Archive for the ‘media’ category


They weren’t the original, and they weren’t even a magazine

26.05.2022

I posted something on Instagram the other day, something I rarely do—so rarely that it’s now noteworthy. Surfing through, I happened across this:
 

 

My friend Nicky Wagner started FashioNZ and if she were still involved, I doubt they would make such a demonstrably false claim.

Let’s pick the low-hanging fruit here. FashioNZ is not the original. They started in 1998—they even admit it; Lucire started in 1997. I was hanging out with designers as the publisher of the fledging Lucire when I saw Nicky’s promo about her new site. It looked really good.

Secondly, FashioNZ wasn’t a magazine, not initially. It was a directory, and its content was driven by its clients. It’s why I can’t bring myself to italicize it!

Now, at least I’m honest enough to give some lip service to Fashionbrat (styled [email protected]) out of Wellington Polytechnic. They only lasted one issue, so if your definition of magazine is that of a periodical, that it must come out or have new content at various times of the year, then they don’t qualify; Lucire was first. But if your definition includes something that lasted only one issue, then Fashionbrat got there before us all, in 1996. This would have faded into internet history if I didn’t keep bringing it up. Judge for yourself at the Internet Archive.

In the US there are so many people claiming to be the first but usually the record betrays them: we have one who may have got a promotional page up, but their content was not on the web initially (from memory it was on a BBS); we have another who claims they began in 1993, which may have been their incorporation date, but their own SEC filing revealed that particular site didn’t come into being till later.

I didn’t expect this to happen in New Zealand, where it’s very clear who got there first. Disappointing.

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Here’s the latest book I worked on: Panos: My Life, My Odyssey out May 26

17.05.2022


 
[Originally posted in Lucire] Toward the end of next week, Panos Papadopoulos’s autobiography, Panos: My Life, My Odyssey, comes out in London, with an event in Stockholm following. This is an intimate memoir about Panos’s rise, from childhood poverty in Greece to the ‘king of swimwear’ in Scandinavia. Not only do I have an advance copy, I collaborated with Panos on it.

I’m fascinated by autobiographies. When I was a teenager, I read Lee Iacocca’s one, written with William Novak. I presume Novak interviewed Iacocca, or he worked with some additional notes, and ghosted for him. Whatever the case, it remains an engaging read, and I replaced my well worn paperback with a hardcover one a few years ago, when I spotted it at a charity fair. More recently I bought Don Black’s autobiography, The Sanest Guy in the Room, and enjoyed that thoroughly.

Panos and I probably had a similar arrangement to Iacocca and Novak, whereby I interviewed and prompted him for some stories, and I wrote from copious notes that he gave me. There’s an entire chapter in there that’s based on his reflections about the time he bought into a football team in Sweden, that he wrote in great detail himself soon after the events took place. Somehow over 10 months of 2021—though the idea has been floating around for many years before—Panos and I created this eminently readable tale, the sort of autobiography I would like to read.

Of course we start in Greece in 1958, and how a young lad, who begins working at age five alongside his mother as she cleaned an office, finds poverty a torment, and vows to get himself out of it. He also cannot tolerate injustice, and attempts to expose pollution, workplace accidents, and corruption—only to find himself and his parents harassed. By his late teens, after taking an interrail journey to northern Europe, he finds an opportunity to study in Sweden.

It’s not “the rest is history”, as Panos works in kitchens, washing dishes and peeling potatoes. He also finds gigs as a prison guard, a parole officer, a rest home carer, and a substitute teacher.

His first taste of fame is for a postgraduate sociology paper, where he examines the importance of clothing in nighttime disco settings, which captures the imagination of major newspapers and TV networks.

Finding dissatisfaction and frustration working in health care for the city of Göteborg, he seized upon an idea one day when spying just how drab the beaches were in Sweden: beautiful bodies covered in monochrome swimwear.

Injecting colour on to the beaches through his Panos Emporio swimwear label wasn’t an overnight success, and Panos elaborates on his story with the sort of passion you would expect from a Greek native, capturing your attention and leaving you wanting more.

He reveals his secrets about how he lifted himself out of poverty, creating a company given a platinum rating in Sweden, an honour reserved only for the top 450, out of half a million limited-liability companies there.

Read about how he managed his first sales despite doubts from the entire industry, how he secured Jannike Björling—then Sweden’s most sought-after woman, photographed constantly by the paparazzi—as Panos Emporio’s model, and how he followed up with securing Victoria Silvstedt, just as she was about to become world-famous posing for Playboy.

By 1996, 10 years into his label’s journey, and with the release of the Paillot (still offered in the Panos Emporio range today), the press dubbed him ‘the king of swimwear’, but he wasn’t done yet.

More high-profile models followed, and there’s even an encounter with Whitney Houston, revealed for the first time in the book. There are royal encounters, with former King Constantine II, and Sweden’s HM King Carl XVI Gustaf and HM Queen Sofia. HSH Princess Stéphanie almost makes it into the book.

There are touching moments, too, such as his heartfelt recollection of his friendship with Jean-Louis Dumas, the chairman of Hermès, and his wife Rena.

We’ve known each other for over 20 years, and from the start he complimented me on my writing, so I have a feeling he wanted me for this task for some time. We’ve both had to start businesses from scratch, and we did them away from our countries of birth. Additionally, he knew I grew up amongst Greeks so I had more than an average insight into his culture. We’ve talked about it numerous times, maybe as far back as 2016, when Panos Emporio celebrated its 30th anniversary. I’m very grateful for that. There were obviously stories I knew, since I interviewed him about them over the years, but plenty I did not, and they form the bulk of this 320 pp. book, published by LID Publishing of London, and released on May 26. A party in Stockholm follows on May 31.
 
Technically, the process was an easy collaboration as Panos and I shared notes and written manuscripts back and forth, and I had the privilege to lay it out and edit the photos as well. The whole book was typed out on WordPerfect, which gave an almost perfect re-creation of how the copyfitting would go in InDesign, unlike Word—for a while others doubted I could fit the contents into the agreed page length, since they couldn’t see it in the same format that I did. Martin Majoor’s FF Nexus Serif is used for the body text. And, while hardly anyone probably cares about such things, I managed to deliver it so the printer could do the book without wasting paper with the right page impositions. I know what it’s like to have printing bills.

My Life, My Odyssey was the working title, but it seems LID liked it enough to retain it for the final product. I wanted to retitle it Panos: Who Designs Wins, but the experts in charge of sales preferred the working title. ‘Who designs wins’ appears on the back cover, so it’s still getting out there!

Caroline Li, LID’s designer, did the cover, and I followed her lead with the headline typeface choice; and Martin Liu, who I’ve known from Stefan Engeseth’s many books, published and coordinated. I’m grateful to the watchful eye and coordination of Aiyana Curtis, who oversaw the production stage and did the first edit; she also engaged the copy editor and proofreader, who turned my stubborn Hart’s Rules-compliant text into LID’s house style.

I see from her résumé that Aiyana had done some work here in Aotearoa, and Caroline and Martin, like me, have Hong Kong roots, so we all probably had some things in common that made the process easier. It was particularly easy to understand Caroline’s design approach, and as someone who had done mock covers while we were trying out potential photos, I will say hers is infinitely superior to mine. Similarly, I understood Martin’s business approach from day one.

The final manuscript was done in October 2021 and we’ve spent the last few months doing production, shooting the cover, and preparing for the launch, where LID’s Teya Ucherdzhieva has ably been working on a marketing plan. Panos himself, never one to do things by halves, has thrown himself into doing the launch, and it promises to be an excellent event.
 
For those who’d like to get their hands on a copy, Amazon UK and Barnes & Noble are retailing Panos: My Life, My Odyssey, and a US launch is slated for October (Amazon and other retailers will have it in their catalogues).

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Autocade reaches 28 million page views

19.04.2022


 
On March 19, 2022, Autocade had accumulated 27,647,011 page views. That was the last recorded total, and the new site went live the following day. That means over 10,000 views didn’t get added to that total, but as it’s the last I have (unless the Wayback Machine has one from the 20th ult.), then that’s what I’ll have to use as the new zero point.

The new stats’ set-up on the more modern Mediawikis does not update the numbers live; instead, that happens once a day. Some time overnight it ticked over to 351,079 on the new server.
 
27,647,011 +351,079 = 27,998,090
 

Even being very conservative, Autocade will have served its 28 millionth page view by now—though I may update this page tomorrow after I confirm it.

Sorry, for those who hated these statistical posts, the new server hasn’t seen the end of them! OCD is OCD!
 
March 2008: launch
April 2011: 1,000,000 (three years for first million)
March 2012: 2,000,000 (11 months for second million)
May 2013: 3,000,000 (14 months for third million)
January 2014: 4,000,000 (eight months for fourth million)
September 2014: 5,000,000 (eight months for fifth million)
May 2015: 6,000,000 (eight months for sixth million)
October 2015: 7,000,000 (five months for seventh million)
March 2016: 8,000,000 (five months for eighth million)
August 2016: 9,000,000 (five months for ninth million)
February 2017: 10,000,000 (six months for 10th million)
June 2017: 11,000,000 (four months for 11th million)
January 2018: 12,000,000 (seven months for 12th million)
May 2018: 13,000,000 (four months for 13th million)
September 2018: 14,000,000 (four months for 14th million)
February 2019: 15,000,000 (five months for 15th million)
June 2019: 16,000,000 (four months for 16th million)
October 2019: 17,000,000 (four months for 17th million)
December 2019: 18,000,000 (just under three months for 18th million)
April 2020: 19,000,000 (just over three months for 19th million)
July 2020: 20,000,000 (just over three-and-a-half months for 20th million)
October 2020: 21,000,000 (three months for 21st million)
January 2021: 22,000,000 (three months for 22nd million)
April 2021: 23,000,000 (three months for 23rd million)
June 2021: 24,000,000 (two months for 24th million)
August 2021: 25,000,000 (two months for 25th million)
October 2021: 26,000,000 (two months for 26th million)
January 2022: 27,000,000 (three months for 27th million)
April 2022: 28,000,000 (three months for 28th million)
 

Currently there are 4,551 models on there, with the latest Mercedes-Benz S-Klasse the newest entry.
 
PS.: And here we are, the following day. Autocade’s new stats’ page shows 361,627.

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March 2022 gallery

28.03.2022

Now we are on the new server, here are March 2022’s images—aides-mémoires, photos of interest, and miscellaneous items. I append to this gallery through the month.
 

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The new Autocade is coming soon

17.03.2022

At just past its 14th birthday, Autocade will return on a new server, with a new Mediawiki installation.
   Because Mediawiki got rid of the stats with v. 1.25, sadly they weren’t imported into the new version that we’re running. We’re going to start the count from 0, though of course right before the changeover I’ll take note of where we got to.
   For those sick of me commemorating every millionth page view, you might get your wish, because of the extra arithmetic that’s going to be involved.
   I’d like to thank my friend for doing all this work anonymously behind the scenes. Unlike 2000, websites are far more complex things, and just customizing the look took me a few days. You can imagine how much more complex it was to import a PHP database and hooking up the site to Plesk.
   What we have is an Autocade that looks familiar—like Lucire’s website redesign last year I tried to keep everything as close as possible—but there are minor tweaks that go with the newer software.
   Certain pages did not make the transition, namely the ‘About’ and community portal, so these had to be added manually from the original. But as far as I can tell, all the cars are there, and that’s the reason that almost all of you visit. You can see how it all works very soon.
 
I imagine this blog will be next—and then I will likely get back to updating it at the usual pace. Though as my experience with social media demonstrates, it’s remarkably easy to break a habit!

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Where democratizing technology got the better of us

13.02.2022

From the start, I’ve been a supporter of the democratization of design. Everyone has the right to access it, because fundamentally good design is something that makes the world a better place. A lot of websites are founded on this, such as Shopify, which has enough flexibility to give most of the stores we visit a unique look. Wordpress’s templates are generally good lookers that take into account the latest trends. There’s an entire industry out there making templates and skins. And, it has to be said, most social media have reasonably good looking interfaces, so people can feel a sense of pride after they’ve posted that they’ve shared text or a photo that has been presented well.
   It’s quite perplexing when you confront some other facts. People will judge the credibility of a website by how good it looks (among other criteria). People can also become addicted to social media, and they’re designed to be addictive. And as design democratizes, it’s only natural that the less educated (and I don’t necessarily mean in a formal sense), those who are not trained to discern fact from fiction, will have access to the same technology and present their work as capably and as attractively as anyone else.
   It would be wrong to deny this, just as it would be wrong to deny access to technology or good design because we disagreed with someone’s political views or their beliefs, even ones we might find distasteful. The key must be to bring social awareness and education up to a point that there’s no appeal to engage in behaviour that’s harmful to society at large. By all means, be individual, and question. We should have ways in which this can be done meaningfully—one might argue this is done in the corridors of power, as anyone in a good, functioning democracy can stand for office. But in countries with low trust in institutions, or those infected by forces that want to send nations into corporatist fascism, there has to be something that balances the wild west of the online world, one that has marched so far one way without the structures to support it. We have, in effect, let the technology get the better of us. There is no agreed forum online where tempers can be abated, and because we have encouraged such individualist expression, it is doubtful whether some egos can take it. We have fooled ourselves into thinking our own selfies on social media have the same value as a photo taken by the press for a publication. As such, fewer can lead, because no one wants to play second fiddle.
   These are confusing times, though the key must be education. It is often the answer. Keeping education up with the technology so our young people can see and understand the forces at play. Give them a sense of which corporations are wielding too much influence. Teach them how to discern a legitimate story from a fictionalized one. Teach them how the economy really works—not just the theory but how the theory has been hijacked.
   This can’t wait till university: it has to be taught as early as possible. If today’s kids are bringing their devices to school, then it’s never too early to make them aware of how some online content is questionable. Tell them just why social media are addictive and why they can’t open accounts on the big sites till they’re 13. In fact, tell them how the social media companies’ bosses actually don’t let their own kids use the services, because deep down they know they’re bad for them.
   If they know from a young age why some things are harmful—in the same way we were told that cigarettes were, or to say no to drugs—then hopefully they can steer clear of calls on social networks funded by parties who seek to divide us for their own gain.

There’ll be a delay in having a gallery on this blog this month as a dear friend is helping me migrate our sites off an old AWS instance. He doesn’t wish to be named. But I am deeply thankful to him.
   The data have already been shifted off this server. At this rate I will have to repost this on the new box once the domain is set up. Reposting a gallery might just be a bit tricky, so there mightn’t be one for February 2022, depending on when my friend can get to this domain.

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Stanley Moss’s latest Global Brand Letter out now

10.01.2022

Finally, a happier post. For many years (since 2004), my dear friend Stanley Moss has been publishing his Global Brand Letter, which is not only a wonderful summary of the year (or the last half-year, since he often writes every six months) in branding, but an excellent record of the evolution of culture.
   He has finished his latest and, for the first time, he has allowed me to host a copy for you to download and read (below). I commend it to you highly. Keep an eye out for future issues, while past ones can be found on his website at www.diganzi.com.

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January 2022 gallery

01.01.2022

Here are January 2022’s images—aides-mémoires, photos of interest, and miscellaneous items. I append to this gallery through the month.
 


 

Notes
More on the Ford Falcon (XA) in Autocade. Reposted from Twitter.
   Taupō Plimmerton summer sunset, photographed by me.
   BBC parody news item, via Twitter.
   More on the Wolseley on Autocade.
   More on the Mitsubishi Colt Galant at Autocade.
   Dodge 1500 advertisement via George Cochrane on Twitter.
   Model Alexa Breit in a bikini, via Instagram.
   More on the Renault 17 in Autocade.
   More on the Renault 20 in Autocade.
   More on the Renault Mégane IV in Autocade.
   ‘Sign not in use’ posted by John on Twitter.
   Asus ROG Strix G17 G713QE-RTX3050Ti, at Asus’s Singapore website.
   Pizza Express Woking parody still, via Twitter.

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Targets painted, opposition misses again

03.12.2021

Our government’s response to COVID-19 has been better than many nations’, but it is far from perfect, as Ian Powell points out in a well reasoned blog post, and in his article for Business Desk. It’s backed up by a piece by Marc Daalder for Newsroom. To me, Powell’s piece makes a great deal of sense, and for those who feel the new system feels, instinctively, politically driven, then they are right. He says, inter alia:

At the time I thought that the traffic lights system had been initiated by the Ministry of Health (experts outside the Ministry were not supportive). Subsequently, however, according to senior Health Ministry officials privately, it came from the Prime Minister’s department.
   This helps explain the working it out as you go along approach that is causing confusion among many. Jacinda Ardern’s claim of the system being world leading is overcooked.

   He cites Daalder, who writes:

While the outbreak was expected to have a long tail, the Government fully intended to return to zero cases and even to maintain an elimination status after reopening the borders in 2022.
   Just two weeks later, Cabinet threw in the towel on elimination.

   We know that the government is working on overdrive through this whole pandemic, but it seems there are areas where the experts are being overridden.
   But what does our opposition do? Instead of firing at the targets that Powell and Daalder have helpfully revealed, new leader Christopher Luxon repeats the ad nauseam cries of his predecessors to open up, to put Auckland into the “green”. Any expectation that National had found pragmatism with its new leadership vanished in smoke mere days after Luxon took the helm.
   This is the identical complaint I have over Sir Phony Blair over in the UK with not only missing the targets painted on the Tories by themselves, but turning 180 degrees and firing the other way.
   We need an opposition that holds a government to account but it seems Luxon, who bafflingly refers to Simon Bridges as having ‘intellectual heft’, might be yet another ideologue, importing more of the same but in more hidden, calm language than his predecessor.
   Are there any pragmatists left in politics, or is everyone following ideology these days?

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December 2021 gallery

01.12.2021

Here are December 2021’s images—aides-mémoires, photos of interest, and miscellaneous items. I append to this gallery through the month.
 


 

Notes
Roger Moore and Ford Fiesta Mk I, via George Cochrane on Twitter.
   More on the Volkswagen Fox in Autocade.
   More on the Ford Consul Corsair at Autocade.
   The Guardian article excerpt, full story here.
   The devil drives Kia? Reposted from Twitter.
   Audi maths on an A3, via Richard Porteous on Twitter.
   Christmas decoration, via Rob Ritchie on Twitter.
   Back to the ’70s: Holden Sandman used for Panhead Sandman craft beer promotions.
   Georgia–Pacific panelling promotions, 1968, via Wendy O’Rourke on Twitter.
   Ford Cortina Mk II US advertisement via the Car Factoids on Twitter.
   Bridal fashion by Luna Novias, recently featured in Lucire.
   Deborah Grant in UFO, with the VW–Porsche 914, which would have looked very modern at the time.
   Freeze frame from episode 1 of The Champions (1968), with William Gaunt, Stuart Damon and Alexandra Bastedo.
   Our rejected greeting card design, with a picture shot at Oriental Parade, Wellington.
   Ford Taunus GT brochure spread via the Car Factoids on Twitter.
   My Daddy Is a Giant image and UK measures, reposted from Twitter.
   Richard Nixon attempts to appeal to younger voters, 1972. Simple, modernist design using Futura Bold.
   A 1983 Pontiac Firebird Trans Am advertisement.
   Mazda Savanna brochure via George Cochrane on Twitter.
   More on the Renault Mégane E-Tech Electric in Autocade.
   Lucire issue 44 cover, photographed by Lindsay Adler, layout by me.

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