1791 Denim. 100% Made in the USA. Radio host Glenn Beck's new denim and clothing brand 1791 which originally launched as a charity clothing line 11 months ago, released a new commercial and web film (film below) promoting the clothing line.
Beck who was critical of the Levi's "Go Forth" campaign and complained that it "glorifies revolution"..."I put on a pair of old Levi’s and I said to my wife, ‘I love Levi’s! I’ve loved them since I was a kid. They’re my favorite jeans! I don’t know why I don’t wear them all the time!’ I am turning my red tabs in. I will not wear a pair of Levi’s. Won’t do it."
What's a man to do? You start your own denim shop! I have to be honest as a Canadian I have no positive or negative opinion of Glenn Beck, but I am really liking this 1791 Supply & Co. stuff.
See the Levi's Go Forth ad "America" that set Beck off Here.
The Maya are one of the oldest cultures in the world. This exhibition is all about the magnificent artistic forms of expression of the Maya. With a collection of around 300 works of art, including many Mexican national treasures, it displays the fundamental aspects of pre-Hispanic art: the body and the physique are central to this exhibition.
The Maya present their vision of life using various materials and techniques from their daily life, splendid buildings and works of art. They describe their relationship with gods, their everyday existence, their literature, their astronomy, their music and their dances. What often dominates these works is an idealised notion of humanity, which the Maya retained not only in their conception of humans and the ideal of beauty, but also in the location of mankind in the cosmos.
Nuggets of Nostalgia: DickiesStore Discovers Marketing Material from Decades Ago Having recently happened upon an archive of advertising artefacts, DickiesStore is happy to release a wealth of ad campaigns from as far back as the 1930s. This treasure trove of relics has got many retrophiles revelling in the rich history of this couture-centric print media that has been unearthed. Although the sentiment and commitment to designing top quality workwear and fashion forward casual wear has remained consistent throughout Dickies’ history, these newly discovered gems clearly trace the ebb and flow of advertising and marketing methods over the past 90 years. The Williamson-Dickie Manufacturing Company faced challenging times in its early years, as the Great Depression was crippling the US economy. But as sturdy and tough as the workwear they were designing, the company weathered the storm and set a benchmark in the industry, marketing themselves as the all-American clothing brand. As the 50s came around a great emphasis was placed on Dickies being the premium retailer of attire for the “man of production”. On a societal level times have changed dramatically since then but at that point [see image 2] advertising clearly addressed the fact that Dickies manufactured workwear that was easy wearing, easy looking and easy to maintain. Dickies advertising of the 1960s shifted focus somewhat, catering towards the cool kids on campus. The brand identified that scholars wanted to look good and feel comfortable both in and out of class. As they introduced imagery of motorcycles and sports cars, the marketing material from the late sixties that DickiesStore recently uncovered clearly spoke to an audience who led a care-free but fashion conscious lifestyle. In the late 70s and 80s the Dickies brand broke through with a range of funky apparel that really identified with the pop generation. Dickies exemplified what it meant to be hip, cool and colourful. This sense of fun went hand-in-hand with their continuous pursuit of producing durable and comfortable clothing. Dickies also began more powerfully introducing their iconic logo — the horseshoe – into their campaigns and although it represents a solid, reliable product, when it comes to the manufacturing of top quality workwear, Dickies isn’t in need of any extra luck. via: DickiesStore Blog.
Use the Wonderbra Decoder to uncover Adriana's secrets, that's right kids QR Codes put to great use thanks to this creative use of Ms. Cernanova's assets. With the app You simply point your smartphone at Wonderbra ads, which include print, outdoor, video, and it lets you see beneath model Adriana Cernanova's clothing to her underwear. Considering the fact she's a professional underwear model, you're going to see sexy underwear. If your a fan of the model, you can see her giant sized WonderBra Ultimate Plunge billboard HERE.
Other than the use of the lovely Adriana there is nothing new here, it's very similar to what clothing retailer "MooseJaw" did last year with their X-Ray App. An augmented reality experience designed to work with the Moosejaw Winter Catalog, see it in action below.
It is widely believed around the world that the Land Rover Discovery 4, or LR4, is one of the very best off-roading vehicles that money can buy. However Land Rover’s recent “Born Free” commercial falls short of convincing viewers that this is true. Although the brand is known as the pioneer of bringing off-road vehicles “on-road” for everyday use, in the face of ever increasing luxury 4x4 competition, Land Rover’s latest commercial fails to convey that they are in the business of manufacturing the finest off-road vehicles on earth.
To begin on a good note, the commercial is set to the classic Andy Williams Born Free tune, which appropriately inspires a feeling of adventure in viewers and a yearning for the great outdoors. The background music is also appropriate as it ties in Land Rover’s connection with the Born Free Foundation, a conservation organization that the brand has supported for many years. The “Born Free” commercial’s focus, however, is a vibrant young couple who repeatedly visit a dry-cleaner with their dirty laundry. In three visits, they drop off sand filled desert clothing, soaking wet clothes, and leaf covered jungle clothing. The worker behind the counter is obviously puzzled about what they’ve been up to, and the ad paints a stark contrast between the adventurous lives of the couple and the humdrum existence of the man who runs the store.
While viewers are as intrigued as the dry-cleaner as to where this this couple has been and what they have been doing, it isn’t clear until the last few moments when the worker goes to the window and sees them driving away that this is a Land Rover commercial, let alone a car commercial. Unfortunately for Land Rover, viewers are left with more of an opinion of the adventurous couple than the vehicle they drive, which is a shame because the LR4 is truly an impressive ride. Although Land Rover’s competitors show off the sleek lines, luxurious interiors, and ideal environments for their vehicles, Land Rover only offers us glimpses of what the LR4 is all about. And while it is true that the ad is successful in that it makes viewers want to know more about the vehicle, the “Born Free” commercial is obviously an example of marketing a lifestyle rather than a product. Only time will tell if this ploy is a successful one, but when you’ve got a product as remarkable as the LR4—you’re going to sell it no matter how it is marketed. This guest post was contributed by Brittany Larson of Elite Auto Brokers.
Fragments of Humanity: Archaeology in Québec is the first major exhibition dedicated entirely to Québec archaeology. Some 350 significant pieces will be featured, celebrating 50 years of archaeological discovery in Québec.
Several arrowheads and fragments of a necklace made of leather and native copper [Credit: Laboratoire et Reserve d'archeologie du Quebec, MCC — Jacques Beardshell]Many of the pieces are being taken out of storage at the Ministry of Culture and Communications’ (MCC) archaeological reserve for the very first time. Produced by Pointe-à-Callière, in collaboration with the MCC, the exhibition also features objects from about fifteen other lenders including the City of Montréal, Québec City, Pointe-du-Buisson/Musée québécois d’archéologie, the Musée des Ursulines in Trois-Rivières, Avataq Cultural Institute, and Parks Canada.
The exhibition looks back at the events and ways of life behind fragments of humanity that, each in their own way, reveal various facets of our heritage. Taken out of the ground, these objects summon up stories and, when placed end-to-end, are invaluable material evidence that ultimately tells us about our history. Highlighting the richness and diversity of Québec’s archaeological collections, the exhibition is divided into four thematic sections relating to archaeology: ancient history or prehistoric archaeology, a land of trade and commerce, chronicles of daily life, and subaquatic archaeology.
Imagining: ancient history
The first part of the exhibition is dedicated to the era preceding the Europeans’ arrival on Québec land. Through archaeological discoveries, it has been possible to confirm that small groups of men and women had already trod upon Québec soil some 12,000 years ago. Without archaeology, this whole swath of Québec’s history would remain unknown and continue to elicit questions.
Discovering: a land of trade and commerce
The next section of the exhibition is devoted to trade between Europeans and Amerindians, and to commercial activities carried out on Québec land beginning in the 16th century. The Basques, Normans, Bretons, and French, drawn by such natural resources as marine mammals and cod, set up facilities along the banks of the St. Lawrence in order to exploit its assets. The artefacts found among the remains at dozens of archaeological sites also underscore the increasing number of trade areas and, starting in the 17th century, the development of local industries. Fishing tools, munitions, weaponry, coins, and other items of trade found on the sites of trading posts, forts, and the king’s stores are concrete examples of the meeting of peoples who socialized and mixed with each other in trade… or in competition.
Glass trade beads of various shapes, colours, and origins [Credit: Laboratoire et Reserve d'archeologie du Quebec, MCC — Jacques Beardshell]Making sense: chronicles of daily life
Visitors are then invited to take a look at daily life in the 18th and 19th centuries, filling the void left by written documents. The theme is approached from three angles: food and the culinary arts, hygiene, and games and toys. An examination of found objects provides insight into our ancestors’ private lives, allowing us to consider changes in mindsets, practices, and styles. For example, while gatherings around the table among the upper-class in 18th century Québec City and 19th century Montréal are characterized by abundance, objects found in more modest milieus suggest a simpler diet in which soup was very popular!
Several hygiene items found among the remains—such as chamber pots, lice combs, shaving basins, and toothbrushes—indicate that the practice of “dry bathing” was quite widespread: the elite, while decked out in fine clothing, only gave a cursory cleaning to the visible parts of their bodies. A number of medicine jars, bottles of alcohol, mineral water, and milk of magnesia have also been found, and show that the preparation of home remedies was a common practice. Lastly, evidence of 19th century industrialization can clearly be seen in games and toys that have been found, mainly in more affluent areas.
Bringing to light: stories from the depths
Subaquatic archaeology is featured in this exhibition, with the remains from five shipwrecks on display: the Elizabeth and Mary, the Machault, the Auguste, the Empress of Ireland, and the Lady Sherbrooke. Interest in subaquatic archaeology resides in its ability to provide a snapshot of the moment of the wreck, thereby bringing to life tragic experiences, using a precise technique and recognized expertise to recover, stabilize, and preserve the meaning of submerged artefacts. These include arms and munitions, clothing and shoes, jewellery, and moving personal objects evoking the lives of men and women during the months spent on board.
Exclusive objects
Several objects in the exhibition are being presented to the public for the first time. Some have even been restored specifically for the exhibition, notably some earthenware jars found in the Basque sites on Petit-Mécatina Island on the Lower North Shore, and objects relating to Amerindian funeral rites. These include the offerings from the first Amerindian grave to be brought to light in Québec during the refurbishment of Champlain Boulevard, in Sillery, in 1966.
Without a doubt, the highlight of the exhibition is a dugout canoe made out of a single piece of wood, which was found in a lake in the Laurentians in the mid-1980s. Discovered by amateur divers, the 15th century dugout required special care to be properly preserved and to prevent it from deteriorating after having spent 500 years below the water’s surface. There are only about ten surviving prehistoric Amerindian dugout canoes in Québec, but none is in as fine a condition as that on display at Pointe-à-Callière.
Fragments of Humanity: Archaeology in Québec is an exhibition produced by Pointe-à-Callière, in collaboration with the Ministry of Culture and Communications. This exhibition is funded by the Government of Canada. The Museum also thanks its sponsors, the InterContinental Hotel and La Presse.
So what's new in the coffee world? Thanks to a Canadian and founder of "Black Ivory Coffee" Blake Dinkin, there is an insanely new coffee that not only passes through an elephants digestive system (that's right elephant dung!) this coffee is so exclusive it sells for an incredible $1100 a kilo.
Dinkin says he's heard all the jokes, "There's always going to be an element of [poop] jokes in doing Black Ivory Coffee," Dinkin told the Associated Press. "But the reason why it's taken me nine years to develop this is I'm really trying to make a serious product."
A DELICACY CREATED THROUGH RELENTLESS PASSION
Ten years in the making, BLACK IVORY COFFEE is created through a process whereby coffee beans are naturally refined by Thai elephants at the Golden Elephant Triangle Foundation www.helpingelephants.org in Chiang Saen, northern Thailand. It begins with selecting the best Thai Arabica beans that have been picked from an altitude as high as 1500 meters. Once deposited by the elephants, the individual beans are hand-picked by the Mahouts and their wives and then sun-dried and roasted. Approximately 10,000 beans are picked for each kilogram of roasted coffee; thus, 33 kilograms of coffee cherries are required to produce just one kilogram of BLACK IVORY COFFEE.
COMMUNITY INVESTMENT
As a result of our commitment to elephant conservation and welfare, 8% of our sales will help fund a specialist elephant veterinarian to provide free care to all the elephants of Thailand through the Golden Triangle Asian Elephant Foundation. Additional funds will also be used to purchase medicine as well as to build a new laboratory. Production of BLACK IVORY COFFEE also provides valuable income generation for the wives of the mahouts to help cover health expenses, school fees, food, and clothing.
And, this crap ain't cheap, in some five-star luxury Thai resorts a serving sells for $50 a cup!
As part of Greenpeace's global "Detox" campaign, more than 700 people, in over 80 cities, in 20 countries around the world protested, staged street theatre and conducted "mannequin" walk-outs to demand ZARA commit to eliminating the use of all hazardous chemicals throughout its supply chain.
The participants, from Bangkok to Buenas Aires, also called on ZARA store managers to forward Greenpeace's Detox demands to their headquarters, after new research found traces of hazardous chemicals in ZARA clothing items, some of which can break down in the environment to become hormone-disrupting or even cancer-causing substances.
Now the only question is when will the world's largest fashion retailer — which responds so swiftly to changes in fashion trends — react to this global call for toxic-free fashion?
In an artistic twist on recycling, Lexus challenged four of today's most exciting designers to create innovative fashion items using parts from the Lexus CT 200h (a car that is 90 percent recyclable). The designers created jewelry, clothing, shoes and a very dramatic and Gaga-esque headpiece from gaskets, floor mats and hose clamps.
The Lexus Fashion Workshop will appear in the January 2012 issue of Vogue, on newsstands this week.
Elevating the notion of recycling to an art form, Lexus challenged four of fashion’s most inventive designers to rethink their notions of automotive design for an advertising campaign to appear in Vogue. Using some of the more than 2,000 individual parts of a completely dismantled Lexus CT hybrid, a vehicle that is 90 percent recyclable*, the designers created fashionable works of art as part of The Lexus Fashion Workshop.
From crank bearings to exhaust gaskets, the designers took on the challenge with verve, turning some of the best engineered auto parts into innovative fashion accessories – all while driving home the beauty of recycling.
·“Environmental Crown of Virtue”—A truly head-turning piece designed by Moss Lipow using a transmission starter and exhaust manifold gasket. ·“The Valve Collection”—Designed by jewelry creator Eddie Borgo using valve lifters, crank bearings and hose clamps. ·“Nomadic Sanctuary”—A sleek trench coat, shorts and clutch designed by John Patrick, featuring floor mats made from plant-based plastic, sustainable sound-dampening material, wire harness, leather seat covers and cargo covers · “The Luna Shoe”—Created by Alejandro Ingelmo using armrest leather trim and clear plastic tubing.
“Merging the worlds of luxury automobiles, art and fashion is another example of how Lexus is 'Engineering Amazing' or maybe more appropriately, 'Engineering Unexpected',” said Brian Smith, vice president of marketing for Lexus. “We were able to challenge four designers to turn one of our most progressive hybrid vehicles into innovative fashion pieces, inspiring the designers, and the world, to see things differently.”
The four pieces will be highlighted in a six-page advertisement in the January 2012 issue of Vogue.Behind-the-scenes videos of the Lexus CT hybrid being dismantled piece-by-piece are available at Vogue.com/Promotions/Lexus. Additionally, a series of exclusive interviews with the four designers will be posted throughout December. More here.
Fresh from its debut screening at London Collections: Men we're delighted to share our latest film collaboration with designer Tom Lipop and director Aoife McArdle.
Inspired by the tactile and naturalistic quality of Tom Lipop's pieces, Aoife contrasts the designer's AW13 Design Forum Collection against the aftermath of an apocalypse in a short film commissioned by River Island.
The film's atmospheric and emotive narrative explores the intimate everyday moments of a lone survivor, focusing on the psychology of his solitary existence. Using clothing as a last emblem of identity and humanity, the film explores themes of heroism and the illuminating effect of unconventional friendships in a desolate environment.
Credits:
Written and Directed by Aoife McArdle Man — Tony Adams Boys — Austin & Jonathan A co-production at White Lodge, Colonel Blimp, Good Company Executive Producers — Stephen Whelan, Tamsin Glasson Executive Producers USA — Brian Welsh, Jonathan Lia Line Producer — Brian Welsh Production Supervisor — Anna Rau Director of Photography — Steve Annis Production Design and Styling — Alexis Johnson 1st AC — Robby Hart 2nd AC — Jojo Canon DIT — Eli Berg Gaffer — Nghia Khuu Key Grip — Julien Janigo Swing — Mike Prim Mixer — Justino Martinez Production Assistants — Ben Wesley, Tay Hawes, Eric Sheffield, Marc Lacso Panavision — Jennifer Kuwabara Editor — Dan Sherwen at Final Cut Telecine — Rich Fearon at MPC Music Supervision — Major Tom Additional Composition and Sound Mix — Freddie & Joe
You’ll never think about Tide and Oreo Cookies the same way again, creative ad agency, mono teamed up with high fashion director and photographer Matthew Donaldson to amplify universal truths about everyday items to epic proportions with a suite of national ads for Target and The Everyday Collection.
Spot: "Matador" — Tonight's menu: sirloin steak, chicken breasts and pork, with a side of fierce. Welcome to The Everyday Collection by Target.
Is Target's grocery aisle ready for its close up?
Target is pushing its food, laundry detergent and other groceries in a national ad campaign that pokes fun at high-fashion advertising by featuring models interacting with everyday products.
In one ad, a model in a white dress and high heels struts by blueberry muffin and cake mix boxes that explode in different colors. Then she crushes an egg with her hand.
"Dominate that PTA bake sale," a voiceover whispers. "The Everyday Collection. By Target."
The campaign is part of a larger move by Target, better known for its cheap-chic clothing and home goods, to focus more on its grocery-store aisle. Wal-Mart Stores Inc. and other Target competitors also have been expanding their selection of groceries to lure more customers into stores.
For its part, Target has been expanding its grocery selection, particularly with investments in its "P-Fresh" fresh-food section. Out of its 1,782 stores, about 1100 have an expanded fresh food layout and more than 250 have a full grocery store.
With that push complete, Target decided the time was right to put the focus on its groceries, but in a way that still plays on Target's fashion know how, said chief marketing officer Jeff Jones.
Target, with ad agency Mono in Minneapolis, created the tongue-in-cheek campaign that treats groceries and home products like fashion accessories in a photo shoot. Spending is undisclosed on the ad campaign, but it will include eight TV ads that will run throughout 2013. In addition to TV spots and newspaper inserts, it will include eight TV spots, three radio ads, and digital short films that will run as banner ads online.
One TV ad shows an $11.99 bottle of Tide laundry detergent and a model in a white dress dancing fancifully.
"We all yearn for something," says a voiceover as bubbles float by the model. "And that something is the other sock."
The campaign "creates a foil for what people are used to seeing for grocery advertising," said Jones. "It combines the design ethos and fashion creditability that Target has with the idea that it also has great grocery items at a great price." article via: The Associated Press.
Spot: "Laundry" — Lose yourself in Tide laundry detergent. Who knows what you'll find? Give in to The Everyday Collection. By Target.
Spot: "Ravenous" — Pickles, Ruffles chips and other timeless cravings. Attack! Give in to The Everyday Collection. By Target.
Spot: "Bake Sale" — Cake and muffin mix hit the catwalk in true Target fashion. Welcome to The Everyday Collection. By Target.
Credits: Creative Ad Agency: mono, Minneapolis. Director: Matthew Donaldson Creative Co-Chair: Paula Biondich
The Women’s Interlink Foundation (WIF) has launched an initiative whereby scarves made by vulnerable young Bengali women will be sold in the UK through Topshop, with all the profits going back to the women. The charity’s Key To Freedom initiative, which is supported by HRH the Duke of York, provides women in West Bengal in India who have been exposed to domestic abuse, and in most cases trafficked into the sex trade, with skills to earn an income. The initiative is supported by a point-of-sale, digital and social media campaign by Mother. Each Bengali woman signs a swing tag attached to the hand-printed scarf she has created which carries the call to action “Share how you wear your scarf at Keytofreedom.org” — encouraging people who buy the garment to submit pictures of themselves wearing it. These images will form the basis of the brand’s social presence and provide content for its Facebook page at Facebook.com/KeyToFreedom. Key To Freedom branded scarves will go on sale in Topshop in London, New York, Las Vegas, LA, Hong Kong and Melbourne on July 16th. WIF provides accommodation in safe houses for the women where they are taught sewing and textile printing. The Indian printed designs available Topshop are an example of the garments the women hope to produce to help them become economically independent. Kieran Bradshaw, strategist at Mother, said: “We have a great set-up with WIF, a beautiful product and now a great brand, so this initial launch is just the starting point in being able provide an income for the girls and to build a sustainable social enterprise model. “
Credits: Creative Advertising Agency: Mother, London Art Director, Copywriter, Planner, and Agency Producer: Mother
