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Cult Movie: Bogart classic The African Queen sails on in style in pristine new 4K restoration

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The African Queen

THERE are a multitude of reasons to love The African Queen. For a start, John Huston’s masterful 1951 adaptation of the CS Forrester novel won Humphrey Bogart his only Oscar.

Bogart’s turn as the gin swilling, rough and ready captain of a tramp steamer is an undeniable highlight in an acting career creaking under the weight of such moments and Huston’s direction of the ebbing and flowing story of an unlikely couple forced to sail together down a dangerous East African river after the outbreak of World War I is note perfect throughout.

There’s also the small matter of the sizzling on screen chemistry between Bogart and his stunning co-star Katherine Hepburn to consider as well. Rarely have a couple combined on celluloid with such obvious spark and crackle. There’s a wholly unforced natural quality at play in their scenes that is electrifying to watch.

More than anything though, it’s simply a cracking romantic adventure the like of which you rarely get to see and enjoy on the silver screen. Watch it again, via the recently reissued limited edition release from Eureka Entertainment, and you are reminded of that innate magic in just about every frame: a lush looking beauty of a film it cruises along with the kind of effortless class you simply don’t see in cinema today.

Hepburn is Rose Sayer, the prim and proper sister of a British missionary, played by the great Robert Morley. When invading Germans raze her village to the ground and kill her brother, the roguish Charlie Allnut (Bogie) offers to take her back to civilisation on his battered old steamer The African Queen. Left with little option, she agrees – and so begins the journey of a lifetime.

Superficially at least, the two make unlikely travelling companions for the hazardous journey ahead: she can’t stand his slovenly, drunken ways and he thinks she’s a judgmental and aloof old spinster. Before long though, their natural dislike of each other develops into love as they come to lean on each other as they try to survive their perilous journey and hatch a seemingly preposterous but essential plan to destroy a German gunboat.

A sumptuous experience shot through with a rich colour palette and stunning vistas, it’s a gripping old-school adventure that charms and engages from the first moment until the last. Hepburn looks so in the zone it feels as if her entire career has been leading up to this moment and Bogie milks every scene like the grizzled old pro he was.

This lush and lovingly curated special edition offers up a 60-page bound collector’s book featuring fresh and insightful writing on the film and a whole flotilla of exciting extras that include audio commentary from master cinematographer Jack Cardiff, an hour long documentary Embracing Chaos: Making The African Queen and an interview with film historian Neil Sinyard.

Presented in a pristine new 4K restoration print and packaged in an elegant hardbound slipcase, this is the perfect way to celebrate one of cinema’s best looking films and greatest ever adventures.



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M0SCHINO Women's Fall 2020 Milan – Fashion Channel

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subscribe to fashion channel – http://bit.ly/1OdEd04

M0SCHINO Women’s Fall 2020 Milan – Fashion Channel

The best videos, the most exclusive moments of the international runway since 1982 until now, of the most representative fashion weeks of the world. Backstage secrets, make-up and hair style insights, curiosities from the fashion world, celebrities, photo shoot, designer and model clips, red carpets and gossip, parties, obviously besides the shows of all the top designers, generally available in high definition formats HD on the Youtube network FASHION CHANNEL.
Fashion Channel shows new interesting videos continuous flow.

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Sycamore Partners buys 55% stake in Victoria’s Secret

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Sycamore Partners recently acquired a 55 per cent stake in Victoria’s Secret for nearly $525 million while the latter’s parent firm L Brands retains the rest. L Brands will position Bath & Body Works as a profitable, standalone public firm and separate Victoria’s Secret into a private entity focused on returning its businesses to earlier levels of profitability.

L Brands owns Victoria’s Secret, PINK and Bath & Body Works and operates 2,920 company-owned specialty stores in the United States, Canada, the United Kingdom and Greater China. Victoria’s Secret’s business include Victoria’s Secret Lingerie, Victoria’s Secret Beauty and PINK. Sycamore Partners is a New York-based private equity firm specialising in consumer and retail investments.

The transaction was approved by a unanimous vote of the L Brands board of directors. Under the terms of the transaction, Victoria’s Secret, with a total enterprise value of $1.1 billion, will be separated from L Brands into a privately-held company majority-owned by Sycamore, according to a press release from L Brands.

The company intends to use the proceeds from the transaction, along with approximately $500 million in excess balance sheet cash, to reduce debt.

Upon the closing of the transaction, Leslie Wexner, chairman and chief executive officer (CEO) of L Brands, will step down. He will remain a member of the board as chairman emeritus. Nick Coe, CEO of Bath & Body Works, has been named vice chairman of Bath & Body Works Brand Strategy and New Ventures. Andrew Meslow, chief operations officer of Bath & Body Works, has been promoted to CEO position. At the close of the transaction, Meslow will become CEO of L Brands and will join its board.

Meslow, who joined L Brands in 2003, has 29 years of experience in the retail industry, the last 15 at Bath & Body Works.

Fibre2Fashion News Desk (DS)





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Let Them Wear Cake. Also Fringe!

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MILAN — The day after a billionaire became a punching bag on a debate stage in Nevada, and questions of money and privilege and elitism once again were in focus, at the end of a runway in Milan Jeremy Scott constructed an actual stage for his Moschino show and raised the same issues on it.

He did it with a catwalk paved in antiqued mirrors beneath crystal chandeliers. He did it with Versailles-era corsets and swaying pannier-miniskirts; in denim and gold brocade; leather and pearls; gray hoodies and satin bows. He did it with toile de Jouy knickerbockers and matching cutaways in macaron shades; in patchworks of elaborate velvet brocades and bubbles and tiers and trains of floral taffeta.

He did it with showstopper dresses built to resemble petits fours, the frosting iced-on in curls and rosettes of latex below towering court of the sun king-style wigs.

Ridiculous? Sure. A cartoon? Absolutely: Hidden among the toile de Jouy patterns and tapestry embroideries, Japanese anime faces peeked out. There to be worn? Not the pastry dresses anyway (the brocade jean jackets and shepherdess pedal pushers maybe). They were there to make a point.

Before the excesses of the 1980s, after all (the ones that have been referenced on so many other runways), there were the excesses of the 1780s.

It’s a complicated proposition using a runway show of expensive party clothes as a treatise on wealth disparity and the obliviousness of the ruling class. After all, the people who buy them are exactly the people being taken to task. As the show notes read, “the confectionery cocktail dresses stand as a sly comment on the denseness of certain people in power.” Mr. Scott elides the issue by turning it into a joke. The question is: at whose expense?

The Paradox of Lace

For a long time, Miuccia Prada was considered the political consciousness of Milanese fashion, the designer who most used her work to wrestle with the world around her. She still does, but now she has company. Whereas Mr. Scott uses fashion as a form of stand-up, however, made for the Instagram age, Mrs. Prada uses it as a way of thinking out loud.

And this time she was thinking about many of the same variables as Mr. Scott — the clichéd tropes of femininity — though her focus was not so much economic inequality and its historical pop culture poster girl as it was gender parity and its imagery.

In the world of Elizabeth Warren and Ursula von der Leyen and Margrethe Vestager, the assumption that a woman who comes out fighting has to hide in a man’s suit has shattered. But what happens next? Can you be a powerful woman without giving up the symbols associated with the concept of the weaker sex (see, for example, the wardrobe of that famous pastry-loving young queen)?

Turned out this was one of the questions of the week. It’ll probably be one of the questions of the decade. Mrs. Prada just articulated it more clearly than most.

Still, it was there in Christelle Kocher’s one-season-only guest designer stint for Emilio Pucci, in which the Paris-based Koché designer known for her streetwear chic kicked the prince of prints off his pedestal, mixing the famous Pucci swirls with lace and torn stockings, sweats and boxer shorts. Think Madonna in “Desperately Seeking Susan” transplanted to Capri, and you’ll get the idea.

And it was there in Silvia Fendi’s somewhat heavy-handed boudoir-to-boardroom show at Fendi, with its uneasy juxtapositions of shell pink and dark gray; thickening leather and frothing lace; puffed sleeves yanked off the shoulder and dropped down, so they looked both girlie and aggressively oversize at the same time. It’s “subversive for a strong woman to dress like a femme fatale,” Ms. Fendi said before the show (she herself was wearing a buffalo plaid shirt and gray pants). That is true. But it is still using the old gender stereotypes, when the goal should be to break them down entirely.

An Aside

Speaking of which: At Tod’s, the new designer Walter Chiapponi was also trying to break out of a stale mold — the “Italian lifestyle” leatherfest that the brand has been locked in for awhile now. And though he managed to let the stuffing out in slouchy wide wale corduroys that hung off the hips and puddled on the floor paired with cropped knits and tweedy blazers, in tailored 1970s greatcoats and patched upcycled leather, there was still too much residue of the old bourgeois loafer set to really signal a new dawn.

Still, it’s going in the right direction, especially the big quilted feed bags with the logo reduced to a tiny T on the side. Hopefully, next time they’ll let him use a bigger mallet to smash through the formula.

Then Prada Shrugged

Or at least reduce it to its constituent parts so it can be rebuilt in new form. See Ms. Prada’s 1940s silhouettes — strong shoulders, belted jackets, mid-calf skirts — hung with Viennese Secession-era jet bead fringe (fringe is turning into a trend this season); the masculine fabrics (tweed, wool, flannel) undercut by skirts sliced into carwash strips to liberate the legs; the shirts and ties atop sheer skirts; the dream weaver lotus flower prints on strict silk pajama suits.

Her show took place at the Fondazione Prada in a sunken plaza set with a statue of Atlas at the center: the Greek god whose fate it was to hold the world on his shoulders. The implication being that now it is women who have assumed the burden — which means it’s time to renegotiate what that power looks like, whether in our own closets or the world.

In the meantime, want some cake?



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