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Why It May Be Time to Buy Brazilian Stocks | Instant News

Luiz Inacio Lula da Silva, former president of Brazil, at a press conference in Sao Bernardo do Campo, Brazil, on March 10, 2021.

Victor Moriyama / Bloomberg

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Best Men’s Jewelry in Today’s Fashion | Instant News

Johnny Nelson came to jewelry back when he was a punk rapper known as Johnny Matchsticks, a nickname he got by stabbing a match into his pierced ears before the show. When she wanted to upgrade to matchstick earrings made of gold, she couldn’t find them – so she decided to figure out how to make them herself.

After finding a mentor in New York City’s diamond district and learning how to cast and cast precious metals, Nelson introduced punk and political design to his new line: razor rings, All Power Fist buttons, and portraits of civil rights heroes. pendants, pieces of which are informed by his experiences in underground music and as a victim of police brutality. “I know that I want to use my platform to spread awareness of the injustices we face, but I want to do it through a strong statement like a four finger ring,” he said.

When the Black Lives Matter protests erupted last spring, orders for Nelson’s job were high, so he spent his days cycling between his Brooklyn studios, protests, and the diamond district, while producing items that people like that. from Colin Kaepernick. “I realized that people needed this,” he said. “The guys who will be fighting on the front lines want their Malcolm X ring to give them an extra boost.” It was a period of great emotional pain for Nelson, but also awakened a new sense of purpose: “The work I do is inspire others to fight their struggles. To fight we fight.”

Jean Prounis started making jewelry after attending an ancient goldsmithing class in college.

Photo by Kenyon Anderson


Ancient Form, Modern Heritage

When you first retrieve the Prounist a pinky ring or bracelet, you might think you are handling a pure ancient treasure. The high-rusty gold designer Jean Prounis used has a deep and subtle luster, which is meant to evoke the tone of the jewelery found in the Greco-Roman gallery at the Metropolitan Museum of Art. The shape, too, seemed to be refined from generation to generation, and the stones seemed utterly elemental – Jean preferred coarse rocks that emphasized personality over perfection.

Jean’s curatorial approach is informed by her family’s Greek heritage and her grandfather’s extensive library of ancient Greek art, architecture and antiques. “When I was young, he would show me his books,” he said. “Whether I listened or not, I’m not sure, but it sure came out when I started making jewelry.” A finely woven chain, for example, is secured with clasps that echo the Mycenaean era pin design, and the gold-grained pyramidal pillar takes its inspiration from second-century Roman earrings found in Cyprus.


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Forging Dhaka-Glasgow CVF-COP26 solidarity: Hasina seeks to secure Vulnerable interests 48 | Instant News

The winner of UN’s Champions of the Earth and current president of the CVF calls for the solidarity of CVF-COP26 solidarity in a cover article he wrote for the April 2021 issue of The Diplomat magazine.

The prime minister opened an article reminding the context of taking over the presidency of the CVF for the second time in 2020 after being launched in 2009.

In 2019, President Hilda Heine of the Marshall Islands traveled to Dhaka to join the Global Adaptation Commission which Hasina co-hosted with former UN secretary general Ban Ki-moon.

Together, they warn the biggest emitters that global adaptation action is far from offsetting the scale of uncontrolled loss and damage, and the increasing number of millions of climate refugees no one wants to host.

“We warn them that no country or business can ultimately remain immune from the climate rage,” Hasina wrote.

He said he was captivated by the courage and leadership President Heine used in addressing the climate challenges of his island nations while voicing them as president of the forum, the global partnership of countries most vulnerable to the threat of climate change.

“When he proposed that Bangladesh – at a tipping point for the climate crisis and a global leader in adaptation – should take over the presidency of the CVF by 2020, I felt I had to accept it,” the prime minister wrote.

Launched by the Maldives along with 10 other climate-disabled countries, including Bangladesh, CVF now represents more than one billion of the world’s most vulnerable communities, whose survival is threatened by even the slightest rise in sea levels, frequent storms or rapid desertification.

For Bangladesh, often referred to as the ‘ground zero’ of natural disasters, climate change is a battle of survival waged by millions of resilient people whose homes, land and crops have been lost to the recurring outrages of nature.

Hasina said 2 percent of Bangladesh’s GDP is lost to extreme climate events every year. At the turn of the century it will be 9 percent; by 2050 more than 17 percent of Bangladesh’s coastline will sink and displace 30 million people.

“Six million Bangladeshis have become climate refugees. Yet we continue to bear 1.1 million Rohingya from Myanmar at the cost of environmental damage in Cox’s Bazar. Who will pay for this loss and damage? “he asked.

Noting that Bangladesh and other CVF countries contribute little to global emissions, the prime minister said, “It is time to address this climate injustice.”

Therefore, during his presidency, he has made it his mission to amplify the voice and interest of the CVF in any global climate discourse ahead of COP26, he said.

He noted that the CVF presidency in Bangladesh came at a difficult time: the world was already on the brink of surpassing 1.5 degrees by 2020; major economies are struggling to increase their Nationally Determined Contributions or NDCs at the end of last year; International cooperation in the climate sector has not been prioritized by the US for several years.

International climate finance is far from the $ 100 billion promised in Paris.

The G-20, which accounts for nearly 80 percent of global emissions, lacks the political will to finance transactional carbon markets to support low-carbon projects in vulnerable countries. The losses and damages are still very far away.

“And then COVID-19 hit us like a flash from the blue that triggered the three hazards of climate, health and nature.

“A violent awakening has finally forced the world to heed my warnings that the climate crisis is indeed an emergency.

And any recovery must be green, nature-based and resilient, ”wrote Hasina.

Therefore, he said, his first act as CVF president was to declare climate change a “planetary emergency” and call on all to be on a “war footing” to withstand a 1.5 degree rise in global temperatures.

In Fall 2020, there were very few NDCs, and COP26 was postponed, so Hasina launched the ‘Midnight Survival Deadline for Climate’ initiative at the CVF Leaders Summit, urging every leader from every country – “don’t fail to show leadership now, declare NDC which is extended no later than December 31. This is practically our survival deadline (CVF). “

After the launch, 60 governments submitted updated NDCs before December 31st. The UK’s NDC Renewal is most famous for being the first major economy to conform to 1.5 degrees and net zero by 2050.

The return of US President Joe Biden to the Paris agreement was also inspiring. “But those who fail to meet CVF’s midnight deadline, I urge them, to submit an ambitious NDC before COP26.

“The most vulnerable CVF members pledged no less than net zero by 2030, including Barbados, Costa Rica and the Maldives,” he said.

Bangladesh, the CVF member with the largest population, is also sending an interim NDC update with additional pledges above and above Paris to reduce methane emissions.

Hasina said climate adaptation and financing are top “survival” priorities for Bangladesh and the CVF as they strive relentlessly to protect their population from repeated extreme climate events.

“Realistically, my climate survival philosophy has become common sense. ‘Do yourself a favor’ and wait for nothing to save. Because, climate change will not prevent us from our slowness, “wrote the prime minister.

“As proof, I have long struggled for adaptation and development of local resilience which essentially is local actors, especially women and youth,” he added.

The double dangers of Typhoon Amphan and devastating floods cost Bangladesh $ 3.5 billion in GDP losses during last year’s pandemic, but the country’s disaster preparedness saved millions of lives.

Bangladesh has also learned to fund its own climate projects, according to Hasina, who cited the creation of a $ 450 million Bangladesh Climate Change Trust Fund which supports nearly 800 adaptation and resilience projects on its vulnerable coasts.

The country spends an average of 2.5 percent of GDP – $ 5 billion annually – on climate adaptation and resilience building through measures such as building sea walls, cyclone shelters and coastal plantations.

Bangladeshi scientists found nature-based solutions for coastal communities, such as salinity and stress resistant crops, rain reservoirs and pond sand filters, floating agricultural technology, and mobile water treatment plants.

Inspired by Bangladesh’s climate resilience credentials, said Hasina, the Global Center for Adaptation (GCA) led by Ban Ki-moon, IMF chief Kristalina Georgieva and Microsoft founder Bill Gates, urged the prime minister to host the GCA South Asia Regional Center in Dhaka.

He said the Center had established regional and global partnerships, including with CVF, to accelerate adaptation actions for vulnerable South Asian communities once it was founded in 2020.

“In Bangladesh, we are now fighting for climate prosperity. By pioneering the ‘Mujib Climate Prosperity Decade 2030’, named after the Founding Father of Bangladesh, Bangabandhu Sheikh Mujibur Rahman during the hundred years of his birth, I have called on the CVF countries to initiate a ‘climate prosperity plan’, ”said Hasina.

“But CVF can only do a lot of things on its own. There are limits to adaptation too! ” she says.

“It is very important to build a strong CVF-COP solidarity. We would like to see the Dhaka-Glasgow-CVF-COP26 Declaration emerge from the November meeting. “

On behalf of CVF countries, he asked the G20 to send an ambitious NDC before COP26.

He also demanded that climate finance be released, not only for a low-carbon economy, but also for the promised $ 100 billion, and 50 percent dedicated to building climate resilience.

“We want to see international carbon markets opened up to transnational climate cooperation and solutions found for our huge losses, damage and climate injustices.

“In our war against nature, we will lose unless we unite,” he warned.

“We are consciously destroying the support systems that keep us alive.

What planet should we leave for Greta Thunberg or those at the Bangladesh Coastal Youth Action Center? At COP26, we can’t let them down. “


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German Winds and RWE Solar Giants Ride on Renewable Waves | Instant News

Alex Kraus / Bloomberg

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Claudia Skoda knitwear revolutionized fashion in 70s Berlin | Instant News

Claudia Skoda on the fabrikneu roof in knitwear from the “Shake your Hips” collection, 1976 © Claudia Skoda

At the beginning 1970’s, Germany mode designer Claudia Skoda join the experiment Berlin collective. Based in the abandoned Kreuzberg factory, their studio space, ‘fabrikneu’, is very similar to Andy Warhol, with the turnstiles of cool beginner freaks: the models who pose for Helmut Newton, an artist who went on to gain international acclaim and percussion for the bands Tangerine Dream and Iggy Pop, to name a few. However, Claudia’s specialty is something one might find less anarchist: knitwear.

Completely self-taught, Claudia has recently started playing with flatbed knitting machines 1960’s, when she couldn’t find the kind of clothes she wanted to wear anywhere else. Although knitting was not always the medium associated with counter-culture, Claudia designed smoothly and freely, creating clothes that were synonymous with the times and would earn her a reputation as the “queen of textures” (PAPER, 1985). Dress for Sensation, a new exhibition at Kunstbibliothek in Berlin, check out these striking fashion releases throughout the 70s and 80s – lots of graphic bodycon pieces with slouches that are immodest – and West Berlin’s lush creative scene.

“Knitting is often associated in a clichéd way with housewives and eco hippies,” co-curator of the event Marie Arleth Skov show in the exhibition catalog, “[but it can] making statements about oddities, or pushing gender stereotypes to the point of absurdity. ” Designating artists such as Rosemarie Trockel, Louise Bourgeois, Tracey Emin, and Mike Kelley, Marie asserts that, on the right hand, knitting can invalidate “certain notions of household / female existence. Elsewhere in her design, Claudia makes front trousers and wide-collared jackets for men, and women’s tights in latex and Lurex. She staged elaborate and disruptive fashion shows to showcase this progressive outfit; the kind that models will see. hatch from a giant egg, for example.

With the exhibition opening this week, we called Claudia to discuss the pros and cons of Germany’s previous isolation, the allure New York City and the art of translating moods inward music.

The portrait series of Claudia Skoda, Tabea Blumenschein, and Jenny Capitain ca. 1977/78

** What state is your archive located in? Did you feel the story you wanted to tell for the exhibition, or did you find it along the way?
** Two years ago, the curator and I discussed it all. I want to do a [full] retrospective but once we started we realized I had too much material – so we stick with the 70s and 80s. At first, I worked with different materials and styles; it wasn’t until the mid 80’s that I developed a knit that I still work on to this day.

** How is your brand formed by fabrikneu? Sounds very collaborative.
** I try to include all creative and energizing contacts [from the studio] in my presentations, fashion shows and photos. We were like the center of a scene in Berlin; most of the artists living in this abandoned factory are with us. There’s a lot of stuff going in and out, and New York people will stop by for a music session. I make short films, and I catalog my creations. In Berlin, there aren’t many brands: just a few designers, mostly haute couture. It’s an open world: we do shows in our factories, and clients come from all over Europe. In the beginning, we made a lot of things; then we chose something. It’s not very economical! We went to fashion fairs – in Dusseldorf, Milan, Paris – and then took orders in advance.

Silke Grossmann, drawing for Claudia Skoda, collaboration with Cynthia Beatt, antique silver gelatin mold, 1983, © Silke Grossmann

Silke Grossmann, photo for Claudia Skoda, in collaboration with Cynthia Beatt, 1983, © Silke Grossmann

** Some pop culture icons put on your clothes: David Bowie wore your trousers in the 1980 music video “Ashes to ashes, “and clients at your New York boutique include Cher and Donna Summer. How do celebrities sign you up as a designer?
** We live on some sort of island – Berlin is closed, and we’re having a hard time connecting. That’s why I decided to open my shop in New York [on Thompson Street in SoHo]. David Bowie is our friend, and he said: “You have to go to New York or London or Paris.” That was in 1981; in 1982, we opened a shop. The Vivienne Westwood shop is across my street, so I can always see what he is doing. I love the way he displays his own style and the way he works in the industry. I travel between Berlin and New York all the time. In New York, I met people and realized what my position was – I couldn’t find out in Berlin!

** What is your position?
**Good, [seeing] how other designers work, that’s a completely different way of doing business in America. It also completely changed my style. It became a more international influence: American showbiz, but also Japanese designers [Comme des Garçons opened a store in the neighbourhood]. New York is about high sophistication – it’s also about streetwear. And it makes me think not only about evening gowns or ball gowns, but clothes that can be worn for the day that are also awesome. It was a new ‘measure’: that an item of clothing had to be special, international, wearable. I transferred that influence to Berlin.

Gertrude Goroncy, Untitled (Deep Dive for the Whales, Deutsche Guggenheim), C-Print, 1997, © Gertrude Goroncy

Gertrude Goroncy, Untitled (Deep Dive for the Whales, Deutsche Guggenheim), C-Print, 1997, © Gertrude Goroncy

** How did you get into fashion design? You worked in publishing at first, but your father was a tailor, and you grew up in a relationship with textiles.
** My dad was a “real” tailor – like the Savile Row style. As a child, I would sit in his workshop and think how difficult it was to work in a coat or overcoat jacket. I can’t imagine doing that. In the mid 60’s, young people came to Berlin, but there was nothing they could buy. I go to London, or Paris, or Amsterdam for clothes. I go to thrift store, and my inspiration is fashion from the 20s. I thought, ‘it’s hard to find good clothes in Berlin’ so I started making them, using a knitting machine. I love knitting as a medium because I can play around with color, shape, and transparency. That’s how I found my way forward. And vintage inspiration [confirmed] my aesthetic – whatever I make looks like it comes from a department store.

Rich Richter, Untitled (New Game Fashion Show, new), antique silver gelatin mold, 1976, © Rich Richter

Rich Richter, Untitled (New Game Fashion Show, new), antique silver gelatin mold, 1976, © Rich Richter

** How has your relationship with music developed? You do your own electronic experiments, and make friends with the people who make up the world of music. How many people can say that the guys from Kraftwerk created the visuals for their first record!
** Music is always at the factory. There is a girl who lives there [Esther Friedman] who is dating Iggy Pop. When I play music, I don’t dare consult a big star like Iggy or David – it’s just for fun. All around electronic music started in Germany. America first pop culture, but in Berlin, musicians found their own style. I do a lot of things with my friends; I started my own label. I recorded an EP with Manuel Göttsching, “Ich bin a Domina” (I Am a Dominatrix).

I worked on it for three years and then felt like I had to decide between fashion and music. I decided that I was a music consumer and not a music maker. My fashion shows always feature live music. I have friends “translate” the vibrations I imagine, and they will interpret it in their own way.

Rich Richter, untitled (Jenny Capitain in Claudia Skoda, Pablo Picasso fashion show, new), antique silver gelatin print, 1977, © Rich Richter

Rich Richter, untitled (Jenny Capitain in Claudia Skoda, Pablo Picasso fashion show, new), antique silver gelatin print, 1977, © Rich Richter

** Which other designers have you attracted to?
**Eckhaus Latta – I see a lot of similarities to how I was when I started. And they also do a lot of crocheting. I used to like Pierre Cardin; he put modernism into vogue at the time. And Rudi Gernreich. Today, I like it JW Anderson for what he did for Loewe. Big brands don’t really appeal to me. Big houses work with young designers and envelop them. I mostly see what other designers are for not to do – because it’s already out there. My biggest challenge has always been doing something that has never been done that way before.

** Having been in the business for decades, how do you feel about a certain aesthetic revival? Is it part of a natural cycle or is it an easy reference?
** I am a modernist. I wanted a modern style, one that doesn’t look back in a nostalgic way. As a consumer, I prefer real vintage as opposed to vintage remakes done by big brands. I am very inspired by the architecture and artists working now and the materials they use. There are changes in terms of knowledge of how to make fashion, such as the approach Iris Van Herpen, which I really like. But I am too old to think of new discoveries. Me, I still use my hands.

Claudia Skoda on the roof of the fabrikneu in knitwear from the collection

Claudia Skoda on the fabrikneu roof in knitwear from the “Shake your Hips” collection, 1976 © Claudia Skoda

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