Fashion Accessories - World-of-Newave.info http://answers.world-of-newave.info/fashion-accessories.htm Latest news and articles about Fashion Accessories en-us Copyright (c)2004-2008.§/Newave SARL. All rights reserved. webmaster@world-of-newave.com (Webmaster) Fri, 21 Nov 2008 13:32:42 GMT Fri, 21 Nov 2008 13:32:42 GMT Newave Lisa XML Engine v1.0 - http://www.world-of-newave.info/about.htm 60 http://www.world-of-newave.info/images/wi8831.gif World-of-Newave.info - Knowledge and Informational Database http://www.world-of-newave.info/ 88 31 {EUROPE > NEWS AND MEDIA} - John Lewis sees recession arrive online http://articles.world-of-newave.info/regional/europe/united-kingdom/news-and-media/john-lewis-sees-recession-arrive-online-20081149022.htm http://articles.world-of-newave.info/regional/europe/united-kingdom/news-and-media/john-lewis-sees-recession-arrive-online-20081149022.htm Wed, 19 Nov 2008 00:16:43 GMT Sales at the John Lewis online operation have declined for the first time since the business was set up in 2001.The internet operation of the department store group saw sales dip 8.8% last week compared with the same week last year. Overall sales at the group, regarded as a bellwether for the high street, were down by a startling 14% - the ninth consecutive weekly decline.The downturn underlines the scale of the problems facing retailers - and the about-turn in the fortunes of JohnLewis.com shows that internet operators are no longer immune.Terry Duddy, chief executive of Argos and Homebase group HRG, said trading conditions were the worst he had witnessed in 25 years and Debenhams' deputy chief executive, Michael Sharp, told a London conference that the retail sector "is staring into the face of the worst Christmas we have ever had".Last week the IMRG Capgemini e-retail index showed the extent of slowdown hitting online retailers. It said internet spending in October was up 12.7% - the smallest increase since December 2004. Twelve months ago growth was running at more than 70%.Robin Terrell, the managing director of John Lewis Direct, said fashion sales at the department store's web operation were up more than 100% but trade in homewares and electricals had gone into reverse."Toys have taken off in the last few weeks - they're up 20% year on year - and seasonal goods are doing well. But big-ticket furniture is suffering. Furniture accessories are doing well, as people refresh rather the replace, but you have to sell an awful lot of throws to make up for one new sofa."John LewisRetail industryRecessionguardian.co.uk © Guardian News & Media Limited 2008 | Use of this content is subject to our Terms & Conditions | More Feeds Guardian.Co.Uk John Lewis sees recession arrive online {new window}   Www.Guardian.Co.Uk - Sales at the John Lewis online operation have declined for the first time since the business was set up in 2001.The internet operation of the department store group saw sales dip 8.8% last week compared with the same week last year. Overall sales at the group, regarded as a bellwether for the high street, were down by a startling 14% - the ninth consecutive weekly decline.The downturn underlines the scale of the problems facing retailers - and the about-turn in the fortunes of JohnLewis.com shows that internet operators are no longer immune.Terry Duddy, chief executive of Argos and Homebase group HRG, said trading conditions were the worst he had witnessed in 25 years and Debenhams' deputy chief executive, Michael Sharp, told a London conference that the retail sector "is staring into the face of the worst Christmas we have ever had".Last week the IMRG Capgemini e-retail index showed the extent of slowdown hitting online retailers. It said internet spending in October was up 12.7% - the smallest increase since December 2004. Twelve months ago growth was running at more than 70%.Robin Terrell, the managing director of John Lewis Direct, said fashion sales at the department store's web operation were up more than 100% but trade in homewares and electricals had gone into reverse."Toys have taken off in the last few weeks - they're up 20% year on year - and seasonal goods are doing well. But big-ticket furniture is suffering. Furniture accessories are doing well, as people refresh rather the replace, but you have to sell an awful lot of throws to make up for one new sofa."John LewisRetail industryRecessionguardian.co.uk © Guardian News & Media Limited 2008 | Use of this content is subject to our Terms & Conditions | More Feeds
John Lewis sees recession arrive online | Business | The Guardian {...} Retailer suffers first drop in online sales as credit crunch hits homewares and electricals {...}
Published: November 19, 2008, 12:16 am - Indexed: November 19, 2008, 10:26 am - Page Size: 70KB
Category: Regional > Europe > United Kingdom > News and Media

]]> Regional > Europe > United Kingdom > News and Media {PEOPLE > DUFF, HILARY} - Hilary Duff to announce new fashion line http://articles.world-of-newave.info/arts/people/d/duff,-hilary/hilary-duff-to-announce-new-fashion-line-2008112955.htm http://articles.world-of-newave.info/arts/people/d/duff,-hilary/hilary-duff-to-announce-new-fashion-line-2008112955.htm Thu, 06 Nov 2008 23:28:47 GMT According to Hilary Duff, in an interview with Fashion Rules, the ‘Stuff by Hilary Duff’ brand is being discontinued! The fashion line included clothing for tweens, stuff for the home and accessories. Hilary Duff says that she would like to make clothes for women her own age, rather than for younger girls. That is more [...] Hilarynews.Com Hilary Duff to announce new fashion line {new window}   Www.Hilarynews.Com - According to Hilary Duff, in an interview with Fashion Rules, the ‘Stuff by Hilary Duff’ brand is being discontinued! The fashion line included clothing for tweens, stuff for the home and accessories. Hilary Duff says that she would like to make clothes for women her own age, rather than for younger girls. That is more [...]
Published: November 6, 2008, 11:28 pm - Indexed: November 7, 2008, 9:14 am - Page Size: 78KB
Category: Arts > People > D > Duff, Hilary

]]> Arts > People > D > Duff, Hilary {NEWS > BREAKING NEWS} - The 20th Century's Industrious Designer http://articles.world-of-newave.info/news/breaking-news/the-20th-century-s-industrious-designer-2008119005.htm http://articles.world-of-newave.info/news/breaking-news/the-20th-century-s-industrious-designer-2008119005.htm Wed, 05 Nov 2008 05:00:00 GMT : Photo: Courtesy Library of CongressIndustrial designer Raymond Loewy was a giant in his field. He produced innovative designs in every area from fashion to locomotives. If you admire the Streamlined Moderne style of Art Deco, you've probably admired a Loewy design. You like logos? Then, you like Loewy. That's enough from us. Take a look for yourself. Left: Loewy poses in a mocked-up designer's office with modern décor, around 1934. At his side is a model of his 1932 Hupmobile, one of the first streamlined automobiles.: Sketch: Courtesy Library of CongressLoewy made this preliminary sketch for the Cornell-Liberty Safety Car, designed for the Cornell Aeronautical Research Laboratory and the Liberty Mutual Life Insurance Company, in 1956.: Rendering: Courtesy Loewy Design Loewy designed the 1961 Avanti for Studebaker.: Photo: Library of CongressLoewy designed this car for Jaguar ? or maybe a Mr. Bruce Wayne of Gotham City. : Rendering: Courtesy Library of Congress Loewy approached the Pennsylvania Railroad in the early 1930s and told railway execs he wanted to design locomotives. Loewy's T-1 steam engine was the Pennsy's last before switching to diesel. : Photo: Courtesy Loewy Design Loewy poses with an early model of his GG1 electric locomotive for the Pennsylvania Railroad, 1935. : Credit: Courtesy Loewy Design President John F. Kennedy thought the Air Force's paint scheme for the Boeing 707 Air Force One was too royal: He wanted a look that was appropriate for a president, not a king. On the advice of first lady Jacqueline Kennedy, the White House contacted Loewy, who redesigned the exterior livery and the interior cabins. : Sketch: Courtesy Library of Congress Loewy played around with 18 design ideas for a new Standard Oil Company logo. Loewy OK'd a version only slightly different from the eventual, final version (next slide). : Credit: Courtesy of Loewy Design Loewy designed or redesigned well-known logos for scores of corporations. : Credit: Courtesy Loewy DesignLoewy modernized the traditional Coke bottle, as well as designed its new larger sizes and "no deposit, no return" bottles and cans. His countertop dispenser for restaurants and soda fountains is an icon of postwar Americana. : Credit: Courtesy Loewy Design Loewy simplified the old Lucky Strike cigarette logo and changed the dark green pack to white. The underlying reasons for the change were the American Tobacco Company's desire to attract more women to the brand with a brighter package, and also that the green ink gave off an odor. However, with the United States entering World War II, the company marketed the move as patriotism, claiming it was made to conserve the metals used make green ink. Advertisements trumpeted the slogan, "Lucky Strike Green has gone to war," and millions of packs were distributed to GIs. American Tobacco didn't forget its plan to market to women, as this ad in Ladies Home Journal makes evident. : Credit: Courtesy of Loewy Design With a hemline that low, you would guess this outfit has to be prewar or postwar, because the fashion industry conserved fabric with high hemlines during World War II. As a matter of fact, this Loewy modern black ensemble with matching accessories appeared in Vogue in 1939. : Credit: Courtesy Loewy Design Loewy created this quasi-futuristic jukebox for United Music Corp. in 1958. You might have selected from a mixed-bag playlist of 45s like these 1958 hits: "Don't" — Elvis Presley "Great Balls of Fire" — Jerry Lee Lewis "Johnny B. Goode" — Chuck Berry "Good Golly Miss Molly" — Little Richard "La Bamba" — Ritchie Valens "Fever" — Peggy Lee "Poor Little Fool" — Ricky Nelson "Rebel Rouser" — Duane Eddy "All the Way" — Frank Sinatra "26 Miles (Santa Catalina)" — The Four Preps "A Wonderful Time Up There" — Pat Boone "Tequila" — The Champs "Catch a Falling Star" — Perry Como "He's Got the Whole World in His Hands" — Laurie London "Twilight Time" — The Platters "Witch Doctor" — David Seville "All I Have to Do Is Dream" — The Everly Brothers "Purple People Eater" — Sheb Wooley "Yakety Yak" — The Coasters "Splish Splash" — Bobby Darin "Volare (Nel Blu Dipinto Blu)" — Dominico Modugno "Rockin Robin" — Bobby Day "Tom Dooley" — The Kingston Trio "To Know Him Is to Love Him" — Teddy Bears "The Chipmunk Song" — The Chipmunks/David Seville "Jingle Bell Rock" — Bobby Helms : Photo: Courtesy Hagley Museum and Library Loewy also created this 1950s Charcoal line china for Rosenthal. : Credit: Courtesy Loewy Design Loewy designed this classic bedroom set for Mengel Furniture. : Photo: Gottscho-Schleisner/Courtesy Library of Congress Loewy looks over a model of Imperial House in 1959, a planned apartment complex for Manhattan's Upper East Side. : Credit: Courtesy Loewy DesignLoewy created this prototype store for a bakery chain in New York in 1937. The white porcelain-covered steel siding and semicircular window endings gives it an air of "Radio Deco.": Photo: Courtesy Loewy Design Earth was not room enough for Loewy: He created this model for the living quarters of the NASA Skylab space station. : Study: Courtesy Loewy Design Loewy's 1970 study for a NASA space station appears influenced by sets from the 1968 film, 2001: A Space Odyssey, though it is a much smaller module. : Credit: Courtesy Loewy Design Loewy sifts through his designs for NASA. : Photo: Courtesy Loewy Design Raymond Loewy and his daughter Laurence enjoy a moment in 1982. Laurence was a prize-winning journalist who later headed the Raymond Loewy Foundation and served as CEO of Loewy Design. She died Oct 15, 2008, at age 55. David Hagerman, the COO of Loewy Design says, "Laurence hoped RaymondLoewy.org would help introduce a new generation of design enthusiasts to her father." Wired.Com The 20th Century's Industrious Designer {new window}   Www.Wired.Com - : Photo: Courtesy Library of CongressIndustrial designer Raymond Loewy was a giant in his field. He produced innovative designs in every area from fashion to locomotives. If you admire the Streamlined Moderne style of Art Deco, you've probably admired a Loewy design. You like logos? Then, you like Loewy. That's enough from us. Take a look for yourself. Left: Loewy poses in a mocked-up designer's office with modern décor, around 1934. At his side is a model of his 1932 Hupmobile, one of the first streamlined automobiles.: Sketch: Courtesy Library of CongressLoewy made this preliminary sketch for the Cornell-Liberty Safety Car, designed for the Cornell Aeronautical Research Laboratory and the Liberty Mutual Life Insurance Company, in 1956.: Rendering: Courtesy Loewy Design Loewy designed the 1961 Avanti for Studebaker.: Photo: Library of CongressLoewy designed this car for Jaguar ? or maybe a Mr. Bruce Wayne of Gotham City. : Rendering: Courtesy Library of Congress Loewy approached the Pennsylvania Railroad in the early 1930s and told railway execs he wanted to design locomotives. Loewy's T-1 steam engine was the Pennsy's last before switching to diesel. : Photo: Courtesy Loewy Design Loewy poses with an early model of his GG1 electric locomotive for the Pennsylvania Railroad, 1935. : Credit: Courtesy Loewy Design President John F. Kennedy thought the Air Force's paint scheme for the Boeing 707 Air Force One was too royal: He wanted a look that was appropriate for a president, not a king. On the advice of first lady Jacqueline Kennedy, the White House contacted Loewy, who redesigned the exterior livery and the interior cabins. : Sketch: Courtesy Library of Congress Loewy played around with 18 design ideas for a new Standard Oil Company logo. Loewy OK'd a version only slightly different from the eventual, final version (next slide). : Credit: Courtesy of Loewy Design Loewy designed or redesigned well-known logos for scores of corporations. : Credit: Courtesy Loewy DesignLoewy modernized the traditional Coke bottle, as well as designed its new larger sizes and "no deposit, no return" bottles and cans. His countertop dispenser for restaurants and soda fountains is an icon of postwar Americana. : Credit: Courtesy Loewy Design Loewy simplified the old Lucky Strike cigarette logo and changed the dark green pack to white. The underlying reasons for the change were the American Tobacco Company's desire to attract more women to the brand with a brighter package, and also that the green ink gave off an odor. However, with the United States entering World War II, the company marketed the move as patriotism, claiming it was made to conserve the metals used make green ink. Advertisements trumpeted the slogan, "Lucky Strike Green has gone to war," and millions of packs were distributed to GIs. American Tobacco didn't forget its plan to market to women, as this ad in Ladies Home Journal makes evident. : Credit: Courtesy of Loewy Design With a hemline that low, you would guess this outfit has to be prewar or postwar, because the fashion industry conserved fabric with high hemlines during World War II. As a matter of fact, this Loewy modern black ensemble with matching accessories appeared in Vogue in 1939. : Credit: Courtesy Loewy Design Loewy created this quasi-futuristic jukebox for United Music Corp. in 1958. You might have selected from a mixed-bag playlist of 45s like these 1958 hits: "Don't" — Elvis Presley "Great Balls of Fire" — Jerry Lee Lewis "Johnny B. Goode" — Chuck Berry "Good Golly Miss Molly" — Little Richard "La Bamba" — Ritchie Valens "Fever" — Peggy Lee "Poor Little Fool" — Ricky Nelson "Rebel Rouser" — Duane Eddy "All the Way" — Frank Sinatra "26 Miles (Santa Catalina)" — The Four Preps "A Wonderful Time Up There" — Pat Boone "Tequila" — The Champs "Catch a Falling Star" — Perry Como "He's Got the Whole World in His Hands" — Laurie London "Twilight Time" — The Platters "Witch Doctor" — David Seville "All I Have to Do Is Dream" — The Everly Brothers "Purple People Eater" — Sheb Wooley "Yakety Yak" — The Coasters "Splish Splash" — Bobby Darin "Volare (Nel Blu Dipinto Blu)" — Dominico Modugno "Rockin Robin" — Bobby Day "Tom Dooley" — The Kingston Trio "To Know Him Is to Love Him" — Teddy Bears "The Chipmunk Song" — The Chipmunks/David Seville "Jingle Bell Rock" — Bobby Helms : Photo: Courtesy Hagley Museum and Library Loewy also created this 1950s Charcoal line china for Rosenthal. : Credit: Courtesy Loewy Design Loewy designed this classic bedroom set for Mengel Furniture. : Photo: Gottscho-Schleisner/Courtesy Library of Congress Loewy looks over a model of Imperial House in 1959, a planned apartment complex for Manhattan's Upper East Side. : Credit: Courtesy Loewy DesignLoewy created this prototype store for a bakery chain in New York in 1937. The white porcelain-covered steel siding and semicircular window endings gives it an air of "Radio Deco.": Photo: Courtesy Loewy Design Earth was not room enough for Loewy: He created this model for the living quarters of the NASA Skylab space station. : Study: Courtesy Loewy Design Loewy's 1970 study for a NASA space station appears influenced by sets from the 1968 film, 2001: A Space Odyssey, though it is a much smaller module. : Credit: Courtesy Loewy Design Loewy sifts through his designs for NASA. : Photo: Courtesy Loewy Design Raymond Loewy and his daughter Laurence enjoy a moment in 1982. Laurence was a prize-winning journalist who later headed the Raymond Loewy Foundation and served as CEO of Loewy Design. She died Oct 15, 2008, at age 55. David Hagerman, the COO of Loewy Design says, "Laurence hoped RaymondLoewy.org would help introduce a new generation of design enthusiasts to her father."
See the latest multimedia and applications including videos, animations, podcasts, photos, and slideshows on Wired.com {...}
Published: November 5, 2008, 5:00 am - Indexed: November 7, 2008, 9:13 am - Page Size: 37KB
Category: News > Breaking News

]]> News > Breaking News {NORTH AMERICA > REAL ESTATE} - ***PHOTOGRAPHY STUDIO FOR DAILY OR MONTHLY RENTAL*** (san rafael) $250 850sqft http://articles.world-of-newave.info/regional/north-america/united-states/california/metro-areas/san-francisco-bay-area/business-and-economy/real-estate/photography-studio-for-daily-or-monthly-rental-2008111101.htm http://articles.world-of-newave.info/regional/north-america/united-states/california/metro-areas/san-francisco-bay-area/business-and-economy/real-estate/photography-studio-for-daily-or-monthly-rental-2008111101.htm Sun, 02 Nov 2008 01:48:16 GMT Fully-equipped photography studio with high ceilings, shooting bay for products or people, make-up area, private office, conference area, digital area, and bathroom/changing room, with all lighting equipment and accessories needed for product, fashion or portrait photography (film or digital). I have been a working professional photographer for 35 years. Most of my current work is on location. Accordingly, I am offering the studio as a daily rental ($250) or monthly ($600) including the use of all of my equipment (except cameras). If interested, we can meet at the studio to view the layout and discuss your needs. Sfbay.Craigslist.Org ***PHOTOGRAPHY STUDIO FOR DAILY OR MONTHLY RENTAL*** (san rafael) $250 850sqft {new window}   Sfbay.Craigslist.Org - Fully-equipped photography studio with high ceilings, shooting bay for products or people, make-up area, private office, conference area, digital area, and bathroom/changing room, with all lighting equipment and accessories needed for product, fashion or portrait photography (film or digital). I have been a working professional photographer for 35 years. Most of my current work is on location. Accordingly, I am offering the studio as a daily rental ($250) or monthly ($600) including the use of all of my equipment (except cameras). If interested, we can meet at the studio to view the layout and discuss your needs.
***PHOTOGRAPHY STUDIO FOR DAILY OR MONTHLY RENTAL*** {...}
Published: November 2, 2008, 1:48 am - Indexed: November 2, 2008, 10:13 am - Page Size: 5KB
Category: Regional > North America > United States > California > Metro Areas > San Francisco Bay Area > Business and Economy > Real Estate

]]> Regional > North America > United States > California > Metro Areas > San Francisco Bay Area > Business and Economy > Real Estate {EUROPE > NEWS AND MEDIA} - Black. Beautiful. Barely seen http://articles.world-of-newave.info/regional/europe/united-kingdom/news-and-media/black-beautiful-barely-seen-2008111491.htm http://articles.world-of-newave.info/regional/europe/united-kingdom/news-and-media/black-beautiful-barely-seen-2008111491.htm Sun, 02 Nov 2008 00:03:35 GMT It's been the biggest fashion story of the year and it's had nothing to do with harem pants, the coat versus the cape, or the alluring comeback of the brogue. An industry not known for its crises of confidence has been forced to ask itself some uncomfortable questions. Might there be something nearing apartheid inside the pages of the glossy magazines and on the runways of the international designer collections? Is fashion racist? The debate - some say long overdue - would not have been kick-started without a woman called Bethann Hardison. The first black saleswoman in the Garment District of New York in the Sixties and a runway model in the Seventies, she spent the Eighties and Nineties as one of the few black women with her own modelling agency (for black and white clients). She's so celebrated in the business that she's known mostly by her first name only, like Naomi and Iman, to each of whom she also happens to be a long-time confidante and mentor. Over the past 14 months she's held campaign meetings in New York to speak out about a subject that has been largely taboo in the fashion industry. These are protest groups like no other - a cross between a rumbustious church service and the coolest party you have ever been to. Here, the likes of Naomi Campbell, Liya Kebede, Iman, Tyson Beckford and Veronica Webb squeeze into a room with some of the fashion world's biggest players such as André Leon Talley, editor-at-large of American Vogue and designer Vera Wang, as well as casting agents, stylists and representatives from the modelling agencies. At each meeting, Hardison sits at the front and beckons people she knows to stand up and speak. 'I knew I could make things happen,' she says. 'I knew I could make the rest of the industry feel self-conscious about what was going on.' Over the months her audiences revealed a fashion white-out - design houses that hadn't used a black model for a decade; issue after issue of American Vogue without a single black model on the fashion pages. Casting agents who stipulate 'No ethnics' this season. Magazine editors who say black covers don't sell. Caption writers who get the few black models who are successful mixed up. Designers who, out of a total of 30 models, use only two who are black because, 'If it's more than two it becomes a Black Thing'. Black models paid less than their white counterparts. As Iman said at one of the early groups: 'In any other industry it would be racism and you'd be taken to court for it.'Hardison had actually sold her agency and stepped out of fashion, preferring, she says, to lie in a hammock in Mexico and dance salsa with pretty skinny Latino boys. (She is, it swiftly transpires, not a typical sixtysomething. She won't tell me her exact age. 'Not even my doctor knows that!' she hoots.) It was Naomi Campbell who persuaded her to come out of retirement to organise the events. 'Every couple of months she'd ring me and say, "There are no black girls out there. You've got to do something!"' Hardison was in a unique position. She'd retired, which meant she had nothing to gain financially. She knew everyone. She was respected and well liked in a business renowned for being fickle and as ingrained with ego and jealousy as a designer logo on a leather handbag. Eventually she decided to act. She emailed Iman. 'Did you realise that, over the past decade, black models have been reduced to a category? Call me.'We sit in her small apartment near Bryant Park in New York, a short walk from the Garment District where she started out working for a button company. Paintings, mostly of black women, line the walls; there's a large framed poster from Andy Warhol's American Indian Series. She is, she tells me, exhausted. Something to do with the fact that yesterday she held another campaign meeting, and that she's fasting because it is the month of Ramadan. What irks her most about the lack of diversity on the catwalks is the fact that 'we'd had it before and it had disappeared'. In the late 70s and early 80s, she recalls, on the back of the black civil-rights movement, catwalks and magazines were often more diverse than they are now; black models were the stars.'Once you've climbed to the top of the mountain you don't expect to be back at the bottom again. It's like once you've seen Paris it's hard to go back to the farm. We had been there. We had achieved all of this' - she sits up straighter, tilting her chin imperiously and I catch a glimpse of how arresting she must have been as a 20-something woman striding down a runway for Oscar de la Renta or Halston - 'and we'd disappeared'.Casual observers might wonder why this issue is important, why anyone cares who's wearing a £2,500 coat in a magazine fashion spread or on a catwalk since most of us will never be able to afford it anyway. According to Hardison: 'Fashion should be a reflection of society. I want my industry to be as modern as the next one. And my industry is the least modern of them all. Fashion isn't just about the way a dress moves.' The concern is that a generation of girls, both black and white, will grow up thinking there is only one - white - benchmark for beauty.It seems astonishing to think that, in two days' time, America may elect its first black president, but the editor of a glossy magazine might still think twice about putting a beautiful black woman on the front cover. Or even, indeed, on the inside pages, thanks to the current fascination with celebrity that means a famous person (usually a white, fake-tanned one) bags the cover slot. Thus the number of new, well-known black or Asian models has shrunk to a handful: Jourdan Dunn, Chanel Iman, Sessilee Lopez, Georgie Badiel. On Forbes magazine's 2007 list of the 15 top-earning models, only one - Liya Kebede - was black.Trying to work out why fashion seems to have gone backwards on diversity is complex.Everyone blames everyone else - model agencies blame casting directors, magazine editors blame readers, designers blame model agencies. The reasons range from the aesthetic to the more insidious.'I don't think in terms of black and white,' stylist Katie Grand tells me. 'I just think about who is going to look best in the clothes.' The fashion designer Katharine Hamnett claims to be baffled by the situation. 'The strange thing is that Caucasian girls actually got the short straw. Very few of them are model material. Black girls and Indian girls have far better faces and far better figures than white girls, period. I remember taking my kids to India and looking out of the bus window and saying, "My God, this is like a model casting". Why white girls remain so popular is a mystery to me, whether it's because consumers are mostly white, or aspire to be white, I don't know.'In America, where 30 per cent of the population is non-white and where black women spend a colossal $20 billion on fashion and cosmetics, the issue is particularly sensitive. Other American media, including some hit television dramas, reflect a society that is racially mixed, but the fashion industry remains as pale as a partially cooked chicken drumstick. American Vogue, with a readership of two million, has, in particular been criticised for its scarcity of black images.'We still have reactionary forces in this country,' says Veronica Webb, one of the most successful black American models in the Eighties and the first to land a major cosmetics contract for Revlon. 'And they are part of our power base. It's our national ailment. To be told "no" simply because of your colour means you are screwed ... And it wasn't even so bad for me because I am very mixed - part black, part African, part Latino.' Nevertheless she recalls being turned down for a job for a leading French design house. 'The photographer, who was a friend, told me the client didn't want their accessories to become status symbols in the black community.'I repeat this story to other black commentators in the industry and it's so typical they don't even sound surprised. Former model Beverly Bond has set up a group for black teenage girls called 'Black Girls Rock', an attempt to attach a slogan to the protest in the same way that 'Black is Beautiful' did in the Seventies. 'I've been to auditions where they automatically turn away the black girls without even looking at their books. It's racist. Imagine them behaving that way if I went to a job interview. It's amazing how far behind the fashion world is and how they can get away with being so blatant about it.'She's given up modelling and become a well-known DJ instead. 'In the end black models get disheartened by it. No matter how hot you look, you are never going to be hot enough.'In July, no doubt partly because of Bethann Hardison's campaign, Italian Vogue published what they called 'a black issue'. Every page of editorial was devoted to black beauty (while the advertising remained almost universally white). It included many of the best black models of the past 30 years, from ground-breakers like Pat Cleveland to Jourdan Dunn, said to be the new Naomi Campbell. (It seems there's little chance of there being room for two very successful black models at the same time.) The result was dazzling, although the website Gawker noted wryly: 'Never has the racism issue looked so stunning.'For the first time in its history the magazine sold out, helped by a campaign on Facebook by black readers starved of the black image for long enough. The issue made newspaper headlines on both sides of the Atlantic. Commentators said it showed, finally, that the black image could sell. Critics noted that the majority of the models were pale-skinned, their hair often slicked back or hidden in a turban. True, black women don't all look the same - and thinking they do is part of the problem - but there were few images of darker skin and natural afro hair. With a circulation of 145,000, Italian Vogue's readership is edgy and niche. Editor Franca Sozzani can afford to take risks. Rivals may have sat up and taken notice but most probably thought, 'Fabulous publicity. I wish I'd thought of that!' And then carried on as before.Some felt that it was too little too late. 'There's nothing I like more than to see beautiful black people,' says Rebecca Carroll, author of Sugar in the Raw, about black teenage girls in America, 'but it felt a bit like black history month - "Now we've done it we don't have to worry about it again".' Black stylist and fashion editor Edward Enninful disagrees. He worked on the issue: 'I'd love it if fashion was 50/50 between black and white. But you have to think in terms of baby steps. In the end little drops make an ocean.'Whenever designers and stylists enter the debate many talk about the cyclical nature of the business and how trends come and go. However, even if this is the case, change is achingly slow. Katie Grand worked on five shows last season and struggled to find the quality of black models she wanted. 'I think the agencies could do more,' she says. 'I saw every girl but there were very few black girls.' At Louis Vuitton, out of a total of 54 models, she used only four that were black. At the recent collections in September Chanel still had no black models; nor did Yohji Yamamoto, Giorgio Armani, Marni or Jil Sander. Balenciaga, Gucci, Christian Lacroix and Prada had one each. The vast majority used just two or three (at least, everyone said, it was better than last year) although many were only seen on the runway once. Jean Paul Gaultier and Vivienne Westwood, famously fans of a mixed cabine, broke through the 20 per cent ceiling. One up-and-coming designer, Sophie Theallet, stood out - her whole show was made up of only black models. It was a success but, as she tells me: 'I told nobody beforehand - only my husband and the people closest to me at work. It was too risky. I didn't want anyone telling me it was not a good idea.' And this in a spring/summer collection when, as Bethann Hardison points out, black models traditionally do much better. 'The bright colours against the dark skin ...' she says, rolling her eyes. When she was an agent she used to ring up the design houses and say: 'You know we do wear clothes in winter time?'People in the fashion and media industry who know Bethann describe her as an icon. Admittedly fashion has its fair share of luvviness, but watch her at her meetings and the affection people feel for her is obvious. Both inspiring and outspoken without being self-righteous, she's able to rouse and provoke in equal measure, poking fun at a business that she clearly loves but one which takes itself rather too seriously at times. However, her background had little to do with designer shops on Madison Avenue. Hardison's father, a practising Muslim, was a supervisor in the local housing authority. After her parents separated she was looked after by her mother and grandmother who were domestics in Brooklyn. 'You've got to leave Brooklyn,' she says, 'to be proud of where you come from.' Her mother loved the local bar scene, dancing and dressing up - 'Though in those days, the Fifties, everybody dressed in the same silhouette, whether they were black or white.' Hardison fell pregnant at the age of 18 - 'I had never had sex before and I got pregnant on the first time, which is the worst thing in the world.' When her baby son, Kadeem, was small, her mother and grandmother looked after him (he grew up to become a successful actor, based in Los Angeles) and for a while she had a mixture of jobs working at a telephone company and in a prison before she found a position in a firm that made hand-painted buttons for design houses.She'd inherited her mother's sense of style. 'That first day I wore a white straw hat, a one-off white suit, slingback shoes. The owner was worried I'd get covered in paint so he decided I could be the one to take the buttons to the designers.' It would be true to say she never looked back. Hardison worked her way up through an industry that back then was focused on a few streets in midtown Manhattan. She was an assistant for a dress company, which meant she was secretary, receptionist and book-keeper. Finally two Jewish women who ran a salon allowed her to be the first black saleswoman in the Garment District. The idea of a white woman with money to spend being shown the collection in the showroom by a black woman was unheard of.Hardison's hair was cropped short, as it is now. She was also very skinny. 'Boy was I skinny! Big eyes. I looked like I was from Biafra.' Her unusual look came to the attention of some of the designers she met at work. 'I wasn't a pretty girl but there was something about me that attracted them.' Her debut as a model was in the early Seventies for a designer called Chester Weinberg. The audience, made up of industry buyers, was wholly white. 'They looked stunned. I looked like a little African girl. There were a few other girls of colour but they had a sort of bounce about them. I was just straight.' By the third outfit the uproar was so loud, she could barely get to the end of the room. 'I was dying inside. I wanted to walk right through the door onto the subway and go home. But somehow I kept my head up and it became a point of defiance. I wouldn't let them see how much they hurt me. That became my style. They had never seen anyone who looked like me but that defiance changed the way models could look.'It wasn't long before black models were in demand. 'They called us the black stallions. Black or white it didn't matter. It was a great time because it was so creative and stylish and bohemian. You didn't have to have lots of money to be at the party.' Sensibly - and Hardison, you come to realise, has a very sensible head on those shoulders - she never gave up her day job. By this time she was working as a design assistant. She knew everyone from the Studio 54 crowd to Truman Capote, Jerry Hall to Woody Allen, but, as she says: 'There wasn't a lot of bullcrap then. All you had to do was have interesting dinner-party conversation.'A man once told her she was too busy to be committed to a relationship and, though she was married twice, neither marriage lasted long. In the Eighties she decided to start her own modelling agency. She found premises in the then unfashionable SoHo area of New York. 'As a black businesswoman you can't believe anyone is taking you seriously because you have no one before you who has done what you are doing. It's like walking down the Yellow Brick Road before it's been laid.' She would run the agency for 21 years and set up a pressure group called Black Girls' Coalition with Iman. By the time she sold up there may not have been parity between white and black models but she imagined she'd done enough.The industry changed with the influx of Eastern-European models. Bewitching-looking women: tall, translucent, angular, with flinty cheekbones and piercing eyes. 'They flooded the market,' says Carole White, who owns Premier Model Management. 'They are beautiful, but it is a bland beauty. It's a certain look. We can all spot it.' As a reaction to the reign of the supermodels, labels like Jil Sander and Prada wanted anonymous faces. 'It was almost as though they were revolted by what they had created,' says Michael Gross, the author of Model: The Ugly Business of Beautiful Women. According to Hardison: 'The model was reduced to a coathanger.' Of 200 models on White's books, only seven are black or Asian women and she says they have to work twice as hard to get the jobs. White thinks that fashion has become dominated by a white aesthetic that goes beyond the designers. 'Photographers used to be apprenticed for five years. They would learn about lighting and printing,' she explains. 'The thing is that now they probably use digital cameras and don't know how to light a black girl. It's the same with make-up artists. Black make-up artists like Pat McGrath work magic on white models but you don't see it the other way around. It's probably ignorance, and they are probably frightened. They just don't know how to do it.' There is an unspoken presumption that white readers want white models, white women only want to see an image of themselves on the catwalks. It's what academics call 'the white hegemony' and it's so casual if you're white you don't even notice it. But might the pundits be talking down to their consumers?'Editors say customers won't have it, it won't sell,' says Barbara Summers, a black model in the Seventies and the author of Black and Beautiful and Open the Unusual Door. 'But it's self-defeating. They're projecting their own failure and using black people to make the excuse. It's just cowardice. The irony is that the industry is shrinking in the current financial crisis. It can't grow again if it stays stuck in these past ideas. You can't expand your customer base if you only make products for white girls.' The result, according to Rebecca Carroll, is black teenage girls growing up thinking that they're not admired, a sense that goes beyond what they see in the mirror. 'It's painful,' she says. 'No one likes to be excluded and they grow up thinking they don't exist, therefore people don't care.'Even if one goes along with the view that Italian Vogue was, as Enninful says, 'historic and monumental', look through this month's bunch of British monthly glossies and you'd be hard pressed to find any black images. Editors often maintain that the number of black models they include proportionately matches the population. However, in this month's British glossies, the main fashion spreads are universally white. When you do see black models in magazines the same tropes are repeated again and again, says Zoe Whitley. She is a curator and visiting fellow at Sussex University, whose MA thesis was about blackness in Vogue. In mainstream magazines there is traditionally a proliferation of leopard-print and other animalistic symbols. Certain postures are popular - crawling, leaping in the air and smiling. There are lots of accessories and jewellery and colours that deliberately show up the contrast between fabric and skin - vivid reds, turquoise, white. 'The stories can be stunning,' says Whitley, 'but you don't often get a sense that you'd see a black model in a story about tweed, or a muted palette.' The alternative is to create an atmosphere of exoticism by putting a white model in a foreign environment like an African country or India. 'She becomes exotic and they don't even have to resort to using a black model.'Whitley has a theory that, when a black image is used on the front of a glossy magazine it is often in February, traditionally the lowest-selling month anyway. 'The poor sales become a self-fulfilling prophesy.' As a young woman growing up in Washington and Los Angeles, her family would rush out to buy any magazine with a black person on the front. They imagined they could boost sales single-handed.The lack of black images prompts some commentators to wonder whether magazines are interested in black readers at all. Fashion is a business and like all businesses it goes where it thinks the money is. 'This is a commercial industry,' says Michael Gross, 'run by a bunch of old people. Their job is not to change the world, it is to sell frocks. It's not racism. It's not even unconscious racism. It's an utter cluelessness about the real world.'There is a view, though, that if Senator Barack Obama does win on Tuesday, the response will be profound, even on cosseted, inward-looking Planet Fashion. Michelle Obama has wowed the industry with her fashion instincts. She's already reinvented the way a potential First Lady can dress. She might soon be the most sought-after woman on any glossy magazine front cover anywhere in the world. True, she's not a model but it could mark a sea change. 'It will be a wake-up call,' says Gross. 'The reaction in the fashion business will be a blatant and almost laughable attempt to catch up. Such is this craven industry and such is the way they behave.'CatwalkFashionguardian.co.uk © Guardian News & Media Limited 2008 | Use of this content is subject to our Terms & Conditions | More Feeds Guardian.Co.Uk Black. Beautiful. Barely seen {new window}   Www.Guardian.Co.Uk - It's been the biggest fashion story of the year and it's had nothing to do with harem pants, the coat versus the cape, or the alluring comeback of the brogue. An industry not known for its crises of confidence has been forced to ask itself some uncomfortable questions. Might there be something nearing apartheid inside the pages of the glossy magazines and on the runways of the international designer collections? Is fashion racist? The debate - some say long overdue - would not have been kick-started without a woman called Bethann Hardison. The first black saleswoman in the Garment District of New York in the Sixties and a runway model in the Seventies, she spent the Eighties and Nineties as one of the few black women with her own modelling agency (for black and white clients). She's so celebrated in the business that she's known mostly by her first name only, like Naomi and Iman, to each of whom she also happens to be a long-time confidante and mentor. Over the past 14 months she's held campaign meetings in New York to speak out about a subject that has been largely taboo in the fashion industry. These are protest groups like no other - a cross between a rumbustious church service and the coolest party you have ever been to. Here, the likes of Naomi Campbell, Liya Kebede, Iman, Tyson Beckford and Veronica Webb squeeze into a room with some of the fashion world's biggest players such as André Leon Talley, editor-at-large of American Vogue and designer Vera Wang, as well as casting agents, stylists and representatives from the modelling agencies. At each meeting, Hardison sits at the front and beckons people she knows to stand up and speak. 'I knew I could make things happen,' she says. 'I knew I could make the rest of the industry feel self-conscious about what was going on.' Over the months her audiences revealed a fashion white-out - design houses that hadn't used a black model for a decade; issue after issue of American Vogue without a single black model on the fashion pages. Casting agents who stipulate 'No ethnics' this season. Magazine editors who say black covers don't sell. Caption writers who get the few black models who are successful mixed up. Designers who, out of a total of 30 models, use only two who are black because, 'If it's more than two it becomes a Black Thing'. Black models paid less than their white counterparts. As Iman said at one of the early groups: 'In any other industry it would be racism and you'd be taken to court for it.'Hardison had actually sold her agency and stepped out of fashion, preferring, she says, to lie in a hammock in Mexico and dance salsa with pretty skinny Latino boys. (She is, it swiftly transpires, not a typical sixtysomething. She won't tell me her exact age. 'Not even my doctor knows that!' she hoots.) It was Naomi Campbell who persuaded her to come out of retirement to organise the events. 'Every couple of months she'd ring me and say, "There are no black girls out there. You've got to do something!"' Hardison was in a unique position. She'd retired, which meant she had nothing to gain financially. She knew everyone. She was respected and well liked in a business renowned for being fickle and as ingrained with ego and jealousy as a designer logo on a leather handbag. Eventually she decided to act. She emailed Iman. 'Did you realise that, over the past decade, black models have been reduced to a category? Call me.'We sit in her small apartment near Bryant Park in New York, a short walk from the Garment District where she started out working for a button company. Paintings, mostly of black women, line the walls; there's a large framed poster from Andy Warhol's American Indian Series. She is, she tells me, exhausted. Something to do with the fact that yesterday she held another campaign meeting, and that she's fasting because it is the month of Ramadan. What irks her most about the lack of diversity on the catwalks is the fact that 'we'd had it before and it had disappeared'. In the late 70s and early 80s, she recalls, on the back of the black civil-rights movement, catwalks and magazines were often more diverse than they are now; black models were the stars.'Once you've climbed to the top of the mountain you don't expect to be back at the bottom again. It's like once you've seen Paris it's hard to go back to the farm. We had been there. We had achieved all of this' - she sits up straighter, tilting her chin imperiously and I catch a glimpse of how arresting she must have been as a 20-something woman striding down a runway for Oscar de la Renta or Halston - 'and we'd disappeared'.Casual observers might wonder why this issue is important, why anyone cares who's wearing a £2,500 coat in a magazine fashion spread or on a catwalk since most of us will never be able to afford it anyway. According to Hardison: 'Fashion should be a reflection of society. I want my industry to be as modern as the next one. And my industry is the least modern of them all. Fashion isn't just about the way a dress moves.' The concern is that a generation of girls, both black and white, will grow up thinking there is only one - white - benchmark for beauty.It seems astonishing to think that, in two days' time, America may elect its first black president, but the editor of a glossy magazine might still think twice about putting a beautiful black woman on the front cover. Or even, indeed, on the inside pages, thanks to the current fascination with celebrity that means a famous person (usually a white, fake-tanned one) bags the cover slot. Thus the number of new, well-known black or Asian models has shrunk to a handful: Jourdan Dunn, Chanel Iman, Sessilee Lopez, Georgie Badiel. On Forbes magazine's 2007 list of the 15 top-earning models, only one - Liya Kebede - was black.Trying to work out why fashion seems to have gone backwards on diversity is complex.Everyone blames everyone else - model agencies blame casting directors, magazine editors blame readers, designers blame model agencies. The reasons range from the aesthetic to the more insidious.'I don't think in terms of black and white,' stylist Katie Grand tells me. 'I just think about who is going to look best in the clothes.' The fashion designer Katharine Hamnett claims to be baffled by the situation. 'The strange thing is that Caucasian girls actually got the short straw. Very few of them are model material. Black girls and Indian girls have far better faces and far better figures than white girls, period. I remember taking my kids to India and looking out of the bus window and saying, "My God, this is like a model casting". Why white girls remain so popular is a mystery to me, whether it's because consumers are mostly white, or aspire to be white, I don't know.'In America, where 30 per cent of the population is non-white and where black women spend a colossal $20 billion on fashion and cosmetics, the issue is particularly sensitive. Other American media, including some hit television dramas, reflect a society that is racially mixed, but the fashion industry remains as pale as a partially cooked chicken drumstick. American Vogue, with a readership of two million, has, in particular been criticised for its scarcity of black images.'We still have reactionary forces in this country,' says Veronica Webb, one of the most successful black American models in the Eighties and the first to land a major cosmetics contract for Revlon. 'And they are part of our power base. It's our national ailment. To be told "no" simply because of your colour means you are screwed ... And it wasn't even so bad for me because I am very mixed - part black, part African, part Latino.' Nevertheless she recalls being turned down for a job for a leading French design house. 'The photographer, who was a friend, told me the client didn't want their accessories to become status symbols in the black community.'I repeat this story to other black commentators in the industry and it's so typical they don't even sound surprised. Former model Beverly Bond has set up a group for black teenage girls called 'Black Girls Rock', an attempt to attach a slogan to the protest in the same way that 'Black is Beautiful' did in the Seventies. 'I've been to auditions where they automatically turn away the black girls without even looking at their books. It's racist. Imagine them behaving that way if I went to a job interview. It's amazing how far behind the fashion world is and how they can get away with being so blatant about it.'She's given up modelling and become a well-known DJ instead. 'In the end black models get disheartened by it. No matter how hot you look, you are never going to be hot enough.'In July, no doubt partly because of Bethann Hardison's campaign, Italian Vogue published what they called 'a black issue'. Every page of editorial was devoted to black beauty (while the advertising remained almost universally white). It included many of the best black models of the past 30 years, from ground-breakers like Pat Cleveland to Jourdan Dunn, said to be the new Naomi Campbell. (It seems there's little chance of there being room for two very successful black models at the same time.) The result was dazzling, although the website Gawker noted wryly: 'Never has the racism issue looked so stunning.'For the first time in its history the magazine sold out, helped by a campaign on Facebook by black readers starved of the black image for long enough. The issue made newspaper headlines on both sides of the Atlantic. Commentators said it showed, finally, that the black image could sell. Critics noted that the majority of the models were pale-skinned, their hair often slicked back or hidden in a turban. True, black women don't all look the same - and thinking they do is part of the problem - but there were few images of darker skin and natural afro hair. With a circulation of 145,000, Italian Vogue's readership is edgy and niche. Editor Franca Sozzani can afford to take risks. Rivals may have sat up and taken notice but most probably thought, 'Fabulous publicity. I wish I'd thought of that!' And then carried on as before.Some felt that it was too little too late. 'There's nothing I like more than to see beautiful black people,' says Rebecca Carroll, author of Sugar in the Raw, about black teenage girls in America, 'but it felt a bit like black history month - "Now we've done it we don't have to worry about it again".' Black stylist and fashion editor Edward Enninful disagrees. He worked on the issue: 'I'd love it if fashion was 50/50 between black and white. But you have to think in terms of baby steps. In the end little drops make an ocean.'Whenever designers and stylists enter the debate many talk about the cyclical nature of the business and how trends come and go. However, even if this is the case, change is achingly slow. Katie Grand worked on five shows last season and struggled to find the quality of black models she wanted. 'I think the agencies could do more,' she says. 'I saw every girl but there were very few black girls.' At Louis Vuitton, out of a total of 54 models, she used only four that were black. At the recent collections in September Chanel still had no black models; nor did Yohji Yamamoto, Giorgio Armani, Marni or Jil Sander. Balenciaga, Gucci, Christian Lacroix and Prada had one each. The vast majority used just two or three (at least, everyone said, it was better than last year) although many were only seen on the runway once. Jean Paul Gaultier and Vivienne Westwood, famously fans of a mixed cabine, broke through the 20 per cent ceiling. One up-and-coming designer, Sophie Theallet, stood out - her whole show was made up of only black models. It was a success but, as she tells me: 'I told nobody beforehand - only my husband and the people closest to me at work. It was too risky. I didn't want anyone telling me it was not a good idea.' And this in a spring/summer collection when, as Bethann Hardison points out, black models traditionally do much better. 'The bright colours against the dark skin ...' she says, rolling her eyes. When she was an agent she used to ring up the design houses and say: 'You know we do wear clothes in winter time?'People in the fashion and media industry who know Bethann describe her as an icon. Admittedly fashion has its fair share of luvviness, but watch her at her meetings and the affection people feel for her is obvious. Both inspiring and outspoken without being self-righteous, she's able to rouse and provoke in equal measure, poking fun at a business that she clearly loves but one which takes itself rather too seriously at times. However, her background had little to do with designer shops on Madison Avenue. Hardison's father, a practising Muslim, was a supervisor in the local housing authority. After her parents separated she was looked after by her mother and grandmother who were domestics in Brooklyn. 'You've got to leave Brooklyn,' she says, 'to be proud of where you come from.' Her mother loved the local bar scene, dancing and dressing up - 'Though in those days, the Fifties, everybody dressed in the same silhouette, whether they were black or white.' Hardison fell pregnant at the age of 18 - 'I had never had sex before and I got pregnant on the first time, which is the worst thing in the world.' When her baby son, Kadeem, was small, her mother and grandmother looked after him (he grew up to become a successful actor, based in Los Angeles) and for a while she had a mixture of jobs working at a telephone company and in a prison before she found a position in a firm that made hand-painted buttons for design houses.She'd inherited her mother's sense of style. 'That first day I wore a white straw hat, a one-off white suit, slingback shoes. The owner was worried I'd get covered in paint so he decided I could be the one to take the buttons to the designers.' It would be true to say she never looked back. Hardison worked her way up through an industry that back then was focused on a few streets in midtown Manhattan. She was an assistant for a dress company, which meant she was secretary, receptionist and book-keeper. Finally two Jewish women who ran a salon allowed her to be the first black saleswoman in the Garment District. The idea of a white woman with money to spend being shown the collection in the showroom by a black woman was unheard of.Hardison's hair was cropped short, as it is now. She was also very skinny. 'Boy was I skinny! Big eyes. I looked like I was from Biafra.' Her unusual look came to the attention of some of the designers she met at work. 'I wasn't a pretty girl but there was something about me that attracted them.' Her debut as a model was in the early Seventies for a designer called Chester Weinberg. The audience, made up of industry buyers, was wholly white. 'They looked stunned. I looked like a little African girl. There were a few other girls of colour but they had a sort of bounce about them. I was just straight.' By the third outfit the uproar was so loud, she could barely get to the end of the room. 'I was dying inside. I wanted to walk right through the door onto the subway and go home. But somehow I kept my head up and it became a point of defiance. I wouldn't let them see how much they hurt me. That became my style. They had never seen anyone who looked like me but that defiance changed the way models could look.'It wasn't long before black models were in demand. 'They called us the black stallions. Black or white it didn't matter. It was a great time because it was so creative and stylish and bohemian. You didn't have to have lots of money to be at the party.' Sensibly - and Hardison, you come to realise, has a very sensible head on those shoulders - she never gave up her day job. By this time she was working as a design assistant. She knew everyone from the Studio 54 crowd to Truman Capote, Jerry Hall to Woody Allen, but, as she says: 'There wasn't a lot of bullcrap then. All you had to do was have interesting dinner-party conversation.'A man once told her she was too busy to be committed to a relationship and, though she was married twice, neither marriage lasted long. In the Eighties she decided to start her own modelling agency. She found premises in the then unfashionable SoHo area of New York. 'As a black businesswoman you can't believe anyone is taking you seriously because you have no one before you who has done what you are doing. It's like walking down the Yellow Brick Road before it's been laid.' She would run the agency for 21 years and set up a pressure group called Black Girls' Coalition with Iman. By the time she sold up there may not have been parity between white and black models but she imagined she'd done enough.The industry changed with the influx of Eastern-European models. Bewitching-looking women: tall, translucent, angular, with flinty cheekbones and piercing eyes. 'They flooded the market,' says Carole White, who owns Premier Model Management. 'They are beautiful, but it is a bland beauty. It's a certain look. We can all spot it.' As a reaction to the reign of the supermodels, labels like Jil Sander and Prada wanted anonymous faces. 'It was almost as though they were revolted by what they had created,' says Michael Gross, the author of Model: The Ugly Business of Beautiful Women. According to Hardison: 'The model was reduced to a coathanger.' Of 200 models on White's books, only seven are black or Asian women and she says they have to work twice as hard to get the jobs. White thinks that fashion has become dominated by a white aesthetic that goes beyond the designers. 'Photographers used to be apprenticed for five years. They would learn about lighting and printing,' she explains. 'The thing is that now they probably use digital cameras and don't know how to light a black girl. It's the same with make-up artists. Black make-up artists like Pat McGrath work magic on white models but you don't see it the other way around. It's probably ignorance, and they are probably frightened. They just don't know how to do it.' There is an unspoken presumption that white readers want white models, white women only want to see an image of themselves on the catwalks. It's what academics call 'the white hegemony' and it's so casual if you're white you don't even notice it. But might the pundits be talking down to their consumers?'Editors say customers won't have it, it won't sell,' says Barbara Summers, a black model in the Seventies and the author of Black and Beautiful and Open the Unusual Door. 'But it's self-defeating. They're projecting their own failure and using black people to make the excuse. It's just cowardice. The irony is that the industry is shrinking in the current financial crisis. It can't grow again if it stays stuck in these past ideas. You can't expand your customer base if you only make products for white girls.' The result, according to Rebecca Carroll, is black teenage girls growing up thinking that they're not admired, a sense that goes beyond what they see in the mirror. 'It's painful,' she says. 'No one likes to be excluded and they grow up thinking they don't exist, therefore people don't care.'Even if one goes along with the view that Italian Vogue was, as Enninful says, 'historic and monumental', look through this month's bunch of British monthly glossies and you'd be hard pressed to find any black images. Editors often maintain that the number of black models they include proportionately matches the population. However, in this month's British glossies, the main fashion spreads are universally white. When you do see black models in magazines the same tropes are repeated again and again, says Zoe Whitley. She is a curator and visiting fellow at Sussex University, whose MA thesis was about blackness in Vogue. In mainstream magazines there is traditionally a proliferation of leopard-print and other animalistic symbols. Certain postures are popular - crawling, leaping in the air and smiling. There are lots of accessories and jewellery and colours that deliberately show up the contrast between fabric and skin - vivid reds, turquoise, white. 'The stories can be stunning,' says Whitley, 'but you don't often get a sense that you'd see a black model in a story about tweed, or a muted palette.' The alternative is to create an atmosphere of exoticism by putting a white model in a foreign environment like an African country or India. 'She becomes exotic and they don't even have to resort to using a black model.'Whitley has a theory that, when a black image is used on the front of a glossy magazine it is often in February, traditionally the lowest-selling month anyway. 'The poor sales become a self-fulfilling prophesy.' As a young woman growing up in Washington and Los Angeles, her family would rush out to buy any magazine with a black person on the front. They imagined they could boost sales single-handed.The lack of black images prompts some commentators to wonder whether magazines are interested in black readers at all. Fashion is a business and like all businesses it goes where it thinks the money is. 'This is a commercial industry,' says Michael Gross, 'run by a bunch of old people. Their job is not to change the world, it is to sell frocks. It's not racism. It's not even unconscious racism. It's an utter cluelessness about the real world.'There is a view, though, that if Senator Barack Obama does win on Tuesday, the response will be profound, even on cosseted, inward-looking Planet Fashion. Michelle Obama has wowed the industry with her fashion instincts. She's already reinvented the way a potential First Lady can dress. She might soon be the most sought-after woman on any glossy magazine front cover anywhere in the world. True, she's not a model but it could mark a sea change. 'It will be a wake-up call,' says Gross. 'The reaction in the fashion business will be a blatant and almost laughable attempt to catch up. Such is this craven industry and such is the way they behave.'CatwalkFashionguardian.co.uk © Guardian News & Media Limited 2008 | Use of this content is subject to our Terms & Conditions | More Feeds
Black. Beautiful. Barely seen | Life and style | The Observer {...} Louise France meets the woman leading the fight against racism on the catwalk {...}
Published: November 2, 2008, 12:03 am - Indexed: November 2, 2008, 10:47 am - Page Size: 93KB
Category: Regional > Europe > United Kingdom > News and Media

]]> Regional > Europe > United Kingdom > News and Media {MOVIES > REVIEWS} - Repo! The Genetic Opera http://articles.world-of-newave.info/arts/movies/reviews/repo-the-genetic-opera-20081049953.htm http://articles.world-of-newave.info/arts/movies/reviews/repo-the-genetic-opera-20081049953.htm Fri, 31 Oct 2008 15:09:09 GMT Starring: Paris Hilton Review: The idea of the director of Saw II, III and IV going at Paris Hilton seems like just revenge for her punishable assaults on acting. In this atonal, faux-arty rock opera about a futuristic bull market in internal organs, Hilton is suitably clueless as Amber Sweet, the daughter of an aria-singing mob boss (Paul Sorvino). Amber trades in her organs like fashion accessories. But a new pancreas costs money. Don't pay, and the Repo Man will tear out your guts. It gets worse, much worse. Talented actors are involved, and I will spare them by not citing their names. "Happiness is a warm scalpel," sings Hilton. Misery is enduring this Rocky Horror Paris Show. Rating: 0.5 Star Rollingstone.Com Repo! The Genetic Opera {new window}   Www.Rollingstone.Com - Starring: Paris Hilton Review: The idea of the director of Saw II, III and IV going at Paris Hilton seems like just revenge for her punishable assaults on acting. In this atonal, faux-arty rock opera about a futuristic bull market in internal organs, Hilton is suitably clueless as Amber Sweet, the daughter of an aria-singing mob boss (Paul Sorvino). Amber trades in her organs like fashion accessories. But a new pancreas costs money. Don't pay, and the Repo Man will tear out your guts. It gets worse, much worse. Talented actors are involved, and I will spare them by not citing their names. "Happiness is a warm scalpel," sings Hilton. Misery is enduring this Rocky Horror Paris Show. Rating: 0.5 Star
Repo! The Genetic Opera : Review : Rolling Stone {...} The idea of the director of Saw II, III and IV going at Paris Hilton seems like just revenge for her... {...}
Published: October 31, 2008, 3:09 pm - Indexed: November 7, 2008, 9:54 am - Page Size: 37KB
Category: Arts > Movies > Reviews

]]> Arts > Movies > Reviews {INTERNET > BLOGS} - Exciting New Developments at Forzieri.com http://articles.world-of-newave.info/computers/internet/web-design-and-development/authoring/webmaster-resources/affiliate-programs/blogs/exciting-new-developments-at-forzieri-com-20081058322.htm http://articles.world-of-newave.info/computers/internet/web-design-and-development/authoring/webmaster-resources/affiliate-programs/blogs/exciting-new-developments-at-forzieri-com-20081058322.htm Mon, 27 Oct 2008 12:10:00 GMT We're thrilled to announce the Official Launch of a Totally New Shopping Experience from the world's premier online Retailer of Italian Luxury goods - FORZIERI.COM Inspired by the magic of Florence, Forzieri's hometown, and the lavish atmosphere of a 7-Star landmark hotel, the NEW Forzieri launches simultaneously across the top 17 markets worldwide -- reaffirming its position as a global leader targeting affluent clientele from around the globe. The new look site encapsulates all that is synonymous with high-end luxury presented as a dream shopping boulevard and gives a totally new definition to the term ' luxury shopping'. This is proven by the recent acquisition of new and EXCLUSIVE partnerships with some of the most prestigious brands on the planet today: BENTLEY MOTORS - the worlds leading luxury car icon. As a strategic online partner of ours, BENTLEY will obtain a dedicated space within the Forzieri shopping environment to feature its fascinating luxury goods called "THE BENTLEY COLLECTION". Take a look at first designs coming in: http://www.forzieri.com/usa/brand_collection.asp?l=usa&c=usa&brand_id=189 As we like to say, Forzieri is the one & only 'BENTLEY Online Dealer' on the globe today. Tonino LAMBORGHINI - a worldwide online exclusive with yet another global luxury legend, featuring fascinating 'luxury sportscar-inspired' designs, including iconic timepieces, jewelry & silver giftware. Take a look at first Lamborghini designs coming in: http://www.forzieri.com/usa/brand_collection.asp?l=usa&c=usa&brand_id=188 REBECCA - Luxury Fashion Jeweler - an exclusive online global distribution agreement with Italy's fastest growing Luxury Fashion Jeweler REBECCA View the Collection: http://www.forzieri.com/usa/shopping_shop.asp?l=usa&c=usa&brand_id=181 GIORGIO FEDON 1919 - a global leader in the Italian Luxury industry, with an exclusive collection of premium, fine leather goods and accessories and available to all customers worldwide. View the collection: http://www.forzieri.com/usa/brand_profile.asp?l=usa&c=usa&brand_id=177 FRANCESCO BIASIA - Covering more than 150 international markets, available in 8 languages, the official BIASIA.COM online store was recently launched, fully powered by Forzieri's Marketing, Technology and Logistic global infrastructure. Come visit us now at: http://www.biasia.com Visit the new FRANCESCO BIASIA Winter collection at Forzieri: http://www.forzieri.com/usa/brand_profile.asp?l=usa&c=usa&brand_id=127 $10,000 Bonus **Not to be missed: AMWSO.com is sponsoring over $10,000 in cash prizes over at AbestWeb.com - and Forzieri is included with over $1,000 up for grabs!! Get into the action now.. > > Forzieri USA Merchandiser Implementation and Sales Bonus Open to anyone who signs up with Forzieri on LinkShare and implements the merchandiser feed. > > Forzieri UK Third Sale Bonus The first 10 Partners to reach 3 Sales anytime between Oct 21st - Dec 31st today will get a $25 Bonus More exciting news including link opportunities coming up in the next few days & weeks. Amwso.Com Exciting New Developments at Forzieri.com {new window}   Www.Amwso.Com - We're thrilled to announce the Official Launch of a Totally New Shopping Experience from the world's premier online Retailer of Italian Luxury goods - FORZIERI.COM Inspired by the magic of Florence, Forzieri's hometown, and the lavish atmosphere of a 7-Star landmark hotel, the NEW Forzieri launches simultaneously across the top 17 markets worldwide -- reaffirming its position as a global leader targeting affluent clientele from around the globe. The new look site encapsulates all that is synonymous with high-end luxury presented as a dream shopping boulevard and gives a totally new definition to the term ' luxury shopping'. This is proven by the recent acquisition of new and EXCLUSIVE partnerships with some of the most prestigious brands on the planet today: BENTLEY MOTORS - the worlds leading luxury car icon. As a strategic online partner of ours, BENTLEY will obtain a dedicated space within the Forzieri shopping environment to feature its fascinating luxury goods called "THE BENTLEY COLLECTION". Take a look at first designs coming in: http://www.forzieri.com/usa/brand_collection.asp?l=usa&c=usa&brand_id=189 As we like to say, Forzieri is the one & only 'BENTLEY Online Dealer' on the globe today. Tonino LAMBORGHINI - a worldwide online exclusive with yet another global luxury legend, featuring fascinating 'luxury sportscar-inspired' designs, including iconic timepieces, jewelry & silver giftware. Take a look at first Lamborghini designs coming in: http://www.forzieri.com/usa/brand_collection.asp?l=usa&c=usa&brand_id=188 REBECCA - Luxury Fashion Jeweler - an exclusive online global distribution agreement with Italy's fastest growing Luxury Fashion Jeweler REBECCA View the Collection: http://www.forzieri.com/usa/shopping_shop.asp?l=usa&c=usa&brand_id=181 GIORGIO FEDON 1919 - a global leader in the Italian Luxury industry, with an exclusive collection of premium, fine leather goods and accessories and available to all customers worldwide. View the collection: http://www.forzieri.com/usa/brand_profile.asp?l=usa&c=usa&brand_id=177 FRANCESCO BIASIA - Covering more than 150 international markets, available in 8 languages, the official BIASIA.COM online store was recently launched, fully powered by Forzieri's Marketing, Technology and Logistic global infrastructure. Come visit us now at: http://www.biasia.com Visit the new FRANCESCO BIASIA Winter collection at Forzieri: http://www.forzieri.com/usa/brand_profile.asp?l=usa&c=usa&brand_id=127 $10,000 Bonus **Not to be missed: AMWSO.com is sponsoring over $10,000 in cash prizes over at AbestWeb.com - and Forzieri is included with over $1,000 up for grabs!! Get into the action now.. > > Forzieri USA Merchandiser Implementation and Sales Bonus Open to anyone who signs up with Forzieri on LinkShare and implements the merchandiser feed. > > Forzieri UK Third Sale Bonus The first 10 Partners to reach 3 Sales anytime between Oct 21st - Dec 31st today will get a $25 Bonus More exciting news including link opportunities coming up in the next few days & weeks.
AMWSO News - Forzieri US {...} Affiliate Marketing and Management News. Get the latest deals coupons, promotions and details on how to win bonuses from merchants running affiliate programs. {...}
Published: October 27, 2008, 12:10 pm - Indexed: October 27, 2008, 3:40 pm - Page Size: 17KB
Category: Computers > Internet > Web Design and Development > Authoring > Webmaster Resources > Affiliate Programs > Blogs

]]> Computers > Internet > Web Design and Development > Authoring > Webmaster Resources > Affiliate Programs > Blogs {EUROPE > NEWS AND MEDIA} - Full marks for effort http://articles.world-of-newave.info/regional/europe/united-kingdom/news-and-media/full-marks-for-effort-20081010318.htm http://articles.world-of-newave.info/regional/europe/united-kingdom/news-and-media/full-marks-for-effort-20081010318.htm Fri, 24 Oct 2008 00:15:07 GMT Stuart Rose is playing sales assistant and has picked out an orange satin top that I simply must try on. It isn't usual for the chief executive and chairman of Marks & Spencer to be dishing out style advice on the shop floor, but when Rose visited the Guardian earlier this year, I took him to task over what I saw as the downright frumpy clothes the company was selling. He responded with a challenge: he would personally take me shopping at M&S in an attempt to prove that it can be a fashionable destination for women in their 20s. So today, instead of discussing strategy with his board of directors, Rose is trying to find me something to wear.Say M&S to me and - foodhall aside - there is only one word that springs to mind: dowdy. Yes, the shop does wonderful sandwiches and puddings and handy £10 ready-meals-for-two. It remains the best place on the high street for opaque tights and comfy knickers. But whenever I've optimistically walked into the clothes section, I have found nothing but acres of elasticated slacks, misguided "boho" floor-skimming skirts, and boring workwear in strange, ill-fitting, shiny fabrics. In short, acres and acres of frumpy clothes - and nothing I can imagine anyone around my age, 26, choosing to wear. When Rose joined M&S in 2004, clothes shoppers had been deserting the once much-loved British institution in droves, perhaps deterred by a frankly disturbing 2000 TV advert featuring a naked woman running up a hill, shouting, "I'm normal." Then came Rose, a former M&S trainee, a load of new lines and an advertising campaign featuring models of various ages and shapes. These looked like clear attempts to rebrand M&S as a place with a fashionable, youthful appeal - two of the models, Lily Cole and Elizabeth Jagger, are in their 20s, and only Twiggy is over 40. So why, I asked Rose, could I and my twentysomething friends still not find anything in M&S we wanted to wear? When we meet in the Moorgate branch in London (Rose's team first suggested the Marble Arch flagship, but I feared that would make their task too easy and would feel too distant from their typical high street store), the prospects do not look good. Under unforgivingly bright strip lighting I spy row upon row of boring, primary-coloured jumpers. Per Una is a hippyish nightmare of long, sludge-green skirts and crinkly, tomato-red evening tops. Even the new collection from Sex and the City stylist Patricia Field, launched this month in a blatant attempt to entice younger shoppers, looks dated and lacklustre under the harsh light. Less New York glitz, more Blackpool bling. But Rose and his team - Flic Howard-Allen, M&S's director of communications, and Myriam Ben-Yedder, head of women's wear retail - together with Guardian fashion editor Jess Cartner-Morley, who has come along to help me sort the wheat from the chaff, are taking their task seriously. Howard-Allen explains that I shouldn't be looking in Per Una. "Your mum might like it," she says (how did she know?), "but it's not really designed for you." The area I should, apparently, be heading for is the Limited Collection - a range that changes every five to six weeks. Sure enough, we are soon gathering armfuls of promising clothes, including a beautiful black leather biker jacket (a snip, Jess assures me, at £149), a pair of extremely on-trend high-waisted peg pants (above left, £29.50) and some super-shiny black skinny jeans not unlike a pair I saw recently in Topshop (and, at £39.50, at a comparable price). These are supplemented with tops and skirts from Autograph, which are, I admit, not at all fusty. There's a black lace pencil skirt for £35 ("very Pradaesque," says Jess), a pretty yellow silk top to go with it (both above, middle, £35), and a voluminous sleeveless cape at the slightly more deterring price of £89. In the Patricia Field range, there is a gold dress (above, right, £75) that, despite a few lingering misgivings, I am willing to try. So far, so not-in-the-least frumpy.The notoriously charming Rose, waiting a polite distance from the ladies' changing rooms, greets my first successful outfit - the black shiny skinnies, layered with a light-weave grey polo neck, a charcoal waistcoat and the sleeveless cape - by saying, "If I were 20 years younger, I'd take you to dinner." I'm not quite sure this is the effect I was after, but I do like the clothes. I ask him if it isn't a bit confusing for younger shoppers, having to work out which clothing range suits them and layer pieces from the different ranges to get the look they want. "M&S is a broad church. We have to please all our customers, from 15 to 80," he says, "and it's difficult. You have to learn how to shop in M&S, but there's a real pleasure in learning to do that." He insists that he doesn't expect even loyal customers to dress entirely in M&S, but to select key pieces to team with other clothes and accessories. The suit he is wearing is from M&S - he opens his jacket to prove it - but his shoes are not.This isn't a shopping trip, but a shopping lesson - and it's turning out to be a useful one. I'm managing to avoid both the flouncy excesses of Per Una and the boring jumpers, and to find not just one, but four outfits that I would be happy to wear. There are definitely some off-notes - a bow-adorned pink-and-black silk top that, teamed with the peg pants, makes me look like Bubbles the Clown; and that shiny orange top, favoured by Rose, which is too small in my usual size. But, lesson over, I find myself heading for the till with my favourite outfit - the yellow silk top and black lace skirt - desperate not only to buy it, but to wear it as soon as is humanly possible. And that is something I never thought would happen in M&S in a million years.FashionMarks & Spencerguardian.co.uk © Guardian News & Media Limited 2008 | Use of this content is subject to our Terms & Conditions | More Feeds Guardian.Co.Uk Full marks for effort {new window}   Www.Guardian.Co.Uk - Stuart Rose is playing sales assistant and has picked out an orange satin top that I simply must try on. It isn't usual for the chief executive and chairman of Marks & Spencer to be dishing out style advice on the shop floor, but when Rose visited the Guardian earlier this year, I took him to task over what I saw as the downright frumpy clothes the company was selling. He responded with a challenge: he would personally take me shopping at M&S in an attempt to prove that it can be a fashionable destination for women in their 20s. So today, instead of discussing strategy with his board of directors, Rose is trying to find me something to wear.Say M&S to me and - foodhall aside - there is only one word that springs to mind: dowdy. Yes, the shop does wonderful sandwiches and puddings and handy £10 ready-meals-for-two. It remains the best place on the high street for opaque tights and comfy knickers. But whenever I've optimistically walked into the clothes section, I have found nothing but acres of elasticated slacks, misguided "boho" floor-skimming skirts, and boring workwear in strange, ill-fitting, shiny fabrics. In short, acres and acres of frumpy clothes - and nothing I can imagine anyone around my age, 26, choosing to wear. When Rose joined M&S in 2004, clothes shoppers had been deserting the once much-loved British institution in droves, perhaps deterred by a frankly disturbing 2000 TV advert featuring a naked woman running up a hill, shouting, "I'm normal." Then came Rose, a former M&S trainee, a load of new lines and an advertising campaign featuring models of various ages and shapes. These looked like clear attempts to rebrand M&S as a place with a fashionable, youthful appeal - two of the models, Lily Cole and Elizabeth Jagger, are in their 20s, and only Twiggy is over 40. So why, I asked Rose, could I and my twentysomething friends still not find anything in M&S we wanted to wear? When we meet in the Moorgate branch in London (Rose's team first suggested the Marble Arch flagship, but I feared that would make their task too easy and would feel too distant from their typical high street store), the prospects do not look good. Under unforgivingly bright strip lighting I spy row upon row of boring, primary-coloured jumpers. Per Una is a hippyish nightmare of long, sludge-green skirts and crinkly, tomato-red evening tops. Even the new collection from Sex and the City stylist Patricia Field, launched this month in a blatant attempt to entice younger shoppers, looks dated and lacklustre under the harsh light. Less New York glitz, more Blackpool bling. But Rose and his team - Flic Howard-Allen, M&S's director of communications, and Myriam Ben-Yedder, head of women's wear retail - together with Guardian fashion editor Jess Cartner-Morley, who has come along to help me sort the wheat from the chaff, are taking their task seriously. Howard-Allen explains that I shouldn't be looking in Per Una. "Your mum might like it," she says (how did she know?), "but it's not really designed for you." The area I should, apparently, be heading for is the Limited Collection - a range that changes every five to six weeks. Sure enough, we are soon gathering armfuls of promising clothes, including a beautiful black leather biker jacket (a snip, Jess assures me, at £149), a pair of extremely on-trend high-waisted peg pants (above left, £29.50) and some super-shiny black skinny jeans not unlike a pair I saw recently in Topshop (and, at £39.50, at a comparable price). These are supplemented with tops and skirts from Autograph, which are, I admit, not at all fusty. There's a black lace pencil skirt for £35 ("very Pradaesque," says Jess), a pretty yellow silk top to go with it (both above, middle, £35), and a voluminous sleeveless cape at the slightly more deterring price of £89. In the Patricia Field range, there is a gold dress (above, right, £75) that, despite a few lingering misgivings, I am willing to try. So far, so not-in-the-least frumpy.The notoriously charming Rose, waiting a polite distance from the ladies' changing rooms, greets my first successful outfit - the black shiny skinnies, layered with a light-weave grey polo neck, a charcoal waistcoat and the sleeveless cape - by saying, "If I were 20 years younger, I'd take you to dinner." I'm not quite sure this is the effect I was after, but I do like the clothes. I ask him if it isn't a bit confusing for younger shoppers, having to work out which clothing range suits them and layer pieces from the different ranges to get the look they want. "M&S is a broad church. We have to please all our customers, from 15 to 80," he says, "and it's difficult. You have to learn how to shop in M&S, but there's a real pleasure in learning to do that." He insists that he doesn't expect even loyal customers to dress entirely in M&S, but to select key pieces to team with other clothes and accessories. The suit he is wearing is from M&S - he opens his jacket to prove it - but his shoes are not.This isn't a shopping trip, but a shopping lesson - and it's turning out to be a useful one. I'm managing to avoid both the flouncy excesses of Per Una and the boring jumpers, and to find not just one, but four outfits that I would be happy to wear. There are definitely some off-notes - a bow-adorned pink-and-black silk top that, teamed with the peg pants, makes me look like Bubbles the Clown; and that shiny orange top, favoured by Rose, which is too small in my usual size. But, lesson over, I find myself heading for the till with my favourite outfit - the yellow silk top and black lace skirt - desperate not only to buy it, but to wear it as soon as is humanly possible. And that is something I never thought would happen in M&S in a million years.FashionMarks & Spencerguardian.co.uk © Guardian News & Media Limited 2008 | Use of this content is subject to our Terms & Conditions | More Feeds
Full marks for effort | Life and style | The Guardian {...} Laura Barnett checks out if Marks & Spencer has anything that might appeal to women in their 20s {...}
Published: October 24, 2008, 12:15 am - Indexed: October 24, 2008, 10:34 am - Page Size: 77KB
Category: Regional > Europe > United Kingdom > News and Media

]]> Regional > Europe > United Kingdom > News and Media {INTERNET > BLOGS} - Affiliate partner best selling bags and fashion accessories. http://articles.world-of-newave.info/computers/internet/web-design-and-development/authoring/webmaster-resources/affiliate-programs/blogs/affiliate-partner-best-selling-bags-and-fashion-20080950323.htm http://articles.world-of-newave.info/computers/internet/web-design-and-development/authoring/webmaster-resources/affiliate-programs/blogs/affiliate-partner-best-selling-bags-and-fashion-20080950323.htm Tue, 23 Sep 2008 05:09:00 GMT Baghaus.com - Best Sellers September We've also just updated our Best Sellers Widget to include these (and more best selling) bags: Primo Limited Redford Tote for $50 Spy Bag for $56 Primo Limited Costa Bag for $50 Urban Expressions Hudson Tote for $54 Cruise Tote for $60 Information about the program can be found on the Baghaus affiliate program page. Sign up for the affiliate program here. Amwso.Com Affiliate partner best selling bags and fashion accessories. {new window}   Www.Amwso.Com - Baghaus.com - Best Sellers September We've also just updated our Best Sellers Widget to include these (and more best selling) bags: Primo Limited Redford Tote for $50 Spy Bag for $56 Primo Limited Costa Bag for $50 Urban Expressions Hudson Tote for $54 Cruise Tote for $60 Information about the program can be found on the Baghaus affiliate program page. Sign up for the affiliate program here.
AMWSO News - Baghaus {...} Affiliate Marketing and Management News. Get the latest deals coupons, promotions and details on how to win bonuses from merchants running affiliate programs. {...}
Published: September 23, 2008, 5:09 am - Indexed: September 23, 2008, 10:33 pm - Page Size: 77KB
Category: Computers > Internet > Web Design and Development > Authoring > Webmaster Resources > Affiliate Programs > Blogs

]]> Computers > Internet > Web Design and Development > Authoring > Webmaster Resources > Affiliate Programs > Blogs {NORTH AMERICA > RENTALS} - Large Nicely-Furnished/Decorated 1-Bedroom for 4-5 Months (hayes valley) $1500 1bd http://articles.world-of-newave.info/regional/north-america/united-states/california/metro-areas/san-francisco-bay-area/business-and-economy/real-estate/rentals/large-nicely-furnished-decorated-1-bedroom-for-20080994521.htm http://articles.world-of-newave.info/regional/north-america/united-states/california/metro-areas/san-francisco-bay-area/business-and-economy/real-estate/rentals/large-nicely-furnished-decorated-1-bedroom-for-20080994521.htm Tue, 16 Sep 2008 01:08:13 GMT Large (mostly) furnished one bedroom apartment in Hayes Valley (near Gough and Page) with beautiful turret window available for sublet from Oct. 1 to January 31 – possibly Feb. 28th. Everything furnished except bed and bedroom accessories. Can move in weekend of Sept. 28th. More details: - In centrally-located, hip Hayes Valley. Only three blocks walk to the Inner Mission and to the Castro area - Great location with trendy fashion boutiques, wine shops/bars, funky art galleries, top-notch restaurants and hip nightspots on your doorstep - Bathroom with bear claw tub and wrap-around shower - Intercom entry, largish foyer in apt entryway, very large bedroom, living room with turret window with views, eat-in kitchen w/ gas stove, dishwasher - Great public transportation to downtown and the peninsula (Bart and MUNI are only a couple of blocks away) - The Freeway is only a few blocks to the South - Spacious, airy, bright and sunny Asking $1,500 a month with last month’s deposit. I can include cable TV with DVR (and usage of TV) and Internet access for $100 more a month. This is not a bedroom/share situation -- sublet is for the whole apt. One person only, please. Prefer someone 25-40. Showing this week Tues & Wed. nights. Please reply if interested with short description of yourself, your situation for looking for a sublet and your income/profession. I'll follow up with a time to show you the place. Sfbay.Craigslist.Org Large Nicely-Furnished/Decorated 1-Bedroom for 4-5 Months (hayes valley) $1500 1bd {new window}   Sfbay.Craigslist.Org - Large (mostly) furnished one bedroom apartment in Hayes Valley (near Gough and Page) with beautiful turret window available for sublet from Oct. 1 to January 31 – possibly Feb. 28th. Everything furnished except bed and bedroom accessories. Can move in weekend of Sept. 28th. More details: - In centrally-located, hip Hayes Valley. Only three blocks walk to the Inner Mission and to the Castro area - Great location with trendy fashion boutiques, wine shops/bars, funky art galleries, top-notch restaurants and hip nightspots on your doorstep - Bathroom with bear claw tub and wrap-around shower - Intercom entry, largish foyer in apt entryway, very large bedroom, living room with turret window with views, eat-in kitchen w/ gas stove, dishwasher - Great public transportation to downtown and the peninsula (Bart and MUNI are only a couple of blocks away) - The Freeway is only a few blocks to the South - Spacious, airy, bright and sunny Asking $1,500 a month with last month’s deposit. I can include cable TV with DVR (and usage of TV) and Internet access for $100 more a month. This is not a bedroom/share situation -- sublet is for the whole apt. One person only, please. Prefer someone 25-40. Showing this week Tues & Wed. nights. Please reply if interested with short description of yourself, your situation for looking for a sublet and your income/profession. I'll follow up with a time to show you the place.
Large Nicely-Furnished/Decorated 1-Bedroom for 4-5 Months {...}
Published: September 16, 2008, 1:08 am - Indexed: September 16, 2008, 9:20 am - Page Size: 6KB
Category: Regional > North America > United States > California > Metro Areas > San Francisco Bay Area > Business and Economy > Real Estate > Rentals

]]> Regional > North America > United States > California > Metro Areas > San Francisco Bay Area > Business and Economy > Real Estate > Rentals