Podcasts about avenue montaigne

Deux amies discutent Avenue Montaigne... Une histoire drôle racontée par Jean-Marie Bigard. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

« Cher directeur, je crois que la nuit sera courte... » C'est à Werner Kuchler que s'adressait Gainsbourg lorsqu'il faisait rouvrir le bar à une heure du matin et venait jouer « à guichets fermés » pour les employés !Tout palace a une vie secrète : les caprices des célébrités, des créatures peu farouches, l'hystérie qui règne en cuisine, l'argent qui circule sous toutes ses formes... Dans cet hôtel mythique où tout semble possible, une guerre des tables divisait ainsi, au restaurant, les clients qui, ayant (presque) tous leurs habitudes, faisaient du chantage au directeur.Au fil de ce récit nourri d'anecdotes, on découvre les relations amicales qui se nouent de façon surprenante entre le personnel et les clients. On y croise aussi Alain Delon que l'on doit convaincre d'enfiler une veste in extremis, une ancienne cliente ruinée que l'on dépanne régulièrement de quelques liasses de billets, ou Pierre Bergé qui se fait gifler devant une cinquantaine d'habitués...Bienvenue au 25 avenue Montaigne ! Un voyage au coeur d'une époque exaltée, racontée par une figure de la vie nocturne dans un Paris peuplé de personnages fascinants.Son auteur, Werner Küchler est notre invité par téléphone

Good afternoon, I'm _____ with today's episode of EZ News. Tai-Ex opening The Tai-Ex opened up 19-points this morning from Friday's close, at 21,278 on turnover of 5.5-billion N-T. The market closed slightly lower on Friday as selling focused on the bellwether electronics sector following losses by tech stocks on Wall Street overnight on the back of profit taking. Buying rotated to (輪換) the non-tech sector, with large cap financial stocks were in focus as government-led funds are believed to have picked up these stocks to stabilize the main board ahead of today's presidential inauguration Lai Pledges to Continue on "Democratic Path" President Lai Ching-te and Vice President Hsiao Bi-khim have been sworn-in to their new leadership roles at an ceremony at the President Building in Taipei. The swearing-in ceremony took place at 9:15. Lai and Hsiao have also met with foreign dignitaries and the vice president is currently presiding over the handover ceremony of the new secretary-generals of the National Security Council and the Presidential Office. Lai is slated to give his inaugural address at in the coming hour - which takes the theme of "Building a Democratic, Peaceful and Prosperous Taiwan." The Ministry of Foreign Affairs says 508 guests from 51 delegations are attending today's inauguration ceremony and other related events. According to the ministry, eight of the delegations are being led by heads of state. European countries that have sent delegations include the U-K, France, Germany, Italy, Lithuania and Ukraine as well as the European Parliament. Several American delegations are attending today's events. They include one by led American Institute in Taiwan chair Laura Rosenberger; one comprising (包括) of former U-S deputy secretary of state Richard Armitage and former assistant to the U-S president and director of the National Economic Council Brian Deese .. .. and a delegation led by former U-S secretary of state Mike Pompeo. Meanwhile, The state banquet for the presidential inauguration wil be taking place at the Formosa Yacht Resort in Tainan this evening. Organizers say it will feature eight dishes prepared by 70 chefs and focus on showcasing Taiwan's culinary expertise (專業知識) and heritage. The eight courses incorporate ingredients from all 22 cities and counties in Taiwan and were inspired by the country's five major ethnic groups - the Minnan, Hakka, Han, Indigenous, and new immigrant. It is the first time the inauguration banquet will be held outside of Taipei. Hungary Boat Collision Leaves Dead and Missing Two are dead and 5 remain missing after a boat collision (碰撞) on the Danube River in Hungary AP correspondent Karen Chammas Paris Harry Winston Robbed French prosecutors say armed robbers who used a motorbike as a battering ram (破門錘) made off with “several million" dollars' worth of valuables in a heist of the luxury Paris boutique of Harry Winston. Having refused Saturday to confirm that Harry Winston was the target, the Paris prosecutor's office did so on Sunday. It said the store on the Avenue Montaigne was robbed by a gang of at least three people. It said they “forced entry to the jewelry store using a two-wheeler" and stole jewelry from several windows, while one of them kept watch with a long-barreled firearm. Officials say the damage is under assessment (評估), and estimated to be several million euros. That was the I.C.R.T. news, Check in again tomorrow for our simplified version of the news, uploaded every day in the afternoon. Enjoy the rest of your day, I'm _____. －－－－以下訊息由 SoundOn 動態廣告贊助商提供－－－－ 城揚建設新推出的「陽明第一廳」 緊鄰三民區的明星學府-陽明國中 46~52坪，每層四戶兩部電梯 最適合有換屋與置產需求的你 讓生活中充滿書香、運動風，滿足食衣住行的消費需求 城揚建設 陽明第一廳 07-384-2888 https://bit.ly/3y7SoFB

Fluent Fiction - French: The Baguette Mishap: A Whimsical Tale of Love and Laughter in Paris Find the full episode transcript, vocabulary words, and more:fluentfiction.org/the-baguette-mishap-a-whimsical-tale-of-love-and-laughter-in-paris Story Transcript:Fr: Parmi les lumières scintillantes et les rues pavées de Paris, Pierre, un homme passionné par la culture et la tradition françaises, vivait une vie simple et joyeuse. Ce jour-là, il décida d'emmener sa nouvelle amie, Marie, explorer les charmes de la ville. C'est sur l'avenue Montaigne qu'ils furent attirés par l'odeur du pain chaud d'une boulangerie.En: Among the glittering lights and cobblestone streets of Paris, Pierre, a man passionate about French culture and tradition, lived a simple and joyful life. That day, he decided to take his new friend, Marie, to explore the charms of the city. It was on Avenue Montaigne that they were drawn to the smell of fresh bread from a bakery.Fr: "Bonjour! Une baguette s'il vous plaît," demanda Pierre à la boulangère. La boulangère lui donna une baguette croustillante, mais dans la précipitation, Pierre prit accidentellement la baguette d'une autre cliente sur le comptoir. Il ne se rendit pas compte de sa méprise. Racontant avec enthousiasme à Marie l'histoire de chaque ruelle, Pierre s'éloigna, tenant la mauvaise baguette.En: "Bonjour! One baguette, please," Pierre asked the baker. The baker gave him a crispy baguette, but in his haste, Pierre accidentally took another customer's baguette from the counter. He didn't realize his mistake. Excitedly recounting the story of each street to Marie, Pierre walked away, holding the wrong baguette.Fr: Le vent leur apporta la voix paniquée d'une femme derrière eux. "Ma baguette!" cria-t-elle. Marie se retourna et vit la femme en colère. Elle ressentit un choc d'embarras. Marie dévisagea Pierre, attendant une explication.En: The wind carried the panicked voice of a woman behind them. "My baguette!" she shouted. Marie turned around and saw the angry woman. She felt a shock of embarrassment. Marie looked at Pierre, waiting for an explanation.Fr: "Ahhh, Marie," commença Pierre avec un sourire embarrassé, "C'est une coutume française. Parfois, nous... eh bien, nous échangeons nos baguettes! Un échange spontané de saveurs, voyez-vous?"En: "Ah, Marie," started Pierre with an embarrassed smile, "It's a French tradition. Sometimes, we... well, we exchange our baguettes! A spontaneous exchange of flavors, you see?"Fr: Marie baissa les yeux vers la baguette dans les mains de Pierre, confuse. "Vraiment, Pierre? Je n'ai jamais entendu parler de cette tradition."En: Marie glanced down at the baguette in Pierre's hands, confused. "Really, Pierre? I've never heard of this tradition."Fr: Riant, Pierre répliqua: "Oh, c'est une tradition très secrète, seulement les vrais Français la connaissent!"En: Laughing, Pierre replied, "Oh, it's a very secret tradition, only true French people know it!"Fr: Malgré leur rire et le charme de Pierre, Marie n'était pas entièrement convaincue. Cependant, elle décida de lui donner le bénéfice du doute.En: Despite their laughter and Pierre's charm, Marie wasn't entirely convinced. However, she decided to give him the benefit of the doubt.Fr: Pendant ce temps, la pauvre femme criait toujours dans la rue. Finalement, Pierre sut qu'il devait avouer. Ils firent demi-tour et Pierre retourna la baguette à la cliente, lui expliquant son erreur. "C'était un malentendu," dit-il, "J'ai pris la mauvaise baguette."En: Meanwhile, the poor woman continued to cry out in the street. Eventually, Pierre knew he had to confess. They turned around and Pierre returned the baguette to the customer, explaining his mistake. "It was a misunderstanding," he said, "I took the wrong baguette."Fr: La dame le remercia et Pierre acheta une nouvelle baguette pour lui et Marie. Ils continuaient de rire à propos de la "tradition de l'échange de baguettes" alors qu'ils marchaient main dans la main le long de la Seine.En: The lady thanked him, and Pierre bought a new baguette for him and Marie. They continued to laugh about the "tradition of exchanging baguettes" as they walked hand in hand along the Seine.Fr: Ce soir-là, lorsque les étoiles éclairaient Paris, Pierre et Marie finirent leur baguette devant la Tour Eiffel. Avec un rire, Pierre dit: "Au fait, Marie... il n'y a pas vraiment de tradition d'échange de baguettes."En: That evening, as the stars illuminated Paris, Pierre and Marie finished their baguette in front of the Eiffel Tower. With a laugh, Pierre said, "By the way, Marie... there isn't really a tradition of exchanging baguettes."Fr: Finalement, en dépit de cet incident hilarant, Marie adora Paris et la compagnie de Pierre. La baguette échangée était un souvenir qu'ils chériraient toujours.En: Ultimately, despite this hilarious incident, Marie loved Paris and the company of Pierre. The exchanged baguette became a cherished memory for them. Vocabulary Words:Paris: ParisPierre: Pierrepassionate: passionnéFrench: françaiseculture: culturetradition: traditionsimple: simplejoyful: joyeuseexplore: explorercharms: charmescity: villesmell: odeurfresh: chaudbread: painbakery: boulangeriebaguette: baguetteplease: s'il vous plaîtbaker: boulangèrecrispy: croustillanteaccidentally: accidentellementcounter: comptoirmistake: mépriseexcitedly: avec enthousiasmestory: histoirestreet: rueembarrassment: embarraslaughter: rirememory: souvenirdelicious: délicieux

Elena Rossi"Natale a Parigi"Neos Edizioniwww.neosedizioni.itVentisei racconti natalizi che raccontanole tante anime della Ville LumièreA cura di Elena RossiPrefazione di Cesare Martinetti Ventisei racconti ci portano nella Ville Lumière durante i frenetici giorni del Natale, i più amati o detestati; fra luoghi iconici e piccoli scorci nascosti – quelli che solo i veri parigini conoscono – si snodano vicende sorprendenti che fanno brillare la città di tante luci nuove. Parigi addobbata a festa è un gran crocevia di vite e speranze, affetti e solitudini. “Nei giorni di Natale a Parigi si respira un'aria diversa. Non è come tutte le altre città che a Natale si colorano di luci variopinte. No. Parigi semplicemente si accende”.Fra luminarie che risplendono e angoli bui si muovono personaggi e storie disparate: Ionesco, gli artisti dell'Est e le loro intervistatrici, il leopardo e la faraona, il gatto pronubo, il violinista di strada. E poi la sorpresa di un padre ritrovato, l'invito a cena con estranei e la cena che può attendere, l'ombra inseguitrice, l'acqua non più nemica, le foto e le cartoline.Tanti i sogni, e a sognare sono il clochard, l'ostrica, il fidanzato deluso nel metrò, la ragazzina che decide il suo futuro. E i luoghi: i grandi boulevards e le strette vie in pavé della Butte aut Cailles, gli Champs-Elysées e il canale di Saint-Martin, i ristoranti étoilés e i bistrot dove l'oste fa il conto a penna sulla tovaglia di carta, le Galeries Lafayette e i grandi Magazzini Samaritaine, le boutiques di faubourg Saint-Honoré e gli ateliers dei grandi couturiers di Avenue Montaigne, il mercatino delle Tuileries e i vicoli di Montmartre, le bancarelle di libri del lungo Senna, le librerie e i mercati… Gli Autori, ognuno con il proprio stile narrativo, hanno saputo cogliere con eleganza e ironia le tante anime della città, guardata attraverso gli occhi del visitatore o di chi ci vive da sempre.Ventisei racconti lievi, ognuno con il suo angolo di città, perché “ognuno ha la sua Parigi, perché Parigi non è-soltanto-una città, ma è un sentimento” (Cesare Martinetti). Racconti di:Donatella Actis, Guido Aloia, Graziella Bonansea, Paola Canova, Cesare Capitani, Giovanni Casalegno, Caterina Cortese, Giorgia D'Anna, Patrizia D'Antonio/Donneconlozaino, Giorgio Enrico Bena, Tiziana Ercole, Francesco Forlani, Raffaella Gambardella/Donneconlozaino, Fulvio Gianaria, Simona Anna Giovannone, Andrea Inglese, Sylvie Lainé, Anna Mazzini, Chiara Mezzalama, Eva Monti, Agnese Oblieght, Antonella Pollo, Daniela Possagno, Elisabetta Rava Granozio, Micaela Strippoli, Antonella Tarquini.In copertina illustrazione di Giorgio Enrico BenaIL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

30 Avenue Montaigne, Christian Dior's atelier in Paris, opened its doors on 16th December 1946. His staff had just six weeks to get it ready for their first show on February 12th, 1947 - the landmark post-war collection that became known as ‘the New Look'. Bettina Ballard, fashion editor of Vogue, wrote: “Never has there been a moment more climatically right for a Napoleon, an Alexander the Great, a Caesar of the couture. Paris fashion was waiting to be seized and shaken and given direction. There has never been an easier or more complete conquest than that of Christian Dior in 1947."  In this episode, Arion, Rebecca and Olly unpick Dior's business decisions; explain how a connection with the British Royal family was cultivated and exploited to promote his nascent brand; and consider why he became known as ‘the tyrant of hemlines'...  Further Reading: • ‘Christian Dior: The New Look' (The Metrolpolitan Museum of Art): https://artsandculture.google.com/story/kwWhkHJ-Ok8UIg?hl=en • ‘Christian Dior - The Man who Made the World Look New, By Marie France Pochna' (Arcade Publishing, 1996): https://www.google.co.uk/books/edition/Christian_Dior/ffkK4dy00SoC?hl=en&gbpv=1&dq=30+Avenue+Montaigne&pg=PA113&printsec=frontcover • ‘“Haute-Couture”: The world of Monsieur Dior in his own words' (Dir. Henri A. Lavorel, 1949): https://www.youtube.com/watch?v=ZESWE3myVLk #40s #Fashion #LGBT #France We'll be back on Monday - unless you join 

The Run-Through with Vogue is a new weekly podcast featuring the most riveting news in fashion and culture. Hosts Chioma Nnadi and Chloe Malle bring you their favorite headlines of the week, plus interviews with exclusive guests. You'll hear about Serena Williams' new normal, Micaela Coel's trip to Ghana with Vogue, Kirsten Gillibrand's second job as her teenage son's sneaker cleaner and listen to Chelsea Manning school Chloe and Chioma on fashion history. We'll cover everything from an intimate and shocking family reunion for model Natalia Vodianova to hearing about Oscar-winning costume designer Ruth Carter's visual world creation for Black Panther: Wakanda Forever and even head to the Avenue Montaigne in Paris to check out Simon Porte Jacquemus' first store--Chloe even samples the in-store popcorn machine! Learn more about your ad choices. Visit podcastchoices.com/adchoices

BoF luxury editor Robert Williams unpacks how the French luxury brand has managed to grab the industry's attention and maintain a sound business model without outside help. Simon Porte Jacquemus is one of fashion's hottest independent designers — and his namesake label is one of its most impressive businesses. The company, known for its tiny bags and minimalist playfulness, is on track to double annual revenues to over €200 million ($199 million) by year-end, with plans to reach €500 million by 2025. The designer has been able to build buzz with his clear brand vision, and savvy ability to storytell through social media. “He was one of the first designers to realise how powerful of a tool Instagram was going to be, and to have something really compelling to say on that platform — to have a universe that was just really organically compelling,” said BoF luxury editor Robert Williams. Key Insights:Simon Porte Jacquemus has managed to build a scalable luxury start-up without the help of a conglomerate or big investor: a rarity in fashion. Jacquemus thinks the pressure to up sales every season to keep the business running pushed him to commercial success. Armed with a new store on Avenue Montaigne, the brand reaches up into luxury prices, but maintains a more accessible, fun, young and playful bent.Handbags — led by the brand's hit, Chiquito style — are an essential profit driver for the business. With a new CEO on board in Puig's Bastien Daguzan, the brand is looking to solidify its footwear business and diversify its menswear offering. As of now, Jacquemus does not plan on taking outside investment. The brand believes it's momentum and strong retail partnerships will help it reach its sales goal of €500 million by 2025.Additional Resources:Jacquemus: A Fashion Star's Business Vision: For the first-time, the industry's hottest independent designer — a charismatic, social-media savvy storyteller from the south of France — reveals the financial underpinnings of his burgeoning company and plans for the next phase of growth. How to Open a Store in 2022: From seamless online-to-offline offerings to metaverse-inspired installations, the standards of brick-and-mortar retail have evolved since the pandemic struck.Jacquemus, Now Nike-Approved, Opens ‘New Era' in Provence: Simon Porte Jacquemus' showmanship, social-media savvy and ultra-recognisable designs have turned his regionally-inspired label into a global hit.Follow The Debrief wherever you listen to podcasts. Hosted on Acast. See acast.com/privacy for more information.

Découvrez le livre du jour des Grosses Têtes. Découvrez la page Facebook Officielle des "Grosses Têtes" : https://www.facebook.com/lesgrossestetesrtl/ Retrouvez vos "Grosses Têtes" sur Instagram : https://bit.ly/2hSBiAo Découvrez le compte Twitter Officiel des "Grosses Têtes" : https://bit.ly/2PXSkkz Toutes les vidéos des "Grosses Têtes" sont sur YouTube : https://bit.ly/2DdUyGg

Marlene Dietrich ist bis heute der einzige deutsche Weltstar. Drei Jahrzehnte sind seit ihrem Tod vergangen. Doch wie im Falle aller wirklichen Filmstars ist ihre Leuchtkraft nicht verblasst. // Von Christian Buckard und Daniel Guthman/ WDR 2021 / www.radiofeature.wdr.de Von Christian Buckard und Daniel Guthman.

Marlene Dietrich ist bis heute der einzige deutsche Weltstar. Drei Jahrzehnte sind seit ihrem Tod vergangen. Doch wie im Falle aller wirklichen Filmstars ist ihre Leuchtkraft nicht verblasst. // Von Christian Buckard und Daniel Guthman/ WDR 2021 / www.radiofeature.wdr.de Von Christian Buckard und Daniel Guthman.

What you'll learn in this episode: Why the beauty of ancient and antique jewelry may not be evident at first, and why that makes them all the more interesting to Marc How ancient jewelry has been passed through generations of collectors What streets to visit for the best jewelry shopping in Paris How Marc sources jewels from antiquity, and why provenance is of the utmost importance  Why Marc chose to list the prices of his pieces in his boutique window display About Marc Auclert The grandson of an antique dealer, Marc Auclert has had a passion for antique jewelry and objects of curiosity from a young age. Having spent over 20 years working for some of the most prestigious jewelry houses worldwide, including De Beers and Chanel, he opened Maison Auclert in 2011. The boutique specializes in mounting museum-worthy ancient jewels as pieces of contemporary jewelry.  The works of art selected to be mounted are sourced from a broad range of periods, cultures and geographical regions. Each object is chosen for its beauty and rarity; each elegant mounting is designed to showcase, and not overwhelm, the objects' preciousness, color, patina, shape or symbolism. Designed to celebrate and enhance the singularity of each Antique work of art, every piece in the Maison Auclert collection is unique, hand-made and embellished by the artisans of the best contemporary workshops in Paris. Additional Resources: Website Instagram Photos Available on TheJeweleryJourney.com Bague camée Julia et Saphirs Roman Cameo Ring  White and black two-layered onyx cameo representing the bust to the right of Julia Mamaea, mother of Emperor Severe Alexander, Roman Art  of the 3rd century AD,  mounted on an 18K red gold ring with a surrounding of sapphires (total 1.39 carat).    BO Impression 4 Intailles Impression Intaglio Earrings 18K gold long earrings, set with a Burmese ruby (1.05 carat), an emerald (0.56 carat), 6 diamonds (0.63 carat) and 4 “Grand Tour” intaglios (19th century) in  amethyst, chalcedony and carnelian, and their impressions in gold   Bague Profil Hélios Helios Ring Oxidized silver ring with a cut-out that reveals the effigy of the god Helios on a gold stater from Rhodes of the 5th century B.C.   Bracelet Cuff Agathe Miel Agate Cuff Large cuff bracelet in 18K brushed gold set with 5 rhomboid-shaped agate necklace beads, known as "Medicine Beads" for their prophylactic power, Indo-Tibetan art of the 1st Millennium B.C..    Collier Intaille Magique Magical Intaglio Necklace Pendant set with a lacunary hematite «  magical » or gnostic intaglio engraved with the right part of a gnostic lion-head deity, the sliced winged-head of the Gorgon in the left hand, two  scarabs, Greek letters (ΑΓΒΑ for the magical incantation Abraxas, ΙΑω for the jewish god Yahwe, etc.), Egyptian scarabs and stars in the field, Egypto-roman Art from the 1st-3rd century A.D., a modern extrapolation of the missing part hand-engraved in 18K gold, mounted on a black lacquered chain.      Transcript: Thanks to jewelry designer Marc Auclert, you can wear a piece of jewelry history around your neck. At his Paris boutique Maison Auclert, Marc transforms jewels from antiquity into contemporary pieces, all while preserving the soul of the original jewel. He joined the Jewelry Journey Podcast to talk about why ancient jewelry carries more emotion than contemporary pieces; how he finds jewels dating back to BC; and why the time it takes to appreciate antique jewelry is well worth it. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Marc Auclert of Maison Auclert. After stints at some of the world's most prestigious auction and fashion houses and having lived all over the world, he now combines museum-quality antiquities with contemporary settings and fashions them into unique and wearable jewelry. We talked with Marc pre-Covid and are pleased to be visiting with him again. We'll hear all about his jewelry journey today. Marc, welcome to the program. Marc: Sharon, thank you for inviting me again. Sharon: So glad to have you. Tell us about your jewelry journey. It seems you've been everywhere. Marc: Well, not really. Recently we've been a bit stuck at home. Sharon: That's true. Marc: But beyond that, business has started back and that's really nice. Clients are back in Paris. Parisians are starting to spend again. It's been nice since Christmas. We've had a very good time. The journey is continuing. This company, which I founded in 2011, is 10 years old, so it's pretty old. This is a landmark. Sharon: Congratulations. That is a big deal. Marc: Thank you. I've worked for many grand houses for whom 10 years would be nothing, but when it's your own company, 10 years is a sweet number, I must admit. I'm very happy. It's doing well in the sense that it's making momentum. It's becoming more and more known, and this is extremely important. Today's awareness is tomorrow's success. Sharon: That's true. Marc: My first goal when I opened the company was not to make sales, though it is very important that the company has the cashflow in order to survive, but my first real goal was to build awareness, because I knew from my business experience that today's awareness is tomorrow's sales. Sharon: Well, you got a lot of press early on. Marc: Yes, I've been very lucky. First of all, don't forget I've been in the business for many, many years, so I know many actors, including the press people. So, when I opened my business, I was able to very easily reach out to lots of key people in the communications industry. This, of course, was a great help, and then it was a snowball.  You start getting some press releases, and other people take interest. You get French press, then the English will look at it, then the Americans will look at it, etc. So, that's been very, very good.   Sharon: That's quite a lot of presence. How did you get into jewelry? Did you always like it? Marc: I guess so. I have no clear memories of saying to myself, “I want to do this.” The only thing I remember is when I was a child, I was fascinated by the crystal world. I moved from collecting rough crystals to liking cut gemstones. After my general studies I thought, “Oh, that could be interesting, to do a course in that field.” That's how I went to the GIA in New York, but it was more like a hobby than anything. It was a crisis at the time when I was getting my first job. It wasn't very easy to get a first employment, and one of the possibilities was to join the industry. As I had general studies under my sleeve plus a GIA diploma, that was my first job I got. That's how I got interested in jewelry, from crystals to faceted stones to jewelry. Today, to continue the journey, as you call it, I'm more interested in antique jewelry, antique gold, intaglios, cameos and things like that, which is continuing on that path.   Sharon: Why is it that jewelry from antiquity fascinates you?   Marc: I think it's because I understand modern jewelry very well and it doesn't fascinate me. Only very few people and very few pieces fascinate me. It's not because they're not good; they are wonderful. But the proposition we're getting, it's an easy proposition, whereas if you look at antique jewelry, antique stones, antique jewels, be them historical or in museums or whatever, I think they're more difficult to understand because they're less pleasing to the eye, but technically and in terms of art history, they're much more interesting. That difficulty makes them so much more attractive to me, and that's why I'm selling them to my clients, basically.  Sharon: And they sell to you, I presume, when they bring in something and tell you about it. Marc: Absolutely. Your question is very important because when you look at a 15th century B.C. intaglio, it's tiny; it's not even an inch long. If you don't actually sit down and have a proper look at it and detail it, which requires a few minutes, then you don't get it. This is really in opposition to what we see today in jewelry companies' displays. It's, bang, in your face. It's gorgeous. It's luminous. It's full of diamonds and stones and it's evident. Those antique intaglios are not evident. That's what I like. Sharon: When did you first start encountering antique jewels? At the auction houses? At the fashion houses?  Marc: When you're interested in jewelry like you or me, we've been in museums. That's when you get that first encounter and you compute those first pieces you get to see, so there isn't a step where you actually shift to that. Actually, you get to see them on a regular basis. You don't stop, really, but they're growing on you. At a certain age—because I do think it's a question of acquired taste, hence a question of age—they come back to you. You know these are interesting pieces you need to go back to and understand. So, to answer your question, I've been looking at them for a long time, but I've been starting to understand them not so long ago. Does that make sense?   Sharon: Yes, I think I understand. I think you're looking at a 15th century piece and the person on it is talking to you, in a sense.   Marc: Exactly. It says so much about the history of art, about humanity, about who did it, how he did it, what tools were used and in what environment. Think no electricity, no motor, everything was handmade in a dark workshop in the pits of a town like Rome or Alexandria. Then you start to understand who wore it, why they wore it, on what they wore it, on what occasion, and you're really entering history. That's fascinating. Sharon: You were with some prestigious auction houses—was it Sotheby's?—and you started the high jewelry at Chanel. How did you segue to this? Marc: For me, it's a journey. It's a jewelry journey. You start with easy pieces, diamonds for instance. Diamonds are easy. You look at a 10-carat, D, flawless, XXX emerald cut, type 2A with a comb, that's easy. Everybody loves it. You don't need to be especially knowledgeable to get it. As you are working with those items, in parallel you know that there are other things that are gorgeous and much more difficult to understand. As you grow older, that's where your interest goes towards.  You start with the beginning. You start with the diamonds and the gemstones. You start with the gorgeous jewelry, and then you move slowly to Art Deco pieces, then to 19th century, then you go to the 18th century. Then you go to more difficult, the Renaissance, Medieval. Then you go to Byzantine jewelry, and then you enter the whole world of antiquity: Roman, Hellenistic, Greek, Mesopotamian, Egyptian. The further you go up the stream, the more difficult it is, because it's not as appealing to the eye as your 10-carat cut diamond. Sharon: I don't stumble across the 10-carat so much, but I can understand what you're saying. Marc: Well, you see them in the windows.  Sharon: Tell us about Maison Auclert. Tell us about the business and what you do. What do you describe at a dinner party if somebody asks? Marc: It's exactly how you explained it in the introduction. My job is to find antiques. They can be Mesopotamian; they can be 19th century German or French. The definition of antiques is very broad. There is no geographic location. It can be South American Pre-Columbian; it can be French; it can be Asian, depending on what I find and what my taste goes for.  When I see those antiques, I have to think about how I'm going to introduce them onto a piece of jewelry. Often antique dealers show me beautiful pieces and say, “Look at this. It's gorgeous. You could make a lovely piece of jewelry out of that.” No, to make a piece of jewelry, you also need some requirements, which is that it has to be jewelry pretty. It's not because it's antique that it will be jewelry pretty. It has to be durable. It has to have the right color, the right sheen, the right durability. That's also an important factor. If it's too brittle and too fragile, you're not going to mount it on a piece of jewelry, especially on a ring. In addition to the antique purchasing, which is what all antique dealers do, I also introduce the notion of the jewelry mounting aspect of it.  So, my first job is buying antiques. My second job is then to design around them. That's another interesting factor in what I do, in the sense that you have designers that take hours, that think about things for hours and ponder and come back to the drawing. In my case, it's a very instinctual type of creation. When I look at an antique piece, very rapidly I know what I'm going to do with it. If I don't know what I'm going to do with it, I still buy it. Then it'll be in my box for many, many months before I have an idea. Basically, if I don't have the idea straightaway, I forget.  It's kind of like, “Take me, because you're going to do this.” It's simultaneous. It's rather interesting, the way it works in my little head. I know other designers that work for hours and hours and come up with wonderful designs. In my case, maybe I'm very lazy, but the design comes straightaway, and that's that.  Then, of course, I finalize it. I speak with the workshop and say, “This is what I have in mind. Here's a quick sketch. How are you going to make it happen?” There's the whole technical part of it that is discussed with the workshop. That's why you have to work with wonderful workshops in the sense that they have to bring that notion of technicality, which is important. That's how the piece of jewelry gets constructed on paper. Then they will take it onboard—when I say “they,” it's the workshop. I only use Parisian workshops—and they will start building the piece with a wax model and then cast it in gold. I will go the workshops once a week to follow the building of the piece. Why is that important? Because in the case of my jewelry it's only one-of-a-kind pieces, so each piece is actually a prototype. So, I have to be there on a regular basis. That's the reason why I can't outsource in Italy or Asia or whatever. It has to be made around the corner. I am Parisian. It has to be made in Paris.    Sharon: It's not because the workshops are better. It's just that they're close to you.   Marc: Or better. Parisian work is really, really good.   Sharon: Are they?   Marc: Yes, definitely. A company like Tiffany, they produce their high-end jewelry in Paris. I think that says a lot. You have lovely, wonderful jewelers in Italy and Lebanon. We've met them over the years, but I must admit in Paris, we still have a knowhow that is extremely important. How long will they last? I don't know, but right now, it's still very much cared for.   Sharon: How do you find these antiquities? Where do you find them?   Marc: All over the world. I browse a lot on the internet. I check all the sales at auction houses, big auction houses, small auction houses, tiny, local, regional auction houses. I have two workers who help me look for what I'm looking for: antique dealers, of course, collectors, private people. But I have to be very careful because, as you know, there are different problems involved with antiquities, regional problems like in the Middle East. There have been lots of naughty diggings being done in certain regions, and hence you get some illegal pieces arriving on the market. That for me is a no-no, first of all because ethically it doesn't suit me at all, and secondly, I'm a young company, so I can't afford to be in a pickle. That for me is very, very important. It's key. The whole issue of provenance, which has to be pristine, is very important. So, I only buy from very, very reliable auction houses, antique dealers, collectors, private people only if I know them very, very well. If someone came off of the street and said, “Hi, look, I've got these wonderful intaglios. Are you interested?” my answer would have to be, “Sorry, no,” just because of those subjects.   Sharon: For some reason, I envision that most of your clientele is male. Is it both?   Marc: It's absolutely both. It's the same as in the classical jewelry industry. 50 percent of my clientele is female; 50 percent is male. I see exactly the same pattern as the Place Vendome. She will walk in; she will buy for herself, or she will be scouting and then she will be back with someone else to pay for the piece of jewelry because it's a gift. It's exactly the same pattern, with more and more women buying the jewelry for themselves. I often get ladies that already have the engagement ring, the tennis bracelet—yes, antique isn't everything—and they're in for an intaglio, for instance. They don't own a Roman intaglio and that's what they would like, and that's something they will come and do on their own, definitely, especially as the prices are softer than with precious stone jewelry.   Sharon: Do people stumble on your store? You have a nice storefront. I haven't been there for a few years now.   Marc: It hasn't changed. It's still there, still the same. Now, to answer the question, there are two things. It's the network. The network is very, very important in any business, especially if it's a retail business. When I started that business, I already had a client book, and that proved to be extremely important. I also have business partners who have very, very good contacts, so that's great. That definitely was, how do you say, a jumpstart? That was a very good jumpstart in the beginning.   The second very important thing, as you mentioned, is obviously the location. I have a small boutique, but it's very well located. In Paris right now, the good retail is concentrating around Place Vendome, Rue St. Honoré, Rue de Castiglione. This area, which always has been good, is now becoming excellent. Avenue Montaigne is going down. St. Germain is going down, to the benefit of the area where I happen to be very lucky to have a boutique.    Sharon: You are in a fabulous location. Are people walking along the street?   Marc: I'm in the middle. All the big the palaces and hotels are around us: the Ritz, the Meurice, the Bristol, Mandarin Oriental. Most of the big hotels are around this area. Of course, you can imagine the type of clientele that walks in front of the window, and that's wonderful for a small company like mine. 

The “M” episode of A.B.C.Dior invites you to explore the House's iconic address, 30 Montaigne, where the Dior dream was born, and couture grew up. Let sound guide you through a fascinating journey to the heart of this “refuge of the marvelous”, its heritage and reinvention(s).  This podcast is also available as a video on YouTube : https://www.youtube.com/playlist?list=PLzPXOOq1r2gEwCyehufdnuPrRk_uJIHM2 

A.B.C.Dior vous propose d'explorer – à la lettre M – le 30 Montaigne, adresse iconique de la Maison, berceau de la couture et du rêve Dior. Un voyage sonore fascinant, au cœur de ce « refuge du merveilleux », entre héritage et réinvention(s). Ce podcast est également disponible au format vidéo sur YouTube : https://www.youtube.com/playlist?list=PLzPXOOq1r2gEwCyehufdnuPrRk_uJIHM2   

Welcome to the Dior Talks series themed around the sixth edition of Dior Lady Art and hosted by Paris-based journalist Katya Foreman. For this year's event, 12 artists from around the world have participated in a game of metamorphosis by rendering the iconic Lady Dior handbag as a unique piece of art. Bold and committed, our latest guest on the podcast, contemporary artist Manal AlDowayan, questions the representation of women, social injustices and collective memory. She describes her Lady Dior handbags - created during lockdown from her base in London - as a “love letter” to her homeland of Saudi Arabia with the artist revisiting family photographs and symbolic emblems of her childhood and life story. Born in Dhahran, a major administrative center for the Saudi oil industry in the Eastern Province of Saudi Arabia, the artist grew up in a compound that was built as a replica of Southern California “to make the oil drillers feel at home.” She describes it as having this “is it real or is it constructed” feel which feeds into her work.  Adorned with a black-and-white photograph swaying with palm trees, Landscapes of the Mind, crafted from printed gold calfskin leather with embroidered black feathers, captures a snapshot of life in Saudi Arabia from a woman's perspective, while The Boys, in printed black calfskin leather, bears an image taken by her father in 1962 and reworked by the artist. Lastly, a mini minaudiere style bag, made using a 3D printing technique, pays tribute to the desert rose, a symbol of the artist's childhood growing up on the edge of the desert.  Tune in to the episode to hear all about AlDowayan's experience translating her images onto “a portable space” charged with its own story and emotions: the emblematic Lady Dior handbag. 

Writer and journalist Justine Picardie takes us back to 1947 to meet resistance fighter Catherine Dior. The youngest sister of the renowned French designer, Catherine's story of survival during World War 2 is one of great courage and it is being told at last. * In 1947, Christian Dior launched his debut collection in Paris and became a sensation. His designs were characterised by enormous, fairy-tale-like skirts and hyper-feminine silhouettes. It was christened the ‘New Look' by the editor of Harper's Bazaar, Carmel Snow, because it stood in such stark contrast to the sober women's fashion of recent years. Yet what makes the glamour of Dior's collection even more compelling to us today is the dark backdrop it was set against. Few knew then that just eighteen months before, Dior's youngest sister, Catherine, had been liberated from the German concentration camp at Ravensbrück. Justine Picardie explores Catherine's story in 1947 – the year that her brother made his break in a Paris still haunted by the war. As ever, much, much more about this episode is to be found at our website tttpodcast.com. Click here to order Justine's book from John Sandoe's who, we are delighted to say, are supplying books for the podcast. Show notes Scene One: 3 February, 1947, the War Crimes Court in Hamburg, Germany: the last day of the trial of 16 defendants (nine men and seven women) accused of crimes committed at Ravensbrück concentration camp.  Scene Two: 12 February, 1947, 30 Avenue Montaigne, Paris: in his newly established couture house, Christian Dior is making his debut, with a collection that will revolutionise the world of fashion. Scene Three: Late May, Provence, 1947: at the family farm that Catherine Dior inherited from her father, she is undertaking the annual harvest of rose de Mai, that will be used as a vital ingredient in her brother's perfumes. Memento: A very small bottle of the original Miss Dior. People/Social Presenter: Artemis Irvine Guest: Justine Picardie Production: Maria Nolan Podcast partner: Unseen Histories Follow us on Twitter: @tttpodcast_ Or on Facebook See where 1947 fits on our Timeline 

This episode starts out on a bridge with a view of the Eiffel Tower, then heads over to the Right Bank and glamorous Avenue Montaigne. We'll talk about the Zouave & river flooding, Diana Princess of Wales, the Ballets Russes, and Josephine Baker, star & secret agent. Remember to visit my website for extra links & images. As always, Improbable Walks theme music is performed by David Symons, New Orleans accordionist extraordinaire. 

Welcome to the Dior Talks series themed around the 5th edition of Dior Lady Art and hosted by Paris-based journalist Katya Foreman. For this year's event, ten artists and collectives from around the world have participated in a game of metamorphosis by rendering the iconic Lady Dior handbag as a unique piece of art. Sharing the mic in our latest episode is the artist Chris Soal, an emerging talent who was born in 1994, the year the Lady Dior was created. Based in Johannesburg, South Africa, he is known for amorphous wall sculptures made from recycled single-use items, with influences ranging from the Arte Povera movement to African totems and the treasures of nature. With a Midas-like touch, the artist transforms mundane objects into rich, sensual works that challenge conventional notions of value, a concept he transposed onto textured Lady Dior bags covered in bottle tops bent like cowrie shells or furry swaths of toothpicks evoking couture embroidery. One might compare the painstaking handicraft of his work to the elaborate construction of the Lady Dior bag itself, which is assembled from 144 pieces. The story behind its signature cannage motif — borrowed from the Napoleon III seats Monsieur Dior used to seat guests at his haute couture presentations at 30 Avenue Montaigne — echoes his processes of observation and application. Tune in to hear Soal discuss the experience of fusing the haute and the humble in his reinvention of the Lady Dior bag as well as its charms, including turning the letter “O” into a bottle opener.  Discover Chris Soal's creations :https://youtu.be/mWHNIigfA54

Welcome to the Dior Talks series themed around the 5th edition of Dior Lady Art and hosted by Paris-based journalist Katya Foreman. For this year’s event, ten artists and collectives from around the world have participated in a game of metamorphosis by rendering the iconic Lady Dior handbag as a unique piece of art. Sharing the mic in our latest episode is the artist Chris Soal, an emerging talent who was born in 1994, the year the Lady Dior was created. Based in Johannesburg, South Africa, he is known for amorphous wall sculptures made from recycled single-use items, with influences ranging from the Arte Povera movement to African totems and the treasures of nature. With a Midas-like touch, the artist transforms mundane objects into rich, sensual works that challenge conventional notions of value, a concept he transposed onto textured Lady Dior bags covered in bottle tops bent like cowrie shells or furry swaths of toothpicks evoking couture embroidery. One might compare the painstaking handicraft of his work to the elaborate construction of the Lady Dior bag itself, which is assembled from 144 pieces. The story behind its signature cannage motif — borrowed from the Napoleon III seats Monsieur Dior used to seat guests at his haute couture presentations at 30 Avenue Montaigne — echoes his processes of observation and application. Tune in to hear Soal discuss the experience of fusing the haute and the humble in his reinvention of the Lady Dior bag as well as its charms, including turning the letter “O” into a bottle opener.  Discover Chris Soal’s creations :https://youtu.be/mWHNIigfA54

About BarbaraBarbara Lewandowska AIA, the founder of Lewandowska Architect PLLC, begun her architectural career at IM Pei & Partners, where she was involved with the design of Kirklin Clinic in Birmingham, Federal Triangle government office complex in Washington D.C. In the following years she joined KPFC - KPF, where she had a primary role in the design of several of the firm’s nationally and internationally prominent projects, which include First Hawaiian Center in Honolulu, Tokyo Europort Hotel, and a multi-use commercial & office complex at 50 Avenue Montaigne in Paris. Subsequently she worked with SOM on the design of corporate headquarters for Investcorp, Vornado Realty, and NYSE expansion (not built) all in New York City.OUR PHILOSOPHYAt Lewandowska Architect PLLC she continues her lifelong commitment to design excellence.Every project establishes its own set of governing rules and requirements that evolve into intellectual concepts and aesthetic solutions, and that are not compromised by a preconceived style.We believe in holistic approach to de- sign, which considers parts as well as the system to which they belong. Only then the project can integrate itself into the existing environment with an aim to improve lives.You can find Barbara athttp://www.lewandowskaarchitect.com/http://www.lewandowskaarchitect.com/c...You can find me at:https://peer2peerrealestate.com/www.facebook.com/peer2peerrealestatehttps://www.linkedin.com/in/williemor...**Peer 2 Peer Real Estate may be compensated and/or receive an affiliate commission if you buy something through our links, at no extra cost to you.Thanks to our Partners- Royal Legal Solutions, Rentometer & Landlord StudioTrack income and expenses, screen tenants, set automatic reminders, and more.Try Landlord Studio free for 30 days, no credit card required. By entering your email, you agree to our Terms and Conditions.peer2peerrealestate/freetrialWorried about protecting your assets? Let Royal Legal Solutions helphttps://royallegalsolutions.com/?ref=6Paying too much for rent? Charging too little? Let Rentometer compare your rent with other local properties. Rentometer PRO Monthly, Save 50% from the monthly price or Save $60 Off Rentometer PRO Annual ($199 - $60 = $139/yrP2P.COM/50 Save 50% off Monthly Price P2P.COM/60 Save $60 off Annual Price Don't forget about our monthly events, go to RedinNYC and get your tickets .https://www.redinnyc.com/Please go to Itunes, look for us at Peer 2 Peer Real Estate Podcasts, subscribe and leave a reviewKeep the momentum going, Good things will happen.Thanks for listening and stay safe See acast.com/privacy for privacy and opt-out information.

durée : 01:30:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Arthur Rubinstein, Pierre Bertin, André Jolivet, LilyLaskine, Jean Wiener, Manuel Recasens, Raymond Gallois-Montbrun, Georges Prêtre, Jacques Bazire, Manuel Rosenthal, Marguerite Long, Paul Kletzki, Robert Bronstein, Henryk Szeryng, Olivier Messiaen, Maurice Leroux, Antal Dorati, Pierre Schaeffer, Gisèle Kuhn, Jean Cocteau, Nicolas Nabokov, Henri Dutilleux, Fred Goldbeck, Henri Sauguet, Pierre-Jean Jouve, Henry Barraud, Gabriel Bouillon, Claude Rostand et Cléopâtre Bourdelle-Sevastos - réalisation : Virginie Mourthé

durée : 01:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Lucienne Astruc, Maurice Leroux, Olivier Messiaen, Arthur Rubinstein, André Jolivet, Serge Lifar, Lorin Maazel, Georges Auric, Liane Daydé, Ossip Zadkine, Jacques Hébertot, Jean Wiener, Jean Cocteau, Pierre Bertin, Henri Sauguet, Pierre Schaeffer, Robert Bronstein, Samson François, Roland Charmy, Lily Laskine, Pierre Dervaux, Salvador Dali, Serge Golovine, Olga Adabache, Rosella Hightower, Andres Segovia, Manuel Rosenthal, Désiré-Emile Inghelbrecht, Jean Robin, Zizi Jeanmaire, Leslie Caron, Brassaï, Yvette Chauviré, Jean Jouve, Pierre-Henri Dutilleux, Antal Dorati, Henry Barraud, Georges Prêtre, Rosanna Carteri, Maurice Chevalier, François Mauriac, Grégory Chmara et Cléopâtre Bourdelle-Sevastos - réalisation : Virginie Mourthé

durée : 00:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Jean Wiener, Jacques Hébertot, Serge Lifar, Salvador Dali, Henri Sauguet, Serge Golovine, Rosella Hightower, Jacques Bazire, Jean Robin, Georges Auric, Henri Dutilleux, Leslie Caron, Janine Alexandre-Debray, Grégory Chmara, Liane Daydé et Brassaï - réalisation : Virginie Mourthé

durée : 00:44:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Lucienne Astruc, Georges Auric, Henry Barraud, Pierre Bertin, Gabriel Bouillon, Jean Cocteau, Marie Dormoy, Jacques Hébertot, Désiré-Emile Inghelbrecht, Serge Lifar, Henri Sauguet, Ossip Zadkine et Claude Rostand - réalisation : Virginie Mourthé

durée : 00:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Marie Dormoy, Jean Wiener, Arthur Rubinstein, Ossip Zadkine, Dominique Denis, Pierre Bertin, Lucienne Astruc, Jacques Hébertot, Lorin Maazel et Olivier Messiaen - réalisation : Virginie Mourthé

In this fourth and final episode of the illuminating podcast series “Mes Chéries: The Women of Christian Dior”, recorded at the Victoria & Albert Museum in London, Oriole Cullen, curator of Modern Textiles and Fashion, and Justine Picardie, fashion editor and biographer, discuss the outsize role played by the Dior models and clients and by the editors who propelled the founding couturier’s name around the world.  When Monsieur Dior showed his famous first collection in 1947, his couture house, like every other, had its own roster of exclusive models. They worked as fit models through out the year, and during the weeks of showings in the salons, and on promotional trips, they were the embodiment of Dior creativity. Selected for their singular personalities as much as their figures, their range of physiques gave clients an idealized impression of how they themselves might look in the new season’s creations.  Those clients could well include royalty, as was the case, for example, with Princess Margaret who, along with her mother and sister, the future Queen Elizabeth II, was a passionate admirer and an early adopter of this revolutionary Paris style. Despite previously working as a hired hand, Monsieur Dior was already on several international radars before wowing the world with his debut collection under his own name. In fact, Carmel Snow, the famous editor-in-chief of Harper’s Bazaar at the time, and the one who coined the term “the New Look”, was just one of the media mavens who had recognized Monsieur Dior’s talents when he was part of the stable of designers working at Lucien Lelong, and Robert Piguet before that. Possessing a remarkable eye for talent, she commissioned illustrations from him and followed his career until, on the morning of February 12, 1947, she sat on a gilt chair at 30 Avenue Montaigne to watch a parade of clothes that, with one fell swoop, would change the world of fashion overnight and forever. 

Now Trending on ICONICLIFE.COM Virtual ICONIC HAUS Virtual Cooking School   “From an early age, I obsessively studied the pages of Seventeen Magazine fantasizing about the fashion and the life it brought with it.  As a college student in NYC and Paris, examining the store windows of Fifth Avenue in NYC and Avenue Montaigne in Paris became as much of a daily priority as my course work in classic literature. I’ve been hooked on fashion and the self-empowerment it brings with it ever since!   I was born in a working-class town outside of Boston and was raised by traditional Greek parents who always made me feel like the world was mine to conquer. I knew I needed to be educated and earned multiple degrees at New York University and Babson College. I knew I needed to work hard and honed my skills as an entrepreneur by starting and building multiple businesses. The biggest lesson was the realization that how I dressed was an important arsenal when it came to building the life I dreamed of.    As a life-long fashion lover, entrepreneur and dreamer, I set out to create a new concept in traditional consignment shopping where designer fashion is sourced from the best of the past to collections from the most exciting emerging designers on the fashion scene, all sourced from all corners of the globe and offered at discounted prices.    Almost six years after opening the first location, our brand boasts four locations with two in Scottsdale, one in Dallas and a fourth on famed Robertson Blvd. in Los Angeles. My personal mantras and advice to clients are:  Dress for the life you want, take some risks, think outside of the box, have the courage to be different and buy it when you see it! LINKS/RESOURCES Tbcconsignment.com @tbcconsignment   Follow ICONIC LIFE digital luxury lifestyle magazine Instagram @youriconiclife Facebook @youriconiclife Twitter @youriconiclife   Check out ICONIC LIFE at ICONICLIFE.COM for fresh content published daily.    We invite you to SUBSCRIBE!   Follow Renee Dee Instagram @reneeldee  Twitter @iconicreneedee LinkedIn @ Renee Layman Dee   If you enjoyed today’s podcast, I’d be so appreciative if you’d take two minutes to subscribe, rate and review ICONIC HOUR. It makes a huge difference for our growth. Thank you so much for supporting me to do what I do!

Welcome to this sixth episode of Dior Talks. This podcast series will explore the connections between Creative Director of Women’s collections Maria Grazia Chiuri and contemporary women artists and curators.  In this episode, series host Katy Hessel, a London-based curator, writer and art historian, speaks to Penny Slinger, the British-born, California-based artist, about her long career and her recent Dior collaborations with Maria Grazia Chiuri. Specially for the Dior autumn-winter 2019 haute couture show, Slinger designed a unique and exquisite gilded doll’s house as a mystical yet pertinent work of wearable apparel, based on the form of the iconic Dior hôtel particulier at 30 Avenue Montaigne. She was inspired by the building, by each step of its iconic staircase, which, for the show, she transformed and transported to her own surreal universe. This scenography, which celebrates the Dior heritage, the strength and beauty of natural elements, and the diversity and uniqueness of women, subtly references her organic and resolutely feminist output. Penny Slinger was born in London in 1947, and studied at Chelsea School of Art in the late 60s. Declining an offer to undertake a master’s degree at the Royal College of Art, she chose instead to launch her artistic practice. Her work was included in a group exhibition at London’s renowned Institute of Contemporary Art in 1969. Slinger published a book of her photographic collages in 1971 and Rolling Stone magazine compared its importance to that of The Beatles. Slinger developed her theories and practice around ideas of surrealism and its relationship to feminism. In tandem with exhibiting at London museums and galleries, she worked closely with the worlds of theater and film, consistently publishing books of her visual work and poetry.  In 1980, she moved to the Caribbean, where she evolved her practice in the direction of archaeology and indigenous cultures. From there she moved to Northern California in 1994, hosting events and residencies for creatives in the region. She became an American citizen and has lived in California since. She has exhibited widely throughout her career, in the UK, Europe, across the USA, Asia and the Caribbean. Discover a selection of work:  Penny Slinger, An Exorcism, 1977 https://pennyslinger.com/Works/an-exorcism-2/ https://www.tate.org.uk/art/artists/penny-slinger-13524 Penny Slinger, 50% The Visible Woman, 1971 https://pennyslinger.com/Works/50-the-visible-woman/ Penny Slinger, Doll’s  houses, 1970-2019 https://pennyslinger.com/Works/dolls-houses-2/ Penny Slinger, Christian Dior Haute Couture at 30 avenue Montaigne (Paris), July 2019 https://www.youtube.com/watch?v=kVl3jLEKfq8 https://www.dior.com/diormag/fr_fr/article/33195 “ Young and Fantastic”, exhibition at the Institute of Contemporary Arts, London, 1969 https://pennyslinger.com/Works/1960s-3d-works/#prettyPhoto[portfolio]/19/ “400 Years of Collage”, an exhibition at the National Galleries of Scotland, 2019 https://www.nationalgalleries.org/art-and-artists/features/penny-slinger-collage-naughty-medium Penny Slinger, Out of the shadows, a film Richard Kovitch, 2017 https://www.pennyslingerfilm.com

Welcome to this fourth episode of Dior Talks. This podcast series will explore the connections between Creative Director of Women’s collections Maria Grazia Chiuri and contemporary women artists and curators.  In this episode, series host Katy Hessel, the London-based writer, curator and art historian, talks to Tracey Emin, one of the pre-eminent figures of contemporary art in the UK. In 2017, Emin, whose practice has always been firmly yet uniquely framed within the history of feminist discourse, created a specially commissioned work, Should Love Last, for the Dior pop-up store at 44 Avenue Montaigne in Paris. Tracey Emin CBE is one of the generations of Young British Artists (YBAs) who came to prominence in the early 1990s and whose work changed the landscape and language of contemporary art in the UK. Yet the immediacy and autobiographical narrative of her work has always set her slightly apart from her contemporaries. Working in painting, drawing, video and installation, and also photography, needlework and sculpture, she has always used her own life and childhood as her subject matter, to reassess the nature of “women’s work” and the position of women, and of femininity, within the frame of artistic expression.  Emin was born in 1963 and grew up in Margate, a seaside town on the Kent Coast, and her childhood there, particularly her teenage years, form a powerful source of inspiration for her work. In 1999 she was nominated for the prestigious Turner Prize in London and in 2007 she represented Great Britain at the Venice Biennial. She is a panelist and speaker and has lectured widely, including at the V&A Museum. In 2011, she was appointed professor of Drawing at the Royal Academy. Discover a selection of works: Tracey Emin, Should Love Last, 2016 (Dior store, 44 avenue Montaigne, Paris) https://www.dior.com/diormag/en_gb/article/interview-tracey-emin Tracey Emin, The Mother, 2018 (The Museum Island, Oslo) https://www.themuseumisland.com/en/artist/tracey-emin/ Tracey Emin, Hate and Power Can be a Terrible Thing, 2004 https://www.tate.org.uk/art/artworks/emin-hate-and-power-can-be-a-terrible-thing-t11891 https://www.jessicahemmings.com/tracey-emin-stitching-extreme/ Tracey Emin, A Fortnight of Tears, Exhibition at the White Cube gallery (February- April 2019, London) https://whitecube.com/exhibitions/exhibition/tracey_emin_bermondsey_2019 Louise Bourgeois with Tracey Emin, Do Not Abandon Me, 2009-2010 https://www.moma.org/collection/works/153422 Bow Down : Women in Art History, a podcast by Jennifer Higgie https://frieze.com/article/bow-down-podcast-women-art-history

durée : 01:30:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Arthur Rubinstein, Pierre Bertin, André Jolivet, LilyLaskine, Jean Wiener, Manuel Recasens, Raymond Gallois-Montbrun, Georges Prêtre, Jacques Bazire, Manuel Rosenthal, Marguerite Long, Paul Kletzki, Robert Bronstein, Henryk Szeryng, Olivier Messiaen, Maurice Leroux, Antal Dorati, Pierre Schaeffer, Gisèle Kuhn, Jean Cocteau, Nicolas Nabokov, Henri Dutilleux, Fred Goldbeck, Henri Sauguet, Pierre-Jean Jouve, Henry Barraud, Gabriel Bouillon, Claude Rostand et Cléopâtre Bourdelle-Sevastos - réalisation : Virginie Mourthé

durée : 01:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Lucienne Astruc, Maurice Leroux, Olivier Messiaen, Arthur Rubinstein, André Jolivet, Serge Lifar, Lorin Maazel, Georges Auric, Liane Daydé, Ossip Zadkine, Jacques Hébertot, Jean Wiener, Jean Cocteau, Pierre Bertin, Henri Sauguet, Pierre Schaeffer, Robert Bronstein, Samson François, Roland Charmy, Lily Laskine, Pierre Dervaux, Salvador Dali, Serge Golovine, Olga Adabache, Rosella Hightower, Andres Segovia, Manuel Rosenthal, Désiré-Emile Inghelbrecht, Jean Robin, Zizi Jeanmaire, Leslie Caron, Brassaï, Yvette Chauviré, Jean Jouve, Pierre-Henri Dutilleux, Antal Dorati, Henry Barraud, Georges Prêtre, Rosanna Carteri, Maurice Chevalier, François Mauriac, Grégory Chmara et Cléopâtre Bourdelle-Sevastos - réalisation : Virginie Mourthé

durée : 00:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Jean Wiener, Jacques Hébertot, Serge Lifar, Salvador Dali, Henri Sauguet, Serge Golovine, Rosella Hightower, Jacques Bazire, Jean Robin, Georges Auric, Henri Dutilleux, Leslie Caron, Janine Alexandre-Debray, Grégory Chmara, Liane Daydé et Brassaï - réalisation : Virginie Mourthé

durée : 00:44:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Lucienne Astruc, Georges Auric, Henry Barraud, Pierre Bertin, Gabriel Bouillon, Jean Cocteau, Marie Dormoy, Jacques Hébertot, Désiré-Emile Inghelbrecht, Serge Lifar, Henri Sauguet, Ossip Zadkine et Claude Rostand - réalisation : Virginie Mourthé

durée : 00:45:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Barbier - Avec Marie Dormoy, Jean Wiener, Arthur Rubinstein, Ossip Zadkine, Dominique Denis, Pierre Bertin, Lucienne Astruc, Jacques Hébertot, Lorin Maazel et Olivier Messiaen - réalisation : Virginie Mourthé

LISTEN TO TVNZ EUROPE CORRESPONDENT JOY REID TALK WITH THE WEEKEND COLLECTIVE ABOVEThe rumble of armoured police trucks and the hiss of tear gas filled central Paris on Saturday, as French riot police fought to contain thousands of yellow-vested protesters venting their anger against the government in a movement that has grown more violent by the week.A ring of steel surrounded the president's Elysee Palace — a key destination for the protesters — as police stationed trucks and reinforced metal barriers throughout the neighbourhood.Stores along the elegant Champs-Elysees Avenue and the posh Avenue Montaigne boarded up their windows as if bracing for a hurricane but the storm struck anyway Saturday, this time at the height of the holiday shopping season. Protesters ripped off the plywood protecting the windows and threw flares and other projectiles. French riot police repeatedly repelled them with tear gas and water cannon.Saturday's yellow vest crowd was overwhelmingly male, a mix of those bringing their financial grievances to Paris — the centre of France's government, economy and culture — along with groups of experienced vandals who tore steadily through some of the city's wealthiest neighbourhoods, smashing and burning.Police and protesters also clashed in other French cities, notably Marseille, Toulouse and Bordeaux, and in neighbouring Belgium. Some protesters took aim at the French border with Italy, creating a huge traffic backup near the town of Ventimiglia.The French government's plan was to prevent a repeat of the Dec. 2 rioting that damaged the Arc de Triomphe, devastated central Paris and tarnished the country's global image. It did not succeed, even though it was better prepared.Although Saturday's protest in the French capital started out quietly, tear gas choked the Champs-Elysees Avenue by early evening.Interior Minister Christophe Castaner said that 135 people had been injured and 974 taken into custody amid protests around the nation. Paris police headquarters counted 71 injuries in the capital, seven of them police officers.An estimated 125,000 people demonstrated around France while 10,000 took their anger to the streets of Paris, double the number in the capital last week, the interior minister said. Toughening security tactics, French authorities deployed 8,000 security officers in the capital alone, among the 89,000 who fanned out around the country.A Starbucks near the Champs-Elysees was smashed wide open and people were seen stepping over broken glass and serving themselves to beverages. The window of a nearby bank was smashed in with a wrought-iron decoration used to encircle city tree trunks.All of the city's top tourist attractions — including the Eiffel Tower and the Louvre museum — shut down for the day, fearing the kind of damage that hit the Arc de Triomphe a week ago. Christmas markets and soccer matches were cancelled. Subway stations in the city centre closed and the U.S. embassy warned citizens to avoid all protest areas.Yet in a sign of the financial disconnect that infuriates many of the protesters, a few blocks from the famed boulevard, people were sitting in Paris cafes, drinking cocktails and chatting.Amid the melee, President Emmanuel Macron remained invisible and silent, as he has for the four weeks of a movement that started as a protest against a gas tax hike and metamorphosed into a rebellion against high taxes and eroding living standards.The mayor of the city of Saint-Etienne, a town in southeast France hit by violence Saturday, castigated Macron for failing to speak out, saying it "feeds the resentment.""This silence becomes contempt for the nation," the mayor, Gael Perdriau, of the opposition conservative party, said on BFMTV. "He has a direct responsibility in what is happening. He can't remain closed up in the Elysee."France's yellow vest protesters have political stances ranging from the far right to the far left but the leaderless group is united in...

De quoi se prendre pour une princesse

4 Wedding Costs That Will Blow Your Mind当地时间5月19日中午12点，英国哈里王子与梅根在温莎城堡圣乔治教堂举行婚礼。浪漫之余，这场“世纪婚礼”的花费也成为了外界热议的话题。据悉，这场英国王室婚礼的花费为4280万美金（约合人民币2.7亿元）。哈里和梅根的婚礼虽然举世瞩目，但是他们的花费和很多豪们相比还算比较低调。我们今天一起来看看豪的婚礼们究竟有多么任性。New Words:venue美 ['vɛnju] n. 审判地；犯罪地点；发生地点；集合地点chapel美 ['tʃæpl] n. 小礼拜堂，小教堂；礼拜bejeweled [bi'dʒu:əld] adj. 用宝石来装饰的tier 美 [tɪr] n. 层，排；suite美 [sut; swit] n. （一套）家具；套房；The Most Expensive Wedding Venue最昂贵的婚礼地点If you need somewhere to host your wedding and the little chapel down the street just won't do, why not build your own 20,000-seat stadium? That's the approach the Crown Prince of Abu Dhabi took in 1981 when he married Princess Salama. In today's dollars, the sheikh's wedding（which also included 20 bejeweled camels delivering gifts to the bride），would cost $100 million.如果你需要某个地方主持婚礼，但是街上的小教堂不行，为什么不建你自己的20000座场馆呢？这是1981年，阿布扎比王储在娶萨拉玛公主时采取的方法。若要换做今天的美元，这场酋长的婚礼， （其中包括20个配满宝石的，给新娘送礼物的骆驼）将花费1亿美元。The Most Expensive Wedding Cake最昂贵的婚礼蛋糕How about $52 million for a wedding cake? In 2013, a bakery in Chester, England created the world's most expensive wedding cake, valued at $52 million. The eight-tiered cake featured more than 4,000 diamonds before it was de-diamonded (we hope) and eaten.花5200万美元买一个结婚蛋糕怎么样？2013，英国切斯特的一家面包店创造了世界上最贵的婚礼蛋糕，价值5200万美元。在开吃之前，这八层蛋糕的点缀了超过4000颗钻石。The Most Expensive Engagement Rings最昂贵的订婚戒指Jay Z spent $5 million on the engagement ring he gave Beyoncé several years ago. The ring totaled 20 carats and included an 18-carat diamond in the center. But that's not the most expensive ring on the list! Mariah Carey knocked Queen B from the top spot with an estimated $10 million, 35-carat engagement ring from James Packer. 几年前，Jay Z花了500万美元给碧昂斯买了订婚戒指。这个戒指总共有20克拉，戒指中心的钻石重达18克拉。但这不是最贵的戒指！玛利亚凯莉从小派克那得到35克拉订婚戒指，价值1000万美元，一举击败独占鳌头的碧昂斯。The Most Expensive Honeymoon Suite最贵的蜜月套房If there's a more expensive honeymoon suite, we couldn't find it. The Royal Suite at the Hotel Plaza Athenee in Paris will set you back $26,000 per night. Inside, it's Parisian luxury at its finest, with a view of Avenue Montaigne and the Eiffel Tower. The four-bedroom suite measures more than 4,800 square feet.如果有一个更贵的蜜月套房，这就是了。在巴黎雅典娜广场酒店的皇家套房每晚花费26000美元。房子的内部装饰是巴黎最豪华的，在这，还可以看到有巴黎蒙田大道和埃菲尔铁塔的。这套四居室套房的面积超过4800平方英尺。

I dessa dagar, när mångt och mycket utmålas som svart eller vitt, ska vi ta en titt på en färg som kombinerar dem båda och ofta lugnar ner läget, den grå. Grått är sannerligen inte den festligaste av färger. Den får ofta beskriva tråkmånsar, och understryka tristess. Grå vardag. Grå mus. Gråblek. Jämngrått. Grå eminens. Gråsosse. Men, det också en färg som med jämna mellanrum lyfts fram i inredning och mode, men då med ord som stram och sofistikerad. Elegant med andra ord. Det är också en snäll färg. Inte minst mot andra kulörer, som liksom lyfts fram och förhöjs av det grå.  Den saken kände den franske modeskaparen Christian Dior väl till.  Han var ett stort fan av färgen grå. I slutet av 1940-talet inredde han sin flaggskeppsbutik på 30 Avenue Montaigne i Paris i pärlgrått, matchat med blekt rosa. Även husfasaden var och är fortfarande grå med vita detaljer. Grått var också en färg som han gärna använde sig av i sitt klädskapande. I sin bok The little dictionary of fashion (modets lilla lexikon) skriver han en hyllning till just grått, som lyder såhär: Grått är den mest praktiska, användbara och elegant neutrala färgen. Den är underbar i flanell, underbar i tweed, underbar i ull. Och, om den passar din hy, finns det ingenting mer elegant än en aftonklänning av grå satäng. För vardagsklänningar, dräkter och kappor är färgen idealisk. Jag rekommenderar den alltid. Det är också en bra färg för accessoarer för nästan allt fungerar till grått. I veckans program berättar vi mer om den grå färgen, och vårt förhållande till den. Vi pratar också med den före detta statsministern Ingvar Carlsson och journalisten Barbro Hedvall om begreppet "gråsosse". Vi tar även en närmare titt på materialet betong och så träffar vi serietecknaren och illustratören Joanna Hellgren, som står bakom den hyllade serietrilogin Frances en berättelse tecknad helt i blyerts, från mjukaste grått till mörkaste svart. Veckans gäst är Imke Janoschek, redaktionschef på Residence.

Right in Paris' 8th Arrondissement is an enclave of luxury that may find no equal anywhere else in the world. It’s Avenue Montaigne and it’s quite an experience to behold for the solo traveler. Be prepared to be swept away to this paragon of opulence on this episode. Your solo travel advisor Astrid Clements shows why this street needs to be on your itinerary for a Paris trip, explains what to expect, how long to spend there, where to dine, and even gives you her tips for making this a peak experience of sophistication and refinement. We love sharing the most innovative and informative content to get you out there solo. Astrid, your expert Solo Travel Advisor-- has an amazing packing list available for download. Get it at her website, AstridTravel.com. Follow Astrid on Facebook, Twitter, and Instagram. You can subscribe to the podcast on Apple Podcasts, SoundCloud, Stitcher, or with your favorite podcast app. Just go solo!

In March of 1887 a high-class prostitute and two others, including a child, were found stabbed to death in a luxury apartment on the upscale Avenue Montaigne. Police settle on a mysterious immigrant gigolo as their main suspect, named Enrico Pranzini. My guest, Aaron Freundschuh, author of "The Courtesan and the Gigolo: The Murders in the Rue Montaigne and the Dark Side of Empire in Nineteenth-Century Paris" tells the story of the crime, the investigation, the trial, and the role that xenophobia played in its outcome.  Learn more about your ad choices. Visit megaphone.fm/adchoices

DU LIVE...MON COCO 08/28/2016 ...AVENUE MONTAIGNE...AT A BAR...

Listen Up! All rise.  Show 94 is now in session:The Decline and Fall of Bowling in the Western WorldTune 1: Games by WerchowskiVin: 2004 Pibe Valderrama Rubi (Argentina)Thuggery in sportsPacman JonesMichael VickHockeyTune 2: Propaganda by Jammin INCOn Film: Avenue MontaigneComments, suggestions, discussion?  Discuss this episode in our forum.