Posts tagged ‘New York’


The Red Points saga: this might finally be resolved

24.08.2022

Nine days since the first DMCA notice was lobbed against us, the saga has finally reached the powers-that-be at Hearst SL.

And once it did, things began happening quickly. I’ve heard from their head of legal, and what he’s outlined to me seems like a good resolution to the whole saga.

He tells me some changes have been made to Red Points Solution SL’s processes, which I think is a good outcome if it saves others the grief of what I’ve had to deal with—especially while contending with publishing deadlines and the day-to-day running of a company. It was a bigger distraction than I would have liked to admit.

In a gesture of goodwill, I offered to set to private the two stories we published on the Lucire website over the whole affair.

I suggested to him that I update everyone here, since you might have thought that the disappearance of the two articles was down to Red Points!

I shudder to think what would have happened if I didn’t have contact email addresses for senior VPs at Hearst Communications, Inc. or former Lucire team members who wound up working for Hearst. Or how someone without a legal background specializing in IP would have felt. Not everyone would be in this position.

It’s still concerning to me that Google continues to state that results have been removed in site searches for us, and for the topics those articles covered. Basically, they’re saying we’re thieves, and I don’t think that’s fair dinkum. As Google works at a glacial pace, I assume the notices will eventually disappear once they receive Red Points’ withdrawals.

I’ve also received an apology from Red Points’ CMO. The gentlemanly thing to do is to accept it. It will be interesting to see how long it takes for Google to stop saying we stole stuff.

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Time to get New York involved

19.08.2022

Still nothing from the Spanish outpost of Hearst or from Red Points Solution SL on their false accusation against Lucire, so tonight I contacted one of the Hearst VPs in New York—as they’ll more likely understand where we’re coming from. Whenever there’s been a copyright matter, Americans tend to respond quickly, faster than Europeans or the British—except for Big Tech, natch. Those folks you need to threaten. It’s frustrating to continue seeing a DMCA notice when we do a site: search on Google, one that isn’t warranted. I’ve found a senior enough VP—I’ve been around long enough to know who’s who—who I think would get it.

Further investigation shows Red Points being named as defendant in quite a few cases—and they’re just the ones that the search engines have picked up. Who knows how many others aren’t put online or are worthy enough of being reported on?

I’d be extremely wary of a company whose technology appears to be very unreliable, if our case is any indication, and exposing their clients to lawsuits. I see from the Google complaint only two sites have fallen foul to their specious claims—and you have to ask why not every single article written about Valentina Sampaio being named Armani Beauty’s newest ambassador? Were we picked out because they felt we were small enough to be picked on and that we wouldn’t fight back? And why would they risk claiming not only our original content as their client’s, but the work of L’Oréal—a major Hearst advertiser—too? It’s potentially destructive for Hearst and harms its relationship with an advertiser.

They’ve picked on the wrong people—especially a magazine that is known to some people inside Hearst.
 
I was curious to see what part of the Spanish web I had accessed in the last year. Answer: not a lot. More in the last day or so looking up Hearst’s Spanish outpost.
 

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For once, the US media were on Facebook’s case (they’ve more cohones than their government)

11.10.2021

For once, you didn’t need me to point out the unethical happenings of Facebook, Inc. when the mainstream media actually cared.
   First we had the Murdoch Press run ‘The Facebook Files’ in The Wall Street Journal, which I heard about from the incomparable and insightful Bob Hoffman on the 26th ult. The WSJ begins:

Facebook Inc. knows, in acute detail, that its platforms are riddled with flaws that cause harm, often in ways only the company fully understands. That is the central finding of a Wall Street Journal series, based on a review of internal Facebook documents, including research reports, online employee discussions and drafts of presentations to senior management.
   Time and again, the documents show, Facebook’s researchers have identified the platform’s ill effects. Time and again, despite congressional hearings, its own pledges and numerous media exposés, the company didn’t fix them. The documents offer perhaps the clearest picture thus far of how broadly Facebook’s problems are known inside the company, up to the chief executive himself.

   Other exposés include the fact that Facebook ‘shields millions of VIPs from the company’s normal enforcement … Many abuse the privilege, posting material including harassment and incitement to violence that would typically lead to sanctions.’ I guess promoting human trafficking and genocide falls into this protected category as well, which goes to show I’ve been doing Facebook wrong all these years—no wonder Lucire got kicked off for a week.
   They also know Instagram is toxic, that they promote interaction and who cares if it’s harmful content(?), that the company does little when porn, organ-selling, state suppression, racism, human trafficking, and inciting violence, and it’s a big medium for anti-vaccination content. More has been added to ‘The Facebook Files’ since I was sent the link in Bob’s newsletter, including news of the whistleblower, Frances Haugen, who was anonymous at the time.
   Haugen also went on 60 Minutes, garnering headlines for a day, but as I told one friend, with the opportunity to use two diphthongs in a word:

Slide through as usual. Mark and Sheryl control the show, have a lot of shares, and think they will weather it as they always did. Mark will continue to ignore subpœnæ. The US government will continue to lack cohones since candidates on both sides are suckered into believing that Facebook really has as many users as it claims.

   And yes, we got Lucire’s Instagram back, and I am happy—for the sake of our crew and everyone who has ever created for us. The response from Facebook is full of the usual bollocks, which is no surprise. I wrote on the Lucire website:

   Their email states, inter alia, ‘You can’t attempt to create accounts or access or collect information in unauthorized ways. This includes creating accounts or collecting information in an automated way without our express permission. And based on your account’s recent activity, our systems have detected behavior that violates one or more of our policies.’
   It is nonsense, of course, since there’s absolutely no proof. We’ve asked Facebook to furnish it to us, including the alleged activity and the IP address that it came from.
   What information was allegedly collected? What was automated?

   All I can think of is that I have accessed Instagram on the desktop. Oh well, I’ll just stop using it. Or that a couple of the team were online at the same time. With that in mind, fashion editor Sopheak Seng now alone has the keys and that’s good enough for me. Instagram interaction: down again for the 2021–2 year then.
   I haven’t posted much on the Facebook issues since there were far more important things to do, namely getting the Lucire template working for the Wordpress (news) section of the site. Now it’s pretty much done, I’m quite happy with it, though I wish the server load were lighter.

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Cream cheese bagels make them angry

25.06.2021

When I was in NYC in the summer of 2001, I stood at a Lower Manhattan bakery trying to order a cream cheese bagel for a friend of mine. The proprietor was busy making something. After close to five minutes’ waiting the counter, I asked if I could be served. His response: ‘You want to fight me?’ My sense is that cream cheese bagels have upset Americans for decades. This is merely part of the trend.

   Note: I am not sure if the words cream and cheese mean the same thing there.

Poking around the bowels of Facebook, I found this. Apparently I had invited some contacts to join Facebook. It’s probably time to delete them, since they were smart enough not to respond.

   I’ve no desire to allow them to create shadow profiles, because of something I did in 2007–8 before I knew shadow profiles even existed. Luckily I do not have Messenger, though I believe I briefly downloaded it in 2012 before deleting it soon after. I must have been careful to not let it import any contacts.

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June 2021 gallery

01.06.2021

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

 
Sources
The Guardian letter, from Twitter.
   Ford Cortina Mk II pick-up made by Hyundai, referred by 강동우 on Twitter.
   Ikea water, reposted from Twitter.
   Alexa launch, reposted from Twitter.
   Protest Sportswear’s women’s range for spring–summer 2021. Read more at Lucire.
   Collusion between Google and Facebook, from Bob Hoffman’s The Ad Contrarian newsletter.
   Ford Falcon ESP limited edition—a familiar image to those of us who read Australian car magazines in the early 1980s. More on the Ford Falcon (XD) at Autocade.
   This was the famous advertisement for the 1965 Ford Mustang, for its début in April 1964 at the World’s Fair in New York. It was mentioned in Lee Iacocca’s autobiography, but I had not seen it till 2020.
   Dido Harding work history, shared by James O’Brien on Twitter, possibly from The Eye.

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May 2021 gallery

01.05.2021

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

Sources
Viki Odintcova, via Instagram.
   Alexa Breit, photographed by Weniamin Schmidt, via Instagram.
   Vickery Electrical advertisement: something I asked my Dad to photocopy for me in the 1980s. Briefly we had one of those Apple II portables, on loan from a colleague of Dad. I can’t recall if it had one disk drive or two, but it was a fun little unit to have in my bedroom for that period. Dad was prepared to buy it if I wanted to keep it, but I didn’t have much software to run, plus I already had the Commodore 64 for schoolwork.
   Lucire issue 43 cover, photographed by Damien Carney, creative direction and fashion styling by Nikko Kefalas, make-up by Joanne Gair, hair by Kirsten Brooke Anderson, and assisted by Rachel Bell, and modelled by Elena Sartison. Find out more here.
   Drew Barrymore quotation from Elephant Journal on Twitter.
   I still have plenty of old stamps, which I tend to save for family (though I’m less discerning about those discounted Christmas ones, which I always used to buy in bulk). This is going to my cousin’s daughter and her husband, and their family.
   Comments after an article on Buzzfeed News. Business as usual for Facebook.
   Happy birthday to our niece Esme!
   Tania Dawson promotes Rabbit Borrows, from Instagram.
   Bizarre that the only car with a manual transmission on sale at Archibalds is from the 1950s. I’m sure New Zealand was majority-manual into the first decade of this century.
   More on the 1982–94 Chevrolet Cavalier at Autocade.
   Citroën C5 X, as covered in Lucire.
   Amira Aly (Mrs Oliver Pocher) photographed by Christoph Gellert, reposted from Instagram.
   Gaza statistics, sourced from Twitter.
   Even after 44½ years of living in the occident, I find certain western customs very strange. From Twitter.
   Number crunching from Private Eye, reposted from Twitter.
   Evaporated milk, reposted from Twitter.
   Triumph Herald advertisement from the Car Factoids on Twitter.
   Cadillac tailfins, reposted from Tumblr.
   This photo of Sophia Loren was captioned ‘© David Hurn | Sophia Loren, Inglaterra, 1965’ on Tumblr. I wonder if she is on the set of Stanley Donen’s Arabesque. Reposted from Tumblr.
   I had the pleasure of watching Peggy Sue Got Married again a few weeks ago. This was a nice scene at the end, that seemed to suggest that Peggy Sue had travelled back in time. John Barry’s score is sublime.
   The Murdoch method: reposted from my old NewTumbl account.
   Alexa Breit photographed by Sagaj, reposted from Instagram.

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Posted in business, cars, design, France, gallery, humour, India, interests, internet, marketing, media, New Zealand, politics, publishing, TV, UK, USA, Wellington | No Comments »


Autocade turns 11 as the web turns 30

12.03.2019


The latest model to appear on Autocade today: the Mazda CX-30.

It’s March, which means Autocade has had another birthday. Eleven years ago, I started a car encyclopædia using Mediawiki software, and it’s since grown to 3,600 model entries. The story has been told elsewhere on this blog. What I hadn’t realized till today was that Autocade’s birthday and the World Wide Web’s take place within days of each other.
   The inventor of the web, Sir Tim Berners-Lee, still believes that it can be used as a force for good, which is what many of us hoped for when we began surfing in the 1990s. I still remember using Netscape 1·2 (actually, I even remember using 1·1 on computers that hadn’t updated to the newer browser) and thinking that here was a global communications’ network that could bring us all together.
   Autocade, and, of course, Lucire, were both set up to do good, and be a useful information resource to the public. Neither sought to divide in the way Facebook has; Google, which had so much promise in the late 1990s, has become a bias-confirmation machine that also pits ideologies against each other.
   The web, which turns 30 this week, still has the capacity to do great things, and I can only hope that those of us still prepared to serve the many rather than the few in a positive way begin getting recognized for our efforts again.
   For so many years I have championed transparency and integrity. People tell us that these are qualities they want. Yet people also tell surveys that Google is their second-favourite brand in the world, despite its endless betrayals of our trust, only apologizing after each privacy gaffe is exposed by the fourth estate.
   Like Sir Tim, I hope we make it our business to seek out those who unite rather than divide, and give them some of our attention. At the very least I hope we do this out of our own self-preservation, understanding that we have more to gain by allowing information to flow and people to connect. When we shut ourselves off to opposing viewpoints, we are poorer for it. As I wrote before, American conservatives and liberals have common enemies in Big Tech censorship and big corporations practising tax avoidance, yet social networks highlight the squabbles between one right-wing philosophy and another right-wing philosophy. We New Zealanders cannot be smug with our largest two parties both eager to plunge forward into TPPA, and our present government having us bicker over capital gains’ tax while leaving the big multinationals, who profit off New Zealanders greatly, paying little or no tax.
   A more understanding dialogue, which the web actually affords us, is the first step in identifying what we have in common, and once you strip away the arguments that mainstream media and others drive, our differences are far fewer than we think.
   Social media should be social rather than antisocial, and it’s almost Orwellian that they have this Newspeak name, doing the opposite to what their appellation suggests. The cat is out of the bag as far as Big Tech is concerned, but there are opportunities for smaller players to be places where people can chat. Shame it’s not Gab, which has taken a US-conservative bent at the expense of everything else, though they at least should be applauded for taking a stance against censorship. And my fear is that we will take what we have already learned on social media—to divide and to pile on those who disagree—into any new service. As I mentioned, Mastodon is presently fine, for the most part, because educated people are chatting among themselves. The less educated we are, the more likely we will take firm sides and shut our minds off to alternatives.
   The answer is education: to make sure that we use this wonderful invention that Sir Tim has given us for free for some collective good. Perhaps this should form part of our children’s education in the 2010s and 2020s. That global dialogue can only be a good thing because we learn and grow together. And that there are pitfalls behind the biggest brands kids are already exposed to—we know Google has school suites but they really need to know how the big G operates, as it actively finds ways to undermine their privacy.
   The better armed our kids are, the more quickly they’ll see through the fog. The young people I know aren’t even on Facebook other than its Messenger service. It brings me hope; but ideally I’d like to see them make a conscious effort to choose their own services. Practise what we preach about favouring brands with authenticity, even if so many of us fail to seek them out ourselves.

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How can we help those fooled into believing what their local brands are?

06.01.2016

How interesting to see a silly Tweet of mine make the Murdoch Press and lead an opinion column—I’m told it even hit the news.com.au home page.
   It’s a very old joke that I’ve told since 2002, when I walked along Bay Road in Kilbirnie and saw a locksmith sign in Futura. Back then, Dick Smith Electronics had its logotype set in ITC Avant Garde Gothic. I really thought it was a Dick Smith sign at a first, fleeting glance, seeing CKSMITH. The joke was born.
   Most in my social media streams got it except a couple of Australians who had likely come across it via Murdochs a day late, one calling me ignorant (not sure how you can get that from one Tweet), and another ‘ahole’ (is this a misspelling of aloha?). As the funniest guy in their media is John Clarke, who was born in New Zealand, maybe humour doesn’t reach a couple of households there if it has to be imported. And the number of times John’s taken the piss about us, to my thorough enjoyment, means that some of us can take a joke. Perhaps we just have a sense of humour. We have to: it was the only way we could deal with our PM appearing on The Late Show with David Letterman. It is, to quote the man, ‘a bit of banter. No drama.’
   The false indignation “on behalf of others” is always a comical one, because it’s usually founded on a misplaced and unjustified sense of superiority. During a political campaign, they’re the ones I find the most humorous and least authoritative. Thick skin came with that territory.
   Neither deserves a response beyond what I said on Twitter, but the second one (with a fresh new account to troll from, always a good sign of someone who won’t stand by their words) highlights a point that I have made on this blog before.
   “Ruby Pond” notes, ‘The guy is pure Oz and started when you were in nappies and tried! Stick to your foreign companies, they really help Oz.’ I’m not sure what I was tried about, not having been to court while I was in nappies, but maybe she’s depending on the fact that not everyone remembers back to their infancy.
   Well done. She got this from an American-owned newspaper website (remember, Rupert’s no longer an Australian, nor is the HQ in Australia and hasn’t been for a long, long time), and, for the record, I’m not as old as the business that Dick founded. There’s also a suggestion that I must be Australian, because, after all, everyone on the planet must be. No other countries exist. I didn’t want to get into trans-Tasman rivalry in such a situation, nor was it appropriate to give a list of Australian corporate misdeeds in New Zealand. The term off-topic springs to mind.
   I told her, ‘Stick to your foreign media, they really help Oz.’
   Hers is that simplistic thinking that gets people supporting foreign-owned businesses when they believe they are supporting local ones.
   Dick’s been one of my personal heroes since his solo helicopter flight and I’ve been a customer of the chain he founded since I was old enough to buy my own tech gear. Entrepreneurs like him are the ones I’ve always encouraged, through mentoring and through my policies. However, the sad story of the company, no longer owned by Dick, is one of corporate greed—which the founder himself has been critical of. We haven’t learned the lessons of so many economic crises: Gordon Gecko’s mantra of ‘greed is good’ continues to drive the corporate world.
   The reason so many multinationals buy local brands is to fool the public into thinking they’re supporting their own. We’re guilty of it ourselves, and I recall using the examples of Just Juice and most of our local newspapers on this blog. People closed accounts at the National Bank when it became ANZ here, because of a suspicion of, dislike of, or rivalry with Australia, perceiving National to be a local bank. The problem there: ANZ had owned the National Bank for years before the rebranding of its own subsidiary, and prior to that it was part of Lloyds TSB in the UK. A lot of Australians think Ford and Holden are domestic players (though, oddly, not Toyota, which probably builds as many, if not more, cars there), just as many Britons still think they are buying British when they shop at Ford and Vauxhall.
   The situation with news.com.au differs slightly in that that business was started in Australia by Rupert Murdoch’s Dad, and it has grown from there—but the fact remains that its HQ is overseas and that’s where it pays its tax. Help to Australians: not a lot. The Murdoch Press’s globalization agenda won’t be one that the “buy Australian” crowd would support for the most part.
   But this is how brands work, because they encourage us to make mental shortcuts for the products and services we consume. I’ve devoted a good deal of my professional life to it. Some should encourage scrutiny because of the power they have (Wally Olins noted, many years ago, how some brands need to adopt notions that were once reserved for states), and it was hoped that, post-No Logo, we would be more inquisitive about the backgrounds to the organizations we support.
   Even though it’s our money and time, the sad thing is that this level of inquiry remains the province of the few, those people who are willing to scrutinize their own behaviour and practise what they preach. Social media have helped spread news of corporate misbehaviours (Volkswagen will attest to that) and more people are aware; but to counter that we get more information than we ever used to, and unless something resonates, will we just forget it?
   Therefore, it can only be something where people who have done the proper investigation get to have a say. And like all human endeavours, it can be scammed, so safeguards have to be built in.
   One of the reasons the Medinge Group awarded its Brands with a Conscience accolades for close to a decade was to champion the organizations that were getting it right, inviting transparency and scrutiny, championing good corporate citizenship, and engaging in socially responsible programmes. Among them were companies devoted to doing things right by the communities they were present in, whether it was Dilmah Tea, Tata Steel or Hennes & Mauritz.
   By our championing them, selected by a think-tank of leading brand professionals, we would be able to highlight shining examples of branding, as well as give them the sort of boost they deserved. If positive companies could increase their custom, and if positive non-profits could increase their influence, then we can do some good in the world.
   As people rightly want shortcuts in their busy daily lives, then the work at Medinge, if seen as an endorsement, would help them make a decision about whether to deal with that organization or not.
   It’s nice to be in that bubble, which makes me ever-grateful to get reminders that we still have a lot of work to do. If you’re genuinely desirous of helping your own, then we need to help create more ways of reminding people which organizations do just that. The Brands with a Conscience programme was definitely a very good way of doing it. What shall we do, in the post-peak-Facebook world of the second part of this decade, to get word out? Is it through video, thanks to greater bandwidth, that allows us to experience and understand more? Is this the coming of age of some form of virtual reality? Or, as we did when we first started exploring bulletin boards and email, time again for us to reach out to people in communities very foreign and different to ours through video chats—something like Google Hangouts but actually with people? (Yes, I know, Google fans, I was taking the piss.) Is Skype the service on which this can be built?
   I would have said that technology is the great democratizer, and maybe more of us should be giving out awards to truly deserving organizations, voted on by more of the public. But we come across the issue of quality versus quantity again: the Reputation Institute surveyed 60,000 people in 15 countries and still wound up with Nestlé among the most reputable firms in the world. Nestlé may do very good things in some quarters, but it hasn’t been able to avoid a lawsuit by environmental and public interests groups in California over its water-bottling operation there, or accusations by activists who believe the company wants to privatize water at the expense of public health. Volkswagen was there in the 2014 survey. We decide on image, and that image is the very thing that gets us making bad choices.
   The next innovators are already on to it, and we don’t even know that we seek it. But, in order to self-actualize, maybe organizing us—individuals, not corporations—into global communities is the next stage. We have seen Kiva work so positively, so how about making it more interactive? Naturally we will tend to choose to help those in our own countries first—crowdfunding campaigns show us that—but allowing us to understand another human being’s situation could be the challenge in a time when governments pursue their austerity agenda. Somehow, we can restore, at least to some degree, the optimism we had when we in the first world accessed the World Wide Web for the first time.

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It’s full circle for style.com: back to its origins in fashion retail

02.05.2015

Originally published in the online edition of Lucire, May 1, 2015



Top Earlier today, attempting to get into Style.com meant a virus warning—the only trace of this curiosity is in the web history. Above Style.com is back, with a note that it will be transforming into an e-tail site.

If there’s one constant in fashion, it’s change. The other one, which we notice thanks to a number of our team being well schooled on fashion history, is that trends always return, albeit in modified form. Both have come into play with Style.com, which announced earlier this week that it would become an ecommerce site.
   When Lucire started, we linked to style.com, but it wasn’t in our fashion magazines’ directory. It was, instead, in our shopping guide.
   In 2000, that all changed, and it began appearing under our fashion magazine links, where it was until today. An attempt to log in to the home page was met by a virus warning, preventing us from going further. We figured that this was part of the transformation of the website as it readied itself for the next era, discouraging people from peering. However, having had these warnings splashed across our own pages two years ago courtesy of Google’s faulty bot, when our site was in fact clean, there was a part of us taking it with a grain of salt. In either case, given the impending change, it was probably the right time to remove the link.
   This evening, Style.com is back and virus-free, with an overlay graphic announcing that the website will be changing. Plenty of our media colleagues have analysed the closure over the past week: the Murdoch Press has gossiped about how the layoffs were announced, WWD suggests editor-in-chief Dirk Standen didn’t know it was coming, based on rumours, while Fashionista puts it all into context by analysing just where ecommerce is within the fashion sector, and that content should be the answer over clothing sales.
   What is interesting is no one that we’ve spotted has mentioned how the style.com domain name (we’ve carefully noted it in lowercase there) has effectively come full circle. Perhaps we really are in the age of Wikipedia-based research, as this fact is not mentioned there at all.
   When Lucire launched in 1997, style.com was the website for Express Style, later more prominently, and simply, branded Express, a US fashion retailer. It’s not hard to imagine that had Express remained at the URL, it would have become an e-tailer; it has, after all, made the move into ecommerce at its present home, express.com. Like a fashion trend that comes back two decades later, style.com has gone back to its roots: by the autumn it’ll be e-tailing.
   The omission from the above paragraph is the sale of the style.com domain name by Express to Condé Nast in the late 1990s. We never completely understood the need to start a new brand to be the US home of Vogue and W; for many  years, typing vogue.com into the browser in the US would take one automatically to Style.com. Then, somewhere along the line, Condé Nast decided that vogue.com should be the online home of Vogue after all.
   But having made the decision to forge ahead with Style.com, Condé Nast did it with a lot of resources, and took its site to number one among print fashion magazine web presences in a remarkably short space of time. It devoted plenty of resources to it, and it’s thanks to Style.com that certain things that were once frowned upon—e.g. showing off catwalk collections after the show—became acceptable. Designers used to enjoy the fact that we and Elle US delayed online coverage, the belief being that the delay ensured that pirates could not copy their designs and beat them to the high street.
   To get itself known, Condé Nast bought advertising at fashion websites that were better known, including this one (yes, in 2000 that really was the case), at a time when online advertising cost considerably more than it does today.
   The muscle from the best known name in fashion publishing changed the way the media interacted with readers. Designers figured that if they wanted coverage, they would have to accept that their work would be shown nearly instantly. We became used to that idea, so much so that we now have to show the catwalk videos live in the 2010s.
   In some ways, the change makes sense: we’re talking about an Alexa rank in the 4,000s, which translates to plenty of traffic. The name is known, and most shoppers will make some association with Vogue. The official word is that Franck Zayan, formerly head of ecommerce for Galeries Lafayette, will helm the revised website, and he’s reporting that brands are coming on board rapidly.
   One shouldn’t mourn the loss of Style.com as a fashion news portal, since the content we’re all used to is bound to appear at Vogue. And in all the years we had it in our magazines’ directory, it was listed under our Vogue entry anyway. We await the new site to see what Condé Nast will do with it, and it may yet return to the spot where it once was in the 20th century, in the shopping guide.

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A tribute to Massimo Vignelli

29.05.2014

The below ran in Lucire today, though it is equally suited to the readers of this blog.


RIT

Massimo Vignelli, who passed away on May 27, was a hero of mine. When receiving the news shortly before it hit the media in a big way, from our mutual friend Stanley Moss, this title’s travel editor and CEO of the Medinge Group, I posted immediately on Facebook: ‘It is a sad duty to note the passing of Massimo Vignelli, one of my heroes in graphic design. When I was starting out in the business, Massimo was one of the greats: a proponent of modernism and simple, sharp typography. His influence is apparent in a lot of the work done by our brand consultancy and in our magazines, even in my 2013 mayoral campaign graphics. A lot of his work from half a century ago has stood the test of time. There was only one degree of separation between us, and I regret that we never connected during his lifetime. The passing of a legend.’
   This Facebook status only scratches the surface of my admiration for Vignelli. There have been more comprehensive obits already (Fast Company Design rightly called him ‘one of the greatest 20th century designers’), detailing his work notably for the New York subway map, and—curiously to me—glossing over the effect he had on corporate design, especially in the US.
   Vignelli, and his wife Lella, a designer in her own right and a qualified architect, set up the Vignelli Office of Design and Architecture in Milano in 1960, which had clients including Pirelli and Olivetti. In 1965, they moved to New York and Vignelli co-founded Unimark International (with Ralph Eckerstrom, James Fogelman, Wally Gutches, Larry Klein, and Bob Noorda), where he was design director. It was the world’s largest design and marketing firm till its closure in 1977.
   The 1960s were a great time for Vignelli and his corporate identities. He worked on American Airlines, Ford, Knoll, and J. C. Penney, and the work was strictly modernist, often employing Helvetica as the typeface family. Vignelli was known to have stuck with six families for most his work—Bodoni was another, a type family based around geometry that, on the surface, tied in to his modernist, logical approach. However, there were underlying reasons, including his belief that Helvetica had an ideal ratio between upper- and lowercase letters, with short ascenders and descenders, lending itself to what he considered classic proportions. The 1989 WTC Our Bodoni, created under Vignelli’s direction by Tom Carnase and commissioned by Bert di Pamphilis, adheres to the same proportions.
   Although my own typeface design background means that I could not adhere to six, there is something to be said for employing a logical approach to design. American corporate design went through a “cleaning up” in the 1960s, with a brighter, bolder sensibility. Detractors might accuse it of being stark, the Helveticization of American design making things too standard. Yet through the 1970s the influence remained, and to my young eyes that decade, this was how professional design should look, contrary to the low-budget work plaguing newspapers and books that I saw as I arrived in the occident.
   When the Vignellis left Unimark to set up Vignelli Associates in 1971 (and later Vignelli Designs in 1978), their stamp remained. The MTA launched Vignelli’s subway map the following year, and like the London Underground map by Harry Beck in 1931, it ignored what was above ground in favour of a logical diagram with the stops. Beck was a technical draftsman and the approach must have found favour with Vignelli, just as it did with those creating maps for the Paris Métropolitain and the Berlin U-bahn.
   New Yorkers didn’t take to the Vignelli map as well as Londoners and Parisians, and it was replaced in 1979 with one that was more geographically accurate to what was above ground.
   In 1973, Vignelli worked on the identity for Bloomingdale’s, and his work endures: the Big Brown Bag is his work, and it continues to be used by the chain today. Cinzano, Lancia and others continue with Vignelli’s designs.
   Ironically, despite a rejection of fashion in favour of timelessness, some of the work is identified with the 1960s and 1970s, notably thanks to the original cut of Helvetica, which has only recently been revived (a more modern cut is commonplace), and which is slightly less popular today. Others, benefiting from more modern layout programs and photography, look current to 2010s eyes, such as Vignelli Associates’ work for the Museum of Fine Arts, Houston.
   The approach taken by Lucire in its print editions has a sense of modernism that has a direct Vignelli influence, including the use of related typeface families since we went to retail print editions in 2004. Our logotype itself, dating from 1997, has the sort of simplicity that I believe Vignelli would have approved of.
   Vignelli was, fortunately, fêted during his lifetime. He received the Compasso d’Oro from ADI twice (1964 and 1998), the AIGA Gold Medal (1983), the Presidential Design Award (1985), the Honorary Royal Designer for Industry Award from the Royal Society of Arts (1996), the National Lifetime Achievement Award from the Cooper–Hewitt National Museum of Design (2003), among many. He holds honorary doctorates from seven institutions, including the Rochester Institute of Technology (2002). Rochester has a Vignelli Center for Design Studies, whose website adheres to his design principles and where educational programmes espouse his modernist approach. It also houses the Vignellis’ professional archive.
   He is survived by his wife, Lella, who continues to work as CEO of Vignelli Associates and president of Vignelli Designs; their son, Luca, their daughter, Valentina Vignelli Zimmer, and three grandchildren.

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