Maaliskuun lopulla 2014 TSYKin lukion kuvataideopiskelijat: Iida Saarivuori, Jaakko Lahdenkauppi ja Ella Töyrylä matkasivat Lappiin yhdessä kuvataideopettajan ja kuvisassistentin kanssa tutustumaan saamelaiseen kulttuuriin ja taiteeseen. Projekti oli osa FINAL Kanada-Suomi yhteistyöhanketta ja taideprojektia alkuperäiskulttuureihin liittyen.
Tietämyksen oman maan alkuperäiskulttuurista voisi ajatella kuuluvan yleissivistykseen, mitä ei kuitenkaan koulun oppiaineissa paljoa käsitellä. Projektin tarkoituksena on lisätä nuorten tietämystä ja mielenkiintoa näitä kulttuureita kohtaan. Kanadan Edmontonin kouluissa on First Nation opiskelijoita, joiden kulttuuriin tutustuimme Kanadan matkan aikana Lapin matkan jälkeen. Pidimme taidenäyttelyn Mac Nallyn koululla Saaamelaisen kulttuurin inspiroimana ja myöhemmin TSYK lukiolla sekä suomen että Kanadan alkuperäiskulttuurin inspiroimana. Kuvataideopettajan mukaan tälle matkalle lähti yksi Lapin matkalaisista, Ella Töyrylä
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floors with several designs made of Italian marble, different wall paintings finished with whale oil and immense iron luster. Flamengo ”Castle” Castelinho do Flamengo: Designed in 1916 by Gino Copede, it had its plan signed by Francisco de Santos, since Copede was Italian. Originally, it was the residence of the Portuguese construction mogul Commendatore Joaquim da Silva Cardoso. The building, which sometimes is referred to as the haunted house, shows eclectic artnouveau architecture mixed with gothic and baroque lines. Nevertheless, the Italian tendency stands out, with a high slaterooftiled tower. Abandoned for several years and damaged from a fire, the building was restored by the City Hall and from 1993 on, the Castelinho do Flamengo has held the Cultural Center Oduvaldo Vianna Filho, (doing honor to the Brazilian playwright). Today the Castelinho do Flamengo offers rooms for video exhibitions and theatrical performances, a coffee bar, and a video library with 1800 movies in its catalogue. Tabor Loreto Building.
The economic challenge has added new focus to this, and technology and digital has almost become the most important strategic priority in these companies, said Mr. Gardner of Createthe Group. ”The brands are seeing this really resonates with the consumer, and we see huge spikes in traffic” when the shows are livestreamed. Even so, he said, professional buyers could take cues from the online shoppers. ”If you have lots of people preordering certain product,” he said, ”it can be a very helpful way to let the buyer and brand know what’s popular.” Some designers are trying to sandwich tradition and technology. Diane von Furstenberg will show her spring 2011 collection on Sunday, and the company is live streaming it to a select group of bloggers at her storeturnedlounge, which is open to the public for most of the weekend. But the technology in the lounge touch screens mounted on the wall, Webenabled printers and PCs will feature the fall and resort wear already in stores. ”The shows have always been for the trade,” said Paula Sutter, president of the company.
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It’s important to sell what’s in the store. Burberry’s approach has required an overhaul of the company’s supply chain, from when yarns are dyed to when leather is procured. The company is promising customers who order the runway items outerwear, makeup and accessories that they will receive them within seven weeks, versus the normal four to sixmonth lag between the runway and the rack. ”It’s one thing when you’re talking to the industry that’s used to a sixmonth turnabout,” said Mr. Bailey of Burberry. ”It’s very different when you’re talking to a direct customer.” In catering to customers, though, Burberry and other design houses need to be careful not to lose their appeal by seeming common, said JeanNol Kapferer, a luxurymarketing consultant and professor at the business school HEC Paris. ”The Internet helps build the awareness and desire by letting so many people peep into the catwalk,” Mr. Kapferer said in an email. But ”if too many people can buy it,” he said, ”the brand loses its exclusivity.”and Clint Black Are B. Fleck and J. Lo the new Rhett Butler and Scarlet O’Hara?
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I’ve been seeing spots for the past few days. Ever since I decided to write about them they have appeared before my eyes big black ones on a breezy white chiffon shirt worn by one of our interns; little polka dots embedded in a velvet pencil skirt on a femme fataleish train passenger; jaunty white ones on a red scarf tied around the collar of a dapper old man at the bus stop. Spots, it seems, are integral to all of our wardrobes, always natty but, depending on size and colour, as loud or as discreet as we want them to be. A spot can be fun in a jolly, eccentric way, as Moschino, Paul Smith and Boden have all known for some time. Then there is the bold, cultish, pleasingly poncey spot, the Comme des Garons spot, much loved by graphic designers and architects, the understated status symbol of the thinking fashion follower. (To this day I remain annoyed that I never managed to get hold of one of those 2008 Comme des Garons for H spotted cardigans. To this day.) But this month spots have moved into the world of luxury.
Despite this, the low implied growth rate of COH leads to attractive upside potential. EL has been gaining ground in the three regions it operates in: The Americas; Europe, the Middle East Africa; Asia/Pacific. Each of its product categories, skin care, makeup, fragrance, and hair care, has also been growing yearoveryear. However, this trend is increasing at a decreasing rate. In 2011, 2012, and 2013, respectively, the company grew revenues 13%, 10.3%, and 5% (if analyst predictions for EL’s fourth quarter are correct). However, EL has been able to increase gross margins from 76.5% in 2010 to 79.5% in 2013. Operating margins have increased from 10.1% to 13.5% in the same period. EL may find it difficult to further attain growth through margin expansion since its gross margins are already so high. By comparison, Christian Dior’s operating margin for their perfumes and cosmetics group for 2012 was 14.9%, so there may still be room for EL to increase operating margins. However, EL’s slowing growth and already high gross margins may make it difficult to increase profits.
Aluperäiskulttuuri projekti (FINAL) | TSYK lukion KUVIS
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