Welsh opera singer Katherine Jenkins has the moves on Dancing with the Stars – and has the style off the dance floor, as well. Katherine was spotted in this feminine frock as she and her dance partner, Mark Ballas, were making an appearance on Good Morning America. We have rounded up similar items so you can replicate her fresh, spring look.
What’s the secret to Katherine’s chic style? She told Cosmopolitan UK that she has learned to dress for her body type.
“I try and dress in things that suit my body shape because I’m quite curvy,” she said. “I really love cute little dresses. I’m far more of a dress girl than jeans. Day dresses are good because you can still feel girlie without feeling over-the-top.”
The Welsh beauty stays true to her style in this floral belted sundress paired with peep-toe wedges that show off her tan. Copy her look in this Disty Floral Belted Surplice Dress from Forever 21 that is a great bargain at only $19.80. This dress features a sexy v-neckline and feminine full skirt that will flatter your curves.
Belted dresses are a huge trend this season and you can wear this look by pairing your own belt to a dress to create an entirely new look. The Lush Print Blouson Dress from Nordstrom ($44) would look great paired with a leather belt and would give you a fresh look like Katherine’s chic style.
Katherine spices up her look with coral wedge sandals that highlight the warm colors in her dress. She said she often opts for heels over flats. “I do like to wear little sandals in the summer but with most things I put heels on because I LOVE shoes,” she says.
2012年6月10日星期日
2012年6月7日星期四
The tension between brands and bloggers is resulting
There’s been some backlash from designers and brands as they question having to pay bloggers from $5,000 up to $50,000 to work with them. Skeptics question whether paying bloggers results in significant return on investment, especially in comparison to a magazine or television ad. Besides, some brands contend, if bloggers are journalists, journalists aren’t paid for writing about a company.
Bloggers argue back that their fees have substantial ROI because blogs can drive millions of page views a month both on their sites and the brand’s Web site. So why shouldn’t they be paid? And while some bloggers are journalists in the true sense, most of them don’t consider themselves journalists on par with those at The New York Times or the The Wall Street Journal. They are more like columnists, expressing opinions about what they see.
“When you want to work with a blogger in a way that you would with any influencer — whether it’s a photographer, a stylist, a designer for your windows, a public endorser of your brand, advertising or a design collaboration — that’s where you have to compensate because you would compensate anyone for those things,” said Karen Robinovitz, co-founder and chief creative officer of Digital Brand Architects, who considers herself the pioneer of “blogger agents.”
She pointed out that if a brand sends a blogger a box of clothes with the intent of having them create four dedicated full looks that they need shot for posts, the talent has to location scout — and is responsible for styling, hair, makeup, photography, art direction, retouching, copywriting and posting.
“That takes a magazine sometimes 20 people to pull off,” Robinovitz said.
The tension between brands and bloggers is resulting from the ever-evolving world of the Web. As brands increase their involvement with bloggers in terms of coverage and projects, the line between what they should be paid for and what they shouldn’t is growing increasingly blurry.
For between $5,000 and $20,000, a brand can work with an influential blogger to host an event (plus airfare, hotel and entertainment, of course) — one that gets upward of a few million page views a month and will cross-promote the brand on the blogger’s site (although the jury is still out on proving ROI from page views, with sales being the only concrete measure). Starting from $20,000 to $25,000 (and up), a company can book a blogger for various weeklong projects during Fashion Week — with some bloggers fetching nearly $50,000 for even longer-term partnerships. In 2010, Bryanboy’s Bryan Grey Yambao boasted that he made more than $100,000 a year from blogging (and got a lot of flack for it) — which by today’s standards seems quite low for a top-tier blogger, especially when one factors in the partnerships with advertising and other heavily integrated projects.
But how can brands know the money is well spent? Neiman Marcus measures the effectiveness of a campaign by tracking page views, uniques, impressions, referral traffic, as well as engagement through “likes,” comments, retweets, replies, brand mentions, shares and increases in in-bound and out-bound links, according to vice president of corporate public relations Gabrielle de Papp.
She recently voiced a complaint about the going rates for bloggers at a panel with Song of Style’s Aimee Song at the Lucky Blogger Conference in Santa Monica, Calif., where she said, “editorially sized budgets” sometimes hinder the ability to work with bloggers.
Bloggers argue back that their fees have substantial ROI because blogs can drive millions of page views a month both on their sites and the brand’s Web site. So why shouldn’t they be paid? And while some bloggers are journalists in the true sense, most of them don’t consider themselves journalists on par with those at The New York Times or the The Wall Street Journal. They are more like columnists, expressing opinions about what they see.
“When you want to work with a blogger in a way that you would with any influencer — whether it’s a photographer, a stylist, a designer for your windows, a public endorser of your brand, advertising or a design collaboration — that’s where you have to compensate because you would compensate anyone for those things,” said Karen Robinovitz, co-founder and chief creative officer of Digital Brand Architects, who considers herself the pioneer of “blogger agents.”
She pointed out that if a brand sends a blogger a box of clothes with the intent of having them create four dedicated full looks that they need shot for posts, the talent has to location scout — and is responsible for styling, hair, makeup, photography, art direction, retouching, copywriting and posting.
“That takes a magazine sometimes 20 people to pull off,” Robinovitz said.
The tension between brands and bloggers is resulting from the ever-evolving world of the Web. As brands increase their involvement with bloggers in terms of coverage and projects, the line between what they should be paid for and what they shouldn’t is growing increasingly blurry.
For between $5,000 and $20,000, a brand can work with an influential blogger to host an event (plus airfare, hotel and entertainment, of course) — one that gets upward of a few million page views a month and will cross-promote the brand on the blogger’s site (although the jury is still out on proving ROI from page views, with sales being the only concrete measure). Starting from $20,000 to $25,000 (and up), a company can book a blogger for various weeklong projects during Fashion Week — with some bloggers fetching nearly $50,000 for even longer-term partnerships. In 2010, Bryanboy’s Bryan Grey Yambao boasted that he made more than $100,000 a year from blogging (and got a lot of flack for it) — which by today’s standards seems quite low for a top-tier blogger, especially when one factors in the partnerships with advertising and other heavily integrated projects.
But how can brands know the money is well spent? Neiman Marcus measures the effectiveness of a campaign by tracking page views, uniques, impressions, referral traffic, as well as engagement through “likes,” comments, retweets, replies, brand mentions, shares and increases in in-bound and out-bound links, according to vice president of corporate public relations Gabrielle de Papp.
She recently voiced a complaint about the going rates for bloggers at a panel with Song of Style’s Aimee Song at the Lucky Blogger Conference in Santa Monica, Calif., where she said, “editorially sized budgets” sometimes hinder the ability to work with bloggers.
He made the shoes with pink
Tatehana, who has made more than 20 pairs for Lady Gaga over the last two years, said he took the traditional “geta” shoes of geishas and made a modern form with his sculptural platforms.
“My work became an icon. It worked not only as branding for me. It also became part of her branding,” Tatehana said in a recent interview at his Tokyo workshop, cluttered with art books and his sleek shoes — some glittering with Swarovski crystals, others with golden studs.
The 26-year-old, who evokes the pensive mood of a monk with his quiet voice, long hair tied back in a bun and baggy Yohji Yamamoto pants, was still a student when his career took off. In fact, Lady Gaga’s first pair of Tatehanas had been the subject of his graduation thesis at the prestigious Tokyo University of the Arts, where he studied traditional weaving and kimono dyeing.
He made the shoes with pink, reptilian-looking leather from a stingray, common in Japanese crafts such as decoration for swords. He started his fashion brand by trumpeting the design in an email he sent to dozens of people in the industry.
He received just three responses: one from a blogger, one from a journalist and one from Lady Gaga’s stylist.
Lady Gaga was not available for comment. But fashion guru and beer heiress Daphne Guinness said she is a big fan.
“I am so happy to have a friend who speaks the same language as me — not English or Japanese, but the language of art, which transcends linguistics,” Guinness said. “He is truly a unique talent.”
“My work became an icon. It worked not only as branding for me. It also became part of her branding,” Tatehana said in a recent interview at his Tokyo workshop, cluttered with art books and his sleek shoes — some glittering with Swarovski crystals, others with golden studs.
The 26-year-old, who evokes the pensive mood of a monk with his quiet voice, long hair tied back in a bun and baggy Yohji Yamamoto pants, was still a student when his career took off. In fact, Lady Gaga’s first pair of Tatehanas had been the subject of his graduation thesis at the prestigious Tokyo University of the Arts, where he studied traditional weaving and kimono dyeing.
He made the shoes with pink, reptilian-looking leather from a stingray, common in Japanese crafts such as decoration for swords. He started his fashion brand by trumpeting the design in an email he sent to dozens of people in the industry.
He received just three responses: one from a blogger, one from a journalist and one from Lady Gaga’s stylist.
Lady Gaga was not available for comment. But fashion guru and beer heiress Daphne Guinness said she is a big fan.
“I am so happy to have a friend who speaks the same language as me — not English or Japanese, but the language of art, which transcends linguistics,” Guinness said. “He is truly a unique talent.”
2012年6月6日星期三
Bloggers argue back that their fees have substantial ROI
There’s been some backlash from designers and brands as they question having to pay bloggers from $5,000 up to $50,000 to work with them. Skeptics question whether paying bloggers results in significant return on investment, especially in comparison to a magazine or television ad. Besides, some brands contend, if bloggers are journalists, journalists aren’t paid for writing about a company.
Bloggers argue back that their fees have substantial ROI because blogs can drive millions of page views a month both on their sites and the brand’s Web site. So why shouldn’t they be paid? And while some bloggers are journalists in the true sense, most of them don’t consider themselves journalists on par with those at The New York Times or the The Wall Street Journal. They are more like columnists, expressing opinions about what they see.
“When you want to work with a blogger in a way that you would with any influencer — whether it’s a photographer, a stylist, a designer for your windows, a public endorser of your brand, advertising or a design collaboration — that’s where you have to compensate because you would compensate anyone for those things,” said Karen Robinovitz, co-founder and chief creative officer of Digital Brand Architects, who considers herself the pioneer of “blogger agents.”
She pointed out that if a brand sends a blogger a box of clothes with the intent of having them create four dedicated full looks that they need shot for posts, the talent has to location scout — and is responsible for styling, hair, makeup, photography, art direction, retouching, copywriting and posting.
Bloggers argue back that their fees have substantial ROI because blogs can drive millions of page views a month both on their sites and the brand’s Web site. So why shouldn’t they be paid? And while some bloggers are journalists in the true sense, most of them don’t consider themselves journalists on par with those at The New York Times or the The Wall Street Journal. They are more like columnists, expressing opinions about what they see.
“When you want to work with a blogger in a way that you would with any influencer — whether it’s a photographer, a stylist, a designer for your windows, a public endorser of your brand, advertising or a design collaboration — that’s where you have to compensate because you would compensate anyone for those things,” said Karen Robinovitz, co-founder and chief creative officer of Digital Brand Architects, who considers herself the pioneer of “blogger agents.”
She pointed out that if a brand sends a blogger a box of clothes with the intent of having them create four dedicated full looks that they need shot for posts, the talent has to location scout — and is responsible for styling, hair, makeup, photography, art direction, retouching, copywriting and posting.
2012年6月5日星期二
A Closer Look at the Business of Blogging
There’s been some backlash from designers and brands as they question having to pay bloggers from $5,000 up to $50,000 to work with them. Skeptics question whether paying bloggers results in significant return on investment, especially in comparison to a magazine or television ad. Besides, some brands contend, if bloggers are journalists, journalists aren’t paid for writing about a company.
Bloggers argue back that their fees have substantial ROI because blogs can drive millions of page views a month both on their sites and the brand’s Web site. So why shouldn’t they be paid? And while some bloggers are journalists in the true sense, most of them don’t consider themselves journalists on par with those at The New York Times or the The Wall Street Journal. They are more like columnists, expressing opinions about what they see.
“When you want to work with a blogger in a way that you would with any influencer — whether it’s a photographer, a stylist, a designer for your windows, a public endorser of your brand, advertising or a design collaboration — that’s where you have to compensate because you would compensate anyone for those things,” said Karen Robinovitz, co-founder and chief creative officer of Digital Brand Architects, who considers herself the pioneer of “blogger agents.”
She pointed out that if a brand sends a blogger a box of clothes with the intent of having them create four dedicated full looks that they need shot for posts, the talent has to location scout — and is responsible for styling, hair, makeup, photography, art direction, retouching, copywriting and posting.
“That takes a magazine sometimes 20 people to pull off,” Robinovitz said.
The tension between brands and bloggers is resulting from the ever-evolving world of the Web. As brands increase their involvement with bloggers in terms of coverage and projects, the line between what they should be paid for and what they shouldn’t is growing increasingly blurry.
For between $5,000 and $20,000, a brand can work with an influential blogger to host an event (plus airfare, hotel and entertainment, of course) — one that gets upward of a few million page views a month and will cross-promote the brand on the blogger’s site (although the jury is still out on proving ROI from page views, with sales being the only concrete measure).
Starting from $20,000 to $25,000 (and up), a company can book a blogger for various weeklong projects during Fashion Week — with some bloggers fetching nearly $50,000 for even longer-term partnerships. In 2010, Bryanboy’s Bryan Grey Yambao boasted that he made more than $100,000 a year from blogging (and got a lot of flack for it) — which by today’s standards seems quite low for a top-tier blogger, especially when one factors in the partnerships with advertising and other heavily integrated projects.
Bloggers argue back that their fees have substantial ROI because blogs can drive millions of page views a month both on their sites and the brand’s Web site. So why shouldn’t they be paid? And while some bloggers are journalists in the true sense, most of them don’t consider themselves journalists on par with those at The New York Times or the The Wall Street Journal. They are more like columnists, expressing opinions about what they see.
“When you want to work with a blogger in a way that you would with any influencer — whether it’s a photographer, a stylist, a designer for your windows, a public endorser of your brand, advertising or a design collaboration — that’s where you have to compensate because you would compensate anyone for those things,” said Karen Robinovitz, co-founder and chief creative officer of Digital Brand Architects, who considers herself the pioneer of “blogger agents.”
She pointed out that if a brand sends a blogger a box of clothes with the intent of having them create four dedicated full looks that they need shot for posts, the talent has to location scout — and is responsible for styling, hair, makeup, photography, art direction, retouching, copywriting and posting.
“That takes a magazine sometimes 20 people to pull off,” Robinovitz said.
The tension between brands and bloggers is resulting from the ever-evolving world of the Web. As brands increase their involvement with bloggers in terms of coverage and projects, the line between what they should be paid for and what they shouldn’t is growing increasingly blurry.
For between $5,000 and $20,000, a brand can work with an influential blogger to host an event (plus airfare, hotel and entertainment, of course) — one that gets upward of a few million page views a month and will cross-promote the brand on the blogger’s site (although the jury is still out on proving ROI from page views, with sales being the only concrete measure).
Starting from $20,000 to $25,000 (and up), a company can book a blogger for various weeklong projects during Fashion Week — with some bloggers fetching nearly $50,000 for even longer-term partnerships. In 2010, Bryanboy’s Bryan Grey Yambao boasted that he made more than $100,000 a year from blogging (and got a lot of flack for it) — which by today’s standards seems quite low for a top-tier blogger, especially when one factors in the partnerships with advertising and other heavily integrated projects.
2012年6月4日星期一
Ceramics tell the story of an ancient Southwest migration
Approximately eight centuries ago, people living along the Colorado Plateau in what is now the Four Corners area faced a crisis. Environmental changes that devastated their agricultural practices and likely aggravated social unrest forced significant numbers of these people to move away.
Many of them headed south into central and southern Arizona and western New Mexico, into lands already inhabited by well-established groups.
What is remarkable about this diaspora is that while there is no written record of what happened, much of what archaeologists know is told in the ceramic bowls, plates and figurines that were created and left behind when those civilizations later collapsed.
Patrick Lyons, acting associate director of the Arizona State Museum at the University of Arizona and head of the museum's collections, has been analyzing hundreds of ceramics from Kinishba, the ruins of an 800-room pueblo just below the Mogollon Rim in east-central Arizona.
Lyons's results will be published later this year by the Arizona State Museum Archaeological Series as a chapter in "Kinishba Lost and Found: Mid-Century Excavations and Contemporary Perspectives."
Lyons, who also is an associate professor in the UA School of Anthropology, said his work is a re-analysis of earlier studies, many of which were done by UA archaeologists. The diaspora from the Kayenta region has, in fact, been studied extensively over the last 80 years.
It started in the 1930s. Byron Cummings, the first head of what was then the UA archaeology department, excavated Kinishba. The pueblo is just one of the sites where migrants fleeing the north settled.
Cummings and the students in his field school collected hundreds of ceramic objects, "bushels upon bushels," he wrote, that spoke to "their individual tastes and skills." There were pots used for cooking and for storage. Other vessels were used to serve food, sometimes for large groups. There were miniatures and animal effigies. They came in different colors and were hand-painted, or embossed or even perforated.
The earliest studies of Kinishba pottery were published by UA students for their master's degrees. Unfortunately, the mindset of most archaeologists of that era was geared more toward collecting and less on analysis.
Lyons said more sophisticated excavation techniques and improved analytical methods developed since then has led to a greater understanding of these materials and the people who made them. New discoveries also have made Kinishba a key piece of the puzzle of what happened.
Kinishba, said Lyons, is a bit overlooked as a source of archaeological data, in part because of the haphazard way materials were collected and documented, and because a fire in Cummings' home destroyed many of his field notes. Emil Haury, who succeeded Cummings, later moved the UA field school to other pueblos at Forestdale, Point of Pines and Grasshopper, and made scientific analysis a more important component of the excavations.
What has become apparent is that local pottery-making at Kinishba and elsewhere was heavily influenced by the techniques brought by the new settlers from the north, including perforated plates and specific painted patters on bowls and jars. While some ceramics were imported, some at great distances, others were made with local materials.
Many of them headed south into central and southern Arizona and western New Mexico, into lands already inhabited by well-established groups.
What is remarkable about this diaspora is that while there is no written record of what happened, much of what archaeologists know is told in the ceramic bowls, plates and figurines that were created and left behind when those civilizations later collapsed.
Patrick Lyons, acting associate director of the Arizona State Museum at the University of Arizona and head of the museum's collections, has been analyzing hundreds of ceramics from Kinishba, the ruins of an 800-room pueblo just below the Mogollon Rim in east-central Arizona.
Lyons's results will be published later this year by the Arizona State Museum Archaeological Series as a chapter in "Kinishba Lost and Found: Mid-Century Excavations and Contemporary Perspectives."
Lyons, who also is an associate professor in the UA School of Anthropology, said his work is a re-analysis of earlier studies, many of which were done by UA archaeologists. The diaspora from the Kayenta region has, in fact, been studied extensively over the last 80 years.
It started in the 1930s. Byron Cummings, the first head of what was then the UA archaeology department, excavated Kinishba. The pueblo is just one of the sites where migrants fleeing the north settled.
Cummings and the students in his field school collected hundreds of ceramic objects, "bushels upon bushels," he wrote, that spoke to "their individual tastes and skills." There were pots used for cooking and for storage. Other vessels were used to serve food, sometimes for large groups. There were miniatures and animal effigies. They came in different colors and were hand-painted, or embossed or even perforated.
The earliest studies of Kinishba pottery were published by UA students for their master's degrees. Unfortunately, the mindset of most archaeologists of that era was geared more toward collecting and less on analysis.
Lyons said more sophisticated excavation techniques and improved analytical methods developed since then has led to a greater understanding of these materials and the people who made them. New discoveries also have made Kinishba a key piece of the puzzle of what happened.
Kinishba, said Lyons, is a bit overlooked as a source of archaeological data, in part because of the haphazard way materials were collected and documented, and because a fire in Cummings' home destroyed many of his field notes. Emil Haury, who succeeded Cummings, later moved the UA field school to other pueblos at Forestdale, Point of Pines and Grasshopper, and made scientific analysis a more important component of the excavations.
What has become apparent is that local pottery-making at Kinishba and elsewhere was heavily influenced by the techniques brought by the new settlers from the north, including perforated plates and specific painted patters on bowls and jars. While some ceramics were imported, some at great distances, others were made with local materials.
2012年6月3日星期日
ShakeID tracks touch action in multi-user display
How do you determine who is doing the touching with a multi-user touch display? Microsoft Research has published a paper that presents a technique for doing so. The researchers make their attempt by fusing Kinect, mobile device inertial sensing, and multi-touch interactive displays.
The technique can associate multi-touch interactions to individual users and their accelerometer-equipped mobile devices. ShakeID is the technique; it associates a specific user’s touch contacts on an interactive display to a mobile device held by the user. The phone’s on-board sensors and touch screen sensing go to work to drive the association.
The researchers say that the technique is special compared to other approaches that require bringing the phone in physical contact with the display. ShakeID differs as it only requires the user to hold the phone while touching the display, The approach involves a Kinect camera, multi-touch display and two accelerometer-equipped phones. Specifically, the experimenters used the Microsoft Kinect for Windows SDK to track the hands of multiple users, the Microsoft Surface 2.0 SDK for the multi-touch display and two Windows Phone smartphones.
If two users touch a display simultaneously in different locations to grab content, ShakeID can associate each touch to a specific user and transfer the correct content to each user’s personal device.
Capabilities like this may make shared interactive displays for walk-up use in conference rooms and office hallways more useful. The study says that other applications for interactive displays incorporate smaller devices such as mobile phones.
The researchers showed that ShakeID cross-correlates acceleration data from smartphones that people carry together with hand acceleration captured through Kinect to perform user identification. ShakeID matches the motion sensed by the device to motion observed by a Microsoft Kinect camera pointed at the users standing in front of the touch display. To validate this approach, the researchers conducted a 14 person user study and showed accuracy rates of 92% and higher.
The authors say, though, that an important limitation of the process involves the case where the hand holding the phone is stationary. The researchers acknowledge the limits—in realtime the phone users holding the phone may not remain stationary, especially with larger displays.
The paper is titled, “Your Phone or Mine? Fusing Body, Touch and Device Sensing for Multi-User Device-Display Interaction.”
Microsoft’s Kinect made other news recently in London, where St. Thomas Hospital is testing out Kinect’s gesture controls and voice commands with surgeons. The team interacts with a computer that shows a 3-D image of the part of the body being operated on.
Using Kinect, there is less risk of contamination from touching computer peripherals during an operation. Standing straight, arms raised, the surgeon issues commands to a Kinect sensor beneath a monitor displaying a 3-D image of the patient's damaged body part. As such, the surgeon can pan across, zoom in and out, rotate images, lock the image and make markers.
The technique can associate multi-touch interactions to individual users and their accelerometer-equipped mobile devices. ShakeID is the technique; it associates a specific user’s touch contacts on an interactive display to a mobile device held by the user. The phone’s on-board sensors and touch screen sensing go to work to drive the association.
The researchers say that the technique is special compared to other approaches that require bringing the phone in physical contact with the display. ShakeID differs as it only requires the user to hold the phone while touching the display, The approach involves a Kinect camera, multi-touch display and two accelerometer-equipped phones. Specifically, the experimenters used the Microsoft Kinect for Windows SDK to track the hands of multiple users, the Microsoft Surface 2.0 SDK for the multi-touch display and two Windows Phone smartphones.
If two users touch a display simultaneously in different locations to grab content, ShakeID can associate each touch to a specific user and transfer the correct content to each user’s personal device.
Capabilities like this may make shared interactive displays for walk-up use in conference rooms and office hallways more useful. The study says that other applications for interactive displays incorporate smaller devices such as mobile phones.
The researchers showed that ShakeID cross-correlates acceleration data from smartphones that people carry together with hand acceleration captured through Kinect to perform user identification. ShakeID matches the motion sensed by the device to motion observed by a Microsoft Kinect camera pointed at the users standing in front of the touch display. To validate this approach, the researchers conducted a 14 person user study and showed accuracy rates of 92% and higher.
The authors say, though, that an important limitation of the process involves the case where the hand holding the phone is stationary. The researchers acknowledge the limits—in realtime the phone users holding the phone may not remain stationary, especially with larger displays.
The paper is titled, “Your Phone or Mine? Fusing Body, Touch and Device Sensing for Multi-User Device-Display Interaction.”
Microsoft’s Kinect made other news recently in London, where St. Thomas Hospital is testing out Kinect’s gesture controls and voice commands with surgeons. The team interacts with a computer that shows a 3-D image of the part of the body being operated on.
Using Kinect, there is less risk of contamination from touching computer peripherals during an operation. Standing straight, arms raised, the surgeon issues commands to a Kinect sensor beneath a monitor displaying a 3-D image of the patient's damaged body part. As such, the surgeon can pan across, zoom in and out, rotate images, lock the image and make markers.
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