Podcasts about bergdorf

Donald Trump, found guilty of sexual assault and defamation, owes E. Jean Carroll $88 million. She explains how she beat him in court, twice, proving that he attacked her in a Bergdorf dressing room and then lied about it. Her new book is Not My Type: One Woman vs. a President. Also, the leading autopsies on the 2024 defeat of Democrats are missing two big things, Steve Phillips argues: the centrality of racial hostility and of gender resentment as central organizing forces in American politics. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Fortsetzung der autofiktionalen Familientrilogie von Monika Helfer. Im Mittelpunkt steht ihr Vater: «Wir sagten Vati. Er wollte es so. Er meinte, es klinge modern. Er wollte vor und durch uns einen Mann erfinden, der in die neue Zeit hineinpasste.» Wer das Hörspiel am Radio hören will: Samstag, 14.06.2025, 20.00 Uhr, Radio SRF 2 Kultur Josef Helfer ist das uneheliche Kind einer Magd. Sein Vater ist der Bauer, bei dem die Mutter arbeitet. Während des Zweiten Weltkriegs wird er zum Kriegsdienst eingezogen und an die Front nach Russland geschickt. Dort verliert er ein Bein. Im Lazarett verliebt er sich in eine Krankenschwester: Monika Helfers Mutter Grete, die genau wie er seit der Geburt eine Aussenseiterin ist. In dem Bergdorf, in dem sie aufwuchs, galt sie als Kuckuckskind. Monika Helfers Vater war ein schweigsamer, in sich gekehrter Kriegsheimkehrer, der seine traumatischen Fronterlebnisse verdrängen musste, weil die Erinnerungen daran zu schmerzhaft waren. Monika Helfer weiss wenig über ihren Vater, der bereits in den 1980ern im Alter von 67 Jahren starb. Er hat sie jedoch geprägt mit seiner geradezu manischen Büchersucht und seinem kritischen Sprachbewusstsein. «Vati» ist der Versuch, seine Lebensgeschichte zu rekonstruieren. Anhand der Biografie des Vaters erzählt die Autorin auch von ihrer eigenen Kindheit, die von den Traumata der Eltern geprägt war. «Es sind zwei Depressive, die sich gefunden haben, um ihre Last gemeinsam besser ertragen zu können, und die doch heillos überfordert sind.» Ein Hörspiel über eine intensive und ambivalente Bindung – und deren Aufarbeitung. ____________________ Mit: Dörte Lyssewski (Monika), Karl Markovics (Vati), Damyan Andreev (Lorenz als Jugendlicher), Mara Romei (Monika als Kind), Robert Reinagl (Baumeister Brugger), Wolfram Berger (Pfarrer), Martina Spitzer (Frau Brugger), Burkhard Schindlegger (Vati als Kind), Christoph Reisinger (Sohn des Baumeisters), Julia Koch (Grete), Johanna Tomek (Tante Kathe alt), Katja Kolm (Tante Kathe jung), Rada Rae (Grete als Kind), Sonja Romei (Tante Irma), Klaus Höring (Vater Ferdinand), Lukas Walcher (Ferdinand), Dietmar König (Mann aus Stuttgart 1), Felix Rech (Mann aus Stuttgart 2), Margarete Tiesel (Lotte), Hannes Perkmann (Lorenz als Erwachsener) und Rainer Egger (Onkel Sepp) ____________________ Tontechnik: Martin Leitner, Jakob Kainz, Melanie Inden, Thomas Rombach – Naturaufnahmen: Martin Leitner – Originalmusik: Fatima Dunn – Hörspielbearbeitung und Regie: Elisabeth Weilenmann ____________________ Produktion: HR/ORF/SRF 2024 ____________________ Dauer: 54'

Im Talk nimmt Reporterin Claudia Mayer ihren Kollegen Ferdi Deja mit auf eine außergewöhnliche Abenteuerreise: 48 Stunden Anreise über holprige Straßen und wackelige Hängebrücken zu Wang-Od, der 107-jährigen Tattoo-Künstlerin eines abgelegenen philippinischen Bergdorfs, die es sogar auf das Cover der Vogue geschafft hat! Erfahre, wie Claudia die Traditionen des Butbut-Stammes erlebt, sich selbst mit Wang-Ods legendären drei Punkten tätowieren lässt und versteht, wie dieser Tattoo-Tourismus das Leben der Dorfbewohner verändert – zwischen Bewahrung und Kommerz. Ein Talk über FlipFlop-Taxifahrer, heilige Tätowiererinnen und die Frage, was wirklich unter die Haut geht.

Behind the Awards with Eila Mell & Bruce GotliebCelebrating extreme excellence in theater, film and tv, this podcast takes listeners all over the world on a journey behind the scenes featuring never-before-heard stories from Academy Award winners, Tony Award winners, Golden Globe Award winners, and so much more. Co-Hosts Eila Mell, bestselling author (The Tony Awards: A Celebration of Excellence in Theatre) and Bruce Gotlieb, take guests through their experience of being nominated and subsequently winning their award(s), highlighting interesting and intimate details about their awards experience that will leave everyone happy to be a part of the experience. Eila Mell - Eila Mell is the author of Designing Broadway, as well as the official guide to the hit television series Project Runway, titled Project Runway: The Show That Changed Fashion. Among her other books are New York Fashion Week and, with Ty Hunter, Makeover from Within: Lessons in Hardship, Acceptance, and Self-Discovery. Mell has been featured in the New York Times, Marie Claire, Glamour, and CBS's The Insider, as well as in the documentary Scatter My Ashes at Bergdorf's. Her latest book, The Tony Awards: A Celebration of Excellence. Bruce Gotlieb - Bruce Gotlieb is the Co-Host of the Behind the Awards Podcast. As an accomplished interviewer he has had the privilege to interview many stars of stage and screen including; Carol Burnett, Julianna Margulies, T.R. Knight, and Joe Mantegna to name a few. He is a NY Based Realtor and Actor who has an affinity for all things Pop Culture… and never met an awards show he didn't like. Want to try our Broadway fitness program for free? ⁠⁠⁠⁠www.builtforthestage.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Behind the Awards with Eila Mell & Bruce GotliebCelebrating extreme excellence in theater, film and tv, this podcast takes listeners all over the world on a journey behind the scenes featuring never-before-heard stories from Academy Award winners, Tony Award winners, Golden Globe Award winners, and so much more. Co-Hosts Eila Mell, bestselling author (The Tony Awards: A Celebration of Excellence in Theatre) and Bruce Gotlieb, take guests through their experience of being nominated and subsequently winning their award(s), highlighting interesting and intimate details about their awards experience that will leave everyone happy to be a part of the experience. Eila Mell - Eila Mell is the author of Designing Broadway, as well as the official guide to the hit television series Project Runway, titled Project Runway: The Show That Changed Fashion. Among her other books are New York Fashion Week and, with Ty Hunter, Makeover from Within: Lessons in Hardship, Acceptance, and Self-Discovery. Mell has been featured in the New York Times, Marie Claire, Glamour, and CBS's The Insider, as well as in the documentary Scatter My Ashes at Bergdorf's. Her latest book, The Tony Awards: A Celebration of Excellence. Bruce Gotlieb - Bruce Gotlieb is the Co-Host of the Behind the Awards Podcast. As an accomplished interviewer he has had the privilege to interview many stars of stage and screen including; Carol Burnett, Julianna Margulies, T.R. Knight, and Joe Mantegna to name a few. He is a NY Based Realtor and Actor who has an affinity for all things Pop Culture… and never met an awards show he didn't like. Want to try our Broadway fitness program for free? ⁠⁠⁠⁠www.builtforthestage.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Die Themen von Lisa und Jan am 30.05.2025: (00:00:00) Unsere Interviews mit Merz und Wadephul: Danke für euer Feedback! (00:02:17) Gletscherunglück in der Schweiz: Wie gut die Evakuierung geklappt hat und warum die Gefahr noch nicht vorbei ist. (00:06:57) Justiz vs. Trump: Warum Trumps Zölle so ein Hin und Her sind und wie er versucht die Gewaltenteilung zu beeinflussen. (00:12:46) Fake-Straßensperrungen bei Maps: Was gestern in der App los war und wie Verkehrsprognosen mit KI funktionieren. (00:16:43) "Im Fall Stefanie - Eine von 155": Unseren SR-Podcast-Tipp findet ihr hier: https://lmy.de/xOdTS Hier findet ihr die KI-Doku des WDR: https://www.ardmediathek.de/tv-programm/680148e2a4db10d9e2b7892c Habt ihr Fragen oder Feedback? Schickt uns gerne eine Sprachnachricht an 0151 15071635 oder schreibt uns an 0630@wdr.de – und kommt gern in unseren WhatsApp-Channel: https://1.ard.de/0630-bei-Whatsapp Von 0630.

Der Regen der letzten Tage und Wochen hat grosse Teile der Rutschung wieder beschleunigt. Dies teilt die Gemeinde Albula/Alvra heute in ihrem Informationsbulletin mit. Vor allem an der Abreiskante am Berg oben und der Schutthalde nehmen die Geschwindigkeiten zu. Weitere Themen in der Sendung: · Geld für Blatten: Der Kanton Thurgau schickt 50 000 Franken Soforthilfe. Im Kanton St. Gallen fordert die SVP eine Million Franken Soforthilfe aus dem Lotteriefonds. · Nachtragskredit für Energie-Förderprogramm: Die Thurgauer Regierung benötigt mehr Geld für die Energieförderung. Sie beantragt deshalb beim Parlament einen Nachtragskredit von 16,5 Millionen Franken. · Rekurs gegen Neugestaltung: Die geplante Aufwertung der Unteren Bahnhofstrasse in Romanshorn verzögert sich weiter. Gegen die Abweisung der Einsprache durch den Stadtrat wurde beim Kanton Thurgau ein Rekurs eingereicht.

Seit gut zehn Tagen dürfen die Brienzerinnen und Brienzer tagsüber ins evakuierte Dorf zurückkehren. Übernachten ist dort jedoch nicht erlaubt. Das wollten letzte Nacht zwei Männer offenbar ausnutzen. Die Kantonspolizei Graubünden hat zwei mutmassliche Plünderer festgenommen. Weitere Themen: · Das Ausserrhoder Kantonsparlament hat heute die Staatsrechnung für das Jahr 2024 genehmigt. Diese schliesst schlechter als budgetiert, aber besser als noch im Herbst erwartet. · In Wasserauen wird es diesen Sommer doch keinen neuen Veloparkplatz geben.Die Regierung und der Bezirk haben die Pläne aufgrund von zwei Einsprachen sistiert. · Die Thurgauer Staatsanwaltschaft klagt drei Männer an. Sie sollen im April und Mai 2023 insgesamt neun Raubüberfälle in den Kantonen St. Gallen, Thurgau und Zürich verübt haben.

Achtzehnter Stock - so heisst der neue Roman von Sara Gmuer. In der Hauptrolle geht es um Wanda und ihre Tochter. Sie lebt in einem Plattenbau in Berlin-Lichtenberg, immer den Fernsehturm am Horizont im Blick. Er ist Symbol für ein besseres Leben. Wanda ist Schauspielerin, hat nie Geld und versucht den Spagat zwischen Liebesbeziehung mit einem Leinwandstar, Care-Arbeit und Dreharbeiten am Set. Sie scheitert - und gewinnt am Ende doch. Die Hausgemeinschaft in der Platte fängt sie auf, sie beißt sich durch. Sara Gmuer kennt das Auf und Ab, diese Welten. Die Schweizerin war Rapperin, Model, Schauspielerin - ihr Debütroman "Karizma" dreht sich um eine Rapperin, die sich in der männerdominierten Szene durchsetzt. Heute lebt sie mit zwei Kindern und Mann in Berlin. Stephan Ozsváth hat sich mit ihr in Berlin-Lichtenberg in der "Platte" getroffen und sie zum Rappen animiert und mit ihr über Perfektionismus, Eitelkeit und Rap als Keimzelle von Literatur gesprochen. Stephan Ozsváth empfiehlt Ákos Doma: Das Haus in Limone, Jung&Jung, 304 Seiten. Sara Gmuer empfiehlt Akiz: Der Hund, hanserblau, 192 Seiten. Das Buch Sara Gmuer: "Achtzehnter Stock", hanserblau, 224 Seiten. Der Ort "Platte" an der Frankfurter Allee in Berlin-Lichtenberg, am U-Bahnhof Magdalenenstraße. Die Autorin Sara Gmuer, 1980 in Locarno geboren, in einem Bergdorf in der italienischen Schweiz aufgewachsen, Rapperin, Schauspielerin, Model. Ihr erster Roman "Karizma" wurde für seinen rotzigen Sound gefeiert. Heute lebt Sara Gmuer mit Mann und zwei Kindern in Berlin. Der Song zum Buch https://youtu.be/fHBLd2jnVJE?si=QT03GMg5ER39dU-V

In episode 264 of the podcast, we welcome back Greg Bergdorf, founding member and original guitarist of Zebrahead, to talk 25 years of their album ‘Playmate of the Year'.We dig into the pressure of following up ‘Waste of Mind', writing and recording, touring the world, and of course hanging at the infamous Playboy Mansion. This is a fun trip down memory lane for all four of us.Greg and his new bandmates in the Bourbon Brothers are consistently playing gigs in the ATL area, find them and say hi! Check out Greg and the Bourbon Brothers here:Greg IG: @greg_bergdorfBourbon Bros IG: @thebourbonbrothersbandPodcast theme performed by Trawl. Follow them here:Web: https://www.trawlband.com/IG/X/TikTok: @trawlbandWe'd love for everyone to hear this episode! Support the Podioslave family by rating, subscribing, sharing, storying, tweeting, etc — you get the vibe. Peace, love, and Podioslave. Check us out here:Web: https://www.podioslave.comIG/Threads/X/TikTok: @PodioslaveYoutube: Podioslave PodcastEmail: Podioslavepodcast@gmail.com

Am 10. und 11. April findet in Andermatt die Premiere des High Peak Festivals statt. Der Anlass rechnet mit bis zu 8'000 Hip-Hop-Fans. Das Festival reiht sich ein in eine Reihe von Musikanlässen im Bergdorf. Der Markt scheint noch nicht gesättigt. Weiter in der Sendung: · Patzer bei der Vernehmlassung wird Thema im Luzerner Kantonsparlament · Bilanz 2024 der Genossenschaft Migros Luzern

As the Co-Artistic Director of Streb Extreme Action she ziplined across the Park Avenue Armory, scaled the walls of the Bergdorf building and danced on the spokes of the London Eye. Cassandre was born and raised in Brooklyn, New York. Her investigation in movement began at the age of four with the sport of gymnastics. Over a span of twenty years as a competitive gymnast, she earned several state and regional titles. She graduated from Cornell University with a B.A. in English Literature and studied journalism at Temple University's graduate communications program. She joined STREB in 2007 as an instructor and company member. In September 2017, Cassandre Joseph was appointed Associate Artistic Director of STREB Extreme Action, and also oversees SLAM's education program. Cassandre has been the Creative Director of the STREB Kid Company since 2010 for which she has choreographed and self-produced three evening length works: Heroes (2015), Momentum (2016) and Navigation (2017). She is a strong believer in the transformative power of movement and is passionate about empowering young people to push boundaries and expand their notions of what is possible. When she is not seen in a rehearsal, teaching classes or creating action events at SLAM, she can be found training her daughter Nia to be a mini-action hero.

Wie lebt es sich in Gstaad? – Gstaad in den Schweizer Alpen ist bekannt als Urlaubsort für Superreiche. Wie ist es aber, als Jugendliche hier zu leben und zu arbeiten? Die 19-jährige Melina führt einen Tag lang durch das Bergdorf.

Im Rahmen des Seminars "Natur, Mensch, Kultur - Geschichte und Gegenwart eines ambivalenten Verhältnisses" im Sommersemester 2019 fand in Zusammenarbeit mit dem Radio- und TV-Sender ALEX Berlin eine Studienreise in die piemontische Hirtensiedlung Rimella statt. Einen Einblick in ihre Reise und das Dorfleben gibt uns der Radiobeitrag, den ihr hier nachhören könnt. Autorinnen: Francesca Costanzo, Marlene Kunath, Merit Niemeitz, Mihaela Gladovic und Vera Laux.

Fortsetzung der autofiktionalen Familientrilogie von Monika Helfer. Im Mittelpunkt steht ihr Vater: «Wir sagten Vati. Er wollte es so. Er meinte, es klinge modern. Er wollte vor und durch uns einen Mann erfinden, der in die neue Zeit hineinpasste.» Wer das Hörspiel am Radio hören will: Freitag, 31.01.2025, 20.00 Uhr, Radio SRF 1 Josef Helfer ist das uneheliche Kind einer Magd. Sein Vater ist der Bauer, bei dem die Mutter arbeitet. Während des Zweiten Weltkriegs wird er zum Kriegsdienst eingezogen und an die Front nach Russland geschickt. Dort verliert er ein Bein. Im Lazarett verliebt er sich in eine Krankenschwester: Monika Helfers Mutter Grete, die genau wie er selbst seit ihrer Geburt eine Aussenseiterin ist. In dem Bergdorf, in dem sie aufwuchs, galt sie als Kuckuckskind. Monika Helfers Vater war ein schweigsamer, in sich gekehrter Kriegsheimkehrer, der seine traumatischen Fronterlebnisse verdrängen musste, weil die Erinnerungen daran zu schmerzhaft waren. Monika Helfer weiss wenig über ihren Vater, der bereits in den 1980ern im Alter von 67 Jahren starb. Er hat sie jedoch geprägt mit seiner geradezu manischen Büchersucht und seinem kritischen Sprachbewusstsein. «Vati» ist der Versuch, seine Lebensgeschichte zu rekonstruieren. Anhand der Biografie des Vaters erzählt die Autorin auch von ihrer eigenen Kindheit, die von den Traumata der Eltern geprägt war. «Es sind zwei Depressive, die sich gefunden haben, um ihre Last gemeinsam besser ertragen zu können, und die doch heillos überfordert sind.» Ein Hörspiel über eine intensive und ambivalente Bindung – und deren Aufarbeitung. Mit: Dörte Lyssewski (Monika), Karl Markovics (Vati), Damyan Andreev (Lorenz als Jugendlicher), Mara Romei (Monika als Kind), Robert Reinagl (Baumeister Brugger), Wolfram Berger (Pfarrer), Martina Spitzer (Frau Brugger), Burkhard Schindlegger (Vati als Kind), Christoph Reisinger (Sohn des Baumeisters), Julia Koch (Grete), Johanna Tomek (Tante Kathe alt), Katja Kolm (Tante Kathe jung), Rada Rae (Grete als Kind), Sonja Romei (Tante Irma), Klaus Höring (Vater Ferdinand), Lukas Walcher (Ferdinand), Dietmar König (Mann aus Stuttgart 1), Felix Rech (Mann aus Stuttgart 2), Margarete Tiesel (Lotte), Hannes Perkmann (Lorenz als Erwachsener) und Rainer Egger (Onkel Sepp) Dramaturgie: Cordula Huth - Ton und Technik: Martin Leitner, Jakob Kainz, Melanie Inden, Thomas Rombach - Naturaufnahmen: Martin Leitner - Originalmusik: Fatima Dunn - Hörspielbearbeitung und Regie: Elisabeth Weilenmann - Produktion: HR/ORF/SRF 2024 - Dauer: 51'

Die Wohnungsnot an Ferienorten in den Bergen spitzt sich zu. Für einheimische Familien ist es vielerorts unmöglich geworden, bezahlbare Wohnungen zu finden. Dann: Das umstrittene Geschäft mit Privat-Puffs. Und: Irans Staatsgeiseln-Politik. Wohnungsnot im Bergdorf: Sind Einheimische schuld? In beliebten Ferienregionen finden Einheimische keine Wohnungen – ausser sie haben ein dickes Portemonnaie. Der Anteil an Zweitwohnungen steigt. Auch weil in Bergdörfern lieber teuer an Gäste verkauft wird statt Einheimische zu bevorzugen. Werden Bergtäler zu Luxus-Kolonien? Wir suchen Antworten in Graubünden und im Wallis. Unsichtbare Prostitution: Sex-Boom an Privatadressen Das Sexgewerbe verschiebt sich von der Öffentlichkeit ins Private. Prostituierte arbeiten zunehmend in Wohnungsbordellen. Die Polizei schlägt Alarm: Kontrollen seien schwieriger. Eine Sexarbeiterin macht sich Sorgen: Zwangsprostitution und Schwarzarbeit würden dadurch begünstigt. Die Reportage im Rotlichtmilieu. Rebecca Angelini setzt sich als Geschäftsleiterin des nationalen Netzwerks ProCoRe für die Rechte und Anliegen von Sexarbeitenden ein. Im «Rundschau»-Interview erklärt sie, was die Verlagerung in private Wohnungen für die Prostituierten bedeutet. Gefangene als Druckmittel: Iran und die Geiseldiplomatie Mehrere Europäer werden im Iran festgehalten, weil sie der Spionage beschuldigt werden. Wie der Schweizer, der in einem iranischen Gefängnis gestorben ist. Das Mullah-Regime setzt ausländische Gefangene als Faustpfand ein, um politische Interessen durchzusetzen. Eine grausame Praxis.

Die Wohnungsnot an Ferienorten in den Bergen spitzt sich zu. Für einheimische Familien ist es vielerorts unmöglich geworden, bezahlbare Wohnungen zu finden. Dann: Das umstrittene Geschäft mit Privat-Puffs. Und: Irans Staatsgeiseln-Politik. Wohnungsnot im Bergdorf: Sind Einheimische schuld? In beliebten Ferienregionen finden Einheimische keine Wohnungen – ausser sie haben ein dickes Portemonnaie. Der Anteil an Zweitwohnungen steigt. Auch weil in Bergdörfern lieber teuer an Gäste verkauft wird statt Einheimische zu bevorzugen. Werden Bergtäler zu Luxus-Kolonien? Wir suchen Antworten in Graubünden und im Wallis. Unsichtbare Prostitution: Sex-Boom an Privatadressen Das Sexgewerbe verschiebt sich von der Öffentlichkeit ins Private. Prostituierte arbeiten zunehmend in Wohnungsbordellen. Die Polizei schlägt Alarm: Kontrollen seien schwieriger. Eine Sexarbeiterin macht sich Sorgen: Zwangsprostitution und Schwarzarbeit würden dadurch begünstigt. Die Reportage im Rotlichtmilieu. Rebecca Angelini setzt sich als Geschäftsleiterin des nationalen Netzwerks ProCoRe für die Rechte und Anliegen von Sexarbeitenden ein. Im «Rundschau»-Interview erklärt sie, was die Verlagerung in private Wohnungen für die Prostituierten bedeutet. Gefangene als Druckmittel: Iran und die Geiseldiplomatie Mehrere Europäer werden im Iran festgehalten, weil sie der Spionage beschuldigt werden. Wie der Schweizer, der in einem iranischen Gefängnis gestorben ist. Das Mullah-Regime setzt ausländische Gefangene als Faustpfand ein, um politische Interessen durchzusetzen. Eine grausame Praxis.

I like authors who make me laugh. Listen to three passages from Ann Leary's essay collection, with one on Bergdorf eveningwear, circa 2009. On writing humor.

Der Schweizer Heimatschutz verleiht dem Bündner Bergdorf Poschiavo den Wakkerpreis. Die Auszeichnung gibt es, weil Poschiavo aus seinem Handicap, der Abgeschiedenheit, ein Erfolgsmodell gemacht hat. Poschiavo könne anderen Bergregionen als Vorbild dienen, heisst es in einer Mitteilung. Weitere Themen: · Eine Initiative fordert ein Rauchverbot auf Stadt St. Galler Spielplätzen. Heute beginnt die Unterschriftensammlung. · Die Hälg Group, mit Hauptsitz in St. Gallen, übernimmt das Zentralschweizer Unternehmen Löwen Bau- und Betriebs AG. · Im Kanton Glarus startet die Fachstelle Gesellschaft im Februar ein Mentoringprogramm für mehr Frauen in der Politik.

Bill Stenger ist begeisterter Skifahrer – und er hat einen Traum: Er will ein verschlafenes Bergdorf in einen Hotspot für Wintersportler verwandeln. Dabei helfen sollen ein zwielichtiger Geschäftsmann und ein spezielles Regierungsprogramm. Und es gelingt! Sie machen die Region zur ganzjährigen Touristenattraktion und schaffen Tausende von Arbeitsplätzen. Aber irgendwann wird ihr Schneeball zur Lawine …Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

Brienz: ein Bergdorf in Gefahr – Zum zweiten Mal innerhalb von zwei Jahren mussten die Menschen in Brienz in der Schweiz ihre Häuser verlassen. Denn wieder droht eine Gerölllawine, das Dorf zu zerstören. Wann sie zurückkehren können, weiß niemand.

Hondl, Kathrin www.deutschlandfunk.de, Informationen am Abend

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Got an opinion? On the iHeartRadio app, tap the red microphone to record & send us your thoughts. Don't have the app? Get it free here ---> https://news.iheart.com/apps/ Follow us: Instagram - wgyradio X - WGYMornings Facebook - 810wgy & WGYMornings

Der ehemalige Direktor des Arosa Humorfestivals, Frank Baumann, hat in Vals ein neues Kulturprojekt gestartet. «Schwester Berghaus und das autonome Rentnerkollektiv Vals» holt Komikerinnen und Komiker in das kleine Bündner Bergdorf. Finanziell lohnt sich das nicht. Weitere Themen: * Aufrecht begründet Beschwerde zur Stadtparlamentswahl St. Gallen. * Gestohlene Schweizer Velos in Österreich sichergestellt. * Der österreichische Rechtsextremist Martin Sellner kam trotz Einreisesperre in Kreuzlingen über die Grenze und wurde von der Polizei abgeführt. * Untersuchung zu PFAS in Speisefischen: Situation nicht beunruhigend. * Mitsprache der Bevölkerung bei Asylunterkünften: SVP-Fraktion will Antworten von der St. Galler Kantonsregierung.

Winterthur kämpft gegen illegale Hauskericht-Entsorgung, Basel-Stadt präsentiert Klima-Aktionsplan für Netto-Null-Ziel, Valendas – kein darbendes Bergdorf ohne Zukunft

“The Real Housewives of New York City” stars are back for Season 15! Access Hollywood's Housewives Nightcap chatted with the cast and they revealed what to expect from the new season. Newbies Rebecca Minkoff and Racquel Chevremont revealed what surprised them about joining the show. Brynn Whitfield addressed her comments that newbie and fashion designer Rebecca Minkoff's bags can be found at Nordstrom Rack. “What I learned in watching that trailer that I am a ‘Bergdorf's brat,' and I need to remember where I came from and, no, I just, you know, make a lot of retail jabs, so I don't know what that's about, but it was fun,” she joked. Plus, Sai De Silva and Ubah Hassan commented on a potential pregnancy tease seen in the trailer. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Folge 166: CLARAS TRAUMKLEID Gute Nacht Geschichte und im Anschluß eine Einschlafentspannung mit beruhigenden KlängenHeute erzähle ich Dir zuerst die Gute Nacht Geschichte und leite dich in Anschluß durch eine. sanfte und beruhigende Einschlaf-EntspannungWas in der Geschichte passiert: In einem kleinen Bergdorf lebt Clara, eine selbstlose Frau mit einem heimlichen Traum: Sie möchte einmal in ihrem Leben in Paris ein wunderschönes Kleid kaufen. Und dann ist es soweit, sie erhält einen Brief der sie nach Paris führt. Auch diese Geschichte wird am Ende gut ausgehen, sodass du entspannt einschlafen kannst.

Brienz hatte enormes Glück beim Bergsturz vor einem Jahr. Doch die Bewohner bangen mehr denn je um ihr Dorf. Es rutscht so schnell wie nie zuvor und die Schäden werden immer schlimmer. Zudem drohen neue Felsstürze – nicht mehr nur auf Brienz. Können Ingenieure den Wettlauf gegen die Zeit gewinnen? Vor einem Jahr ist Brienz GR evakuiert worden. Medien aus der ganzen Welt berichteten. 23 Tage später verfehlte der Bergsturz das Dorf nur um Meter. Noch einmal lieferte Brienz GR Schlagzeilen. Doch dann wurde es still um das Bergdorf. Brienz GR selber kam jedoch nicht zur Ruhe. Im Gegenteil. Das grosse Glück Warum Brienz GR ein mehrfaches Glück beanspruchen musste, um nicht verschüttet zu werden, haben Forschende erst in den vergangenen Monaten rekonstruieren können. Wäre der Bergsturz zum Beispiel im Winter passiert, wären die Folgen wohl verheerend gewesen. Das Glück zeigt auch, wie fragil die Situation ist. Es braucht nicht viel, und Brienz GR muss sich wieder vor den Naturgefahren fürchten. Und genau das ist passiert. Zu viel Schnee und Regen So haben ein überdurchschnittlich nasser Herbst und ein schneereicher Winter Brienz GR erneut unberechenbare Gefahren beschert. Ab August regnete und schneite es teils mehr als doppelt so viel wie im monatlichen Durchschnitt. Und das hatte Folgen. Um diese zu verstehen, muss man folgendes wissen: Brienz GR rutsch seit 25 Jahren immer schneller talwärts. Grund sind hohe Wasserdrücke im Boden unter dem Dorfplateau. Rutscht unten das Dorf weg, verliert oben der Berg den Halt. Die Niederschläge haben den Wasserdruck derart erhöht, dass das Dorf nun so schnell wie nie rutscht. Und damit auch der Berg. Die neue Gefahr So drohen nun neue Bereiche am Berg abzustürzen. Noch sind die Prognosen nicht dramatisch. Doch wie die Gefahr in 10 Jahren aussehen wird, ist schwer zu beurteilen. Denn je schneller die Bewegungen sind, umso schneller können Gefahren entstehen. Eine Befürchtung: Ein neuer Bergsturz könnte gar den Nachbarort Vazerol gefährden. Der Stollen der Hoffnung Doch noch glauben die Verantwortlichen an die Rettung durch einen Entwässerungsstollen. Der Teststollen, der anfänglich Dorf und Berg beruhigt hat, wird bis 2026 auf 2,5 Kilometer Länge ausgebaut. Er wurde gar noch leicht in der Linienführung angepasst, weil die Geologen eine Art Wasserbecken entdeckt haben hinter dem Dorf, das sie möglichst rasch entleeren wollen. Ob der Wettlauf gegen die Zeit gelingt?

Armed with a 9-millimeter and a gross overpour of chardonnay, Roseanne is finally back at home in her true element with her trusty sidekick (and elder-abusing son) Jake Pentland. Roseanne gives behind-the-scenes access into her latest scandal involving Joe Biden and Bergdorf and blows Jake's mind with her Lex Friedmanesque “AI vs. AI” theory.  There is a reason why some fans of this show prefer the mother-and-son combo to high-level guests…. It's like hanging out with your own family.  Sit back, load up, pour a glass, and enjoy! ------------------------------------------------ Sponsored By: Double your potential with SuperBeets Heart Chews! Get a free thirty-day supply of SuperBeets Heart Chews bundles and 15% off your first order by going to https://www.GETSUPERBEETS.com and using code ROSEANNE. VNSH is hooking you up with an exclusive discount AND extra entries to win a fully customized Chevrolet Silverado Trail Boss Z71 when using my link https://vnsh.com/RB! Go get yourself the most comfortable holster you've ever worn (money back guarantee). Giveaway ends June 3rd!  Policygenius: Head to https://www.policygenius.com  for free life insurance quotes and see how much you could save!  Go to https://www.twc.health/RB and use code RB to save 10% + free shipping at checkout on Contagion Emergency Kits!  Protect yourself and loved ones with a Shockwave Torch and more from Pain Safari! Get up to 80% off and extra contest entries to win a fully customized Chevrolet Silverado Trail Boss Z71  with my link https://painsafari.com/RB. Giveaway ends June 3rd!  Visit https://www.GetLiverHelp.com/RB to try the Liver Health Formula, and claim your FREE bonus gift bottle of Nano Powered Omega 3 to keep your heart healthy! ------------------------------------------------ Follow Roseanne:     Website: https://www.roseannebarr.com Instagram: https://www.instagram.com/officialroseannebarr    Facebook: https://www.facebook.com/officialroseannebarr   Twitter: https://twitter.com/therealroseanne   YouTube: https://www.youtube.com/roseanneworld Rumble: https://rumble.com/user/roseannebarrpodcast Merch: https://www.roseannebarr.com/shop    ------------------------------------------------ Co-host /Producer: Jake Pentland https://twitter.com/jakezuccproof https://www.instagram.com/jakepentlandzuccproof ------------------------------------------------ Music: "Synthetic World" by Swamp Dogg: https://youtu.be/2_uOB0455VI ------------------------------------------------  

What you'll learn in this episode: Why working with jewelry designers is part business, part therapy. Why the jewelry industry is picking up its pace to match the fashion industry, and why this trend might backfire. Why customer feedback on comfort and wearability is essential for jewelry brands. How Lionel defines success for his jewelry clients. What caused so many fashion houses to develop fine jewelry lines in the last few years, and what this trend means for the industry.  About Lionel Geneste Lionel Geneste is a fashion and luxury industry veteran, having worked for John Hardy, Givenchy, Catherine Malandrino and Randolph Duke in various capacities, from global marketing to communications and merchandising. He is also the founder of the gift-giving service b.Sophisticated. Born in Tehran to French parents, Geneste grew up as a modern nomad: Cairo, Istanbul, Lagos, Beirut, Paris are just a few places he once called home. And so he acquired an eclectic eye, at an early age, for the refined and urbane—only further encouraged by his clotheshorse mother and her like-minded friends. Additional Resources Website Instagram Photos Available on TheJewelryJourney.com Transcript: How does an independent jewelry brand get noticed? For some lucky jewelers, the secret is Lionel Geneste. Lionel is a jewelry strategist and advisor who has launched iconic brands, shown new collections at Paris couture week, and gotten small jewelry artists into top stores. He joined the Jewelry Journey Podcast to talk about how the jewelry industry compares to the fashion industry; the trends, opportunities and challenges jewelers are facing today; and how he chooses his clients (and why he has to believe in their work). Read the episode transcript here. Welcome to the Jewelry Journey, exploring the hidden world of art around you. Because every piece of art has a story, and jewelry is no exception. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, I'm talking with Lionel Geneste. He's an independent strategist in the jewelry industry. He does this after 15 years in fashion, so he knows fashion and jewelry. Welcome back. Let's say people haven't seen the lines of these jewels or the independent jewelers that you represent. Do they say, “Oh, I haven't seen this. I want it for my store”? Lionel: Right. They do that. Everybody has access to everything pretty much now, with Instagram or even stores posting on their websites. I tend to have a collection or a certain number of pieces with me, and then I distribute it amongst the stores I work with. I still give the list of everything I have within the U.S. So, if a client has seen something and it's not within their store, I will send it to them to present to the client. It's very interesting. Once the client knows the brand, they really go for it. They dig into the Instagram to see other pieces. I think you have to be very fluid and flexible, and you have to be able to move around your jewelry if you want to accommodate your plan. Sharon: What are the first things you advise people, your new clients, on? Is it to get involved with social media? Lionel: I know we all hear the stories of people selling off Instagram. I think the brick and mortar is still—at a certain level, we're talking about jewelry. It's different below $8,000. It's very rare when someone buys it from a website. Even a website like Moda Operandi, for example, if there is a piece— Sharon: Which one? Lionel: Moda Operandi. It's a website that was launched on the idea of doing trunk shows on there. For example, they will very often ask for the piece to be sent so they can show it to their clients. It's rare that they buy it directly off the website. I think for pieces that are $500 to $2,000, maybe $3,000, but above a certain price, the clients want to see it, feel it. Sharon: And touch it. When you look for new clients, what do you look for? What would you consider new? Would you consider if the way they make it is new? Lionel: There are there a few things. If I take them, for example, Mike Joseph is very interesting. He has great technique. The jewelry is going to be well made. He made this entire collection of flowers in titanium, but he used the reverse side of titanium to have it as a matte finish, as opposed to a very glossy one. I think with this collection, when he was at couture, he won two prizes. So, I think he is both innovative and has great technique. Vishal, I like his take on traditional Indian jewelry, which has a lot of gold and stones, but he makes it much more sleek. The thing is not to see the metal. I don't know if you're familiar with the portrait cut. Sharon: No, I'm not. Lionel: The portrait cut is a slab of diamond. It's the Maharaja who built the Taj Mahal who actually asked his jeweler to do this type of slab of diamonds to put on top of their portraits so it would bring a shine to the miniature. So, it's a technique, and Vishal does rings and earrings. I think that's an interesting new way. I'm always looking for people who bring something new to the table. Sharon: You mentioned the perspective. How could their perspective be new? When you talk to other art jewelers, sometimes you look at a piece and it looks normal, then they tell you the stories behind it and you understand it better. Lionel: True. You can always try to understand the story. When you see Vishal make some of these pieces, I think you almost don't need the explanation. You see that there is something new there. I'm not saying it's wrong to try to have the story behind it, but I kind of like when—I've had numerous jewelers come in. They're coming to me and showing me things, and the thing I hear the most is, “I couldn't find this on the market.” And I look at the pieces, and I'm like, “I can bring you in 10 stores when there's exactly the same thing.” And I think, “No.” Sharon: So it's their technique with the materials they use. Lionel: The technique, the material, the inspiration. With Vishal it's the reinterpretation of traditional Indian jewelry, but it's still very modern and light. Sylvie has more inspiration from literature or drawings. She goes to museums to find her inspiration. Sharon: I was just thinking, do you represent people who are goldsmiths themselves making the jewelry, as opposed to them designing it and they have a goldsmith make it? Lionel: Mike and Vishal have their own factories, so they are really following from the beginning, from the start. Sylvie has an atelier. She draws. Sharon: Were you a maker of jewelry? Lionel: No. Never. I've always liked jewelry, but I was never a jewelry maker. Sharon: Have you learned over the years how something is made? Lionel: Yes. I've learned more about the stones. I've learned more about the techniques. It's important to sell something, as you said earlier, to bring the most information. People are really curious today about how it's made and the story behind it. Sharon: No matter who your client is, are they interested in the way it's made? Do they ask you questions? Lionel: There are different profiles. People who just respond to the look of it are not curious, and it depends on the jewelry itself. With Vishal, because of this new way and this new cut of diamond, people are asking. It's always interesting to get the background on it because there is a new historical background. Mike, for example, with his flowers connection, people were really intrigued by the use of titanium and how it was not used traditionally. So, yes, you get questions on that. Sharon: How often do you see something new that you haven't seen before? Is it once a year? Lionel: It's rare, actually, when you see people who are bringing something really new, a new proposal. Some people are doing stuff in a great way. Not everything has to be groundbreaking, and I get that. I go to couture every year, so I kind of scout, but just for myself. I like to see what's going on. That's not where I'm going to have a new client or anything. It's interesting to me to see what's new. Sometimes I see someone, and I refer them to all the stores, saying, “You should go and see that brand. It's really cool. It's new.” Sharon: Do you advise a store to go look at the different jewelry? Lionel: Yeah, I would, even if I don't work with them. I think stores appreciate that I do that. I think the one thing I'm known for is taking on brands that are different and unique. When I point out someone that I think is great, they will listen. Sharon: Do you only work with people who work in gold or emeralds? You mentioned John Hardy. He only works in silver. Lionel: No. For John Hardy, I went for the one-of-a-kind collection that was very stone oriented. No, I don't. The next big thing I did, I worked with Hearts on Fire, which was kind of relaunching and just hired a new designer. That was very interesting, to work with a big company. The idea of bringing this new designer on and kind of starting from scratch was an interesting thing. We worked on opening different stores and more classic, more bridal. That was an interesting strategy to implement. Sharon: Did you advise them of a designer or did you walk in and they introduced you to a new designer? Lionel: They already had the designer in mind, so we looked at the collection. They asked me about their archive and what I thought they should bring back on. I think my background with fashion and jewelry always interests people because they know I still have a foot in the fashion industry in a way. Sharon: If somebody is in the fashion industry now, can they segue?  How can they segue to doing what you're doing if they got tired of fashion? Lionel: I think I know people who did the transition from fashion to jewelry. In the end, it's the same actors. In the press and the stores, it's the same people, except for the jewelry stores. But if you talk about all the concept stores that carry jewelry as well, it's easy to do. It's the same work, basically. Sharon: So, they wouldn't be getting away from that. Do you do pop-ups? They have become popular here. Lionel: They do. I don't necessarily do pop-ups. They call it differently. For example, Vishal did something at Bergdorf called the Residency. We were in for three months, and it was very successful. It is now going to be permanent for Vishal. We'll be at Bergdorf all the time. I think the model of trunk shows is a bit overused. It's kind of difficult to make typical trunk shows today. Again, in a certain world, once you're at a certain price point, some stores are doing a lot of them, and it's the same people that you're soliciting over and over. There's only so much you can do. Sharon: With Vishal, what do you consider successful? You said he was successful in this residency. Was that Vishal? Lionel: Vishal. The brand is called VAK. Sharon: What was successful? What was the purpose of the residency? Lionel: The jewelry is very well-made. It's a beautiful product and not terribly expensive. I think the proposal is that the value is great, and it was new. It's a new look. The salespeople were excited about it, and I think they really reached out to their clients. That's what made it successful in the end. Sharon: You say now he's there permanently. Lionel: Yes. Sharon: He has what, a cabinet? Lionel: Yeah, a vitrine. There's a vitrine now in the salon. Sharon: Do you ever have to pay to have prominence? Lionel: No. Sharon: What are your favorite things to sell? Lionel: I like two things. I like rings, and I like earrings. Sylvie Corbelin has a quote that I always liked. She'll say that earrings are a gift for the other. You don't see it on yourself, but it's the people who see you, see the earrings. My mother, for example, would never go out without earrings. She would put on a pair of earrings to match, and it was for her to feel dressed. She didn't feel that she was dressed if she was not wearing earrings. And I like big cocktail rings. Sharon: What kind of jewelry do you like for men? Do you like bracelets or necklaces? Lionel: I do like bracelets for men or a nice pinky ring, I guess. Sharon: I was surprised. I went out to lunch with somebody who had what I consider a fabulous necklace, but I would never consider it for a man. He got so many comments on it. Lionel: I'm sure. A lot of guys now are buying diamond pieces. I think there's a way to wear it that's chic. Sharon: How long have you been in the jewelry business? Lionel: 18 years. Sharon: It's a long time. What changes have you seen over that time? Lionel: A lot of jewelry coming. A lot more jewelry. Sharon: Really? Lionel: Yeah. You see all the brands. Now the big trend—I was just saying yesterday, Prada is launching fine jewelry. Saint Laurent has launched fine jewelry. There's Dolce & Gabbana, Gucci. Everybody's betting on jewelry being the moneymaker. I think the biggest growth we can see right now is men's. Men are buying jewelry. Sharon: Would you say there are a lot more independent jewelers today than there were? Lionel: Not only independent, but also all the houses are launching their own lines. Clothing houses, like Prada is launching a line. Saint Laurent is launching a line. Dior did it 20 years ago, but everybody's hopping on the jewelry train. Sharon: Why do you think that is? Lionel: I think there is a real interest again for jewelry. A wider interest than just buying, but as an investment. I think also during Covid, jewelry kind of proved to be Covid-proof. I think a lot of people got the idea that jewelry was the next big thing, because it's true that 2021 was an extraordinary year for jewelry. However, I don't think it's really a trend. I think it was at the moment, and we've seen since that the numbers have been down. The money that women would put in clothes and handbags and shoes, they were not going out, so that money went to jewelry, which was great. But I think it was instant. It was not necessarily a trend. Sharon: Did your business go up because of Covid? Lionel: Huge. We saw a huge difference. Sharon And you've seen it go down or be flat? Lionel: Go down and then flat. But go down, definitely. Sharon: When you take on new clients, do they have to be making a certain amount? What do they have to have? What criteria do you use? Lionel: Well, yes, I make sure they have enough finance to launch a business and to make it start. First of all, you need to have at least three or four years in front of you. There's no instant success. However, I'm always conservative in their growth. I'm not going to ask them to put out a lot of pieces. I think it's always about opening two or three key stores that are generating enough buzz as marketing, if you will, to help grow. But try not to overflow the market. Sharon: What if they're independent and making things you usually don't represent, but you think there's something there, an innovation or a passion? Maybe they make pieces that sell for $3,000 or $5,000. That's their niche. Would you take somebody like them on? Lionel: Yeah, I do. All the jewelers I work with, the price point starts at $5,000, $6,000. Sharon: I won't even ask you how much it goes up to. Thank you so much for being here today. Lionel: Thank you. Sharon: I feel like I roped you in from a plane ride or something. Lionel: No, no. Thank you so much. Thank you so much for having me.  Sharon: Thank you for being here.   We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Fitness pioneer Tracy Anderson comes to today's conversation with the rawness and unapologetic disposition she's come to be known for. An international powerhouse, with studios around the world and legions of fans, she is enthusiastically doubling down on her many offerings having just celebrated twenty-five years of business.  In this episode Catt and Tracy talk about her ever changing online studio workouts, the development of the MY MODE experience, the recent release of her new meditation app Heartstone, her glossy and informative magazine, and that soon-to-be-released apparel line in Bergdorf's. She's sharing her lessons from business along the way, but also how she's grown personally as a woman, mother, and wife. (Yep, sensuality and good sex not off the table for this discussion.)  Both from Indiana and friends for more than fifteen years, these two have a fun and meaningful conversation that delves into impossible beauty standards for women, aging, why no one can be J Lo, grappling with the lunacy of the media, how her business partner, Gwyneth Paltrow, makes Tracy feel so understood and so very much more.  Hope you'll listen, share this stellar episode, and take advantage of the discounts from our incredible sponsors this week JUNA, Jenni Kayne, and Fatty 15. Head to juna-world.com/CATT for 20% off Juna's plant-powered wellness solutions and checkout Catt's personal favorite products HERE! Jenni Kayne is offering #cattsadlernow listeners 15% off your first order when you use CATT at checkout. JENNIKAYNE.COM. Let getting dressed be one less thing to worry about. Replenish your C15 levels and restore your long-term health at Fatty 15. Use code CATT at checkout to get 15% off their 90-day subscription Starter Kit.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Katini Achieves Retail Success: Product Available In Saks, Bergdorf, & Soon Sephora + More See omnystudio.com/listener for privacy information.

In episode 207 of the podcast, we welcome back Greg Bergdorf of the Bourbon Brothers to talk great album openers. We each bring songs to the table that we feel are great album openers, and in some cases, genre openers. What makes a great album opener? You know it when you FEEL it. We start the episode with a catch up with Greg, and finish the episode with a few anecdotes surrounding Greg's days as the lead guitarist of Zebrahead, of which he was a founding member. Check out Greg and the Bourbon Brothers here: Web: https://bourbonbrothersband.com/ IG: @thebourbonbrothersband X: @bourbonbrosatl Podcast Theme performed by Trawl. Check them out here: Web: https://www.trawlband.com/ IG/X/TikTok: @trawlband We'd love for everyone to hear this episode! Support the Podioslave family by rating, subscribing, sharing, storying, tweeting, etc — you get the vibe. Peace, love, and Podioslave. Check us out here: Web: www.podioslave.com IG/Twitter/X/TikTok: @Podioslave Youtube: Podioslave Podcast Email: Podioslavepodcast@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/podioslave-podcast1/support

Enjoy this video podcast on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Youtube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! In both life and design, Laetitia Gorra, Founder and CEO of Roarke Design Studio, believes everything will fall into place. Her entrepreneurial journey has proven to be exactly that. From assistant buyer at Bergdorf's to jewelry designer and fashion consultant, it seems one door after another opened as Laetitia followed her interests eventually leading her to designing workspaces that rethink today's workplace. Having been hired with zero experience to be the Head of Interiors at The Wing, Laetitia learned just how much the design of a space can influence how people work and what they are inspired by. In a post-pandemic world, Laetitia is redefining the workspace by going against the norms of society. By blending both functionality and beauty, Laetitia hopes to help companies get employees back into the workplace. Thanks for listening!  Don't forget to order Rebecca's new book, Fearless: The New Rules for Unlocking Creativity, Courage, and Success. Follow Superwomen on Instagram. Guest Website: roarkedesignstudio.com Social Media: @roarke.design.studio Big Ideas: The key to learning anything is starting at the bottom Accepting new opportunities regardless of your experience Designing a space to inspire people The importance of a support system as a working mom Figuring out work-life balance post-pandemic Designing spaces that go against the norms of society Believing everything will fall into place Rethinking the design of the workplace The importance of having a physical space for collaboration Treating people respectfully and finding solutions --- Support this podcast: https://podcasters.spotify.com/pod/show/superwomen/support

Die Folgen des Scheiterns

Hallstatt in Oberösterreich. Knapp 800 Leute leben hier in kleinen, bunten Häusern mit Holzbalkonen. Direkt an einem Alpensee. Man sollte meinen, hier passiert nicht viel. Aber vor ein paar Jahren ist dieser Ort viral gegangen. Google, Instagram, Youtube – das Internet ist voll mit Fotos aus Hallstatt. Mittlerweile pilgern jedes Jahr fast eine Million Touristen aus aller Welt in das idyllische Alpendörfchen. Alle wollen Selfies vor der Traumkulisse machen. Ein Segen für den Tourismus, könnte man meinen. Doch die Einwohner haben die Schnauze voll. Wie kann das sein? In dieser Folge von "Inside Austria" reisen wir dem Hallstatt-Hype hinterher. Wir wollen wissen, warum es so viele Touristen ausgerechnet in dieses eine kleine Bergdorf zieht – und wie sich die Einheimischen jetzt dagegen wehren. Und wir zeigen, warum Hallstatt womöglich ein Vorbote dafür ist, was immer mehr Urlaubsorten in Deutschland und Österreich droht.

What you'll learn in this episode: How Kentshire's partnership with Ulla Johnson came about and what they hope will come of it Why Matthew doesn't want his clients to keep their fine jewelry in a safe deposit box Why “Do I love it?” is the first question Matthew asks when looking at jewelry, and why things like designer or carats may not be as important as you think How Covid changed the vintage jewelry market How dealers work together to source the best jewelry for their clients About Matthew Imberman Matthew Imberman, along with his sister Carrie, are the co-presidents of Kentshire Galleries. Established in 1940 and spanning three generations of family ownership, Kentshire Galleries is one of the foremost dealers of fine period and estate jewelry. In 1988, Kentshire established a free-standing boutique in New York's premier luxury store, Bergdorf Goodman. Their antique and estate jewelry department continues to occupy a select location on the store's seventh floor. As the third generation of the family to lead Kentshire, Matthew and Carrie continue to refine the gallery's founding vision: buying and selling outstanding jewelry and objects of enduring design and elegance. Additional resources: Website Facebook Twitter Instagram Pinterest Photos Available on TheJewelryJourney.com Transcript: Through a partnership with fashion designer Ulla Johnson, Kentshire Fine Jewelry will have a permanent presence on the West Coast for the first time. While other dealers might change their approach to appeal to a new market, co-president Matthew Imberman continues to buy jewelry based on one criterium: whether he loves the piece or not. He joined the Jewelry Journey Podcast to talk about the history behind the collaboration with Ulla Johnson; why following trends isn't the best way to buy jewelry; and how Covid changed his business in surprising ways. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Matthew Imberman, who, along with his sister, Carrie, is Co-President of Kentshire Fine Jewelry. Welcome back. And that's what you look for in the jewelry you're purchasing, whether it's Bergdorf— Matthew: Absolutely. Look, it's not to say there aren't some things that excite that are unusual or might be something we've had before, but we still love them. There are certain archetypes of jewelry, like a great French tank bracelet. Those are out there, but there are great ones and then there are O.K. ones. I think we're always looking to find one of the best or better versions of what we can find in the category. Are we going to say that every single item we get is unique? No, that's not the case. These things were made in stereo even in their lifetimes, so we're looking for the best examples, in the best condition and the best materials for those kinds of items. Sharon: Do people bring you jewelry and say, “My mother died, and I want to sell this”? Matthew: Yes, we certainly get that, or “This was in my safe deposit box.” Certainly, it's part of it, which is a good part of it. There are times when we are able to source good pieces from our clients. I think it depends, because we deal in nostalgia and people who come to us with pieces that were left to them by family members. There's a nostalgia link, and there can sometimes be a bit of telephone between what they were told. Let's use, for example, if they say, “My grandmother left this to me, and my grandmother told me that this is where she got it. This is what it was.” The stories sometimes change over time, not from any evil intentions, but just because people didn't save receipts or they don't know exactly what it is. So, somebody will come up and say, “Oh, I have this piece. It's just like what I saw in your store, and my grandmother left it to me. I want to bring it in.” They'll bring it in, and when you hold what they brought and what we're selling next to it, they're very, very, very distant cousins. It's not that theirs is inherently bad, but it's not exactly the same thing. But people tend to look at items through a nostalgic viewpoint. So, they say, “Oh, I was left this,” “My grandmother told me this diamond ring is worth X amount.” It puts us in the awkward position of saying, “Well, it's a lovely thing, but it's not exactly what you were told it was.” Those are some of the stories, but by and large, we're given the opportunity to see wonderful collections from our clients. We're fortunate enough to have them be loyal, if they have more pieces, and to come back to us. We don't frequently buy from the public, but it's not something we never do. Sharon: Where do you source a lot of your things from? Do you ask? Do you source it from abroad or whoever walks in the door? Matthew: We mostly work with a small group of dealers like ourselves. They're people who have been in the trade a long time. Trust is still a big part of our business. We have to know each other. We're dealing in valuable items, things where trust is important and you want to know who you're buying from. I think that's the case in any business for the most part. But we mostly buy from dealers like ourselves who are in this world. Whether or not they're retailing, they're dealing with other jewelers to sell pieces they understand so they can place them. For instance, I might have a client for a piece and one of my colleagues in England I know might have a version of what I need and I can call them up. In that way, it allows me to have a greater reach than just my inventory. The colleagues are not competition in the sense that we need each other to stay in business. It's a small group of goods that we all admire and we all like to buy and sell, but we also have to do that with each other so we can have the inventory we need to service our clients. One of my colleagues in France can have something if they need it. So, it's really an old-world business that way. Then auctions are really hyper-retail, at the end of the day, for a lot of pieces. I think they've done a great job of convincing people that there's a steal to be had, but when you look at the prices and how they land, if you're buying a bracelet, it's going to end up for around the same price, if not more, than what you'll pay in my store or one of my colleague's stores. But it comes with a three-inch-thick binder about why, if something's wrong with it, it's not their fault and how they don't offer any post-sale service and yada, yada, yada. We all deal with the auction houses to a certain extent out of necessity, but we're not very bullish on them, and I think for pretty understandable reasons. Every once in a while, we look at estate sales. People who buy estates are buying the entire thing, and we're cherry pickers. We're looking for the three or four really interesting items, and to do that, you usually have to buy the entire estate. So, we rarely do that, given that we're working with a specific and small group of goods. Sharon: Have you always been involved? You had a career before this, right? Matthew: At this point, I've been in the business for about 22 years, I think, if I'm doing the math right. Not always on the jewelry side, although always around it. Like I said, we also had a large business in antique furniture, English and continental furniture and decorative arts at the same time we had jewelry. I was originally on that side of the business. Before that, I did a master's in art history, so I was gone for a while. That was part of what made sense in terms of coming in the business, but also in terms of lending itself to jewelry. The specific studies we did, it was in decorative arts. You're covering a lot of the different motifs and the techniques that were also happening in jewelry at the time. So, that planted the seed. I spent some time in contemporary art before that, working at the Met on their website, but that's ages ago now. Sharon: In the past few years, you mentioned people being less formal. Out here we're so casual. Here you can wear nice jewelry, but a pair of shorts and a T-shirt. Have you seen a change in the kinds of things people buy? What are the trends you see? Matthew: I think it's challenging sometimes for people like us, who aren't dealing in manufactured goods, to look at the trends and to understand if these are actually sales-driven trends or things that are catching an eye on social media. Instagram will load your feed with them, but does that translate to what is actually being bought and sold meaningfully? It's interesting when I see little trends pop up on Instagram and people start running with them. Whether it's a designer or a type of good or it's the newest thing, they're talking about vintage jewelry. They're talking about something that people have been buying and selling for decades, if not centuries at this point. It's always the phase of, who is deciding which trend is in? For us, we're trend agnostic. I don't buy something with the idea of “This is going to be the next big thing,” or “Everyone right now is focused on this.” There's been a moment of people buying Georges L'Enfant jewelry, but people have been buying Georges L'Enfant jewelry for a long time in America without knowing necessarily who the maker was. They're just now catching up on, “Oh, that was a maker who was making for Hermès, VanCleef, Cartier, and who in their own right was an incredible designer who was making pieces for bigger houses.” They may know the bigger houses without knowing the maker. That can raise the price of L'Enfant overall, but for us, it's not going to change specifically how we buy because we have to find a piece. If I walk out tomorrow and see three L'Enfant pieces, and those three L'Enfant pieces don't belong in a collection, it doesn't matter that they're buying L'Enfant. It doesn't matter that that may be trendy. If I don't think they belong in a collection, then they don't belong in the collection. My sister has extremely rigorous standards, and I do too, so we buy the best examples of what we like. People say that all the time. They say, “What do you buy?” and we think “We buy what we like.” We wish we could explain it better, but it's just how we are. Every couple of years, people will launch an article and say, “Oh, the brooch is back,” and I think, “That's a bit lazy. The brooches never got away.” Some people will feel less comfortable wearing them, some people will feel more comfortable, or people might say, “Oh, it's old-fashioned,” and this or that. But for dealers, we all buy and sell brooches. It doesn't change my feeling. If I see a beautiful one, a beautiful pin, we want to buy it. If my sister sees a beautiful 18th-century brooch and she thinks it's great, she's not going to say, “Huh, well, brooches don't sell.” Is it the right brooch? Does it represent something we think our clients should own? One of my friends who's out on the West Coast said, “Oh, so you're going to bring a lot of astrology signs,” and I said, “If we have nice ones, absolutely.” I understood what they were saying. There certainly is a great market on the West Coast if you have a wonderful Cartier zodiac collection, for sure. We're not going to buy that because they could do well out there. That's not who we are. If we see one that's particularly interesting and has a great weight and represents an acceptable value given how those have crept up in price over the years, yes. But just because we're there, we're not going to be doing that, if that makes sense. Sharon: If somebody brings you a pair of earrings that don't fit with what people are going to wear today, but in your opinion they're well-made and well-priced, would you be interested? Matthew: Absolutely, because we don't approach it through other people telling us what people won't wear today. We have clients in a lot of different areas of the world, different ages, different price points for what they're buying. We can just look at it and say, “You know what? We think this is a good looker.” If there are 10 articles tomorrow by somebody in the know saying, “No one is wearing this kind of earring anymore,” that's not going to affect our thinking because we're not buying pieces retroactive to what trends are happening. We're buying what we like, and we like to think that anyone, whether they're trend-driven or not, can come and see our collection and find something that might speak to them. Sharon: Have you seen a decrease in the age of people who come in and can't find anything because maybe they're looking for something that isn't jewelry? Matthew: I think for us, the understandable barrier to entry is always going to be price, withholding our costume collection, in which you can find pieces that are in the hundreds of dollars range. Fine jewelry in our collection by and large starts at $3,000-ish and creeps upwards to millions of dollars. We understand that not everyone puts the same value on jewelry as we do. So, for some people coming in, if they're looking to buy a piece of jewelry, they might have a totally different price point in mind than what our collection is, and that we certainly understand. We've always tried to have a range of prices. Part of the challenge, though, is because we deal in pieces that are made up of commodities, gold, diamond, things like that, and those commodities have prices that fluctuate. As gold has gotten very strong, the price for us to buy good gold jewelry has gone up because the gold is more valuable, so the price for our clients is more expensive. That's also a good insurer for them, in that if you own gold jewelry, the value has continued to grow as the price of gold goes up. We don't really buy that way. There are some dealers who will buy very specifically based on what the piece weighs if they have to scrap it and what the value of gold is today. We're not buying pieces that we hope anyone would melt down at any point, especially when you're looking at antique pieces. The amount of gold in an antique piece, because of the way they were constructed for the most part, they're not going to be particularly heavy in terms of how much gold is going to come out of them. So, the value isn't in the actual materials there. I think it just represents something a little bit different. Certainly, on Instagram we get more information about what our younger clients are looking for. Everyone sees value in different places. How they want to spend it changes, and how we're able to conduct the business in terms of skewing towards younger clients changes, but we've been encouraged to see our client base on Instagram start to fall in line toward what we see in the store. It really represents the spread of ages. Sharon: There's all this talk about younger people. I'm not talking about 18-year-olds or younger. Everybody in the world is younger than I am, but you hear about younger people not wanting to buy jewelry. They don't buy as much jewelry even though they could afford it. They just don't buy as much. Matthew: I will say that our main client was never a “young” client simply because of the prices we're talking about for most people. Even if they didn't want these things or maybe were saving for a house, I think what's different is if you look at the advent of how handbags have become such a status symbol, the prices of handbags are commensurate, if not much greater than a lot of fine jewelry. That creates a really interesting secondary market for handbag resale. I think the story people got in the pandemic was everyone saying, “Oh, they just want experiences,” but we're talking about a time period when everyone was fetishizing experiences because we were all locked inside and couldn't do anything. We had robust sales, surprisingly, during Covid, and when we were coming out of Covid, too. We had a steady increase in new clients because I think people were excited to be out again, excited to be wearing something, excited to not just be dressed for a Zoom meeting. I think jewelry plays a part in that story most remarkably. It's wearing your sculpture around and drawing attention to yourself in what we'd like to think is a unique way, hopefully wearing something that not everyone else has. Sharon: You answered the next question before I asked it, which is did you see a change? I heard from jewelers that they were seeing an increase during Covid because people weren't going to fundraisers or whatever, but they were spending their money. Matthew: It's interesting I answered something where there is sort of a long family story. I have a meandering way to answer any question, I know, but I'm glad I had one at least. Did we speak during Covid or right before when we had our first interview? I can't remember, but I do remember thinking when Covid hit, “We had a really good Christmas. If we don't sell another piece of jewelry for a year or so, we'll be fine. We'll just batten down the hatches,” but like anything else, people still wanted to collect. People wanted to look at something new, boost their spirits, what have you. People weren't going to fundraising dinners or vacations, so this was something where they said, “Normally I would spend X amount eating out, but now it turns out I've saved all this money not eating out. I can afford a beautiful bracelet.” We were surprised that happened. During Covid, the real challenge became finding goods. We could sell things and send them, but it became very challenging to see our colleagues, to find pieces, to do all that. That's where we had to get a lot more clever and targeted for how we acquired things. Coming out of Covid, I think we're all playing catchup, and not just from our business' standpoint. Everyone is. Everyone's calendar has changed a little bit. A lot of our clients who would go out to the Hamptons for the summer but would be here during the year realized that their job is more portable than they thought, or they've changed how they work altogether so they're out of their house a lot more. So, they're shopping on our website now instead of coming into the store. Or, they're out at their houses, which they're fortunate enough to have wherever they are, at other parts of the year, so when summer comes, they're in New York at times and we don't expect them. Weirdly, our summers used to be rather quiet but tolerable at Bergdorf, and we would expect to get some of our bigger administrative projects done. Now we find that people are coming in and tourists are coming in in the summer, when it used to be very slow. We have to change when we take our vacations, when we need to do our projects, how we plan for the fall season, which has come and gone in terms of when the planning has to happen. It keeps us on our toes, but part of what's good about being a small ship is that we're nimble, so we're able to course correct pretty quickly if we have to. We've been in Bergdorf long enough to know the rhythms of the store. What I don't think any of us anticipated was what tourism would be like in New York, especially with the story being what it was elsewhere. We found ourselves really blown away with the reaction of people coming back to the city and how many people were coming through. In my short walk between Rock Center, where we have our offices, and Bergdorf, which our staff will do multiple times a day bringing goods back and forth, it got to a point where you couldn't walk down Fifth Avenue. I'd go to Sixth Avenue and walk down there because it was so busy. It's been interesting to see the resurgence of people visiting the city. We have more people coming to Bergdorf, which leads to more sales. We keep ourselves busy trying to find new pieces. Sharon: That's very interesting. I hadn't thought about that, especially when you say the jobs are more portable. I think I'm the only one who's at home on their couch looking at Instagram. Matthew: I can tell you from behind-the-scenes looks at our Instagram numbers, you're not. Even for us, we have to be in our offices because we work with a physical, tangible good. I couldn't be a person who works from home all the time. I also don't think I would be well-suited to the routine of being in an office. But we need to be in and around the jewelry district to see new pieces as they come in, to run a repair. We physically have to be there, but even in the realm of what we do, we're more flexible. If I need to work on the road or work from home or do something here or there, the technology has made it so we can do that, too. For all our clients, it's the same thing. The social calendar in New York has changed dramatically as some events have changed over and come and gone. What people feel they need to go to, how people are dressing for them, that's changed a bit, too, so it's changed how people buy. Obviously, the holiday season is always a very strong season for people in our world and when we do a lot of business, but we find it's spread out around the year a lot more now as people are not buying for occasion-specific pieces. They're not just saying, “I've got this birthday, this anniversary.” The pace of their lives has changed it. Sharon: That's interesting. You preempted my question. I was going to ask you about changes. Does that impact how you think about Los Angeles or the West Coast, where there are no seasonal changes really? Matthew: In terms of seasonal changes, I have friends who work in different areas, whether they're in a hifalutin financial position or they're consultants at luxury groups, and they come and say, “We want to help with this.” They'll look through and figure out how to optimize or create a strategy. When they spent time with us, they realized, “We do not know how you do what you do.” It doesn't really subscribe to the more traditional models of how somebody might run this kind of business. I understand that if you are Tiffany and you're doing things on the West Coast, you might change how you skew your line sheet for what kinds of pieces people might wear, because that kind of style isn't going to work when somebody is wearing a shift versus a sweater. We are not clever buyers like that. Again, we look at things and think, “This is a great thing. We can see one of our L.A. clients wearing this. Let's send it out there.” So much of what we do is by feel and a kind of very educated guess. It's easier in some ways, the variety of pieces we can send out West because we're not worried about people taking gloves on and off when it's a ring. When you're in the city and you're taking a ring on and off, maybe it could get caught. I don't know how much they're concerned about that in New York now. We tend to think the same way. If you're a collector of vintage cars and you understand you're buying a vintage car, you know it's going to require special handling at times. You can't drive it down every road. You might need to bring it to a different mechanic than where you bring your daily driver. We expect, to a certain extent, that people buying fine vintage jewelry understand the spirit of that too. They're not bringing it to the person at their mall to have it fixed. They're not wearing it in the pool. There are parts of these changes we're happy to walk people through, but whether you're East or West Coast, there's a certain sensibility we think goes with wearing the pieces. Sharon: Do you think people gear up for the holidays? You said you also do during the year, but do you gear up? Matthew: We acquire year round, and we put out a catalogue usually in the fall. That's always a challenge for us in that we love doing it and we spend a lot of time putting it together, but as we finally get to finish the product and it goes in the mail, the pieces have already been available. So, you get this heartbreaking moment when a client calls and says, “I got this catalogue. I'm out in California. What's on page three?” and we say, “I'm so sorry. It's sold.” But it allows you to start the conversation and say, “We can try to find you something you like. Maybe we have something that wasn't in the catalogue that's new, and we can talk you through it.” We have a sense for how people respond, but in terms of the West Coast specifically, I don't know. We're curious to see what that's like. I assume that titans of retail who also make their money on the West Coast around the holidays are doing things somewhat in lockstep with what we're doing on the West Coast. People still celebrate holidays and buy gifts out there. We think it's probably going to be the same way, but again, we don't live or die based on holidays. People come every day and say, “Oh wow! That must be crazy,” and I say, “You know, we're not the right lid for that pot.” Not to say we don't sell things based around that, but we're not specifically holiday-driven dealers. We're not looking to get in a million hard pieces for Valentine's Day and have everyone get something for their sweetie. Our core client is women who are buying jewelry for themselves. It creates a different experience than when you're making a gift purchase. Sharon: That's interesting. Matthew, thank you very much. I hope we all get to come out to Bergdorf and see your stuff. I hope you're not deluged with people coming to your administrative offices. You can direct them to Bergdorf. Thank you very much. I learned a lot today. Thank you. I really appreciate it. Matthew: Thank you for having me. We look forward to seeing you out West soon.

What you'll learn in this episode: How Kentshire's partnership with Ulla Johnson came about and what they hope will come of it Why Matthew doesn't want his clients to keep their fine jewelry in a safe deposit box Why “Do I love it?” is the first question Matthew asks when looking at jewelry, and why things like designer or carats may not be as important as you think How Covid changed the vintage jewelry market How dealers work together to source the best jewelry for their clients About Matthew Imberman Matthew Imberman, along with his sister Carrie, are the co-presidents of Kentshire Galleries. Established in 1940 and spanning three generations of family ownership, Kentshire Galleries is one of the foremost dealers of fine period and estate jewelry. In 1988, Kentshire established a free-standing boutique in New York's premier luxury store, Bergdorf Goodman. Their antique and estate jewelry department continues to occupy a select location on the store's seventh floor. As the third generation of the family to lead Kentshire, Matthew and Carrie continue to refine the gallery's founding vision: buying and selling outstanding jewelry and objects of enduring design and elegance. Additional resources: Website Facebook Twitter Instagram Pinterest Photos Available on TheJewelryJourney.com Transcript: Through a partnership with fashion designer Ulla Johnson, Kentshire Fine Jewelry will have a permanent presence on the West Coast for the first time. While other dealers might change their approach to appeal to a new market, co-president Matthew Imberman continues to buy jewelry based on one criterium: whether he loves the piece or not. He joined the Jewelry Journey Podcast to talk about the history behind the collaboration with Ulla Johnson; why following trends isn't the best way to buy jewelry; and how Covid changed his business in surprising ways. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, my guest is Matthew Imberman, who, along with his sister, Carrie, is Co-President of Kentshire Fine Jewelry. At Kentshire, fine jewelry encompasses almost everything that you would categorize as fine jewelry: bridal, engagement rings, signed pieces, retro and even fine costume jewelry. They're the third generation to be involved in jewelry. Their administrative office is on Fifth Avenue in New York, and their retail location is on the seventh floor of Bergdorf Goodman. Matthew is a returning guest who was with us several years ago in the pre-Covid days. Now, I'm excited to hear about his collaboration with the designer Ulla Johnson in their new store in West Hollywood. It's not often that New York jewelers come out this way, so I'm looking forward to hearing all about it. Matthew, welcome to the podcast. Matthew: Thank you for having me. Sharon: I'm so glad you're here. What about the West Coast clientele surprised as you were doing the store? Matthew: We have deep roots on the West Coast despite not having our own Kentshire branded store out there. We've been longtime exhibitors at the San Francisco Fall Show. The show has had some changes through the years, but we've been exhibiting for more than three decades, easily. Because of that, we've tracked with some of the West Coast feeling of our clients. Throughout the years, we've done different shows in L.A. At one point, we did have an agreement where we sold our pieces at Gump's. It's not that we are new to the West Coast, per se, but we have taken a bit of a hiatus. So, we were interested in getting out there and bringing what we have to our clients who are there. But by and large, it's not that we have a different sensibility about what we do for the West Coast versus the East. Kentshire has its viewpoint, which is a simple one. Carrie and I buy things that we think to be interesting, made well, rare. Whether it's from a famous designer or not, something that's not something you see every day and that we think will please a variety of our clients' sensibilities, but primarily it also has to please ours. At the end of the day, we end up looking at the pieces, whether they're with us for just a day or whether they're with us for a few years, so we buy things we like. We think that's a good viewpoint for anyone. So, for our West Coast clients, we are not such nose-in-the-air New Yorkers. We love our West Coast clients. We have family on the West Coast. We've spent a lot of time there, so for us, it wasn't like, “Oh, my god! We have to think through a whole new client type.” It was, “No, we're so excited to bring something we do to clients that, in some cases, do know us because we've been out there or they visit us at Bergdorf, but also clients who we haven't seen and who are friends of friends or know us through Ulla.” So, we touch all bases there. Sharon: I think you mentioned earlier Gump's San Francisco Show. I don't even know if they're still having that show. Matthew: It did take a few years off during Covid. It is happening again. I believe it's the 14th or 15th of October—I'll have to look back on the dates—at the Fort Mason Complex in the Festival Pavilion. I know this year Lauren Santo Domingo from Moda Operandi is attached as one of the social chairs. They have a fantastic gala evening. The show is run by Suzanne Tucker's entertainment team, who is just a consummate professional. What a combination of taste and savvy there. So, we're excited to be there, but we did the show when it was at the Santa Monica Air Hangar in the years back. We've done different shows off and on. It's been harder, I think, for a show to stick there, so to speak, but we also think it's a good fit for us. We've certainly started and stopped a few different shows in L.A., but it's been a long time since we've been in the city proper. I should add, actually—I'm leaving out the most glaringly obvious thing we did there. When Opening Ceremony had their larger line with accessories before the company went through restructuring during Covid, we also had our fine jewelry in Opening Ceremony. That both had a fashion bent and had a lot of store-within-a-store feeling, similar to what we're doing with Ulla. We had a targeted collection that was there in L.A. that represented us on the West Coast. We did that for, oh gosh, at least five years, I think. Sharon: I must have missed that because there's not any fine jewelry, except for maybe the big, commercial jewelers that are out here in Los Angeles. From what I've been told and from what I see, the clientele is very different. Matthew: It's funny. You know more because your boots are on the ground. We have a different feeling, but I'll say even looking at clients reaching out to us through Instagram or our website, we find that certainly the West is very well represented. The information, the data behind it, can sometimes be skewed because we have clients who come into Bergdorf, and they must happen to mention to us, “Oh, I'm visiting from the West Coast.” Maybe we'll get a little more granular detail, but I do know that when we look at the information, which we try stay up on for how people approach us and our work, we certainly feel that the West Coast is no slouch when it comes to looking at jewelry. I think that also shows with some of the dealers out there. Sharon: There's money out here to buy it. Maybe it's because I'm not really wild about the kind of jewelry they tend to wear. Who did you work with in terms of Ulla Johnson? Did they come to you, the designer? Matthew: I wish Carrie were here for a number of reasons. She's my business partner and obviously brings a tremendous wealth of knowledge and experience to the business, but she and Ulla have been longtime friends. I've known Ulla for a very long time, too. Ulla's husband and her family have been close for a long time because my sister and I share a friend group, and she's got some really wonderful friends. They've just had an affinity for each other and known each other, came up through a variety of different jobs together, and have always been very close. Ulla has always had a fantastic eye and really understood antique pieces, understood how a combination of design, manufacturing and color all come together to set some of these pieces apart. Throughout the years, she has grown in her notoriety, which now is incredible to see looking at the store on the West Coast in a picture, which we don't get to see in person until we go out in September. We're going to do a little trunk show, which I'll do a shameless plug for, on the 20th of September. We'll have more info for you as plans come together. Ulla has been a client of ours and borrowed things from us. We've worked together because we're friends, but sometimes friends don't always work well together. In this case, it's been beautiful because she's got such a clear vision of what she designs. It suits our inventory. Again, there's a reason she and her are friends. People tend to share a visual vocabulary. It's been a really good, seamless blend of both being in allied fields, jewelry and fashion obviously marching together to the same step, but also our viewpoints of what matters in terms of how things are designed, how things are proportioned, how colors work together or don't work together, how these things can interplay. We've been fortunate to count Ulla as a client, but much more fortunate to count her as a friend and somebody who inspires what we do when we look at things and address clients. What is she looking at?  How are those things playing together? There's a lovely synergy there. Sharon: Were you involved in picking the jewelry, or was it Carrie and Ulla who picked the jewelry to go in the store? Matthew: I take a much more hands-off approach in terms of that because Carrie and Ulla do not need to hear from me. I'm always happy when my opinion is asked for, but I also understand, and given that Carrie and Ulla are old friends—really, friends are not the same. They're very, very close. My influence is surplus to their needs. They've got it beyond spades, what they need to do, and they play off of each other. Ulla has a very clear vision of what she wants. She'll look at our collection or see things as they pop up on Instagram and get in touch and say, “What about this? What about that?” Similarly, when Carrie and I shop—because, again, we look for clients that we like. We love clients who are buying for themselves with a clear viewpoint, and that is Ulla to a T. So, we'll look at things as we're buying them and say, “This is the kind of thing that is for Ulla or her store or this kind of client.” One can never expect that means if you buy that piece, it sells in that way, but it does pull a spring at times on how we're acquiring certain parts of our collection. Thus far, it's proved pretty accurate. Sharon: I'm surprised. I'm the same as you; I've only seen the pictures of the store. There doesn't seem to be a lot of jewelry, at least from the pictures. Matthew: In the press pictures, it's hard to see. When they did the press pictures and when the store opened are largely different things. Obviously, one has to get the message out ahead of time before they open the doors. In one of the pictures, you can actually physically see the showcases, but I can send subsequent pictures that show you the jewelry displayed in them. There are two lovely floor cases, top-down vitrines that you'd be looking into. We're not looking to have 20 showcases. Given our requirements for how we purchase things and what they need to look like and the requirements we have for how we buy inventory, if we needed a whole new inventory for an entire store of jewelry, it would be extremely difficult. Right now, with the stock we have—not that everything sells immediately, but buying things is challenging because we do have a viewpoint and specific standards. Not to say there aren't a few things here and there that might be more bread and butter or commercial pieces. Even when we're sending things out to Ulla, we're looking for things where it doesn't matter. It's not like, “Oh, we're sending them out to another collection, so it can be different from what we put at Bergdorf.” Everything has pretty strict standards. In Ulla's space, they have two lovely, very interestingly built cases, I have to say. They're things I would never be clever enough to design in a million years, but it's displayed very, very beautifully. It's a very focused collection. We're not talking about 500, 600 pieces. Sharon: So, you do have vitrines and showcases. Matthew: Yes. Sharon: Nothing shows. It looks like you just have a few pieces. Matthew: That's just in the press photos. I understand with these things, there's always pressure to get the press photos out so the major press can be done, and the major message there should be Ulla. We are kind of an inclusion below the fold, but inasmuch as we are there, as they merchandise and get the pieces out there, this is the soft opening, as they say. Every store has to work out some of the kinks when it opens. In this case, it's easier for us given the nature of what we sell and it being valuable things that can't be just mixed in and around the inventory to cover Ulla after the fact. The formal opening is going to be closer into October, when we come out. By then, we'll have better photos of how everything is displayed in the store. People will come here and say, “There's always a new way to do design that somebody hasn't seen.” At the end of the day, it's still jewelry on props. Whatever they are, you still want people to see it and go after it. I think it's a tremendous success, given that they have a wonderful designer they worked with. Ulla herself has such a vision, and we were happy to be in the mix. Sharon: I think it's a really nice idea. It adds a lot to a store because you usually see—I don't mean to disparage it—but costume jewelry or whatever the store is selling. You don't see fine jewelry. How do you keep it secure? Matthew: It's all locked up at night, similar to what we do at Bergdorf. Things are in a locked case. If a client wants to see a piece, they work with a sales associate who will show it to them, and then everything is secured at the end of the day. Any proper jewelry store should be doing that. We're extremely careful and have all our little operations in place. We know their team is a crack team, too, and we will be doing everything to keep it very safe. Sharon: It looks like quite a large store from the pictures. Everything I'm talking about is from the pictures. Matthew: Yeah, but if you think of it this way, we operate in Bergdorf, which is a tremendously huge store and has so much going on. Once you know the order of operations and the sales associates understand the specific rules for showing jewelry, it's fairly straightforward and pretty easy. Nowadays it's different. Everything is very secure. Everyone has cameras in their spaces. We were doing retail for quite a long time before the advent of cameras and different sensors and all these ways of keeping things safe through technology. We feel very confident. Sharon: Do you think it's bigger than most of the stores in that area? That was my impression. Matthew: This is where I have to say I couldn't myself say. I am not an expert on that area of Beverly Boulevard or how the different retailers are size-wise. I know that when we started, it was quite a large store. We felt very comfortable because we're working with partners who we know well, who are leaders in their fields and have people working with them that are excellent. Given that Ulla is quite an accomplished designer and has a sizeable presence in New York already and obviously sells in other outlets and units, I would imagine that her store is commensurate with the level of success she's seen in our store, which is to say appropriate to what she does. Whether bigger or smaller than one of her colleagues, I don't know. Sharon: Do you or Carrie have any input in the design of the store? Matthew: No. Again, this is a lovely partnership and a meeting of minds, but our partnership is—like you said, where some retailers out there might fill their jewelry section with costume jewelry they've licensed out to someone else to design, or maybe they have a third party doing it. I think what Ulla saw in us is the idea that we have a similar viewpoint for how we present what we do. Part of the reason, even when you see on social media—if you look at Ulla on the internet, you see how she's wearing her own designs and her jewelry. It works so well together. Similarly, with the store, our input wasn't needed or even appropriate because it's Ulla's space to let her designs shine. But we know that whatever she does, her pieces are going to look good within the context of that collection. Despite what the store looks like, the main imprint is still, visually, that all of her wonderful clothing designs and our pieces have worked thus far. We obviously have the utmost confidence in both her and her designer to create an environment that would be wonderful for us to show our jewelry. Sharon: I don't know what Bergdorf carries, but do people come to you with one of her designs and say, “What can you recommend to go with this?” Matthew: I could certainly ask my sales staff. At Bergdorf it's not uncommon, whether it's Ulla or other designers, because we work across the store. We have our own specific private salon right on the seventh floor next to the restaurant. It's a little different than the main jewelry shown the ground floor. It's just our material, just our sales staff that works for us specifically, and we serve as an outlet for the rest of the store for what is essentially the antique and estate department at Bergdorf. What happens frequently is, whether it's an associate who is working in Ulla's section or somebody working in Chanel, they'll come and say, “I have a client who's looking at a gown and needs something to wear with it. This is a picture of the gown. What can you recommend?” Then the client would be able to try on the dress or whatever they're looking at with our pieces. If something works for them and they like it, then great; we can help them out that way. Certainly, that's part of it. One of the benefits for us to be in Bergdorf, aside from the fact that obviously it's Bergdorf and it gets a wonderful assortment of people who come to shop at the store, it puts us in the context of what people are wearing. While we have collectors who might specifically collect the pieces and wearing is secondary, by and large, our goal is for people to wear what they buy. We firmly believe things should not sit in the safe deposit box. They interact with the designer's clothing while the client is trying it on with our pieces. That's the best effect overall, I think, for a client looking at how the pieces are represented when they get them home and when they wear them. They look at them with the real eye. Sharon: Is there a decrease in the kind of people who are buying a Chanel piece, let's say, or a Chanel gown, a red carpet look? Matthew: Oh gosh, in terms of a red-carpet look, that's where my knowledge of Bergdorf sell-through would be behind. “I don't know” is the answer, but I can certainly say Chanel is experiencing a slowdown, at least judging by the number of people who shop at the Chanel departments at Bergdorf. Overall, I don't think I'm any genius or original thinker for thinking this. People have become less formal overall, but that hasn't really changed what we do. Yes, we have pieces that might be, to some clients, extremely occasion-specific and one or two pieces that would have to be worn for a red-carpet look, but what we're mostly buying is something that, given somebody's own personal comfort level, they can wear with anything. Whether it's a Deco diamond bracelet or it's a really simple pair of gold earrings, it's not for us to say, “Oh, you can only wear that at a fancy dress occasion,” or “Oh, that's just casual.” We like to think that's where one's own sense of creativity comes into play, because we buy things with the idea they'll be worn. We're not looking to pass on family heirlooms to sit in a box all year long. We really love our clients to experience their goods, wear them, have the confidence to wear them however they're going out. At the end of the day, it's one of those simple, little items that can really change how an outfit looks or how you feel. Sharon: I keep thinking about the jewelry in L.A. The collaboration you have, did that come about because you all were having dinner one night and you said, “Why don't we do this?” What happened? Matthew: In this case, Ulla, in opening her West Coast store—and I'm speaking secondhand because she and my sister initially had the conversations, but Carrie and I do everything together. So, it became a discussion we all had at one point. I think it was something as casual as, “I'm opening up a store on the West Coast. It would be great to have some Kentshire pieces there.” We feel so fortunate to have Ulla as a partner in this, specifically because she's such a good friend and has been so supportive of us when we took over the business. She has been herself one of the more inspiring collectors we have. Looking at the variety of pieces she's purchased that range from very modern to very old to things that are almost costume to things that are extremely fine—everything together, there's such a personal viewpoint about how these pieces come together. I took it as an incredible honor when she said she wanted to include us, because I don't think Ulla necessarily needs us to sell her fashion. She's so capable of creating a look that is beyond what we're able to think about. We're jewelers. We don't think about fashion that way necessarily, although we're certainly around it and we love it. In this case, I think it was a much more casual meeting of the minds where she said, “You know what? We all love each other. Let's work this out.” Then Carrie and Ulla talked about the details and figured out how it would work, and I played a supporting role in doing whatever I could do. Now we're seeing the fruits of that together as the collection is coming out West and people are starting to see it. Sharon: You mentioned some of the—I'll call them baby things you've tried out here, but do you think this is a beginning? Do you intend to do other things and make your brand more known out here? Matthew: Certainly, we would like our brand to be more known out there. In some ways, it's the biggest no-brainer for us, in that we have a lot of clients out on the West Coast, not just specifically the Northeast. We have a lot of clients who've purchased from us over the years. The challenge for us is always that I can't call up the factory and say, “Send me another 300 of those antique bracelets I sold.” We're a piece at a time. So, the challenge is always finding enough material that meets our qualifications so we can service all our clients. I think what we're hoping to see happen, all of us, is that this becomes successful, and we continue to grow our presence with Ulla and create a bigger collection for her there, which allows us to run similarly to how we run in New York. It's a comfortable setting for us, being in a fashion space and having clients coming in we know are already in the mindset of looking at jewelry and clothing together. I don't know if we necessarily have the appetite to open our own store out West, all things being equal, simply because it's more than a full-time job between Bergdorf and the website. So, for us having a partner like Ulla who can handle the day-to-day operations—and her team is so wonderful. To be able to do that is invaluable to us. We'll be doing trunk shows out there where we come and meet people at Ulla's store and introduce them to her brand and our brand, absolutely. That's something that will be starting in September on the 20th in the afternoon there. Then we'll continue as it goes and as we all find a good rhythm for how that works. Sharon: So, she did buy high-end. She bought what I call regular pieces that you wear every day and really high-end, over-the-top, red-carpet stuff. Matthew: We don't deal in things that we think are over the top simply because we're not looking to sell such specific pieces that way. It's not to say we never have, but it's by and large not a focus of our collection. I think what is incredible about Ulla's eye is she's looking specifically for what she likes. She's not looking at the of-the-moment piece or asking, “What do I see happening in the next year?” and it shows with her clothing. Ulla has this specific viewpoint. She'll see something in our collection and the first qualification isn't, “Oh, does it cost a lot or a little?” or “Is it by this designer?” It's, “Do I like it?” It's the simplest question, “Do I like it?” I think that nowadays, it's easy to get misled, even in the vintage jewelry world, with what's the hot thing now or who's the hot maker. At the end of day, for us, the most important consideration is, “Do you love it?” I know it sounds pedantic to say that, but I think it's easy sometimes to have the other parts of the piece drive it. Somebody will say, “Oh, who is it?” first or they'll say, “How much is it?” or “What's the size of the stone?” or what have you. This can all be important. I'm not saying they're not, but I think we're a good match for Ulla because we all approach the concept first of, “Do we love this? Does this excite us?” And then, “Why does it excite us?” Then, as you start to uncover the parts of what the piece is, if it's by somebody, if it's from a certain place, if it's from a certain time period, if it's got a rare stone, then those add to the excitement. But it has to be something inherently beautiful and unusual. Sharon: We will have photos posted on the website. Please head to the JewelryJourney.com to check them out.

A very hungover Nina is joined by stand up comedians and actors Chanel Ali and Dave Merheje. They share tales of revenge sex and encounters with hate f*cking. Nina fills us in with the erotic novel of the century, Trump Tower… that's right folks. Dave delights us with a story of begging an ex to take Plan B. Chanel teaches us what music is appropriate and inappropriate in the bedroom. We ask some hard hitting questions, like would you convert to a religion for someone you're dating? How in the hell do Kendall Jenner and Bad Bunny communicate with one another? And if Nina is so sick of being accused of being Italian, why does she talk like James Gandolfini with female parts? FOLLOW OUR SOCIALS: https://www.flowcode.com/page/girlsonguys FOLLOW NINA: https://www.instagram.com/pizzaparty69/ (00:00) Intro (01:58) 23andMe (05:05) Iranians (07:15) Bergdorf (09:04) Donald Trump's Erotic Novel (11:28) F*cking in the Trump Tower (12:33) Hooking up with Bad People (14:00) A Discourse on Racism (16:45) Hate F*cking (22:35) Ghosting (26:44) Cultural Differences in Sex/Dating (28:20) Music During Sex (30:40) Bad Bunny & Kendall Jenner (31:41) Religious Barriers (34:07) Weirdest Place to Masturbate (37:32) Horny in Public

Mirjam war zunächst einmal ein ganz normales jüdisches Mädchen aus einem Bergdorf in Galiläa, das ein armseliges Leben führte. Als 'Maria' wurde sie erst später im Christentum als die Mutter von Jesus Christus verehrt. (BR 2006) Autor: Christian Feldmann

In this riveting episode of "The Business Lunch Podcast", host Roland Frasier sits down with entrepreneur and founder of Spanx, Sara Blakely. Dive deep into the journey that transformed an idea born out of a personal need into a global empire, revolutionizing the fashion industry and empowering countless women.Join Roland as he unravels the intriguing tale of how Sara, armed with only an innovative concept and a spirit of determination, turned the hosiery industry on its head. Discover how she navigated the obstacles of skepticism, gender biases, and industry conventions to create a product that not only solved a problem for women but also became a cultural phenomenon.Sara also shares the role of mindset and visualization in her success, drawing on her early exposure to motivational teachings. The episode delves into how embracing failure, cultivating resilience, and ignoring naysayers can pave the way to achieving greatness.Prepare to be inspired and motivated as you listen to Sara's story—a story that serves as a testament to the power of innovation, determination, and the belief that a single idea can change the course of an industry and empower millions. Whether you're an aspiring entrepreneur or a seasoned business professional, this episode is packed with valuable lessons and strategies that can elevate your journey to success.Discover the magic that happens when determination meets innovation and how an idea, when nurtured with passion, can reshape industries and inspire a generation of entrepreneurs.HIGHLIGHTS“I was a frustrated consumer, I had never taken a business class, I had never worked in fashion or retail. And I couldn't figure out what to wear under white pants.""And what happened was, I actually just took an idea in an industry that was very established, that had been doing things the same way for a really long time.”“So I stood in every department store I got into Neiman Saks, Nordstrom, Bloomingdale's, Bergdorf, Barney's. And I went for two years and stood eight, eight to nine hours a day in the department stores selling the product for them."TIMESTAMPS00:00: Introduction05:51: The Turning Point12:19: What You Don't Know Can Be An Asset15:16: The Patent Process21:28: Scaling24:42: A No Limit Person 28:37: Having A Plan For Failure34:27: Advice To Others37:36: Expanding & What's Next? Mentioned in this episode:Get Roland's Training on Acquiring Businesses!Discover The EXACT Strategy Roland Has Used To Found, Acquire, Scale And Sell Over Two Dozen Businesses With Sales Ranging From $3 Million To Just Under $4 Billion! EPIC Training

Triggerwarnung: Diese Folge erhält Nacherzählungen von Gewalt. Passt also bitte auf euch auf, wenn ihr reinhört. *** In Yuerbabuena, einem verarmten Bergdorf im Norden Mexikos, leben gerade einmal 50 Menschen, kaum jemand verirrt sich je hierhin. Bis zum Sommer 1962, als plötzlich zwei Männer in langen Gewändern und auffälligem Schmuck auftauchen und verkünden: Das Dorf sei von den Göttern auserwählt, in den Besitz von altem Inka-Gold zu kommen. Dafür müssten sich die Menschen nur mit absoluter Hingabe unterwerfen. Und was gibt man nicht alles in Hoffnung auf ein besseres Leben? In dieser Geschichte: Geld, Sex und den Verstand. Und irgendwann taucht tatsächlich eine Göttin auf – eine Göttin zumindest in den Augen jener, die schon längst nicht mehr klar sehen können. *** Instagram *** Folgt Weird Crimes auch auf Instagram @weirdcrimes_podcast und bleibt auf dem Laufenden! Hier posten wir auch die Fotos, von denen Ines und Visa im Podcast sprechen: https://www.instagram.com/weirdcrimes_podcast/ *** Werbung *** Ihr möchtet mehr über unsere Werbepartner erfahren? Hier findet ihr alle Infos & Rabatte: https://linktr.ee/weirdcrimes

Fragrance Stylist El-Aton Georges is in the Perfume Room! If there's anyone who knows niche, it's El-Aton, and I trust his recommendations/taste implicitly. Currently, he works at Bergdorf's, where he is the Brand Manager for The Maker, and previously, he was the Manager of Atelier's flagship store in Nolita (RIP). You *know* we get that the juicy inside scoop on what really happened to the brand, and when/if we can expect a comeback (!!); we also discuss 'stinky cheese scents,' the Mugler scent that changed it all, how El-Aton finds his clients their perfect scent(s), and El-Aton shares with us the **HIDDEN GEMS** — the scents that NEED to be on our radars — at Bergdorf's! FRAGS MENTIONED: Headspace: Santal, Absinthe; Le Labo Santal 33, Tom Ford Santal Blush, Lancome Oud Bouquet, Penhaligon's Cairo, MFK Oud Satin Mood, Matiere Premiere Radical Rose, Byredo: Reine de Nuit, Black Saffron; Atelier Santal Carmin, Serge Lutens Santal Majascule, Van Cleef & Arpels Rose Rouge, Frederic Malle The Moon, Lancome Roses Berberanza, BDK Parfums Tabac Rose, Naomi Goodsir Iris Cendre, The Maker Libertine, Atelier: Clementine California, Orange Sanguine, Cafe Tuberosa, Jasmin Angelique, Camelia intrepide; Le Labo The Noir,  Mugler A*Men, Ralph Lauren Lauren, Ralph Lauren Safari, Loewe Mayrit, MFK Baccarat, Bleu de Chanel, Dior Sauvage, JF Schwarzlose Leder 6, Taffin, YSL: Jumpsuit, Baby Cat, Tuxedo, Cuir, 24, Blouse, Lavalliere; Dior Dioriviera, Acqua di Parma Fico di Amalfi, Houbigant: Figuier Noir, Quelque Fleurs, Quelque Fleurs Royale, Iris de Champs; Perris Monte Carlo Vanille de Tahiti, DS & Durga Debaser, Axe, Polo Sport, DS & Durga IDK What, Eccentric Molecules: Molecule 01 + Ginger, Molecule 01 Guaiac Wood; Roja: Elysium, Elysium Intense; Tiziana Terenzi, Clive Christian Jump Up and Kiss Me Hedonistic, Fueguia Xocoatl, Perris Monte Carlo Cacao Azteque, Creed Aventus, Perry Ellis Black Vanilla Absolute, Dior Homme FOLLOW EL-ATON: @simplyputscents FOLLOW PERFUME ROOM: @perfumeroompod SHOP THIS EPISODE: ⁠https://shopmy.us/collections/195176⁠ **TRY LAUNDRY SAUCE** 15% off laundrysauce.com code: perfumeroom TRY THE SAMPLE BOX: https://laundrysauce.com/products/sample-box

All the lies, Don 's done told, his cowardice so bold! Hide your face in disgrace, or show your ass all over the damned place......Captain Tweet, Bergdorf skeet, on a fairway his dead wife sleep, chant his name, forfeit blame, then cry about the unfair game! MAGA TRUMP a fit throwing chump, please cry away your pain, MAGA TRUMP penile pump, forest gump, MAGA TRUMP! HE GRABBED HER GROIN, classified showin' to prison that spoiled brat 's goin, praise his name, the women you blame, while your daughters watch in shame! Deflect deny, habitually lie, then play golf and wonder why, we had law in the first place, here, truth and honor don't apply! CHORUSTrump's attorney's are begging for a Merrick Garland meeting!!! I know why!I KNOW HOW TO SAVE MY FORMER PARTY!Gwyneth Paltrow is supposedly selling sex toys! I have the list!Drug Testing Snap/Food Stamp recipients! I used to be one, both the drug addict and food stamp recipientDEBT CEILING! It's evident isn't it?!

How would you describe the smell of Earth (and Earthlings) to someone who's never been? Today I chat with olfactive artist Eva Petrič, whose line of fragrances are meant to do just that. Each scent bottles a different fragrant aspect of life on Earth and the humans who inhabit it. And sure, we [Earthlings] can buy them at Bergdorf's, but these fragrances are not meant solely for our consumption; they're messages in a bottle meant for whoever discovers them...in whichever galaxy that may be. In fact, Eva's fragrance Message from Earth was quite literally... SENT TO OUTERSPACE. FRAGS MENTIONED: Caswell Massey Orchid, La Perla Once Upon a Garden, Headspace Absinthe, Thierry Mugler, DBE: Angel Hound, Message From Earth, Empathy, Curiosity, Moon H20 Follow Eva: @eva_petric_angel_hound Shop DBE: Bergdorfgoodman.com Read more: dbe528.com ~Special thanks to our sponsor BDK Parfums!~ Get 10% off BDK Parfums at luckyscent.com (code: 10pr)

Tony and Emmy Winning Production Designer Derek McLane and Eila Mell have come together to create the new hit book Designing Broadway, available wherever books are sold! This episode is incredible for all artists – especially theatre designers who are beginning to explore their multi-hyphenate identities.  Together with other leading set design and theatre talents, McLane invites us into the immersive and exhilarating experience of building the striking visual worlds that have brought so many of our favorite stories to life. Discover how designers generate innovative ideas, research period and place, solve staging challenges, and collaborate with directors, projectionists, costume designers, and other artists to capture the essence of a show in powerful scenic design. With co-writer Eila Mell, McLane and contributors discuss Moulin Rouge!, Hamilton, Hadestown, Beautiful, and many more of the most iconic productions of our generation. Among the Broadway luminaries who contribute are John Lee Beatty, Danny Burstein, Cameron Crowe, Ethan Hawke, Moisés Kaufman, Carole King, Kenny Leon, Santo Loquasto, Kathleen Marshall, Lynn Nottage, David Rabe, Ruben Santiago-Hudson, Wallace Shawn, John Leguizamo, and Robin Wagner. Filled with personal sketches and photographs from the artists' archives, this stunningly designed book is truly a behind-the-scenes journey that theatre fans will love. Derek McLane is an Emmy and Tony Award winning production designer for Broadway and television, who's nearly 350 designs include: Broadway credits such as MJ, The Michael Jackson Musical, Moulin Rouge! (Tony Award), A Soldier's Play (Tony Nomination), American Son, Parisian Woman, The Price, Beautiful, Fully Committed, Noises Off, Gigi, 33 Variations (with Jane Fonda) (Tony Award), China Doll (with Al Pacino), How to Succeed in Business Without Even Trying (with Daniel Radcliffe), Follies, Anything Goes, Bengal Tiger at the Baghdad Zoo (with Robin Williams), Ragtime, The Pajama Game, I Am My Own Wife. Off-Broadway: Buried Child, Jerry Springer The Opera, Merrily We Roll Along, The Spoils, If I Forget, Love, Love, Love; The Night of the Iguana, Sweet Charity, Buried Child, Into the Woods, Ruined, The Last Five Years, Television 6 years of Academy Awards, NBC Musicals: The Sound of Music, Peter Pan, The Wiz & Hairspray. Derek is the Chairman of the Board of The New Group Theatre. His many awards include: 2 Tony Awards, 2 Emmy's, 2 Obie's, 2 Drama Desks, 3 Lucille Lortel Awards, and 3 Art Directors Guild Awards. @derekmclane Eila Mell is the author of Designing Broadway as well as the official guide to the hit television series Project Runway, titled Project Runway: The Show That Changed Fashion. Among her other books are New York Fashion Week and, with Ty Hunter, Makeover from Within: Lessons in Hardship, Acceptance, and Self-Discovery. Mell has been featured in the New York Times, Marie Claire, Glamour, and CBS's The Insider, as well as in the documentary Scatter My Ashes at Bergdorf's. She is the co-host of the podcast Jiffy Pop Culture with comedian Frank Liotti. @eilamell Learn more about your ad choices. Visit megaphone.fm/adchoices

No other store in New York is as glamorous and fashion-forward as Bergdorf Goodman. And Bergdorf's seventh floor features the ultimate high-style home store, a long-time favorite of designers. Now, as Bergdorf's unveils the new Chairish Art Gallery, Anna Brockway, co-founder and president of Chairish, joins Bergdorf's Andrew Mandell to talk about how this exclusive collaboration came about; how Bergdorf's keeps its home floor fresh and exciting; and what these two retail powerhouses see ahead for home design and the future of shopping. Hosted on Acast. See acast.com/privacy for more information.

Engie Hassan (@engiestyle) went into fashion without a clear picture of what that could mean -- and has since built her own styling empire. From celebrities, to royalty, to regular folks, Engie knows how to orchestrate the vision behind how someone is perceived. From an internship at Vogue, to a full circle moment with Anna Wintour, real-talk with Yeezy when he was trying to find his personal brand in the 2010s, to life as a personal stylist at Bergdorf, listen to Engie's story about what it takes to build a styling business in fashion. Follow @engiestyle on IG --- Send in a voice message: https://anchor.fm/laylool/message

What do you get when you pair a love of fashion with Nigerian culture and a drive to succeed? You get one incredible fashion brand that is changing the world and amassing a cult following along the way. Meet Autumn Adeigbo, designer and former stylist, whose fashion line can be found all across the United States in department stores like Neiman Marcus, Bergdorf, and Nordstrom. Listen in as Autumn shares what it took to build her fashion line, what she learned from not only her upbringing, but also her time as a celebrity stylist, and which celebrities she would love to dress one day. Autumn has had experiences that so many of us will never get the opportunity to have, and I'm excited to share her insightful and inspiring story with takeaways that anyone who has a hand in the fashion world can appreciate. Learn More About the Boutique Hub Here: https://theboutiquehub.com/join/boutique/ Resources: Autumn Adeigbo: Website | Facebook | Twitter | Instagram | Pinterest Hubventory.com