When Norway’s largest newspaper Aftenposten sent three young fashion bloggers to Phnom Penh to work for a month at a clothing factory, they came back transformed. One of the teens, a 17-year-old fashion blogger named Anniken Jørgensen, is now criticizing fast fashion chain H&M for not paying higher wages. She is also blasting Aftenposten for not showing more footage of the poor working conditions at the factory they visited. And the Asian garment industry is now under debate in the Norwegian parliament, according to the director of the series, which has been viewed more than 1.5 million times.
In the reality series, called “Sweatshop Deadly Fashion,” the teenagers initially display flippant curiosity. Early on, Jørgensen asked, referring to the workers, “How many do you think die each year?” Another participant ventured that workers must be “used to” their harsh lives. By the end, they were holding tear-filled one-on-one interviews with the workers and railing against the fashion companies that they themselves have frequented. Twenty-year-old participant Ludvig Hambro said at the end of the series: “The truth is that we are rich because they are poor. We are rich because it costs us €10 ($11.20) to buy a t-shirt at H&M.”
As Quartz has reported, Cambodia was once seen as a model for other textile producing countries, but worsening safety standards and flat wages prompted widespread protests last year. The government eventually raised the minimum wage from $80 a month to $128, but only after police shot and killed five workers. That wage is still lower than the $160 protesters had originally demanded. May Sopheaktra, president of the Cambodian Alliance of Trade Unions, told Voice of America that union members are still being fired from their jobs.
H&M said in a statement to Aftenposten in response to the show, “This program is not representative in relation to H&M’s social responsibility and the comments give a wrong picture of the work we do around the working and salary conditions at our contractors.” You can watch the entire series, subtitled in English, on Aftenposten’s website.
See all episodes in English here:
You could never accuse Hans Eijkelboom of a lack of dedication. For his new book, People of the Twenty-First Century, the photographer and conceptual artist spent 20 years lurking around shopping centres – initially in his native Netherlands, later in America and China. Working almost daily, he would note similarities in the appearance of passers-by and surreptitiously photograph them, or take “photo notes” as he calls them.
“The process,” he says, “is simply that I walk to the centre of the city where many people are. Then I walk around for 10 to15 minutes. When something in the crowd intrigues me or touches me, I decide that will be the theme of the day. Then I start photographing for two hours. Many times, it goes wrong: I don’t see anything, so I don’t photograph that day; or I go to the city, see my subject, start photographing and, surprisingly, in the next two hours, never see my subject again. And then, for that day, there is no photo note.”
Eijkelboom’s previous works have included managing to insinuate himself into the background of every photograph that accompanied the main story in his local paper for 10 consecutive days; convincing wives whose husbands had gone to work to pose for a family photograph with Eijkelboom taking the place of the absent father; posing for self-portraits wearing entire outfits he’d bought for €10 or less. In those, the photographer was the star. With the photo notes, Eijkelboom effectively has to vanish.
“The camera is hanging on my body, with a wire that goes into my pocket,” he says. “That’s the way I make the photos. When you walk in the city and look through the viewfinder, people say, ‘What are you doing? Why this photograph?’ And so on. I don’t have time to talk about what I’m doing, I want to get it done in two hours. And when you make a photo in a normal way, you intervene in the situation: people will react to the camera, and will not be normal.”
Partly inspired by People of the Twentieth Century, August Sander’s mammoth attempt to document German society from 1911 until his death in 1964, Eijkelboom wants to create a kind of visual diary. “The work I did before was always about my own identity and identity in society. I always have the feeling I am more or less the product of the society I’m living in – and the photo notes are trying to visualise my surroundings.”
Furry hoods in Amsterdam. From Hans Eijkelboom’s People of the Twenty-First Century
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Furry hoods in Amsterdam, from People of the Twenty-First Century. Photograph: Hans Eijkelboom/Phaidon
The results, collated in a 500-page book, are simultaneously mundane and compelling. Laid out in a grid, the shots of women wearing pink T-shirts or businessmen carrying briefcases have a hypnotic, repetitious quality, but the longer you look at them, the more nuances become apparent. Eijkelboom used a similar technique in an earlier project, Paris-New York-Shanghai, an exhibition and a trio of books documenting everyday life in those cities that was widely perceived as being a deadpan comment on globalisation’s effect on national identity. The point seemed to be that people increasingly dressed the same all over the world.
People of the Twenty-First Century offers a more positive message. Eijkelboom occasionally documents a fashion trend, or a tribal allegiance, where people are trying to look alike: bikers, Rolling Stones fans wearing the band’s logo. But more often, the similarities between his subjects’ appearances reveal themselves to be superficial. Eijkelboom might have chanced upon a dozen people all wearing yellow T-shirts, but they’re not a uniform and their significance changes with each person: one shirt is pledging allegiance to a football team, another to a band, another to surfing.
“That’s a very strange development in society,” says Eijkelboom. “That wasn’t the intention at the start of the project, but in the end you could say the book is about a fight, a war within society: more and more, big companies have their grip on people, in producing the clothes and so on. But in the book you see the possibilities to give it your own personal touch. When you now go to the Kalverstraat in Amsterdam, everybody has their own individual message on their T-shirt. But on the other hand, they all look the same, because they are all people with a message on their T-shirt. You can already see a little bit of change, making the power of the big companies weaker, I think. To own clothing by a brand is less important than five years ago.”
He thinks this might have something to do with the rise of the internet, which the book inadvertently documents: its earliest photographs come from 1994, an era that was “a little bit more friendly, a little bit more naïve”, when the internet was more discussed than used, when a feature about it in Time magazine still had to open by explaining what the web was.
“My project is related to the city and the crowd in the city. When I look at younger people now, I see more and more that the web is their city. It’s more important now to have an identity on the web, which is very different from an identity shown through your clothes, and you can see that in the book. But I have so much trust in people that I think everybody will find a way to express themselves individually. But in what way? I really don’t know.”
Whatever happens, Eijkelboom intends to document it. He no longer goes out five days a week, but his days of lurking around shopping centres are far from over. “It is very important that I do it for as long as possible – because the very first photo notes I made are now the most interesting. Time is an important part of the project. I’m now 65. I hope I can do it for another 15 years.”
source: The Guardian
The latest Fox India Look Book was shoot by our team at Hilton in Hua Hin.
See backstage video:
and sample pictures:
THE latest Pirelli calendar will not star fashion’s current crop of supermodels as expected, rather the Italian tyre company – which launched its first risqué edition in 1964 as an marketing tool – will release an unpublished 1986 calendar shot by Helmut Newton.
The original version was never launched due to a mix of factors. Two calendars were commissioned in 1964, with the best one chosen for release. However, Newton was forced to stop shooting because of personal issues and his assistant took over the project, paying close attention to his boss’s instructions, but, in the end, competing photographer Robert Freeman landed the job.
Pirelli celebrates its 50th anniversary next year, and its 2014 edition has been hailed as a celebration of its success to date. Each calendar is known for starring scantily-clad supermodels posing in provocative positions, although the 2013 edition was photographed by Steve McCurry – who adopted a more demure approach to the proceedings – having famously taken the striking portrait of the green-eyed Afghan Girl for the cover of the National Geographic in 1985.
In August this year, Pirelli unveiled a commemorative shoot of some of fashion’s most famous models, including Miranda Kerr, Alessandra Ambrosio and Helena Christensen, which were thought to pre-empt its forthcoming calendar stars – although this wasn’t to be.
We are very excited to announce that Casting Call Asia is now fully online
Check our new website www.castingcallasia.com
You can register for free and benefit from the new launch of the platform.
This tool will allow you to build the profile you like, improve your visibility on the net, and have access to more castings.
Casting Call Asia – CCA has been built by professionals who are active in the media, photography, movie, modeling and entertainment industry.
The ultimate target is to facilitate the communication & cooperation among professionals working in the same industry.
It is very easy to register:
- Go on www.castingcallasia.com
- Then, go on the register box
- Fill in your user information and choose the profile that corresponds best to your characteristics
- When the registration is completed, you can start posting pictures and movies that describe best your profile.
- Have fun and start exchanging with other people involved in the same industry!
The latest Rig Anthony Look Book was shoot by our team at Rig Anthony Look Book Shoot at Ocean Urban Lounge in Bangkok.
See backstage video:
and sample pictures:
“After many tries with various styles, the latest collection of Hook’s by Prapakas will mark its return to the brand’s core identity of femininity and sexiness. We use the basic of punk combined with couture fashion and introduce the new silhouette that has black as main color with neon or metallic colors. we started working on this collection early this year and of course we have worked very hard to perfect every single detail. Half of this collection is ready-to-wear which consists of shirts, skirts and pants. The other half is couture clothes and unisex apparel. ”
Source: Hooks by Prapakas Press Release
See all collection below:
“This collection’s inspiration comes from the curved and geometric prints which appear on the pottery of Ban Chiang in the north eastern Thailand. The form of these potteries connects with silhouette in this collection. The colors scheme is not limited to to the colors that we used in the past but we also use black,gold, maroon and cream. In addition we also have embroidery made by hand and flower pattern that is our long-time signature.”
Source: Tipayaphong Poosanaphong Press Release
See all collection below:
The book “Drawn from Paradise”, which includes the sketches from Bird Paradise, catches our attention and inspires us greatly for this collection. We researched about different behaviors of birds and transformed them into prints. For this show we want Vatanika to have a clear image of the ready-to-wear clothing and make it different from another couture line “Vatanika Atelier” that produces gowns and wedding dresses. The show attendees will see stronger identity of the brand and our emphasis on presenting women’s natural curves.
Source: Vatanika Press Release
See all collection below:
From Sept 10-15, Elle Thailand will host the Elle Fashion Film Festival, marking the first movie-fest in Thailand on the theme of fashion.
Post International Media managing director Sirimon Na Nagara said with Elle magazine advancing into its third decade soon, and after the ‘‘Burst out Your Style’’ campaign earlier this year, she found that the brand is associated with various aspects of life through fashion. ‘‘Elle magazine is more than just a fashion magazine. It is a part of life and culture. Weaim to be a fashion authority, and for us, fashion is all around. Film and fashion are inseparable — film influences fashion, and vice versa.’’
While it is not easy to define a ‘‘fashion film’’, after hard work and months of preparation, nine films have been selected for the inaugural event, hand-picked by a five-person selection committee, namely Elle Thailand editor-in-chief Panu Sombatyanuchit, SF Corporation’s Suwannee Chinchiawsharn, fashion stylist Araya Indra, Greyhound designer Jitsing Somboon and Bangkok Post film writer Kong Rithdee. None of the chosen films have been officially shown on the big screen in Thailand before.
Panu said that the nine films reflect fashion in different ways. ‘‘Blancanieves, for example, is a Spanish black-and-white silent film based on the fairy tale Snow White. Being black-and-white, we can see the silhouette without the depth that comes with colour, and we can see the mesmerising movement of clothes. A Single Man, the first film directed by Tom Ford, is full of fashion references in great detail. If you like fashion, you will tremendously enjoy these films.’’
Ultimately, the event is aimed at showing how fashion is accessible through lifestyle, according to Panu. ‘‘Fashion is not just on the runways. There are so many ways to look at it, and film is one of them.’’
Sirimon hopes the event, which will take place annually from now on, will inspire Thai people to try and make films that reflect fashion elements as well. ‘‘This year, we feature movies from France, Spain, Canada, the US and China. I wish to see Thai films in the list in the future, and I hope that this event serves as an inspiration for Thai people to embrace fashion and enjoy it through their own interpretation.’’
Fashion film festivals have taken place all around the world, from Croatia to South Korea and from the US to Japan, and the idea has been embraced by fashion and film crowds alike – and audiences who enjoy a thematic approach to movie-going.
ELLE Fashion Film Festival 2013 runs from Sept 10-15 at SFX Cinema, Emporium. Tickets cost 150 baht per seat, with 184 seats available per movie. An art installation will be displayed as a part of the festival at Fashion Avenue, 1st floor, Emporium.
ELLE Fashion Film Festival 2013 schedule:
8:00 PM - Single Man
8:00 PM - Blancanieves
8:00 PM - I Am Love
8:00 PM - L’Amour Fou
2.00 PM - Face
5.00 PM - Color Me love
7.30 PM - Coco Chanel and Igor Stravinsky
3.00 PM - Heartbeats
8:00 PM - Farewell My Queen
I am Love
“As a young, working class Russian, Emma (Tilda Swinton) is whisked away to marriage and life in the aristocracy of Milan. She dutifully raises her kids and organizes huge dinners and parties at their mansion as the Rechhi’s entertain business clients and their own family. It is during these parties that we realize Emma is technically part of the family, but really is still an outsider. She escapes to her own space once the events are running smoothly.
Being an avid cook herself, she easily clicks with a brilliant young chef introduced to the family by her own son. Very little doubt where it’s headed at this point as Emma unleashes the pent up energy she has been forced to hide. While we are very aware that the upper crust has learned to look the other way with infidelity, that’s not the case with the Rechhi’s and their Russian wife/mother.
The brilliance in the film is that it shows how the younger generation doesn’t really fit any better than Emma. The difference is that they are part of the fabric and will be allowed more rope than an outsider. Still it is painful to watch Emma and her son, who can’t quite adapt to the family business. Better yet, to watch her with her daughter, who confesses her preference for other women. Emma sees herself in these two, but doesn’t have the same freedom. Her best ally is the caretaker who seems to understand the multiple levels on which this family functions.
Fascinating interactions and complex writing make this a film for film lovers. There is so little dialogue, but so much is said with a glance or head nod.” (by imdb.com)
“The curtain rises on a despondent George (Firth) having lost his longtime partner. Sapped of energy and will, he struggles to wake each day and function as the brilliant college professor he’s expected to be. Few notice the change in him, but one student sees George as a magnet pulling him forward to a place even he doesn’t understand. Kenny (Hoult) seems to glow like an angel in George’s dark world and, yet, is a puzzle and presents a challenge which he doesn’t necessarily want to confront at this stage in his life. As is his custom, he turns to Charlotte (Moore) for a warm shoulder but the temperature drops amidst the chill surrounding George’s bleak existence.
Everything about this film — the look, colors, pacing, shots, composition, cinematography, costumes, soundtrack — says that an extraordinary amount of love and care went into it. Special mention to director of photography Eduard Grau and editor Joan Sobel for their keen abilities to work lockstep with Ford in projecting his vision onto the screen. Abel Korzeniowski’s score is haunting and moving. Despite his design genius, Ford was generous enough to entrust costume designer Arianne Phillips with the freedom to work unencumbered. Production designer Dan Bishop, with art direction by Ian Phillips and set decorator Amy Wells, created two worlds — a cold, stark one in which George sees only hopelessness, and another warm, colorful one in which he has hope.
What stays with the viewer, though, is the enigmatic friendship between George and Kenny. Nicholas Hoult is absolutely mesmerizing in this. The way Ford shot him made people gasp. He’s lit, framed, and shot like an Adonis. Of course, that’s the idea here. This will definitely be a break out role for the 19-year-old. The camera loves him, and it’s a pretty daring performance.
Most of all, this is a tour de force for Firth and a stunning achievement which is destined to be a highlight of his distinguished career. The range of emotions and the extent to which his character must convey them through his eyes and facial expressions, with the copious use of long takes without dialogue, left me wide-eyed with wonder.” (imdb.com)
Karl Lagerfeld’s period film Once Upon a Time, which stars Keira Knightley as Coco Chanel, is finally here.
The designer-cum-director reportedly gave the actors (including Knightley, Clotilde Hesme, Lindsey Wixson, Stella Tennant, Tallulah Harlech) their lines just moments before shooting–which makes a lot of sense when you watch the film.
The dialogue is sometimes stilted and awkward. There’s one moment when Knightley, describing a hat to Amanda Harlech’s “lady of society” character, seems at a loss for words. But then, since Lagerfeld was supposedly going for a “natural effect” with the dialogue, that may have been the point. Or, maybe it has to do with the inexperience of some of the cast. Let’s just say we hope Wixson, who plays Miss Wonderbilt (wink, wink, nudge, nudge), doesn’t try to make the transition from model to model/actress any time soon. Either way, it seems that long pauses and sort of awkward dialogue may be becoming a Chanel signature of sorts.
That being said, there’s still a lot to enjoy about the film, which is set at the first Chanel store in Deauville, circa 1913. We see Chanel interact with the city’s fashionable ladies and come up with the inspiration behind some of her most iconic designs. When Tennant’s character Lady de Grey tells Chanel she’s wearing her husband’s jacket, the designer remarks, “Tweed jackets are very chic on a woman.”
And of course it’s worth watching for the star cameos alone. Along with Tennant, the Harlechs, Wixson, Knightley, and Hesme, Ashleigh Good, Caroline de Maigret, Saskia de Brauw, Brad Kroenig, Hudson Kroenig, Jamie Bochert, Baptiste Giabiconi, Sebastien Jondeau, Jake Davies, and more also make appearances in amazing period costumes.
Watch the film below:
Here we present the second part of banned controversial commercials
Axe is pretty famous for many controversial commercials which in many cases were banned in some countries. Below one of them
Banned MasterCard “Blow Job” Commercial Is Priceless
Teresa Moore stops stops traffic, shoot with a hidden camera
This is the 90s commercial for French Connection which hit all the major newspapers headlines with the controversial lesbian kiss.
The vast amount of public complaints about the commercial nearly had it banned.
See video from our last shoot in Hua Hin
Location: Hua Hin, Thailand
Photography: allPhoto Bangkok
Video & editing: T.A.I. Films
Models: EM Modeling
Event Coordination: Bangkok Event Entertainment
Shoot for: Thai Fashion Design
Take a look at some of fashion campaigns that were banned in the UK and elsewhere.
Tom Ford: Shot by Terry Richardson in 2007, this provocative Tom Ford campaign was criticized for its pornographic approach and was subsequently banned in several countries.
Levis: Banned in the UK, this advert from Levis went viral online. Featuring a supposedly blind man watching a woman strip in a public toilet, it has had over 26 millions views to date.
Part of Diesels ”Kick Ass” campaign. With the tagline ”Diesel Sneakers. Not made for Running. (Great for Kicking Asses)”, it was never released on TV but went viral online.
More at: Hunger TV
AB-Normal is the streets-wear brand for these who prefer the kind of edgy simplicity that gives wearers a unique character of their own – the inspiration comes from sculpture. Naming his collection “Wear White”, designer Thaweesak Samanmit interprets the solid, strong structure of sculpture with a tender perspective. Using techniques that involves lines and polka dots, achieved through tucking and studs, the collection comes in an organic palette such as colors of soil, stone, cement and sand with white serving as a staple alongside beige, grey and black. The silhouettes remain simple, albeit with smart details in AB-Normal’s Signature “Simple Chic” style.
See the entire collection below.
For editorial usage, please contact us
Beyonce’s full summer ad campaign for H&M has been revealed, and she is definitely beach-body ready.
In a campaign titled “Beyonce as Mrs. Carter in H&M,” shot by Inez van Lamsweerde and Vinoodh Matadin, Beyonce shows off her post-baby body in an array of colorful H&M swimwear cover-ups.
“I’ve always liked H&M’s focus on fun affordable fashion. I really loved the concept we collaborated on to explore the different emotions of women represented by the four elements — fire, water, earth and wind,” said Beyonce. “It was a beautiful shoot on a tropical island. It felt more like making a video than a commercial.”
The campaign, which was shot in the Bahamas earlier this year, will help promote her upcoming world tour. A full TV spot will also join the print campaign, and will feature a new song, “Standing on the Sun.”
Check out the complete photo shoot here.
Beyonce Knowles ad campaign for H&M Credit: Courtesy of H&M
The newest collection of Tannishtha shown at Banglore Fashion Week (Bangkok edition) in Central World on the 22th of March 2013.
For editorial usage, please contact us
The newest collection of Victeerut shown at Elle Fashion Week Bangkok in W Hotel on the 16th of March 2013.
For editorial usage, please contact us
There are designers who make expensive, glitzy clothes for rich people – a lot of these designers show in Milan. And then there is Miuccia Prada.
She too sells top-end fashion, and rather well it seems given the label’s current buoyant profits, but with Prada it’s always a slightly more complicated story. After all, this is the designer who made hits out of banana earrings, stacked raffia lace-up shoes and satin jackets with vintage cars on their backs.
Her latest offering for women, shown in the Italian fashion capital on Thursday evening was an undoubtedly sexy affair though never in an obvious kind of way. That is not Prada’s thing. Instead, running through the gorgeous 49 looks on the catwalk – there was not a pair of trousers in sight – was an air of a vintage film heroine whose wardrobe was a little disheveled and whose hair was wet, as if it had been styled straight out of a 1990s grunge-era photograph.
“You can’t be romantic. There are so many restrictions. You have to control your feelings,” Prada said backstage after the show. The idea of romance was balanced for the designer with rawness. “Raw elegance,” she concluded was central to the look of the Prada woman this season.
That explains the hair. It also explains the way dresses or tops were often worn pushed off the shoulder – to show a dash of flesh. For example, an otherwise prim blue and white gingham dress appeared with several of the top buttons undone. Or a coat with furry gauntlet sleeves – this statement sleeve shape appeared throughout the show – which was pushed off the back of the shoulder and worn with a red leather skirt.
Certain things were carried over from the recent menswear collection – Prada said she would like to design more harmoniously for men and women but explained that it is just too difficult. Coloured leather coats and short Harrington jackets in the women’s show also appeared on the men’s catwalk in January.
The dominant skirt styles were tidy pencils or slightly fuller shapes, though it was the new two-length, lop-sided shape, which is likely to be seen in a lot of fashion shoots come autumn when the clothes arrive in stores.
Dresses with beautiful embroidery, such as the opening look, also offered a kind of cinematic moodiness, which the set, featuring black and white silhouettes of girls and cats or dreamy muted landscapes, seemed to echo.
Gingham bowling bags and metallic heavy tread two-strap sandals both look likely to sell with the usual swiftness of a hit Prada accessory.
Source: Guardian UK
The Victoria’s Secret Fashion Show is an annual fashion show sponsored by Victoria’s Secret, a brand of lingerie and sleepwear. Victoria’s Secret uses the show to promote and market its goods in high-profile settings. The show features some of the world’s leading fashion models such as current Victoria’s Secret Angels Adriana Lima, Alessandra Ambrosio, Miranda Kerr, Doutzen Kroes, Behati Prinsloo, Candice Swanepoel, Erin Heatherton, Lily Aldridge, and Lindsay Ellingson.
American network television broadcasts the show during prime time. The first few shows in the 1990s were held in the days preceding Valentine’s Day to promote the brand for this holiday. They were not aired on national television. In 1999 and 2000 the show was webcast. Beginning in 2001, the shows were moved ahead of the Christmas holiday season. Also in 2001, the show made its network television broadcast on ABC, though in all subsequent years, it has been broadcast on CBS. The show has been held at a variety of locations in different cities including Miami, Los Angeles, and Cannes. The first four shows were held at the Plaza Hotel in New York City, but since it has become a televised event it has most often been held at the Lexington Avenue Armory in New York City.
The show is a lavish event with elaborate costumed lingerie, varying music by leading entertainers, and set design according to the different themes running within the show. The show attracts hundreds of celebrities and entertainers, with special performers and acts every year. Each year, twenty to forty of the world’s top fashion models are selected to perform in the fashion show. In a typical year, this includes about a half dozen women under contract to the company, known as Victoria’s Secret Angels, who help publicize the event. The giant angel wings worn by the models, as well as other wings of various forms and sizes such as butterfly, peacock, or devil wings, have become emblematic of the Victoria’s Secret brand.
See the last two from 2011 and 2012. Enjoy!