / 24 FEBRUARY 2016
Felder Felder / 19 FEBRUARY 2016
Fendi / 25 FEBRUARY 2016
Fengyi Tan / 20 FEBRUARY 2016
Fenty Puma by Rihanna / 12 FEBRUARY 2016
Flow / 05 FEBRUARY 2016
For Restless Sleepers / 25 FEBRUARY 2016
Frame Denim / 09 FEBRUARY 2016
Francesco Scognamiglio / 24 FEBRUARY 2016
Freya Dalsjo / 06 FEBRUARY 2016
Future of Fashion / 18 FEBRUARY 2016
Fyodor Golan / 19 FEBRUARY 2016
Gabriel Vielma / 20 FEBRUARY 2016
Gabriela Hearst / 15 FEBRUARY 2016
Gabriele Colangelo / 27 FEBRUARY 2016
Galvan / 23 FEBRUARY 2016
Ganni / 06 FEBRUARY 2016
Gareth Pugh / 20 FEBRUARY 2016
Gary Graham / 10 FEBRUARY 2016
Gayeon Lee / 20 FEBRUARY 2016
Georgia Hardinge / 19 FEBRUARY 2016
Giamba / 26 FEBRUARY 2016
Giambattista Valli / 07 MARCH 2016
Giorgio Armani / 29 FEBRUARY 2016
Giulietta / 12 FEBRUARY 2016
Givenchy / 07 MARCH 2016
Greta Gram / 03 FEBRUARY 2016
Gucci / 24 FEBRUARY 2016
Guy Laroche / 02 MARCH 2016
Haider Ackermann / 05 MARCH 2016
Haizhen Wang / 22 FEBRUARY 2016
Han Kjobenhavn / 06 FEBRUARY 2016
Haney / 10 FEBRUARY 2016
Hellessy / 11 FEBRUARY 2016
Henrik Vibskov / 06 FEBRUARY 2016
Hermes / 08 MARCH 2016
Herve Leger / 13 FEBRUARY 2016
Hillier Bartley / 19 FEBRUARY 2016
Holly Fulton / 20 FEBRUARY 2016
Hood by Air / 14 FEBRUARY 2016
House of Dagmar / 02 FEBRUARY 2016
House Of Holland / 20 FEBRUARY 2016
Iceberg / 26 FEBRUARY 2016
Ida Klamborn / 03 FEBRUARY 2016
Iris van Herpen / 08 MARCH 2016
Isa Arfen / 20 FEBRUARY 2016
Isabel Marant / 04 MARCH 2016
Issey Miyake / 04 MARCH 2016
J Lindberg / 03 FEBRUARY 2016
J.Mendel / 18 FEBRUARY 2016
Jason Wu / 12 FEBRUARY 2016
Jasper Conran / 20 FEBRUARY 2016
Jenny Packham / 14 FEBRUARY 2016
Jeremy Scott / 15 FEBRUARY 2016
Jil Sander / 27 FEBRUARY 2016
Jill Stuart / 13 FEBRUARY 2016
John Galliano / 06 MARCH 2016
Jonathan Simkhai / 14 FEBRUARY 2016
Joseph / 23 FEBRUARY 2016
Julien David / 04 MARCH 2016
Just Cavalli / 27 FEBRUARY 2016
Karen Walker / 15 FEBRUARY 2016
Kate Spade New York / 12 FEBRUARY 2016
Kenzo / 09 MARCH 2016
Koché / 01 MARCH 2016
La Perla / 22 FEBRUARY 2016
Lacoste / 13 FEBRUARY 2016
Lanvin / 03 MARCH 2016
Lela Rose / 15 FEBRUARY 2016
Libertine / 15 FEBRUARY 2016
Longchamp / 07 MARCH 2016
Louis Vuitton / 09 MARCH 2016
Marc Jacobs / 15 DECEMBER 2014
Marchesa / 17 FEBRUARY 2016
Marissa Webb / 11 FEBRUARY 2016
Marni / 27 FEBRUARY 2016
MaxMara / 25 FEBRUARY 2016
McQ Alexander McQueen / 10 FEBRUARY 2016
Michael Kors / 17 FEBRUARY 2016
Miu Miu / 15 DECEMBER 2014
Moschino / 25 FEBRUARY 2016
Mugler / 05 MARCH 2016
Nabil Nayal / 19 FEBRUARY 2016
Naeem Khan / 17 FEBRUARY 2016
Narcisco Rodriguez / 16 FEBRUARY 2016
Natasha Zinko / 21 FEBRUARY 2016
Nehera / 02 MARCH 2016
Nicholas K / 11 FEBRUARY 2016
Nicole Miller / 12 FEBRUARY 2016
Nicopanda / 17 FEBRUARY 2016
Nina Ricci / 06 MARCH 2016
Niro Wang / 19 FEBRUARY 2016
No.21 / 24 FEBRUARY 2016
Off-White / 08 MARCH 2016
Ohne Titel / 16 FEBRUARY 2016
Opening Ceremony / 14 FEBRUARY 2016
Orla Kiely / 01 MARCH 2016
Oscar de la Renta / 16 FEBRUARY 2016
Osman / 22 FEBRUARY 2016
Pa5h / 22 FEBRUARY 2016
Paco Rabanne / 03 MARCH 2016
Palmer – Harding / 20 FEBRUARY 2016
Pam & Gela / 09 FEBRUARY 2016
Pam Hogg / 19 FEBRUARY 2016
Pamella Roland / 12 FEBRUARY 2016
PAPER London / 26 JANUARY 2016
Paskal / 09 MARCH 2016
Paul & Joe / 08 MARCH 2016
Paul Costelloe / 19 FEBRUARY 2016
Paul Smith / 22 FEBRUARY 2016
Paule Ka / 07 MARCH 2016
Peter Jensen / 20 FEBRUARY 2016
Peter Pilotto / 23 FEBRUARY 2016
Phannatiq / 20 FEBRUARY 2016
Phelan / 13 FEBRUARY 2016
Philipp Plein / 27 FEBRUARY 2016
Philosophy di Lorenzo Serafini / 27 FEBRUARY 2016
Phoebe English / 21 FEBRUARY 2016
Piazza Sempione / 26 FEBRUARY 2016
Point Blank / 22 FEBRUARY 2016
Polo Ralph Lauren / 15 FEBRUARY 2016
Ports 1961 / 27 FEBRUARY 2016
Prabal Gurung / 14 FEBRUARY 2016
Prada / 25 FEBRUARY 2016
Preen by Thornton Bregazzi / 21 FEBRUARY 2016
Pringle Of Scotland / 22 FEBRUARY 2016
Pritch London / 21 FEBRUARY 2016
Proenza Schouler / 18 FEBRUARY 2016
Prophetik / 21 FEBRUARY 2016
Protagonist / 10 FEBRUARY 2016
Public School / 15 FEBRUARY 2016
Rachel Antonoff / 11 FEBRUARY 2016
Rachel Zoe / 14 FEBRUARY 2016
Rag & Bone / 16 FEBRUARY 2016
Ralph Lauren / 19 FEBRUARY 2016
Raquel Allegra / 12 FEBRUARY 2016
Rebecca Minkoff / 09 FEBRUARY 2016
Rebecca Taylor / 09 FEBRUARY 2016
Red Valentino / 10 FEBRUARY 2016
Reem Acra / 15 FEBRUARY 2016
Rejina Pyo / 22 FEBRUARY 2016
Rhie / 11 FEBRUARY 2016
Rick Owens / 03 MARCH 2016
Robert Wun / 19 FEBRUARY 2016
Roberta Einer / 20 FEBRUARY 2016
Roberto Cavalli / 25 FEBRUARY 2016
Roberts-Wood / 23 FEBRUARY 2016
Rochas / 02 MARCH 2016
Rodarte / 16 FEBRUARY 2016
Rodebjer / 03 DECEMBER 2014
Rohmir / 21 FEBRUARY 2016
Roksanda / 22 FEBRUARY 2016
Roland Mouret / 07 MARCH 2016
Rosetta Getty / 15 FEBRUARY 2016
Rosie Assoulin / 15 FEBRUARY 2016
Ryan Lo / 19 FEBRUARY 2016
Ryan Roche / 13 FEBRUARY 2016
Sabinna / 20 FEBRUARY 2016
Sacai / 07 MARCH 2016
Sachin + Babi / 10 FEBRUARY 2016
Sadie Clayton / 20 FEBRUARY 2016
Sadie Williams / 19 FEBRUARY 2016
Saint Laurent / 07 MARCH 2016
Sally Lapointe / 14 FEBRUARY 2016
Saloni / 16 FEBRUARY 2016
Salvatore Ferragamo / 28 FEBRUARY 2016
Sandra Mansour / 02 MARCH 2016
Sass & Bide / 23 FEBRUARY 2016
Scotch & Soda / 18 FEBRUARY 2016
See by Chloe / 18 FEBRUARY 2016
Self-Portrait / 13 FEBRUARY 2016
Shao Yen / 18 FEBRUARY 2016
Sharon Wauchob / 23 FEBRUARY 2016
Shrimps / 20 FEBRUARY 2016
Sibling / 20 FEBRUARY 2016
Sies Marjan / 14 FEBRUARY 2016
Simon Miller / 16 FEBRUARY 2016
Simone Rocha / 20 FEBRUARY 2016
Solace London / 21 FEBRUARY 2016
Sonia by Sonia Rykiel / 08 FEBRUARY 2016
Sonia Rykiel / 08 MARCH 2016
Sophia Webster / 22 FEBRUARY 2016
Sophie Theallet / 12 FEBRUARY 2016
Sorapol / 07 MARCH 2016
Sportmax / 26 FEBRUARY 2016
Stefanel / 29 FEBRUARY 2016
Stella Jean / 28 FEBRUARY 2016
Stella McCartney / 07 MARCH 2016
Steven Alan / 09 FEBRUARY 2016
Steven Tai / 22 FEBRUARY 2016
Studio Nicholson / 20 FEBRUARY 2016
Suno / 13 FEBRUARY 2016
Tadashi Shoji / 12 FEBRUARY 2016
Talbot Runhof / 05 MARCH 2016
Tanya Taylor / 09 FEBRUARY 2016
Tata Naka / 23 FEBRUARY 2016
Teatum Jones / 20 FEBRUARY 2016
Temperley London / 21 FEBRUARY 2016
The House of Kamiar Rokni / 22 FEBRUARY 2016
The Row / 15 FEBRUARY 2016
Theo / 05 FEBRUARY 2016
Theory / 18 FEBRUARY 2016
Thom Browne / 15 FEBRUARY 2016
Thomas Tait / 01 JANUARY 2015
Three Floor / 19 FEBRUARY 2016
Threeasfour / 15 FEBRUARY 2016
Tibi / 13 FEBRUARY 2016
Tim Coppens / 08 FEBRUARY 2016
Timo Weiland / 17 FEBRUARY 2016
Tod's / 26 FEBRUARY 2016
Toga / 23 FEBRUARY 2016
Tomas Maier / 08 FEBRUARY 2016
Tome / 14 FEBRUARY 2016
Tommy Hilfiger / 16 FEBRUARY 2016
Tonsure / 06 FEBRUARY 2016
Toogood / 23 FEBRUARY 2016
Topshop Unique / 21 FEBRUARY 2016
Tory Burch / 16 FEBRUARY 2016
Tracy Reese / 14 FEBRUARY 2016
Trademark / 10 FEBRUARY 2016
Trina Turk / 10 FEBRUARY 2016
Trussardi / 28 FEBRUARY 2016
Tsumori Chisato / 07 MARCH 2016
Typical Freaks / 18 FEBRUARY 2016
Ulla Johnson – Pre / 11 FEBRUARY 2016
Undercover / 04 MARCH 2016
Valentin Yudashkin / 06 MARCH 2016
Valentino / 08 MARCH 2016
Vanessa Seward / 08 MARCH 2016
Vera Wang / 16 FEBRUARY 2016
Veronica Beard / 15 FEBRUARY 2016
Veronique Branquinho / 07 MARCH 2016
Veronique Leroy / 05 MARCH 2016
Versace / 26 FEBRUARY 2016
Vetements / 03 MARCH 2016
VFiles / 10 FEBRUARY 2016
Victoria Beckham / 14 FEBRUARY 2016
Vin + Omi / 22 FEBRUARY 2016
Vionnet / 02 MARCH 2016
Vivetta / 29 FEBRUARY 2016
Vivienne Tam / 15 FEBRUARY 2016
Vivienne Westwood / 21 FEBRUARY 2016
Wardha Saleem / 19 FEBRUARY 2016
Whyred / 01 FEBRUARY 2016
Xiao Li / 23 FEBRUARY 2016
Yeezy / 11 FEBRUARY 2016
Yeohlee / 15 FEBRUARY 2016
Yigal Azrouel / 12 FEBRUARY 2016
Zac Posen / 15 FEBRUARY 2016
Zaheer Abbas / 21 FEBRUARY 2016
Zimmermann / 12 FEBRUARY 2016
Summary based on vogue.co.uk
Glamorous vision of the winners of the IV Edition of FASHION CULTURE project/in Designers, Editorials, Events, News /by FC
Photo shoot was a main prize offered and sponsored by Fashion Culture. It is an amazing chance to show in the bright and amazing spotlight what an extraordinary talent can create. Please see the results of the photo shoot called THE MORNING AFTER THE DAY BEFORE.
Glamorous vision of the winners of the IV Edition of FASHION CULTURE project :
Photographs by Filipe Serralheiro
Styled by Kalina Maria Dobesz
Hair & MakeUp: Natalie Oparah
Photographer's Assistant : Richard Stone
Model: Tanya @ Zone Models
Production: Katarzyna Kwiatkowska- Dzialak, Fashion Culture
Genaral Assistant: Artur Broniarz
Featured designers:
Clothes: Victoria Rowley & Christina Tiran
Footwear: Michael Azu
Accessoriees: Gina Melosi
Ginny Ning
Christopher Thompson- Royds
Location: The White House, Ealing
IV edition Fashion Culture/in Events, News /by FC
Even young kids know, that Washington DC has its White House where big political players meet and try to alter the world. Not everyone knows however, that London also has a White House, although instead of politics, White House in the capital of England tends to alter our visual experiences through promoting art and fashion. Perhaps a much nicer mission and definitely a much more entertaining one.
The impressive white stucco building, belonging to Prince Jan Zylinski, truly is a gem of a unexpectedly stunning location on a leafy street in Ealing, West London. For years now, the lush interiors of the Palace have been serving as a backdrop for many extravagant productions across fashion and music, with international pop star sensations, such as Lady Gaga and Rihanna, shooting their music videos there.
Jan Zylinski, a keen enthusiast and promoter of all things arty and beautiful, has been hosting the Fashion Culture event in White House for the past three years and on the 12th of September, the Palace opened its doors yet again to welcome ten budding designers from six European countries, as well as colourful crowd of journalists, photographers and keen fashion enthusiasts hailing from all over Europe.
Fashion Culture started in 2012 and since then has been working as platform connecting six European countries and showcasing the best up and coming designers. Graduates from London College of Fashion and Central Saint Martins, two London colleges that have been participating in Fashion Culture since its very beginning, yet again proved that London' fashion scene is always fresh and exciting. This year they were competing against fresh blood from ASP from Lodz and SAPU from Cracow (both based in Poland) as well as prestigious ESMOD from Paris, POLIMODA from Florence, Beckmans College of Design from Stockholm and the Amsterdam Fashion Institute.
The models stormed the runway to a soundtrack by Polish born Sabio Janiak who took the audience on a journey down the Amazonian river. This year' collections were an eclectic mix of styles: from floaty chiffon gowns, structured knitwear, through edgy street style- inspired looks to conceptual, wearable art – like designs.
All completely different and each one telling a unique story, therefore there's no doubt that the task to choose the winner, was not a particularly easy one. Fashion Culture operates in a truly democratic way, letting the audience choose the best collection. This year was no different and the main prize (photo shoot to be produced by the Fashion Culture team) went to Paula Carmen Rimoli, recent graduate from Polimoda, Florence, who vowed the crowd with her beautiful origami- inspired collection.
Rimoli's work crosses the boundaries between fashion and art in the most innovative way. By mixing paper, cotton and leather Rimoli's collection presents surprisingly wearable garments with an undoubted wow factor. Despite the fact that she has only graduated this year, Paula's work has been already featured in the Italian Vogue, so watch out as no doubt we'll be hearing her name very loudly and very often across various other fashion publications and platforms.
Another graduate that attracted lots of attention, was Paulina Ptasznik (ASP in Lodz, Poland) with her SS 2015 collection. Her 'MESSIS' is a men's and women's collection, with references folk traditions connected with the end of the harvest time.
This year' edition of Fashion Culture in a nutshell? Fashion. Young talent. Creativity with no borders. Celebration of expression through Art. And although we hardly caught a breath after the event, we're busy plotting for the next year already. Find us on Facebook, catch us on Instagram, come and visit in person next year. Lets celebrate fashion together.
Fashion Culture IV edition by Filipe Serralheiro
Cracow Fashion Week keeps on evolving and renewing itself/in Designers, Editorials, Events, Interviews, News, Trends /by FashionCulture
Special Review & Interview by Agata Mayer, Editor-in-chief
After 20 years of experience the Cracow School of Art and Fashion Design (SAPU) has achieved a high standard and an excellent reputation in the fashion industry, locally and overseas. As the only private fashion school in Poland, SAPU has received the Honorary Golden Thread – a prestigious award for distinguished individuals and institutions in fashion. Its graduates work in top fashion houses, for such icons as Alexander McQueen, Balenciaga, John Galliano or Claude Bonucci. Thanks to SAPU's diploma show and an intensive promotion of its graduates, the City of Cracow was in 2013 described as one of the world's fashion capitals ranked higher than Moscow, Frankfurt, Vienna, Miami, San Francisco and Rio de Janeiro. The Diploma Show Cracow Fashion Awards takes place in late March, where the best collections, as the highlight of the school's academic year are presented. The show is always attended by many distinguished guests, international experts, industry representatives, gallery owners and media. And it is just a small part of the Cracow Fashion Week – a huge, artistic event jam-packed with diverse workshops, lectures, fashion shows and exhibitions of graduates' paintings, drawings, photography and jewelry works.
Agata Mayer (Fashion Culture Magazine) amongst the international Jury. Photo by Tytus Kondracki
As fashion expert and one of the main partners, Fashion Culture had the pleasure to sit in the Jury with international guests to judge highlighted collections from Poland for picking winners in each category. 2 days of competition, 38 applicants, 14 wisely selected collections classified to the Cracow Fashion Awards and in the end just a few winners. Hardly sharing views on whose collection is the best, Fashion Culture decided to grant a private award to the collection that explored rhythm and lines – Laura Slepowronska caught our attention.
There was nothing new. Nothing that swept me off my feet. Out of habit I was looking for something out of the assembly line, something that doesn't follow the rules and undergo the collective judgment. I was looking for a collection that would be addressed to the 21st-century fashion explorers. Instead, I saw the copy-paste phenomenon, trashed styling, vain attempts of experiments, empty promises. While waiting for any kind of new ideas, I noticed only one outstanding collection. By challenging current codes and by combining contrast, deriving inspiration straight from the 1950s, Laura Slepowronska proved that she is able to create something authentic, that will protect us from the pre-packed shapes, we are constantly pushed into. Playing with different shades of black and pastel blue, Laura brought out the youthful femininity characteristic for the 1950s and showed it on the catwalk during the Cracow Fashion Week 2015. Her bell-shaped silky skirts and hand knitted cashmere sweaters with three-quarter sleeves caught my attention. Each look reminded me of the neat, versatile and chic shirtwaist dress popular in the 1950s as the 'ultimate uniform' of US women.
I met up with the talented Laura right after the Cracow Fashion Awards to grant her our magazine's award and talk about the 'ÉCLAIR' collection. Afterwards, she mentioned it was her runway début .
Agata Mayer: What was your motivation and idea behind the ÉCLAIR collection?
Laura Ślepowrońska: Fashion needs to be aesthetic, appropriate and useful. That is why I focused so much on proportion and good quality fabrics. I wanted to create a ready-to-wear collection inspired by women from the 50′s. I wanted it to be feminine and delicate, but also outstanding by using diverse fabrics like leather, jacquard, lustrous nickel, seagrass and mohair yarn (a silk-like fabric).
A.M. What was the biggest challenge while creating?
L.Ś. To be careful not loosing myself in making up theories and unnecessary philosophy around my own concept. To remember that it is an universal, timeless and well-designed product. It is always a big challenge to create compatible pieces and at the same time so diverse. It is too easy to follow existing patterns, so I truly recommend to get out sometimes and clear your mind focuing on something completely different.
A.M. Just mentioning, you had your show at Cracow Fashion Week / Cracow Fashion Awards this spring. How did you like it?
L.Ś. Oh, I will remember this year's Fashion Week for a long time. It was such an important day for me. The show lasted just a few minutes but the feeling seemed eternal! For me it was a shot of adrenaline that allowed me to be in two or even more places at the same time. It also forced me to stay focused. There was no place for panic anymore! I must say, it was – and will be – a really addictive feeling. Definitely worth waiting for this moment!
A.M. What were the biggest challenges preparing the show?
L.Ś. Time, or rather the lack of it, is the biggest objective. You have to be really focused and self-disciplined to make it all work. Suddenly everything depends on you and the decisions you make. All details need to be worked out and really precise. You should concentrate on details and overall look at the same time. It is really challenging.
A.M. How did you feel when the show was over? You received a lot of positive feedbacks – didn't you?
L.Ś. Physically I was really tired but it was a good feeling. I was thunderstruck when I realized how many people appreciated my work. I got such a positive feedback receiving so many awards. I knew I was heading in the right direction. To release the tension after the show I went out for a party with all my closest friends. It was an amazing night!
A.M. Looking back, how and when did your passion for fashion design begin?
L.Ś. In our home everybody likes to dress up. We have always taken great care of our looks. We give each other advices and talk about this a lot. When I was a little kid, my mom taught me how to distinguish the best and the most precious materials. She loves silk, cashmere cotton and linen – all natural and high-quality, never synthetics. She taught me how to love all that too. I have always been thinking about fashion, so one day I have just decided to start sketching, painting and sewing. Finally I started designing my own things at Cracow School of Art and Fashion Design.
A.M. Has Cracow influenced your collection? If so, in what way?
L.Ś. I have been living here for three years now and I have to say that I really like this city. There are some places that stimulate creativity a lot and they are always far away from home. The best ideas always come during my travels.
A.M. What does the future look like for you after graduating from KSA?
L.Ś. I am planning to start working on my second collection soon and to show the final result during the Fashion Week, next year. For sure I would like to paint and to draw more. Also a few trips already planned, so to be honest I can't wait to get a new boost of inspirations and motivations and to see where it will take me.
A.M. Thank you.
Photographer: Gabriela Bazan
Model: Katarzyna Kmiotek
Make up: Agata Pikulska
Designer: Laura Slepowronska
Assistance: Ewa Manka
Take a quick look at other highlighted collections. Enjoy!
Anna Tronowska
Joanna Organisciak-Plachta
FASHION CULTURE JOINED FASHION REVOLUTION!/in Designers, Events, News, Trends /by FashionCulture
Review by Agata Mayer, Editor-in-chief
I am more than sure you all have heard of the Fashion Revolution Day! Or maybe not…
Two years ago, photos of the unimaginable devastation at a clothes factory that collapsed in Bangladesh shocked the entire world.
1133 people died in the Rana Plaza catastrophe in Dhaka, Bangladesh. A further 2500 were injured. They were killed while working for familiar fashion brands. For me, one of the most surprising aspects of the Rana Plaza disaster was that, afterwards, many brands did not know whether or not they had been producing clothing within the building.
"We knew a disaster like this was going to happen," Orsola de Castro, co-founder of Fashion Revolution Day, tells Mashable. "There were workers complaining about the infrastructure for months but were threatened with being fired if they did not show up to work. There was so much wrong that could have been prevented, which is what prompted outrage."
"It's a very unclear process, finding everything from fabrics and fibers to what the supply chains are. The truth is, the companies don't want to know where their fabric is from. The less they know, the less responsibility they feel they need to have. We're at the point where apparel brands need to be accountable." said Linda Greer, senior scientist at the Natural Resources Defense Council (NRDC) and health director of Clean by Design.
Fashion Revolution is a global coalition calling for systemic reform of the fashion supply chain. It is the catalyst that brings together those who want to see change within the industry. It raises awareness of the true cost of fashion, showing the world that change is possible. It is a simple but important connection between us – fashion lovers and the people who made our clothes. Whether you are high street or high end, independent designer or a large brand, fashion lover, blogger or wherever you are in the world – you should join this initiative. It is about re-connecting broken links and celebrating the relationship between shoppers and the people who make our clothes, shoes, accessories and jewelry – all the things we call 'fashion'.
"We aren't just purchasing a garment or accessory, but a whole chain of value and relationships," said the people behind Fashion Revolution.
Fashion Revolution is about building a future where an accident like this in Bangladesh never happens again. Last year this action reached number 1 trending worldwide on social media such as Twitter and got over 8 million Google hits. Fashion icons, celebrities, supermodels, artists, designers, academics, press, writers, business leaders and parliamentarians lent support to the campaign. This year, the movement was even bigger.
Business of Fashion hosts a special extended preview of the new film, The True Cost. Source: Fashion Revolution's Fanpage
BE CURIOUS, FIND OUT and DO SOMETHING!
On Friday the movement was calling us all to upload a pic of our clothes inside out with a hashtag #whomademyclothes and #fashrev. Social media was being flooded with images of garments showing the labels to raise awareness of the true cost of fashion and to celebrate best practice. For instance, established designer Stella McCartney shared with her million-plus Instagram followers a picture of herself wearing a jacket from her collection inside out, with the caption: 'Show your label and ask #whomademyclothes for Fashion Revolution Day'.
"If companies don't know how and where their products are made, then there's no way for them to ensure their workers are protected," said Orsola de Castro, co-founder of the event. "Transparency is important because it shows a company's willingness to be held accountable for its supply chain and this builds up public trust." Fellow co-founder Carry Somers added: "The fashion industry supply chain is fractured and producers have become faceless. This is costing lives. We have incredible power as consumers, if we choose to use it."
Knowing who made our clothes requires transparency, and this implies openness, honesty, communication and accountability. Changing the world is possible. By using the power of fashion we all are able to inspire a permanent change in the fashion industry and reconnect the broken links in the supply chain – the whole chain of value and relationships. In 2015 we focus on transparency. Why? Transparency is not that easy. It involves fully understanding how your business runs and with whom it works. This is a journey for our industry to celebrate those who are doing something about it. Transparency means that companies know who makes their clothes – at least where they are stitched as a first port of call – and then communicate this to their customers, shareholders and staff (in accordance to the Fashion Revolution Report).
Looking down at what you're wearing now, do you exactly know who made it and where?
• Make a research where it's from – even a simple web search
• Buy less, choose well, make it last
• Go vintage and try to exchange your clothes and accessories
• Reduce and recycle
• Buy organic – many companies started offering organic lines. By purchasing organic materials, you're adding less to the landfills full of clothing that cannot decompose
The Fashion Culture Team encourage people. I personally encourage people to start asking 'who made your clothes?' in order to initiate human connections throughout the supply chain. By asking this question you support worker welfare. It is extremely important to stay focus and be curious. You have to remember that the Fashion Revolution Day is the day on which we all celebrate fashion as a positive influence, and all those who contribute to making it so. It will rally the innovators, the buyers, the shoppers, the media, the commentators, the activists and everyone in between. Everyone!
Scandinavian Minimalism/in Designers, Interviews, News, Trends /by FashionCulture
Interview by Agata Mayer, Editor-in-chief
Since 1950s Scandinavian style has been associated with highly functional design inspired by nature and the northern climate. In Sweden this 'Modernistic Spirit' is called funkis and it transformed into what we today know as Scandinavian Minimalism with all its clean, beautiful, uncluttered, minimal elements and simple lines.
I caught up with Annaleena Leino Karlsson – a Swedish designer and interior stylist – and asked a few questions about her understanding of minimalism, proportion and her passion.
Agata Mayer: Why Minimalism?
Annaleena L. Karlsson: I didn't really plan to create minimalistic design, I just happened to fall for simplicity and explicitness.
A.M. You work with exciting materials. Can you explain your working process? Are your designs developed in the process or do you prepare yourself by making a lot of sketches and technical drawings?
A.L.K. My design is developed in processes. Often I choose the material first, and then comes the shape. I usually sketch a rough outline, but the design is mostly developed gradually through samples.
A.M. How is it to experiment in the matter of minimalism. Is it just simplifying?
A.L.K.Minimalism isn't simple, really. You need to find a balance and a distinctiveness, which takes courage.
A.M. Do you have any favorite materials to work with?
A.L.K. I prefer raw, genuine materials. Steel is a favorite. Stone as well.
A.M. Can you explain what good design is, through the objects placed in your studio / apartment?
A.L.K. I believe an object should highlight the character of the room. Bringing beauty to the room, adding a little extra to it – like a pair of shoes that makes the outfit even better.
A.M. What fuels you when you are developing something?
A.L.K. Innovative ideas. Usually shapes. Explicitness. Things that awakens something within me.
A.M. Is there a project that you are particularly proud of?
A.L.K. It's hard to pick one. But I love projects where I've been asked to design a custom-made product for a customer and the result is appreciated. Like when I designed a counter for a photographers studio.
A.M. You also work as a Set Designer. What qualities does a person need to have nowadays, to become a successful Set Designer?
A.L.K. You need to stick out, to dare. And you need to be socially competent. Often you work in different teams, and it is preferable if you like to cooperate…
A.M. What defines a beautiful piece of furniture in your opinion?
A.L.K. It must have personality, character. A simplistic shape, and be made of natural material – for example stone or wood.
A.M. How do you live personally? How important is furniture in your own home?
A.L.K. It is really important. I don't own especially many design classics, but I choose carefully every object that gets over my doorstep.
A.M. Have you ever thought about entering into the fashion branch and start working with recognized fashion photographers and clothing brands?
A.L.K. I'm not planning to, but I wouldn't say no to it. I enjoy different projects. And I also believe that interior design and fashion aren't far from each other. It wouldn't be foreign to mix the two of them, but rather exciting.
A.M. Are there any designers that influence you more than others?
A.L.K. Absolutely. Faye Toogood from UK, as well as a bunch of Japanese designers. And I also love Finish design.
A.M. What do you like to do besides designing?
A.L.K. I like to photograph, and to style. To combine these three things are my favorite.
A.M. Thank you.
Below a sneak peek of Annaleena's living.
All pictures are shot and styled by Annaleena.
Getting Animal – Getting Warm/in Events, News, Trends /by FashionCulture
Special Review by Agata Mayer, Editor-in-chief
Fashion Weeks came to an end. It's been a hectic period jam-packed with exciting activities, business meetings and jet lag feeling. The most prominent fashion weeks are held in the four fashion capitals of the world: Milan, Paris, New York and London. But more often, everybody's eyes are looking at other corners of the world, where countries like Sweden, Denmark, Germany, Belgium, China, South Africa, Russia, Singapore, Mexico are going to set tongues wagging, in a very positive way. Fashion Weeks held several months in advance of the season. From January through April designers showcase their autumn and winter collections. From September through November they present their spring and summer collections. This season, furs and animal prints were a common denominator on the catwalks.
In the 90s, Italian designers celebrated the return of high-voltage fashion. Their fascination with animal skins and luxurious furs evoked an impression of decadent glamour. Leopard, cheetah and zebra prints that have long provided inspiration for fashion designers are back again. In contemporary fashion, wearing animal skin is interpreted as a desire to convey predatory instincts. A spotted woman in a animal coat might represent the archetypal femme fatale. Italy became an international centre of fashion after World War II. During the 1950s, combining traditions of Parisian haute couture with the Italian aesthetic the Fontana Sisters designed clothes for many Hollywood's world-famous divas, such as Grace Kelly, Elizabeth Taylor or Ava Gardner. They specialized in luxurious evening wear that contrasted perfectly with the softness of the silver fox stole draped around the arms.
In addition to animal prints, real fur had to finally find a way of interpreting it in fashion without compromising ethical concerns, having the animal rights movement from 1980s and the both national and international legislation from 1973 against it. Karl Lagerfeld, which originally specialized in fur and luxury leather goods, being creative consultant to the Italian Fendi modernized the label and changed the perception of fur as a conventional symbol. Nowadays, over 70 % of recent catwalk shows featured fur, from Marc Jacobs or Louis Vuitton to J. Mendel, Max Mara and Marni.
But there are still anti-fur designers such as Stella McCartney. She has never bowed to pressure to use leather or fur in her collections and has even resisted the lure of faux-fur in the past. But suddenly she has created a cruelty-free collection for Autumn/Winter 2015 with faux fur. Being asked why, she answered: "I feel like maybe things have moved on, and it's time, and we can do fabrics which look like fur, if we take them somewhere else", adding "Modern fake fur looks so much like real fur, that the moment it leaves the atelier no one can tell it's not the real thing. And I've struggled with that."
Fur, fake or not and animal motifs played a key role throughout this season. It is said, that in fashion world leopard is a color. Animal prints are timeless, chic and always in style. The leopard trend never fades that easily and can be used in almost any form. This year's catwalks showed more wildness and savagery than ever. For instance, Raf Simons, Dior's creative director turned to more raw and primal inspirations for the Autumn/Winter 2015 Dior collection. He pushed fashion boundaries again. From floral, romantic, emotional pieces to swirling psychedelic panther prints and strong, contrasting colors. Christian Dior first offered leopard print in 1947, which was revolutionary at the time. Today, it doesn't bother anyone anymore. Roberto Cavalli's ready-to-wear collection displayed an array of ombré dresses, fur coats and iconic animal prints. "Instinct? I like that word," said Miuccia Prada after her show. Her collection was also full of multi-colored leopard and python prints and dense patterns.
Is the fashion industry trying to force it on us or maybe society is finally ready to embrace fur?
Take a look at some 'furry' printed fashion statements.
Image source: www.vogue.co.uk
The next generation in fashion/in Designers, Events, News, Trends /by FashionCulture
Special Review by Agata Mayer, Editor-in-chief
I was invited to the Sneak Peek experimental show organized by the second-year fashion students of Beckmans College of Design. The message was simple: thirteen students presented their individual collections of three outfits each. After crossing the threshold of Beckmans Designhögskola I was surprised by modest but still very nice 'welcome treatment'. Strawberry smoothies, cookies and some drinks – as a nice gesture while waiting for the pre-presentation. A white carpet referred to the event, sponsor's logos and typically Swedish minimalistic mood of the displayed pre-presentation, marked the route to the room where the bags full of gifts were waiting for the newly arrived guests.
I must say that at the beginning I was very sceptical, watching one collection after the other. I didn't see anything new, I didn't see anything that stuck in my mind. For being second-year fashion students – collections were really good, but being the second-year fashion students of Beckmans College of Design, I expected something more. Not only 'plastic' influences drawn from the 90s techno-generation. I was aware that presented textiles and garments have been crafted by hand and that every collection was diverse and rooted in the students' ideas and visions of what experimental fashion can be, by researching and analyzing fashion communication, media and society.
For sure, I was impressed by the spectacular video effects and the well selected music. Without exception, music plays a vital role in the interactive process of audience behavior. In this case, tempo, volume and genre influenced a lot, changing the powers of my observation. A pure visual entertainment that held the attention and interest of the gathered audience.
"In search for authenticity and dignity the communications students decided to tell thirteen different fashion stories using models, styling, body, face and camera movements only, without other props. With fold-out sheets in the catalogue and names partially visible they emphasize the fashion students work and create a sense that the industry successively unveils and discovers their work. From now on everything can happen!" – said Annika Berner, Course Director Visual Communication. Marie O'Connor, Course Director Fashion added: "To look is one thing, but to really see means to scrutinize and question what is and what can be."
Following her words, I started to look deeper and suddenly I was astonished by a few really well–composed pieces. The menswear collection stood out from the rest.
Behind the 'Nollvisionen' collection by Olle Daunfeldt stood the car crash idea and the relationship between power, technology and fragility. He created a dramatic silhouette as a physical confrontation with the car. He sees the clothes as a car body – emotionally and visually, and the feeling of safety is just an illusion. Fashion illusion. Asked in what way he has researched his materials, Olle answered:
"The material research has in many cases been sort of a creative laboratory. The meeting between a textile fibre and an industrial product is an opposition, but they belong together in my head. Most important to me was to find a balance between the collections separate parts and to find materials that effectively expressed the different moods I was interested in shaping".
Jenny Larsson is the other name worth remembering. Her 'Allt är bra' collection made me think. Inspired by the street culture, Jenny underlined what is beyond the aspect of function in a garment. By function she meant both the physical and the aesthetic aspects.
Anna Scholz and her 'Imperfect pearl' moved me into 17th century, Madame de Pompadour's look and Marie Antoinette's silhouette. Anna was definitely inspired by the baroque in her cuts. She worked in a sculptural way with volume and strong colors, with the desire to push an expression of femininity to extremes. And she did it in an outstanding way.
I admired also Klara Modigh's statement in her "Fake fur" collection. Klara said – "My collection is about the fake and the real. Animal, fake animal, fake human and synthetic materials. There's a glitch in the fact that a lot of people, including myself, would never wear fur but buy leather shoes without blinking, and never think that down jackets contain feathers. I've tried to play with the material choices in a way to twist the eye on how they are being used. It's an exploration into how nature is usually interpreted in clothing; like in floral prints and fur". She also added: "Creating is always political. In every creative action you can choose to reproduce and work within the society that exists or go against it. My garments don't have an obvious political message, but I create within an ethical framework; not using extremely thin models, not using fur, and not using references of violence".
The result shown in images, digital communication and film was moved to the showroom, where collections previously seen on the screen could now be experienced in person, organoleptically on still-standing live models. It was very interesting to experience something out of the adopted fashion framework. It reminded me how long tradition of interdisciplinary student collaborations has had Beckmans College of Design. Fashion as a tool of experimentation, allowed students to blur boundaries between clothing, technology, craftsmanship, fantasy and reality. At this stage, you can't demand from the students – who are in the middle of their education and whose main goal is to experiment and play with fashion, at the same time trying to find themselves – well thought-out statements and mastered skills. One thing is sure. My eyes travelled and it was an interesting journey. And these thirteen talented students left their individual, bold mark as young creators.
See some of my other favorite pieces from the show. Enjoy.
Johanna Welinder 'I love cats' collection
Victor Lind '2.0′ collection (left) and Siah Javaheri 'Nomadized' collection (right)
Isabelle Larsson Knobel 'Plz like me' collection
Emma Röstlund 'Refined Practicality' collection (left) and Amanda Blom 'Stay until the room is blue' collection (right)
All images above by Hedvig Jenning. Selection by me.
Images by Agata Mayer.


text:
The opening fixture of the 24th round of Premier League football tomorrow is one of the biggest and fiercest derby matches in the top flight of English football as Newcastle welcome Sunderland to St. James' Park in the Tyne-Wear derby.
Newcastle are favoured to claim all three points against their local rivals tomorrow lunchtime, but they are without a win in four Tyne-Wear derby matches and have suffered losses in both of the last two. The last time these sides met at St. James' Park saw the Black Cats claim a thumping 3-0 victory at the end of last season. Can they repeat that victory this weekend?
The GR88.com Tyne-Wear outright odds suggest a narrow home win, but what do you think?
Newcastle – 1.93
Draw – 3.25
Sunderland – 3.85
(All odds provided by GR88.com are accurate as of today and subject to change)
Despite the fact that the Magpies are favoured to end their awful form in Tyne-Wear derby matches things may not be as straight forward as they hope as they have suffered losses in each of their last three home games. Their last victory at St. James' Park came on Boxing Day more than a month ago as they put five past Stoke in a 5-1 win and Arsenal, Cardiff and Man City have since travelled to the North East, leaving with a win to their name. To top off their great run, they have lost Yohan Cabaye to PSG this transfer window so how will they manage in this derby match?
While their hosts are down in the dumps, Sunderland's confidence is through the roof right now with them making the Capital One Cup final at the expense of Manchester United and their 1-0 win over Stoke last weekend seeing them out of the relegation zone for the first time in months. They're now unbeaten in seven and have suffered a single loss in 13 matches since the start of December.
I feel that with the form that the Black Cats are showing lately, and the confidence boost that this provides, along with their fine record in Tyne-Wear derbies of late I don't feel that the visiting side to St. James' Park this weekend should be so long in the betting odds. As such, Sunderland present great value and I'm putting my cash on the away side not to be beaten today.
Back Sunderland to win or draw this Tyne-Wear derby @ 1.86 with GR88.com.
ANTONY JORDAN (antonygr88) is an avid football and cricket fan who loves to play his favourite sports as much as write about them and bet on them. Read his daily sports betting blog at GR88.com.


text: Hi everybody, I'm a newbie here. In my house I'm the 'sou chef' to my wife, although I often come up with new ideas and take liberties with recipes. As far as Chinese food goes, I make a good hot and sour soup. However, one recipe I've never been able to make the way it is prepared in Chinese take-out (or, as the British say, take-away) is fried rice. I am never able to get the dark brown appearance, even though I use plenty of soy sauce. The white of the rice still shows through. I once used annatto, but that didn't seem to work either. I wonder if it is the reddish pork that usually comes with the fried rice that gives it the color I so like. I'm beginning to suspect that the take-out places use a food dye. I hope someone can help me out. Gianni


text:
'Tis the season to make your business stand out. At Austin's hottest new shopping district, Domain Northside, that is happening, thanks to some pretty outstanding large banners that run along Rock Rose. Just opened in time for the holidays, the sparkling new restaurants, stores and bars along Rock Rose are already getting a lot of media and shopper attention.
We produced many of these large banners for the hot shopping district. It's a great way to capture the attention of your audience and excited customers.
Whether signage for indoor, outdoor, retail, fundraising, conferences, for walls, windows or hanging, go big, and let's make your business sparkle this holiday!


text: Day one is going to start out pretty easy - create some Valentine decor with these super easy yarn hearts! Make a few, pour them into a bowl, and voila! you have a stunningly quick bowl of hearts. Mix and match some of the yarn colours - you don't have to go traditional if you don't prefer to.


text:
- Product information
Ease of use
- Ideal ironing surface for normal and steam ironing
- 100% durable cotton with resilient foam layer for more ironing comfort
- With cord fastener and Stretch System - easy to fix and cover always smooth and taut.
Brabantia guarantee
2 Year
Article Number
- Reviews
Ironing Board Cover C, 124x45 cm, 2mm Foam - Ecru is rated out of 5 by 11.Rated 5 out of 5 by LynnePF from Covered my Requirements well I purchased this as I had a Brabantia ironing board and liked the cover. I thought this would be the same as the original cover - and it is. Glad I decided to opt for the same. I could have have gone elsewhere for a cheaper one, but fit and quality would not i feel, have been up to Brabantia qualityDate published: 2016-11-18Rated 4 out of 5 by RMAC from As good as its predecessor I have had a Brabantia metallic ironing board cover for a few years and although it had not worn out it was pretty tired so I ordered this ecru one. It's fine, it fits and I have used it on all the post Christmas bed linen quite happily.Date published: 2018-01-21Rated 5 out of 5 by susiesandles from Great product I have a large surface ironing board, and have used this cover type for many years, it is extremely strong and fits my board very well with its draw string to make sure that their cover stays in place. The size used was C.Date published: 2015-07-15Rated 5 out of 5 by Mesa from Fantastic fit I'd been wondering what to do about the hole in my ironing board cover, then thought I'd see what the manufacturer can provide. So glad I did. I'm really pleased with the fit and quality of the new cover.Date published: 2016-12-28Rated 1 out of 5 by philip wallis from poor quality product that does not represent value This Brabantia ironing board top cover is is an expensive item that does not offer value for money when compared to Brabantias main competitors in this sector of the marketDate published: 2015-09-09Rated 5 out of 5 by Raj61 from Very strong and stable iron board Few days back I purchased it on line from out of india because it is not available here but product is very nice and durable with good top coverDate published: 2016-11-13Rated 5 out of 5 by Bryn from Excellent service I have bought several rabatia products and am very happy with the quality. I am also very pleased with the Brabantia service.Date published: 2014-03-02Rated 5 out of 5 by Ddfchef from Fits very well! I am very happy with the fit of my new cover. I was concerned that it would be hard to replace but it worked out perfectly.Date published: 2017-06-13
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Ironing Board Cover C, 124x45 cm, 2mm Foam - Ecru
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Commuting is play... on a bicycle (video)
I found this nice short video on Twitter, and while the concept is simple, I love the spirit of it. "Make the ordinary fun" and "commuting is play... on a bicycle", these are ideas that should be used to promote the use of bikes. It's not about sacrificing to save the planet, it's about having fun and doing something that is good for your physical and mental health, with side effects for the planet as an added bonus!
The Ottawa Bicycle Lanes Project, who's behind the video, has created a petition to show support for a network of protected bike lanes connecting the main urban districts of Ottawa. If you live in the area, you can sign it here.Via Bikelanes.ca
See also: Bike-sharing in the U.S. expected to reach 37,000 bikes in 2014 (4x more than in 2012!)


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John W Burgeson wrote:
> Vernon wrote: "The record of Jonah's experiences is part of the Canon of
> Holy Writ - experiences that are here clearly ratified by Jesus himself.
> Is it reasonable to believe that he would offer a _myth_ as the 'sign' of
> his own death and resurrection?"
> Short answer. Yes.
> If I were to plan a raft trip down the Mississippi, and told you I'd do
> it "just like Huckleberry did," you'd understand me and hardly be
> confused by my referring to a book of fiction rather than a history book.
You mean Huckleberry Finn isn't a history book?
This archive was generated by hypermail 2b29 : Wed Aug 15 2001 - 11:47:11 EDT


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Beautiful and Contemporary is what you find in this dress by Liv-Glam. To top it off you get the matching necklace and earrings to boot!
[LIV-Glam]WINTER-2012- ANASTASIYA Peacock Gown - 55L Thursday Item!
Bangles and Watch - FuLo - Bangles and Watch set (Gold) now available at Designer Showcase
Hair - Leverocci - Sylvia
Skin - Dulce Secrets ::DS:: Machelle.Brandy.Bare
Shape - *ANNA SHAPES* - Ayla Model
Pose - No longer available - store closed


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Monday, January 25 of 2016, 7:27 AM
I reach INSEAD's Singapore campus late for a gym class and for the start of another crazy packed week of school. There are balloons in the hallway, in different shades of green. I have no idea what is going on, but I love this school, never a dull moment. At the gym I overhear a conversation that the Financial Times has ranked INSEAD as the #1 MBA programme in the world. As far as I know, we've never been number one before; Harvard and the other top American schools were always in the pole position though we were consistently in the top five. I find it a bit hard to believe, but it's Monday and I'm sleepy.
When I get back to the classroom hallway, and after checking social media and emails, there is no doubt we got the top spot, we are actually there! I'm still processing this wonderful news. Not that I had any doubts about our potential (and I'm not biased at all) but I honestly wasn't expecting to be recognized like this. I feel as happy as when I got that call saying that I was admitted.
Several reasons contribute to this result and I'm not an expert on the subject or on the metrics used for the ranking, but I'm sure of one thing: creating an international community where we embrace diversity and promote understanding and respect is preparing us to be outstanding leaders in the future. It is the distinguishing factor of INSEAD and the reason why many of us have chosen to be a part of this school, and today the world has proven us right.
And as we are INSEAD, we celebrated this amazing victory with champagne – the 3 campuses simultaneously – in our little green "INSEAD #1" shirts. I feel a deep sense of accomplishment and belonging after this day, even if I haven't actually done much to contribute to this outcome!
And now that we are #1, what do we do? We keep going, we work even harder to prove why we are here and deserve to stay. And I am thrilled to have a role in it now.
Congratulations INSEAD!