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June 5, 2019 | News | No Comments

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5th Jun 2019

Planning your dream fairy-tale wedding can be a rewarding, yet rather daunting task. From selecting the flowers, and choosing the cake, to picking out the perfect band and saying yes to the dress – there are countless decisions to be made, and only so much time to make them.

Many of these responsibilities require you and your partner to dedicate a considerable amount of both time and energy to making the right selections. Thankfully, there is one particular part of the process that Wedding List Co. wishes to help you streamline, and it just so happens to be one of the best parts of planning your big day.  

Yes, we’re referring to the task of building the ultimate gift registry, one comprised of all the items you need in order to live happily ever after. On top of assisting you plan your wedding, Australian-based online registry Wedding List Co. is here to help your guests ensure the gifts they give are both meaningful and memorable. What more could you possibly ask for?

Avoid limiting yourselves to one particular store, or inadvertently signing up for more stress than you bargained for by splitting up your wish list across multiple sites, when, instead, you can create an all-inclusive registry with Wedding List Co. Whether you’re after particular presents, a wishing well, or would like to opt for charitable donations, Wedding List Co. has you covered.  

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Enlist the help of a dedicated registry concierge to assist you with everything from how the process works, to selecting products from categories including kitchenware, bed and bath, electronics, fun and outdoor, and travel, and featured brands like Georg Jensen, Iittala, Coco Republic, and Cultiver Linen. It’s really that easy. 

Given that you can also create, update and add gifts to your wish list at any time, there’s no excuse for you not to start building your ideal registry with Wedding List Co. today!

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5th Jun 2019

Picture this: US President Donald Trump is sitting down to a state banquet at Buckingham Palace with Britain’s ruling monarch, Queen Elizabeth II, and Her Majesty points out that the plates used for the dinner are from George IV’s Grand Service. What an honour! Or, maybe not? 

Was there, in fact, a hidden message in that plate choice that very subtly threw shade at the Trump? The Queen and her loyal, long-term palace staff are, after all, masters at graceful international diplomacy; having been the ruling monarch of the United Kingdom since 1953, The Queen has decades of experience. Trump, on the other hand, has been president for just over two years.

Of course, outwardly The Queen and any occasion she hosts are the epitome of grace, manners and decorum, she takes her duty as monarch very seriously and leads by example. However, she and her palace staff are all human with feelings and opinions of their own, which it could be speculated they may very well show by hiding telling messages in say, the choice of plates used during a dinner or drawing attention to a gift it’s highly likely the gift giver will not remember gifting. 

These tiny sleight-of-hand protests are especially important when The Queen and her staff are playing host to someone that is perhaps more of a duty rather than a delight, such as, for example, a person who allegedly hasn’t had kind words to say about a certain member of the royal family. 

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The crockery used during the state banquet held for Trump overnight could be considered one example of this very subtle shade throwing. Reuters reports the dinner service was commissioned by George IV in 1806, consisting of over “4,000 pieces for dining.” It’s an impressive dinner service to say the least, but, where it gets interesting is when you think about the message behind that particular dinner service; Britain was making 4,000-piece dinner services in 1806, whereas the US had only been declared an independent country just over 30 years prior. A historical message perhaps?

Another interesting moment of the Trump visit occurred over a pewter horse. Royal reporter Emily Andrews posted about the encounter on Twitter, noting that as The Queen, Trump and his wife, Melania, were walking together through Buckingham Palace, The Queen pointed out a pewter horse Trump had gifted The Queen during his visit to the UK in 2018, but when asked if he recognised it, he reportedly said “no”. Melania then tried to save the day by saying “I think we gave that to The Queen.” Melanie clearly got the memo about the pewter horse but it seems her husband did not. Another subtle shade throw?

Royal protocol for interacting with The Queen is a minefield of rules and regulations that even the most dedicated of students would find challenging, however The Queen is surely more forgiving of some people and situations than others. For example, could she have acted any differently when Trump reportedly greeted her with some sort of awkward, surely protocol-defying fist bump?

Britain's Queen Elizabeth II shakes hands with US President Donald Trump, Buckingham Palace, June 3, 2019. Image credit: Getty Images

 

The Queen, Kate Middleton and the Duchess of Cornwall wearing white to the state banquet could also be taken as a very subtle message to their guest. Wearing white has become synonymous with female political resistance and dates back to Britain’s suffragettes in the early 20th century. Was it a nod to that movement? We don’t know but we do know that The Queen is a very masterful woman.

Updated June 5, 2019: One further possible shade throwing example has since been unearthed by the internet in the form of the ruby tiara The Queen chose to wear for the state banquet. Read all the details of what Her Majesty’s choice of tiara could mean here.

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5th Jun 2019

“Our journey started with a group of wine industry mates who share a passion for organic wine, sustainable farming, community and the environment,” says Amy Miller, one of the co-creators of Vineful, a brand dedicated to what they call “mindful wine”. Miller says they weren’t able to find a single wine that matched these core values, so instead, they created Vineful. 

The brand is a monthly subscription service where you receive a box of wine that sits within the categories of organic, biodynamic, vegan friendly or preservative free. “We aim to offer a wine experience that reflects our commitment to quality and our core beliefs of being environmentally responsible, collaboration and giving back,” adds Miller. But what does that all mean? We quizzed the co-founder on how to know what impact your Friday night glass of pinot noir has on the environment.

How does Vineful work? 
“A monthly subscription includes free delivery of three bottles of wine that have been mindfully curated for you. Select from red or white wine, or perhaps you prefer a mix – it’s your choice. Every month you will get to discover three seriously good wines, allowing you to explore the mindful wine categories. Mindful wines are wines that are made with the consumer and the environment in mind. We also plant a tree for every wine box sold to help support the environment and future generations to come.”

Can you explain the difference between the types of “mindful” wines?
“Organic wine: the main difference between organic wine and traditional wine is that organic wines are made from grapes grown without artificial and chemical fertilisers, pesticides, fungicides and herbicides, with a focus instead on maintaining a healthy ecosystem. Organic farming is mindful of the environment and [on] minimising any impact on the land. 

Natural wine: a wine is considered natural when the grapes have been handpicked and crushed and nothing is added to tanks during fermentation (acid, sugar, enzymes). This allows the fruit to ferment on its own using the naturally occurring yeast on the grape’s skin. Natural wines are unfiltered, so you’ll often see sediment or ‘cloudiness’ in the bottle. Natural wine may not always be organic.

Biodynamic wine: biodynamic winemaking shares the organic approach of no chemical intervention but adds in practices for enriching the soil, planting, pruning and harvesting based on the moon cycle and astrological signs. All biodynamic wine is organic.

Preservative free wine: wines free of or [containing] no added preservatives. [These wines] are ideal for those sensitive to sulphur. Some preservatives in wine are a natural by-product of the winemaking process, which means that if you are sensitive to sulphur dioxide, look for wines that are labelled ‘free of or no added preservatives’ but know that minimal amounts of sulphur dioxide (SO2) may exist due to the fermenting process. 

Vegan friendly wines: wine is made from grapes, so you might think it’s vegan – however, it’s the things winemakers add during the winemaking process that makes most wines non-vegan. To counteract the cloudiness, winemakers introduce fining agents that act like magnets and attract the molecules winemakers don’t want to keep so they are easier to remove. The most common fining agents in winemaking are casein (a milk protein), albumin (egg whites), gelatin (animal protein from boiling animal parts), chitin (fibre from crustacean shells), blood and bone marrow and isinglass (fish bladder protein). The good news is there are a range of animal-friendly fining agents that can be used to make vegan wine, such as clay (bentonite), limestone and silica gel to name a few.”

You said you plant a tree for every three-bottle box sold. What impact does this actually have?
“Trees play a part in recycling nutrients for agriculture, a necessary element for wine production. That’s why we’ve made a promise to plant a tree for every three-bottle Vineful box that we sell. To do this we’ve teamed up with the wonderful crew at Carbon Neutral and their Plant-a-Tree program. The program plants a mix of more than 50 native species in the Yarra Yarra Biodiversity Corridor. This plays a fundamental role in removing carbon from the atmosphere as well as helping to reduce soil salinity, helping combat wind and water erosion, enhancing biodiversity and restoring habitat for the endangered Carnaby’s black cockatoo, malleefowl and other threatened flora and fauna.” 

What else are you doing to support sustainability?
“We have been mindful in every step of the way, from collaborating with organic and biodynamic farmers and winemakers who champion alternative practices, to our responsible packaging of boxes engineered to eliminate plastic, and giving back to causes that support the environment – all helping you to raise a glass to the world you want.”

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5th Jun 2019

If we didn’t already know how much Sophie Turner and Priyanka Chopra-Jonas stan their husbands, Joe Jonas and Nick Jonas respectively, this red carpet event confirmed it definitively.

Game of Thrones’s Sansa Stark (Turner) and Chopra-Jonas stepped out to support their husbands at the premiere of the Jonas Brothers’ new documentary, Chasing Happiness. And there was so much PDA action on the red carpet, it was almost enough to make onlookers blush.

Both Turner and Chopra-Jonas, who are now coined the “J sisters”, were snapped gazing adoringly at their respective husbands, gazes that were returned right back at them by their gents. Indeed, all three of the Jonas brothers, Joe Jonas, Nick Jonas and Kevin Jonas — who was accompanied by his wife and the third “J sister” Danielle Jonas — looked so loved-up and as if their fan clubs were full, with their wives as their number one fans.

Priyanka Chopra-Jonas and Nick Jonas attend the premiere Amazon Prime Video's Chasing Happiness, June 2019 in Los Angeles, California. Image credit: Getty Images

This is hardly surprising given how freshly minted both Turner and Chopra-Jonas’s marriages are — these four are all still in the honeymoon phase. Chopra-Jonas, 36, married Nick Jonas, 26, in a spectacular multi-event wedding in December 2018 after a whirlwind relationship that is rumoured to have only properly kicked off in May 2018 around Memorial Day weekend.

Turner, 23, and Joe, 29, tied the knot even more recently, staging a surprise wedding in Las Vegas this past May which was officiated over by none other than the Reverend Elvis Presley and live-streamed (possibly without Joe and Turner’s say-so) by Diplo. The couple are currently planning a second wedding, which will reportedly be held in France later this month.

The Jonas Brothers documentary premiere not only gave Turner and Chopra-Jonas the chance to show off their love for their husbands, it also provided the perfect stage for Joe Jonas to show that he might be the best Instagram husband of the whole family. E! News reports that between posing with his brothers, meeting fans and snuggling in with his wife, he also took time out to capture snaps of Turner that we look forward to seeing on her or his Instagram feed or Story later on.

How Dr. Seuss Changed Education in America

June 5, 2019 | News | No Comments

In 1939, at the age of thirty-five, Theodor Seuss Geisel was tinkering with an invention that was doomed to failure. Geisel had published a few books under the name Dr. Seuss, but he was hoping that a device he had patented, the Infantograph, would be a money-maker at the techno-utopian New York World’s Fair, which was opening that year. “If you were to marry the person you are with,” the banner that Geisel designed for his pavilion asked, “what would your children look like? Come in and have your INFANTOGRAPH taken!” In the tent, a couple would sit side by side; a double-lensed camera would blend their features together, then plop a composite mug shot atop an image of a baby’s body. “It was a wonderful idea,” Geisel insisted, but, as a feat of engineering, it was more of an evocation of outlandish, off-kilter Seussian machinery than it was a functional prototype. After much fiddling, he scrapped his plans, admitting, “All the babies tended to look like William Randolph Hearst.”

In “Becoming Dr. Seuss: Theodor Geisel and the Making of an American Imagination,” a new biography by Brian Jay Jones, this anecdote is mostly played for a laugh. But the impulse behind Geisel’s gadget is indicative of deeper concerns. Ever since John Locke articulated his thoughts on education, we have puzzled over what to project upon the blank slate of a child’s mind, remembering the philosopher’s counsel that “the little, and almost insensible impressions on our tender infancies, have very important and lasting consequences.” As Geisel grew into his role as Dr. Seuss, beloved children’s author, he came to represent a distinctly American repurposing of those reflections on childhood. As the mass-media landscape shifted and expanded throughout his life, Geisel eventually came to recognize the vital role of children’s literature. “Children’s reading and children’s thinking are the rock bottom base upon which this country will rise. Or not rise,” he asserted in an editorial, from 1960, in the Los Angeles Times. “In these days of tension and confusion . . . books for children have a greater potential for good or evil, than any other form of literature on earth.”

The path to that realization was a long one, riddled with accidents and detours. The genius of Dr. Seuss was the outcome of a personal and artistic evolution that spanned every decade of the American century, and Geisel wouldn’t fully embrace his profession or achieve his most significant triumphs until midlife and beyond. He began his career as a hired hand, providing cartoons and illustrations for magazines, ads, and other people’s books. Though the ad work was lucrative, he would soon cast about for more meaningful creative outlets, including writing for children. “I’d like to say I got into children’s books because I had a burning passion, a great message to bring to the youth of the world,” he told an interviewer late in life, “but it was because I was going nuts.” As the Second World War loomed, Geisel also threw himself into political cartooning, railing against the pro-fascist, anti-Semitic isolationism of Charles Lindbergh and Father Coughlin. After the United States entered the war, he joined the Army Signal Corps and created propaganda films under Frank Capra’s watch. For a brief period after the war, Hollywood beckoned, but Geisel’s few film projects that saw fruition ranged from disappointing to disastrous.

Throughout this period, Geisel published about a dozen children’s books under the name Dr. Seuss, ranging from his first, “And to Think That I Saw It on Mulberry Street,” in 1937, to “If I Ran the Circus,” in 1956, which were generally greeted by enthusiastic reviews but middling-to-decent sales. For the first two decades of his career, Dr. Seuss was hardly a household name. But, as the baby boom was hitting its peak and Sputnik was prompting much hand-wringing about the state of American education, a vigorous debate over literacy was beginning to take shape, and Geisel found himself thrust to the forefront of the battle.

For decades, schoolteachers had been parking their youngest students in front of basal readers or primers, exemplified by the Dick and Jane series. The pedagogical approach underlying these primers assumed that beginning readers learned new words best by associating them with pictures and memorizing them through dutiful repetition. By the middle of the nineteen-fifties, this “whole word” or “look and say” method was just starting to face pushback from proponents of phonics-based instruction, most visibly in Rudolf Flesch’s influential polemic “Why Johnny Can’t Read.”

It didn’t help that Dick and Jane belonged to what many have dubbed the dullest family on earth. The books were plotless, littered with mind-numbing, repetitious quasi-sentences. (“Look, Jane. Look, look. See Dick. See, see. Oh, see. See Dick.”) The illustrations were stodgy and bland. Flesch deemed the series “horrible, stupid, emasculated, pointless.” The author John Hersey, in an article on the literacy debate, for Life magazine, was not much kinder, calling the books “namby-pamby” and “insipid,” and the pictures “terribly literal.” Hersey wondered why primers couldn’t at least feature the talents of gifted children’s-book illustrators, and he listed Dr. Seuss among their ranks.

The head of Houghton Mifflin’s education division took note. He challenged Geisel to write a primer that emerging or reluctant readers would actually enjoy, pleading, “Write me a story that first graders can’t put down!” But for a wordsmith as playful and unconventional as Dr. Seuss—someone fond of phrases such as “howling mad hullaballoo,” who invented animals like the Yuzz-a-ma-Tuzz—there was a big catch: to qualify as a first-grade primer, the text would have to be tightly restricted to a list of three hundred and fifty simple, pre-approved vocabulary words, supplied by the publisher, with a preferred limit of just two hundred and twenty-five words. Could Dr. Seuss deliver a page-turner that contained itself to no more than two hundred and twenty-five real, English, mostly monosyllabic words?

Geisel agreed to give it a shot. For months, he pored over the word list, at times moaning and thrashing about on the couch, awaiting inspiration. According to one telling, Geisel “finally gave it one more chance and said, ‘If I find two words that rhyme and make sense to me, that’s the title.’ ” He was on the verge of giving up when “cat” and “hat” caught his eye. Several more months of excruciating writing and rewriting followed, as he wrested a coherent story from the restrictive word list. (His editor, Saxe Commins, who’d worked with the likes of Sinclair Lewis and William Faulkner, took the project every bit as seriously as adult literature—“he’d spend an hour talking about three or four lines,” Geisel recalled.) When Geisel went to deliver the final manuscript of “The Cat in the Hat,” Jones writes, “he knew he had something new and very different in his hands.”

Further Reading

More in this series on the power and pleasures of children’s books.

In Jones’s summation, “With its likable and somewhat subversive main character, galloping verse, and deliberate sense of humor, ‘The Cat in the Hat’ was everything that ‘Dick and Jane’ was not.” And yet Geisel had not exactly flouted the prevailing pedagogical approach; he’d turned some of its defects into merits. The stultifying repetitions of the typical primer had been replaced with joyously musical ones. Some of the cat’s most comically absurd escapades are entirely consistent with the look-and-say method, minus the terrible literalness that Hersey decried. What child hasn’t marvelled at the delightfully drawn and boldly hued books, and cup, and cake, and rake, and little toy ship and little toy man, and red fan, and fish, and milk on a dish (all plucked from that word list) as they teeter on the cat’s extremities? On the other hand, with its reliance on memorable rhyming pairs and word families, “The Cat in the Hat,” beginning with its catchy title, accentuated for early readers how sound and symbol correspond. The book served as a gateway to the phonics-based approach, which eventually supplanted the whole-word pedagogy.

In addition to stirring up a revolution in reading instruction, “The Cat in the Hat” was an immediate commercial sensation. “By some accounts,” Jones writes, “ ‘The Cat in the Hat’ was selling more than a thousand copies per day, on its way to selling 250,000 copies by Christmas of 1957, and more than three million copies within three years.”

The success of the book finally turned being Dr. Seuss into a day job for Geisel. Assured of the value of children’s literature, Geisel worked tirelessly at it for the next three decades. With the demand for well-crafted alternatives to traditional primers established, he expanded his duties, co-founding the imprint Beginner Books. He worked with a talented roster of children’s authors and illustrators, and he published some of his own most memorable works, which were specifically for the youngest segment of his audience. “Hop on Pop,” “One Fish Two Fish Red Fish Blue Fish”, and “Green Eggs and Ham”—which was born out of a bet that Geisel couldn’t pare down his vocabulary to just fifty unique words—were all published by Beginner Books.

But alongside this monumental achievement on behalf of little readers lies the other, equally significant portion of Geisel’s legacy: the Cat in the Hat and Sam-I-Am have taught generations of children to read, but the likes of the Grinch and the Lorax have guided their thinking and feeling. For, even as the Beginner Books publications proliferated, Geisel continued to produce these “big books,” as he called them, a number of which have cemented their status as classic fables for the modern age.

Although it might be tempting to bestow a kind of secular sainthood upon Dr. Seuss, the persona, Jones resists such a simplified portrayal of Geisel, the man. “Becoming Dr. Seuss” is more compelling than mere pop hagiography; it is sweeping in scope, unstinting in detail, and willing to criticize or contextualize when needed. One of the most affecting sections in Jones’s biography examines Geisel’s moral evolution, demonstrating how an artist could answer to his conscience independently, if imperfectly, decades before the advent of cancel culture. Jones doesn’t shy away from confronting some ugly stains from early in Geisel’s career, including misogynistic humor and stereotypical depictions of foreigners. Most shamefully, Geisel drew some viciously anti-Japanese cartoons during the war. While he trained his ire on the leaders and militaries of Germany and Italy, many of his comics broadly vilified the Japanese people, relying on crass visual signifiers and other racist cheap shots. One comic cast suspicion upon the loyalties of Japanese-Americans just days before President Roosevelt authorized their internment. A decade later, on an assignment for Life magazine, Geisel visited Kyoto, Osaka, and Kobe, touring schools to observe “how the Japanese child’s thinking had changed” under American occupation. Geisel was delighted, and perhaps chastened, when he saw drawings the children had made of their aspirations. Though one teacher conceded, “If we had given them this assignment ten years ago, every boy in Japan would have drawn himself as a general,” Geisel recounted that “Most had visions of themselves working for a better world.”

Jones paints Geisel’s piece for Life as perhaps the start of a penance, one that many believe culminated in “Horton Hears a Who!” (which Geisel dedicated to the professor who hosted him in Kyoto, calling him a “great friend”). In Jones’s eyes, this book “marked the first time [Geisel] had deliberately written a book with an ethical point of view.” It’s hard not to interpret the book, in which a big-hearted elephant vows to protect the microscopic inhabitants of a speck of dust, as an apology for his earlier prejudice. “A person’s a person, no matter how small”—or far away, or foreign—is Horton’s motto.

At the end of “Horton Hears a Who!,” a young kangaroo and his mother agree to protect the vulnerable beings whom they had previously refused to acknowledge. Geisel also concluded his two most overtly ideological books—”The Lorax,” a plea for conservation, and “The Butter Battle Book,” an allegory about the nuclear-arms race—with scenes of a child reckoning with the behavior of adults. In the tense final scene of “Butter Battle,” a frightened youngster looks on as his grandfather and his grandfather’s nemesis threaten each other with mutually assured destruction. On the last page of “The Lorax,” all we see of the child are two outstretched arms, ready to catch the seed that might replenish a world devastated by grownups’ greed and recklessness. Geisel reminds us that this is what we most long to see when we wonder what a child of ours would look like: someone who might receive the lessons that we were too late to learn.

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Ava DuVernay doesn’t like using the term “Central Park Five”—a moniker created by the press in the aftermath of the notorious and brutal assault of a twenty-eight-year-old woman, Trisha Meili. “They’re not the Central Park Five,” she tells the New Yorker staff writer Jelani Cobb. “They’re Korey, Yusef, Antron, Kevin, and Raymond.” They were five teens who were coerced into confessing to a terrible crime, by police determined to find a culprit. It was a time when “the police, the district attorney, the prosecutors [wanted] to get a ‘win’ on the board,” DuVernay says, “because there were so many losses, so much going wrong.” Cobb wrote in The New Yorker that “The reaction to Meili’s assault came as the nadir of a two-decade-long spiral of racial animosity driven by a fear of crime,” and notes that, in that same week, brutal attacks on women of color failed to generate any headlines or perceptible outrage. The story has returned to public consciousness in recent years because of its role in launching Donald Trump’s political career. One of Trump’s first political acts, in 1989, was to take out a newspaper ad calling for the execution of the boys, and he stuck by his view even after they were exonerated. DuVernay’s goal was to tell the story of those five boys and the men they became.

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“When They See Us” premièred on Netflix, on May 31st.

Courrèges ready-to-wear spring/summer 2019.

Karl Lagerfeld in signature black, Jackie Kennedy in supersized ovals, Audrey Hepburn in Manhattans, Elton John in kooky and outlandish, Tom Hiddleston and Tilda Swinton in Wayfarers in
Only Lovers Left Alive – everyone has their own take on wearing sunglasses. And the 1920s-born accessory is as synonymous with celebrity and the silver screen as it is with sunshine. But lately, sunglasses have experienced quite the design overhaul with a presence on the international spring/summer ‘19 catwalks that has seen them go from supporting to starring role.

Sunglasses took on the guise of ski masks at Gucci and Loewe, but were conversely thin with bold framework at Courrèges; Prada opted for insect-like styles, while Balenciaga went playful and oversized, and Dior got very reflective. And at new-look Celine, almost every look was accompanied by a pair of shades to underpin the burgeoning cool factor.

Balenciaga ready-to-wear spring/summer 2019.

“Design has evolved from the traditional offer of basic metal-frame aviators and acetate readers to more statement pieces that express individualism,” says Gary Bott, director of cult frame innovator Gentle Monster. Since launching in 2011, the Korean brand has become known for its experimentation with signature collections, such as the bestselling Flatba, which features the lens mounted on top of the frame, not inside, to create a flat and clean aesthetic.

“We experiment, not just with product design but also spatial design,” Bott says, referring to the brand’s penchant for unique retail concepts. Which, as a result, perhaps goes some way in explaining why sunglasses across the board have now become so much more designed and statement-making than ever before.

Gucci ready-to-wear autumn/winter ‘19/‘20.

A look ahead to the autumn/winter ‘19/‘20 collections and this trend shows no signs of abating: sunglasses are morphing into full-on visors at Gucci and retro-slim rectangles at Louis Vuitton, while the latter’s cruise 2020 collection proffers jewel-hued lenses and goggle-aviation shapes, often worn with a helmet-type head cap.

The beauty, of course, is that sunglasses quickly and completely transform your appearance. The allure is in the styling, something that strikes a chord in 2019 as we increasingly devote time to what we wear and look like on the digital screen and the social media lens replaces Hollywood’s.

Louis Vuitton ready-to-wear autumn/winter ‘19/‘20.

It might be no surprise to hear then that for luxury online retailer Net-A-Porter, sunglasses are its third most searched accessory, with Balenciaga leading the way with its super-designed aesthetic, and new brand Anna-Karin Karlsson, with its ostentatious bling, also performing well. The e-tailer has plans to further indulge our optical obsession with the launch of the Insta-friendly Barcelona brand Kaleos (think pronounced, angular and confident shapes that will get you noticed) and will play host to Zimmermann’s first sunglasses line (the brand is currently best known for its swimwear).

Loewe ready-to-wear spring/summer 2019.

Historically, the existence of sunglasses can be traced back as far as Roman times when, supposedly, Emperor Nero would watch gladiator sports through an emerald to protect his eyes from the light. Similarly, the Inuit are said to have worn snow goggles crafted from a piece of wood or bone with a small slit at the front to protect themselves from snow blindness. But the actual first pair of dark-lens glasses are thought to have been produced in 1885; while Sam Foster, the founder of the US eyewear maker Foster Grant, started mass-producing the eyewear in 1929. In 1936, Edwin H. Land introduced a polarised version.

Christian Dior ready-to-wear autumn/winter ‘19/‘20.

Each decade since has had its own defining styles – from the cat’s-eye of the 1950s to the playful plastics of the 1980s. The hallmark of the 2010s as it draws to a close? Sunglasses that in many ways speak of the entire evolution, or rather revolution, of the eyewear to date. Goggles, visors and masks are among the most throwback and avant-garde styles, while at the opposite end of the spectrum there are tiny, tech-y, sci-fi and futuristic looks. No longer just a cool or practical accessory, sunglasses are now a complex statement of individualistic style and intent.

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Image credit: Getty Images

After welcoming baby Archie to the world last month, Prince Harry and Meghan Markle have most likely been settling into the ups and downs of new parenthood. Now stationed at their new home, Frogmore Cottage in Windsor, they’ve already played host to a bunch of friends and renovated the estate to make it more homely and fitting for the new Sussex family member.

But it seems they’re not done making changes, with a new report by the Daily Mail suggesting they’re now set on landscaping the garden, as well as adding in new windows and doors. While we know many changes have been made to the interior of the Grade II-listed Frogmore Cottage, with the couple working with interior designer Vicky Charles to modernise the new home, it seems the new parents are keen to overhaul the exterior. It’s said that the Frogmore Cottage outbuilding will receive new work on its doors, windows and external walls.

Image credit: Supplied

According to the royal source speaking to the Daily Mail, “they want to make the house perfect for family life” – and this obviously extends to Frogmore Cottage’s garden. The changes have been revealed in a series of Windsor and Maidenhead Council applications, which outline proposed landscaping work, including the installation of outdoor lighting. “The Duchess is very involved in the project and wanted the final design to be perfect for them and Archie so they have called the builders back again to sort some parts of the build out,” says the source.

“But this is not all, the couple are now looking at finishing off their garden to make it perfect for them and Archie. Lighting is a key part of the scheme not just to make the garden pretty but also for security reasons.”

Image credit: GOR/Getty Images

The Duke and Duchess of Sussex moved into Frogmore Cottage in April this year, amid much speculation about the state of their relationship with Prince William and Kate Middleton. According to reports, the move was delayed by some of Markle’s last-minute changes, some of which included requests for larger bedrooms and ensuites, a larger kitchen and more bookshelves.

While we have no idea what prompted the next round of changes to Frogmore Cottage (the impending British summer? Paparazzi?), no matter what the reason, isn’t it nice to know even the royal family has to apply to its local council for permission to renovate – just like every other commoner?

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This morning, guests took their eggs with a side of tech at the Vogue Codes In Conversation breakfast presented by Audi. The breakfast, held at Adelaide’s 2KW Bar and Restaurant, included a panel of Canaria Technologies CEO and head designer, Alex Moss, and Australian Olympic cyclist (and two-time gold medalist), Anna Meares.

Upon arrival, guests settled in over tea and coffee while Audi Australia chief marketing officer Nikki Warburton welcomed the room, and shared how the automotive business is working to champion women through their various female ambassadors, and initiatives like #DriveProgress—a program designed to advocate for equal female professional opportunities, both within and outside of the automotive industry.

Interestingly, the two intersected remarkably, highlighting that the tech industry, and the women within it, are an incredible bunch (and thus why the Vogue Codes event series was originally created). Both Moss and Meares served up multiple pearls of wisdom that left the room feeling inspired, the best of which we’ve rounded up below. Keep scrolling for six lessons we learnt at the Vogue Codes In Conversation breakfast presented by Audi.

Career transitions aren’t always easy

Moss actually worked in fashion, art, and design prior to founding Canaria—a tech company that manufactures life-saving medical devices for miners. She came to a point where she felt a little lost and lacking purpose, and made the decision, albeit a difficult one, to course correct. “My shift was wild, hard, and unorthodox. I was working 10 hours a day trying to take what I’d learnt in design, and integrate it into real-life.”

Meares’s experience was a similar one when she retired from the world of elite sports three years ago. “I was overwhelmed at the loss of routine. Whilst competing, the highs were incredibly high. When I stepped away, there was far less attention, and normal was a foreign concept,” she told guests, before adding: “My dad told me I needed to find a new passing.” Meares has re-enrolled in art school, and recently become a foster parent: a role she describes as “incredibly fulfilling and rewarding.”

But your skills will likely translate

Moss might have made an unimaginable jump from fashion to tech, but it was essentially her underlying skill set that put her in such good stead. “My experience in art, fashion, and architecture design was what got me interested in technology design, specifically medical devices. The applications were somewhat the same.” If you are considering jumping industries, know that your knowledge, skills, and even your way of thinking will serve you, if not give you an edge, as it did for Moss.

Take ‘what if’ and turn it into ‘what is’

Seven months out from the 2008 Beijing Olympics, Meares fell off her bike at 68 km per hour, and broke her neck. The injury was so severe, that she was a mere two millimetres from a clean break that would have likely rendered her either dead, or a quadriplegic.

While the physical effects were obviously huge, it was the mental anguish that was holding her back (Meares told guests it took two weeks and a psych team to even get her back in the same room as her bike). Incredibly, she went on to recover and win the silver at the Beijing Olympics. Her biggest takeaway? “I learnt to separate the ‘what if’ from the ‘what is’. I spent a lot of time thinking, ‘what if I had broken that extra two millimetres—I might have died’. I was terrified to ride again, let alone competitively, until I changed my perspective to ‘that two millimetres is what saved my life’. That was my tangible reality, and I was in a whole new headspace from that point. Without that accident, I would never have had the success I’ve had.”

Be strategic

When Meares wanted to win the gold medal at the 2012 London Olympics, it was fellow cyclist and main opponent Victoria Pendleton who stood in her way. But aside from working on perfecting her own performance, Meares also strategically analysed Pendleton’s: “My team and I watched 300 hours of race footage [of Pendleton], analysing her riding, and using data to draw the conclusion that 95 per cent of the time her rival was in front of her in the race, she [Pendleton] would win, whereas it was only a 60 per cent win rate if they were behind.” While there was a lot more involved, it was essentially this strategic play in her positioning that saw Meares take home the Olympic gold on that occasion—proving that while luck is often a factor in success stories, strategy and hard work are paramount.

Dress to feel powerful

They say dress for the job you want, not for the job you have, but Moss looked every inch the tech genius at this Vogue Codes event wearing a futuristic jacket made to resemble the look of recycled iPhone screens, complete with leather pants, patent heels, and a killer winged liner. The archaic idea of women not being taken seriously in the tech space isn’t a cliché lost of Moss, but she’s a huge believer in using her dress as a signifier of power. “If I’m going to stand out, why not stand out in a way that conjures up power and panache?” Whether it’s a theatrical element, like Moss, or just a swipe of red lipstick, there’s no shame in empowering yourself professionally through dress.

Seek external help, and surround yourself with smart people

It was Meares’s raw talent that ultimately afforded her success, but she was surrounded with a team of experts focused on bettering her performance. Coaches and mentors are obvious ones, but Meares even shared that her bike was kitted out with a mini computer under the seat that collected data pertaining to her physical performance. This was then passed on to a team of sports scientists who were able to use their expertise to perfect her training regime. Proof that teamwork really does make the dream work.

Similarly, Moss told guests that a huge part of her success is in part due to getting out in the field, and asking the right people for their opinion and to validate her idea before she acted on it. It was at a networking event held by Richard Branson that Moss got to talking with a venture capitalist who had previously invested with Twitter. He directed her to Australia, specifically Brisbane, to target the mining industry—a move that has been paramount to Canaria’s rapid upwards trajectory. While most of us don’t have access to Branson or venture capitalists, the advice here is to seek external input, and find your success with the help of others.Click Here: Celtic Football Shirts