Above From Starfishās heyday: the summer 2010ā11 collection, Free Radical.
The companies behind Starfish have appointed liquidators, according to public notices placed in metropolitan newspapers today.
Both Starfish Retail Ltd. and Starfish Wholesale Ltd. went into liquidation as of May 8, with creditors expected to make their claims with Price Waterhouse Coopers in Wellington, New Zealand by June 12.
Starfish has had a long history in Wellington, and is one of the labels most closely identified with the city. Founded by sisters Laurie and Miriam Foon, initially selling out of the boot of their car, the company soon became known for its commitment to corporate social responsibility and the environment. Laurie Foon was Lucireās first feature interviewee in 1997, at a time when Starfish was behind a movement to stop the city motorway bypass. It was one of many social causes that the company stood behind in its 20-year history.
The companies that are in liquidation now were incorporated the year after, though the label itself started in 1993.
Starfish also launched a more premium label, Laurie Foon, in the 2000s.
Its fashion consistently ranked among this magazine’s picks for each season, and was a highlight of New Zealand Fashion Week for Lucire fashion editor Sopheak Seng.
Alongside Untouched World, Starfish was highlighted in Summer Rayne Oakes’s international guide to eco-fashion, Style, Naturally.
Throughout its history, Starfish remained passionate about the environment and stayed true to its ethos. On principle, it resisted offshore manufacturing when many of its rivals opted for cheap labour.
Starfish’s liquidation follows the closure of long-time label Ashley Fogel and another highly regarded Wellington brand, Alexandra Owen.
Updated May 17, 2013 at 12.46 p.m. GMT with videos from Jennifer Keishin Armstrong
In the 36 years since The Mary Tyler Moore Show ended, weāve had snippets of information here and there: TV specials celebrating various anniversaries, articles when the release of the disappointing Mary & Rhoda TV movie appeared, and retrospectives when Mary Tyler Moore herself was presented with a SAG award. But no one, till now, has put together a tome on how the show was created and its eight-year history.
Jennifer Keishin Armstrongās Mary and Lou and Rhoda and Ted and All the Brilliant Minds Who Made The Mary Tyler Moore Show a Classic is the best researched book on the topic. Newly released by Simon & Schuster, Armstrong has talked to the surviving members of the cast and crew, including writer Treva Silverman, and producers and creators Allan Burns and James L. Brooks, as well as Moore, Valerie Harper, Gavin MacLeod and others. She has exhaustively researched period articles and even feminist conferences. But donāt expect a laborious effort to get through the 300 pp.: anyone with even a passing interest in television sitcoms, television history in general, recent American history or the mediaās role in the development of feminism will find Mary and Lou and Rhoda and Ted an absorbing and entertaining read, tracing the origins of the show in the 1960s to the years after its final episode, told chronologically.
Itās hard to believe now just how revolutionary The Mary Tyler Moore Show was in 1970. Itās even harder to believe that it had a difficult gestation and plenty of doubt among network executives. CBS had expected it to flop after its 13-episode commitment, not take home multiple Emmys. Ed Asner could have walked away permanently after a bad audition. But it became a ratingsā winner, catching the smart, urban crowd, and the fictional Mary Richards became the first mainstream character to tell America that it was OK to be single, over 30, and independent.
Jay Sandrichās style of directing is mentionedāhe believed that actors should play to each other, rather than on stage in the theatre, performing to the audience. That, the live audience, and the use of film helped lend The Mary Tyler Moore Show a different style. The use of Evan-Picone as a sole supplier of Moore’s wardrobe also helped with realism: Mary Richards might repeat an outfit during a season, which a real working woman would. Brooks and Burns, in their own commitment to reality, sought out female writers, who were extremely hard to come by in the late 1960s and early 1970s, to give the show an authentic voice. The networks themselves had remarkably few women, with the few female executives who had broken the glass ceiling needing to leave their high heels outside the washroom so that their male colleagues knew they were inside.
Norman Learās remake of Till Death Do Us Part, called All in the Family, which proved more ground-breaking in pushing the envelope, is also mentioned more than just in passing. All of it is placed into the context of the social changes in the United States at the turn of the 1970s, making Armstrongās book a particularly useful text, covering many bases.
We read about male friends writing to CBS angrily when it was implied that she had stayed over at a boyfriendās, or even about how ground-breaking one scene was when Maryās visiting mother, talking to her father, says, āDonāt forget to take your pill,ā to which both father and daughter replied, āI wonāt.ā
The teamās personal demonsāTed Knight had anxieties stemming from his slow rise to stardom, for instance, and the pressure put on Grant Tinker and Mary Tyler Mooreās marriageāare dealt with, and Armstrong successfully transplants the reader to the 1960s and 1970s as though the events were unfolding before us. The fact Mary Richards fought for equal pay but still accepted a lower rate did not endear the show fully to feminists, but The Mary Tyler Moore Show largely stayed true to not dealing with the issues of the dayārather, it would address them through character-driven plots, with one or two exceptions. On that note, it was quite unlike All in the Family, which would deal with racism or sexism head-on. Mary and Lou and Rhoda and Ted is better than any DVD commentary or documentary so far produced on the show. With over 300 pp., it is the definitive reference on The Mary Tyler Moore Show, and to a lesser extent, its spin-offs. In terms of interest among American readers, we think itās going to make it after all.
Armstrong has emailed Lucire with some of the events she has planned to promote her new book.
āIf you’re in New York, I especially encourage you to join us for MTM-related bar trivia to celebrate release week. There will be prizesāT-shirts, books, mugs, and free Entertainment Weekly subscriptions!ā she says.
āSo far I’ve got stuff planned for New York, DC, Chicago, Milwaukee, and LA, but I’ve still got more in the works, so if you’re somewhere else, please check my website for updates.ā
Right now, those events are (please check her website for corrections and updates):
ā¢ Thursday, May 9, 7 p.m.: Mary Tyler Moore Show trivia night for Mary and Lou and Rhoda and Ted release. At Pacific Standard, Brooklyn.
ā¢ Monday, May 13, 12 p.m.: Mary Tyler Moore Show discussion and reading from Mary and Lou and Rhoda and Ted. At 92nd Street Y Tribeca, 200 Hudson Street.
ā¢ Friday, May 17, 7 p.m.: Mary and Lou and Rhoda and Ted reading and discussion at the Village Zendo, 588 Broadway (near Houston), Suite 1108.
ā¢ Monday, May 20, 12 p.m.: Mary and Lou and Rhoda and Ted reading and signing at the National Archives, Washington D.C.
ā¢ Tuesday, June 4. 7 p.m.: The Mary Tyler Moore Show and the Modern Woman discussion at Boswell Book Co., Milwaukee, Wisconsin.
ā¢ Wednesday, June 5, 8 p.m.: Sexy Feminism and Chicago Doll party, Old Town Social, 455 W. North Ave., Chicagoājoin us for a fundraising raffle, cocktails, and fun.
ā¢ Thursday, June 6, 7 p.m.: Mary and Lou and Rhoda and Ted Chicago launch party, Hemingway House and Museum, Oak Park.
ā¢ Friday, June 7: Mary and Lou and Rhoda and Ted reading and talk at Book Cellar, Lincoln Square, Chicago.
ā¢ Sunday, July 7, 7 p.m.: How to Write a Non-fiction Book Proposal workshop with LA Writersā Group.
ā¢ Tuesday, July 9, 7 p.m.: Mary and Lou and Rhoda and Ted panel discussion: What Has Changed for Female TV Writers Since the ā70s? With Mary Tyler Moore Show writer Treva Silverman. At Book Soup, Los Angeles.
ā¢ Thursday, July 11, 7 p.m.: A dialogue and how-to discussion about pop-culture writing with Gavin Edwards, co-author of VJ: the Unplugged Adventures of MTVās First Wave. At Pop-Hop Bookshop, Los Angeles.
TopGabrielle Chanel, Seen by Karl Lagerfeld, original drawing by Karl Lagerfeld. AboveAn Imaginary Meeting Between Coco Chanel and Karl Lagerfeld, original drawing by Karl Lagerfeld.
In our round-up of news from ‘The Scene’: as part of Chanel’s celebration of the jacket, the house has released a new video (below) featuring its history, with footage featuring Gabrielle ‘Coco’ Chanel herself.
Designer Karl Lagerfeld has also released 11 sketches to celebrate the jacket, including illustrations of Gabrielle Chanel and an imaginary encounter between himself and the founder of the house.
The story picks up in the mid-1950s, when Chanel felt that the style of the time was too restrictive. The jacket was created for women who could wear it during the day with greater freedom and be stylish enough for the evening. The tweed jacket, which became a signature for Chanel, was also born. Style icons soon adopted the look: Brigitte Bardot, Grace Kelly and Romy Schneider sported theirs. Karl Lagerfeld’s arrival in the 1980s saw a revival of the jacket.
Lagerfeld honoured the jacket with a book, The Little Black Jacket: Chanelās Classic Revisited by Karl Lagerfeld and Carine Roitfeld, and a series of exhibitions. Milano will play host to the next exhibition opening April 4, with new works (featuring Keira Knightley, Diane Kruger, Carla Bruni and Carole Bouquet), before it moves on to Dubai.
Meanwhile, last week’s Gucci Private Suite at Ellerslie during the Auckland Racing Club’s race week was the place to be for New Zealand’s largest city. William Yoon, Gucci’s Asia-Pacific president, and Helen Koo, the managing director for Australia and New Zealand, played hosts. Gucciāin line with its own equestrian heritageāsponsored one race, the Gucci Sprint, where a horse named Vogue won. Celebrities included occasional Lucire correspondent Amber Peebles (in Gucci) and her husband Brooke Howard-Smith, Rachel Hunter, Academy Award nominee Keisha Castle-Hughes and Jonathan Morrison, Boh Runga, Clifton Piper, Cameron Ireland, Sandy Nairn, and Michelle Blanchard.
Almost a year after the passing of Whitney Houston, Madame Tussauds has unveiled four wax figures of the late singer, in the presence of her family, in New York.
Her sister-in-law and former manager Pat Houston did the unveiling.
The four figures represent different points of Houston’s life, spanning three decades, from her 1988 music video for ‘I Wanna Dance with Somebody (Who Loves Me)’, which earned her a Grammy award, in a tight purpleāpink tank dress; her 1991 Super Bowl national anthem performance, considered a defining moment in her career; her lead role in The Bodyguard in 1992, wearing her Queen of the Night dress which Warner Bros. had lent to Madame Tussauds for the creation of the waxwork; and her photo shoot for her final studio album, I Look to You, in 2009, wearing a gold, sequinned floor-length gown.
Each figure is going to a different Madame Tussauds museum in the US: Las Vegas, Washington, DC, Hollywood, and New York respectively.
The figures were crafted in London over a four-month period and cost $1.2 million.
Madame Tussauds says it is the first time in 200 years that it has simultaneously created so many versions of the same person representing different stages in their life.
In the video below, Pat Houston describes some of the figures. Her favourite, she says, is The Bodyguard one.
Above Instead of Switzerland, itās Scotland, and Daniel Craig pays homage to Sean Connery in a Skyfall publicity photo.
The 85th Academy Awardsāthe Oscarsāwill pay tribute to 50 years of the James Bond films, it was announced Friday.
Show producers Craig Zadan and Neil Meron said in a statement that there will be a special sequence ‘saluting the Bond films on their 50th birthday.
āStarting with Dr No back in 1962, the 007 movies have become the longest-running motion picture franchise in history and a beloved global phenomenon.’
The six actors who have portrayed Bond in the official franchiseāSean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan and Daniel Craigāwill feature in the sequence.
The Oscars telecast will take place on February 24. Nominations will be announced on January 10 in Los Angeles.
The latest entry in the Eon Productions franchise, Skyfall, has taken over US$1,000 million, with the film still yet to open in China.
The film, directed by Oscar-winning director Sam Mendes, has overtaken 1965ās Thunderball as the highest-grossing Bond film adjusted for inflation.
Since the “reboot” of the franchise in 2006 with Casino Royale, the Bond films have had more critical nods than their predecessors, which were generally acclaimed on their technical merit. In the mid-1960s, Goldfinger won an Oscar for sound effects, while Thunderball won for special visual effects.
Daniel Craig had a BAFTA nomination for Casino Royale, the first Bond actor to achieve this, while Skyfallās Javier Bardem received a best supporting actor nomination by the Screen Actors’ Guild. Skyfall is on the shortlist of the Producers’ Guild of America’s best film nominees, alongside Lincoln and Argo. The theme song, by Adele and Paul Epworth, could take home a best song Oscar.
The British Academy Awards, the BAFTAs, paid tribute to 50 years of the Bond films last year, with Tom Jones singing the theme song from Thunderball.