R. Kelly shows might be poison for ticket vendors in the U.S., but in Germany he’s still so popular … he’s upgrading to bigger gigs. We broke the story … the singer’s slated to perform a few concerts this spring in Deutschland, and he’s being booked…
BERLIN — Hugo Boss is keeping things close to home with its latest capsule collection: Boss “Made in Germany.”
While the Metzingen-based giant is more normally inclined to emphasize its global expertise, Boss is now openly celebrating its heritage with a 12-piece capsule for men and women designed and manufactured in Germany.
“Made in Germany” is not exactly new for Boss, pointed out chief brand officer Ingo Wilts. The brand’s full canvas suits are all produced in Boss headquarters. “But we’re proud to be the biggest premium fashion-maker in Germany, and thought it would be great to do something German and celebrate our heritage.”
He added, “We also know that whenever we go outside Germany, in France or Asia, for example, they really appreciate [articles] made in Germany. Though it was a big effort to find someone who makes knits and leathers here.” The lion’s share of the collection, which has a natty tailored slant, was manufactured at Boss headquarters in Metzingen.
Built on the brand’s tailoring DNA and working with Italian fabrics exclusively developed for Boss, the collection features six revamped classics each for men and women. Men have their pick of a double-breasted coat and blouson in a bonded wool check, a burgundy
DIOR’S ARTISTIC BERLIN: Dior is growing its retail footprint in Germany with the French fashion house’s first stand-alone store in Berlin. Opening Saturday, the flagship at number 56 on this designer-studded stretch of Kurfürstendamm is marked by assorted artistic features. It provides the latest example of Berlin’s long-standing practice of incorporating art into retail environments.
Fabricated out of repurposed materials, the shop’s metal furniture by designer Stefan Leo, who has contributed to other Dior interiors, creates trompe l’oeil effects. Prague’s graffiti pioneer, Jan Kaláb, provided a softer note with his rounded, abstract LB Bubble artworks, while the Versailles parquet floors in the women’s department recalls Christian Dior’s personal fondness for the 18th century.
The store houses the Dior women’s and men’s collections, jewelry and perfume, and joins Dior German flagships in Düsseldorf, Frankfurt and Munich, as well as dedicated spaces in KaDeWe Berlin, Oberpollinger Munich and Breuninger in Stuttgart. The company would not comment on further expansion plans in Europe’s strongest economy.
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Damage to the gravesite was discovered on Monday, and Murnau’s skull was missing from his iron coffin, which sits in a chamber below a marker for the filmmaker and his two brothers at the Stahnsdorf South-Western Cemetery, about 12 miles from Berlin.
Wax drippings found at the scene have led to speculation in the German media that occultists may have taken the head.
“There was a candle … a photo session or a celebration or whatever in the night. It really isn’t clear,” cemetery manager Olaf Ihlefeldt told the Washington Post.
“We cannot rule out… an occult background,” said a police spokesman, per German broadcaster n-tv.
Ihlefeldt told the Potsdamer Neueste Nachrichten newspaper, however, that the head may have just been stolen by souvenir seekers, and not occultists.
(Story continues below image.)
Murnau’s grave has been disturbed several times, and his iron coffin has been damaged in the past.
The coffins of his two brothers, which share the chamber, were reportedly opened but the bodies undisturbed in the recent break-in. Authorities believe it took place between July 4 and 12, according to the Hollywood Reporter.
German newspaper Der Spiegel reports that the cemetery is considering either sealing the chamber permanently or burying the remains to prevent further disturbances.
Murnau, who died after a car accident in California in 1931 at the age of 42, was an early pioneer of silent film.
He was known for his dramatic use of camera angles long before other filmmakers embraced such techniques.
“To me the camera represents the eye of a person, through whose mind one is watching the events on the screen,” he wrote in 1928. “It must whirl and peep and move from place to place as swiftly as thought itself.”
Yet for all his mastery, only 12 of his 21 films have survived the years and many are incomplete or damaged.
One of those missing movies, “4 Devils,” is considered one of the greatest “lost” films of all time.
His silent film “Sunrise: A Song of Two Humans” won three Academy Awards in 1929, the first time the honors were presented, including one for “Unique and Artistic Picture,” the only time the award was given out.
It’s also included in the National Film Registry.
Murnau, however, is best remembered for his 1922 vampire film”Nosferatu,” an unauthorized adaptation of Bram Stoker’s “Dracula,” which led to a lawsuit from the author’s widow.
She won, and all prints of the film were ordered destroyed. But some bootleg copies survived, and it remains one of the most influential silent films and iconic horror movies of all time.
“Here is the story of Dracula before it was buried alive in clichés, jokes, TV skits, cartoons and more than 30 other films,” wrote Roger Ebert in 1997. “The film is in awe of its material. It seems to really believe in vampires.”
Ebert said the film doesn’t use any of the modern tricks that make audiences jump or scream, but it didn’t need them.
“It doesn’t scare us, but it haunts us,” he wrote. “It shows not that vampires can jump out of shadows, but that evil can grow there, nourished on death.”
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BERLIN — The long-awaited Fashion Council Germany is getting primed for action.
The first national organization devoted to supporting and bolstering the interest in Germany’s burgeoning designer community, the FCG will be unveiling its first initiatives at the Zeitmagazin/Vogue Fashion & Style Conference Thursday during Berlin Fashion Week.
Founded in January as a registered association by 10 people from the media, communications, retail, fair and design sectors, the FCG is still in its pre-membership and official funding stages. However, as president Christiane Arp, editor in chief of German Vogue, and managing director Marcus Kurz, founder and director of production agency Nowadays, explained, it has been possible to get a jump-start with several pilot projects before the council expects to be fully up and running.
One is a prelude to the FCG’s planned fellowship program, a juried, two-year long mentoring program including financial support slated to start with up to three designers in fall 2016. In cooperation with the Berlin Senate and using funds previously slated for the Senate’s Start Your Fashion Business competition, two Berlin designers will already be enrolled in a mentoring program this year.
In June, Arp also attended the European Parliament’s first high-level conference on “The Future of Cultural and Creative Industries in Europe”
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Never in human history has a single fashion designer been as prolific as Karl Lagerfeld. Today, his name represents just as much an exhaustive body of work as an iconic character, one that rose to fame in the second half of the twentieth century to dominate the catwalks of Milan and Paris. His formidable talent has stretched far and wide, as he designed (and continues to, in most cases) multiple collections a year for Fendi, Chloé, Karl Lagerfeld, and, first and foremost, Chanel. Opening this week at the Bundeskunsthalle of Bonn, Germany, a selection of his most emblematic creations from all four houses has been brought together by Lady Amanda Harlech, his consultant and long-time muse, and Rein Wolfs, the museum’s director, in the world’s most comprehensive exhibition of his work to date.
“It is not a retrospective, it’s a future-spective,” proclaimed Amanda, opening the show this morning dressed in a sweeping black lace–trained skirt and pearl-clasped Chanel blouse. “The idea was to show Karl’s complete oeuvre, something that has never been done before,” she adds, standing before a lightbox drawing desk that has been transported from Paris. Re-created as though Lagerfeld had just stood up from an intense sketching session, a box of Henri Roche pastels sits open amongst reams of paper on one corner, a Helmut Newton monograph dedicated Für Helmut Von Karl is propped among folios on another, and the desk itself is surrounded by Galignani bookshop bags overflowing with weighty tomes. “It begins at the desk,” continues Harlech. “In Paris, he has about five in one loft space, and they are all like this, some with more papers and books and fabrics on them, and each desk is used for a different project, a different collection. You’ve even got [Lagerfeld’s cat] Choupette’s bowl!”
Designed by Gerhard Steidl, the noted photo book publisher who is also responsible for Lagerfeld’s numerous photography exhibitions, the exhibition is mapped out maison after maison, following a somewhat masculine, Germanic streetscape theme (after Chanel’s spring 2015 show) where tarmac-like flooring meets racing stripes and the graffiti-strewn concrete walls of an industrial bunker. The overall atmosphere, however, is light and feminine, and the show’s first garment is perhaps the most personal: an off-the-shoulder coat in yellow wool that was painstakingly recreated to mirror one Lagerfeld designed for the 1954 Woolmark prize (he won, of course).
Further on, some of his most accomplished Fendi furs are lined up like an army of Roman ladies, facing forward and back-dropped by a Roman streetscape film. A far wall is dotted with sequined Baguette bags and shaggy, colored footwear, framing Fendi’s pop accessories in a stark metal grid. Frivolous fur aside, Lagerfeld’s Chloé era is perhaps the exhibition’s liveliest chapter, as mannequins 3-D-scanned from supermodel Saskia de Brauw’s likeness don a host of glamorous, feminine dresses from the seventies and eighties. Posed amid a dramatic display of giant paper fans, they come paired with Sam McKnight’s outrageous wigs—coifs modeled after Pat Cleveland, Grace Coddington, Liza Minnelli, and Jerry Hall, no less.
And this is all before the Chanel. Featuring more than 60 looks from Lagerfeld’s time at the house, Harlech and Wolfs’s overview of this seminal collaboration is dense and delightful, with sections like “Dress as Uniform,” “Archetypes,” and “Evolution of Tweed” stripping Lagerfeld’s work of chronological order and drawing fascinating comparisons between early and recent designs. Curtains of croquis sketches are hung from the ceiling, shiny buttons peer out from wall vitrines, and a final chamber poses a meticulous selection of precious haute couture gowns in a spectacular tableau vivant. They sit beneath a shivering ceiling display of white paper foliage that seemingly pours in columns out of books positioned across the floor. “They are Karl’s unrealized ideas,” explains exhibition consultant Chris Sutton, of Wanda Barcelona’s paper couture installation. “We have a curtain of blank sketchbooks at the end,” says Harlech. “They are just waiting for the next collection to be designed, led down the road by the beautiful (pregnant) wedding dress from the July 2014 couture show, so that, with a sense of the genius of Karl’s artistic sensibility, we are led out into the future.”
“Karl Lagerfeld : ModeMethode” opens March 28 and will be on view at the Bundeskunsthalle Bonn through September 13, 2015.
The post A World First: Karl Lagerfeld Fashion Exhibition Opens in Bonn, Germany appeared first on Vogue.
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The FIFA World Cup final between Argentina and Germany could herald a rift in the Catholic church, pitting Argentine-born Pope Francis against German Pope Emeritus Benedict XVI.
But Germany’s unbelievable 7-1 rout of Brazil during yesterday’s semi-final could make for an awkward final match for the Vatican’s holiest football fans.
When Francis first met Benedict XVI in person after his election, he declared, “we are brothers,” but family feuds have started over less.
No word from the Vatican as of press time, but fans are already speculating. The jury’s out on Jesus, however.
— The Jesuit Post (@TheJesuitPost) July 9, 2014