crow_watcher
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^I'd rather watch her then the Macy's 4th of July fireworks.
scriptgirl
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ebay
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New Pics of Noemie in NYC
Reporters
Reporters
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crow_watcher
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I like her summer in New York look.
Thanks for the post
Thanks for the post
scriptgirl
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Noemie when she was pregnant
sipa
sipa
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^Amazing how her body basically stayed the same.
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That guy she is with looks like a werewolf or vampire
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I completely agree
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Marketing
Using celebrities to endorse brands is a powerful tactic, but stars must be chosen with care.
Ever since actress Lillie Langtry appeared on a pack of Pears soap in 1893, stars have lent their faces and names to the promotion of branded products, and firms have fallen over themselves to pay for the privilege.
There are two strategies that can he applied to the role of celebrities as marketing tool: with a celebrity licence, the individual affixes their likeness or logo to a product, while with celebrity endorsements, the star lends their name to someone else's product. It is these endorsements which, although risky, are the more relevant for marketers.
Companies spend millions to get their products endorsed, and according to Uche Okonkwo, a business strategist in Paris, one in four TV advertisements now use celebrities, compared with one in eight 10 years ago.
David Beckham, who has deals with brands from Gillette and Coty to Adidas and Police sunglasses, is now worth about £60m through endorsements and advertising alone, according to Bailey Beeken, show director of the Licensing International in New York. Industry speculation estimates that Nike spent $ 192m on its celebrity endorsement campaign in 2004.
Even comparatively smaller brands are using personalities to promote their products; consider the effect models Twiggy, Erin O'Connor, Laura Bailey and Noemie Lenoir have had on Marks & Spencer's womenswear sales. Elsewhere, there is watch brand Tag Heuer's link with Brad Pitt, L'Oreal and its host of'worth it' girls - from (ennifer Aniston to Desperate Housewives' Eva Longoria - Richard Branson and Samsonite luggage, and even Trinny and Susannah with Nescafe.
'Celebrities can build, refresh and add new dimensions to brands,' says Rick Isaacson, vice-president at IMG, a US licensing agency specialising in sports, entertainment and media, who is also chairing a seminar at the Licensing International 2006 exhibition in New York (see box, page 36).'What celebrities stand for enhances the brand, and marketers save valuable time in creating the credibility their client needs to build its brands,' he adds.'When consumers see a credible celebrity endorsing a product, they think that it must be OK.'
This is all very well - until the celebrity loses credibility. As supermodel Kate Moss proved not long ago, endorsement can cause grief if the personality gets into trouble. Moss was the face of four cosmetic and fashion groups when the so-called 'Cocaine Kate' scandal broke. The intense criticism that ensued in the media tarnished both her image and potentially that of the brands she endorsed, which led some of them to drop her.
As well as inappropriate behaviour, there is a danger that a celebrity's profile can be so big that it overshadows the brands they endorse. When Pepsi ditched singers Beyoncé Knowles and Britney Spears from its advertising, it did so because the soft-drink giant decided the celebrities were getting more publicity trom the campaign than its brand. It consequently decided to concentrate its efforts on its brand proposition without endorsement, as did car marque Chrysler when it dumped Celine Pion from its ad campaign because, say insiders, 'the Dion commercials produced great sales for the singer, not the car'.
But such instances are rare. When Moss fell from grace last year, the use of celebrity endorsement was not questioned; the only moot point was who would be suitable to take her place. And the fact that the supermodel recently signed lucrative deals with several fashion houses, including Calvin Klein, which led to her being renamed 'Comeback Kate', suggests that not even scandal can get in the way of some celebrities.
However, it can, lor a number of reasons, be tough to choose a suitable star. While many make a decision based on gut feeling, Ian Downes, founder of Start Licensing, believes brand owners should consider the appropriateness of the association, its potential for their brand and how the association might develop.
'Key questions for the brand should be about the fit as well as risk assessment, 'he says.'This can include a number of criteria, ranging from the celebrity's ongoing profile - whether they will remain in the spotlight - through to the likelihood of their private lives harming the brand. Brand owners must also understand how the celebrity sees their equity being developed one concern must be that they are not overused commercially.'
Walkers, which recently signed Charlotte Church to feature alongside frontman Gary Lineker in its Sensations crisp campaign, chooses its endorsers carefully, according to a spokeswoman. 'We work with our agencies to assess a celebrity's suitability for the brand and whether they fit with the creative concept.' She adds that the Welsh singer was chosen because 'she is a real woman with a luxury lifestyle, which we felt fitted perfectly with the Sensations brand'.
Church, who reportedly pocketed a £100,000 fee for the spot, is the latest in a long line of stars to appear alongside the former England footballer during the course of his relationship with Walkers. Victoria Beckham, Kate Winslet, Tara Palmer-Tomkinson and model Helena Christcnscn, not to mention fellow sportsmen Bobby Robson, Terry Venables, Paul Gascoigne and Steve Redgrave, are just some of the celebrities who have lined up with him since 2005.
Experts agree that credibility and attractiveness play an important role in creating effective endorsement communications. They are also vital in determining how well a celebrity might work for a brand. Another key factor is whether they are easy to work with.
Once a brand finds an appropriate frontman, it should begin to plan how it will develop a long-term relationship in order to make real money from the partnership; payback, say industry experts, can only be maximised from using that celebrity regularly over a long period of time.
Lineker's 11-year relationship with Walkers reveals how repetition can strengthen the association for consumers who are already aware of the endorsement, as well as increase the number of consumers who begin to link the brand and the celebrity, and thus boost the bottom line. According to an Institute of Practitioners in Advertising submission in 2002, Lineker's endorsement was delivering'an immediate return on investment of £ 1.70, building to £5.10 in the long-term'.
While relatively few brands can lay claim to the longevity of this relationship - or such a return - celebrity endorsement shows little sign of waning. In fact, licensing commentators agree that it is growing at pace because for the majority of marketers, the reward is clearly worth the risk.
SIDEBAR
Walkers Sensations: signed singer Charlotte Church to star in ads with Gary Lineker
SIDEBAR
Licensing International 2006
Date June 20-22
Venue lavits Convention Centre. New York.
Theshow Football legend PeIe. who represents brands as diverse as Coca-Cola, MasterCard and Viagra, will be at the Licensing International 2006 looking for more endorsement opportunities. Also represented at the show will be Princess Diana's former butler Paul Burrell, who has launched a line of dinnerware and is hoping other manufacturers might want to license his name and image.
Both will be joining more than 525 leading licensors and agents, representing nearly 5700 properties and brands to more than 23,000 anticipated visitors.
Organised by Advanstar, Licensing International 2006 is the annual meeting place for anyone involved in the £ 100bn industry. UK properties and companies exhibiting include Manchester United, Granada, BBC Worldwide, Royal Ascot, Champneys. Paddington Bear, Beatrix Potter and Peter Rabbit.
This year's event sees the expansion of categories including corporate brands, food and beverage, home furnishings and consumer electronics.
The programme will include a session on 'The ins and outs of celebrity licensing', chaired by Rick lsaacson, senior vice-president of IMG.
Licensing show: 5700 brands
'When consumers see a credible celebrity endorsing a product, they think it must be OK'
Rick Isaacson
IMG
Case study Kelly Holmes/Sainsbury's
At a recent conference, Sainsbury's chief executive Justin King is reported to have claimed that his supermarket's 'Active Kids' initiative was 'the most successful of its kind in the UK'.
The schools-equipment scheme, which is fronted by Dame Kelly Holmes, is still ongoing, so results for this year are not yet in. However, following its launch last year, it signed up 86% of the UK's schools, tripling their average annual PE budgets and generating £17m worth of sports equipment for schools.
It also delivered a substantial uplift in sales for Sainsbury's when 'Active Kids' ran in the second quarter last year, it was responsible for 75% of that quarter's uplift, according to Robert Crumbie. Sainsbury's sponsorship manager for Active Kids.
'We can't isolate her influence, but anecdotal evidence shows Kelly has made a powerful contribution,' says Nicole McDonnell, group account director at Dynamo, the agency behind the scheme.
'Kelly is the ideal person to be the Active Kids ambassador,' adds Crumbie. 'Her message is for kids to keep on trying until they find what activity suits them.'
Sainsbury's: Active Kids campaign is fronted by Dame Kelly HolmesStar spotting
Using celebrities to endorse brands is a powerful tactic, but stars must be chosen with care.
Ever since actress Lillie Langtry appeared on a pack of Pears soap in 1893, stars have lent their faces and names to the promotion of branded products, and firms have fallen over themselves to pay for the privilege.
There are two strategies that can he applied to the role of celebrities as marketing tool: with a celebrity licence, the individual affixes their likeness or logo to a product, while with celebrity endorsements, the star lends their name to someone else's product. It is these endorsements which, although risky, are the more relevant for marketers.
Companies spend millions to get their products endorsed, and according to Uche Okonkwo, a business strategist in Paris, one in four TV advertisements now use celebrities, compared with one in eight 10 years ago.
David Beckham, who has deals with brands from Gillette and Coty to Adidas and Police sunglasses, is now worth about £60m through endorsements and advertising alone, according to Bailey Beeken, show director of the Licensing International in New York. Industry speculation estimates that Nike spent $ 192m on its celebrity endorsement campaign in 2004.
Even comparatively smaller brands are using personalities to promote their products; consider the effect models Twiggy, Erin O'Connor, Laura Bailey and Noemie Lenoir have had on Marks & Spencer's womenswear sales. Elsewhere, there is watch brand Tag Heuer's link with Brad Pitt, L'Oreal and its host of'worth it' girls - from (ennifer Aniston to Desperate Housewives' Eva Longoria - Richard Branson and Samsonite luggage, and even Trinny and Susannah with Nescafe.
'Celebrities can build, refresh and add new dimensions to brands,' says Rick Isaacson, vice-president at IMG, a US licensing agency specialising in sports, entertainment and media, who is also chairing a seminar at the Licensing International 2006 exhibition in New York (see box, page 36).'What celebrities stand for enhances the brand, and marketers save valuable time in creating the credibility their client needs to build its brands,' he adds.'When consumers see a credible celebrity endorsing a product, they think that it must be OK.'
This is all very well - until the celebrity loses credibility. As supermodel Kate Moss proved not long ago, endorsement can cause grief if the personality gets into trouble. Moss was the face of four cosmetic and fashion groups when the so-called 'Cocaine Kate' scandal broke. The intense criticism that ensued in the media tarnished both her image and potentially that of the brands she endorsed, which led some of them to drop her.
As well as inappropriate behaviour, there is a danger that a celebrity's profile can be so big that it overshadows the brands they endorse. When Pepsi ditched singers Beyoncé Knowles and Britney Spears from its advertising, it did so because the soft-drink giant decided the celebrities were getting more publicity trom the campaign than its brand. It consequently decided to concentrate its efforts on its brand proposition without endorsement, as did car marque Chrysler when it dumped Celine Pion from its ad campaign because, say insiders, 'the Dion commercials produced great sales for the singer, not the car'.
But such instances are rare. When Moss fell from grace last year, the use of celebrity endorsement was not questioned; the only moot point was who would be suitable to take her place. And the fact that the supermodel recently signed lucrative deals with several fashion houses, including Calvin Klein, which led to her being renamed 'Comeback Kate', suggests that not even scandal can get in the way of some celebrities.
However, it can, lor a number of reasons, be tough to choose a suitable star. While many make a decision based on gut feeling, Ian Downes, founder of Start Licensing, believes brand owners should consider the appropriateness of the association, its potential for their brand and how the association might develop.
'Key questions for the brand should be about the fit as well as risk assessment, 'he says.'This can include a number of criteria, ranging from the celebrity's ongoing profile - whether they will remain in the spotlight - through to the likelihood of their private lives harming the brand. Brand owners must also understand how the celebrity sees their equity being developed one concern must be that they are not overused commercially.'
Walkers, which recently signed Charlotte Church to feature alongside frontman Gary Lineker in its Sensations crisp campaign, chooses its endorsers carefully, according to a spokeswoman. 'We work with our agencies to assess a celebrity's suitability for the brand and whether they fit with the creative concept.' She adds that the Welsh singer was chosen because 'she is a real woman with a luxury lifestyle, which we felt fitted perfectly with the Sensations brand'.
Church, who reportedly pocketed a £100,000 fee for the spot, is the latest in a long line of stars to appear alongside the former England footballer during the course of his relationship with Walkers. Victoria Beckham, Kate Winslet, Tara Palmer-Tomkinson and model Helena Christcnscn, not to mention fellow sportsmen Bobby Robson, Terry Venables, Paul Gascoigne and Steve Redgrave, are just some of the celebrities who have lined up with him since 2005.
Experts agree that credibility and attractiveness play an important role in creating effective endorsement communications. They are also vital in determining how well a celebrity might work for a brand. Another key factor is whether they are easy to work with.
Once a brand finds an appropriate frontman, it should begin to plan how it will develop a long-term relationship in order to make real money from the partnership; payback, say industry experts, can only be maximised from using that celebrity regularly over a long period of time.
Lineker's 11-year relationship with Walkers reveals how repetition can strengthen the association for consumers who are already aware of the endorsement, as well as increase the number of consumers who begin to link the brand and the celebrity, and thus boost the bottom line. According to an Institute of Practitioners in Advertising submission in 2002, Lineker's endorsement was delivering'an immediate return on investment of £ 1.70, building to £5.10 in the long-term'.
While relatively few brands can lay claim to the longevity of this relationship - or such a return - celebrity endorsement shows little sign of waning. In fact, licensing commentators agree that it is growing at pace because for the majority of marketers, the reward is clearly worth the risk.
SIDEBAR
Walkers Sensations: signed singer Charlotte Church to star in ads with Gary Lineker
SIDEBAR
Licensing International 2006
Date June 20-22
Venue lavits Convention Centre. New York.
Theshow Football legend PeIe. who represents brands as diverse as Coca-Cola, MasterCard and Viagra, will be at the Licensing International 2006 looking for more endorsement opportunities. Also represented at the show will be Princess Diana's former butler Paul Burrell, who has launched a line of dinnerware and is hoping other manufacturers might want to license his name and image.
Both will be joining more than 525 leading licensors and agents, representing nearly 5700 properties and brands to more than 23,000 anticipated visitors.
Organised by Advanstar, Licensing International 2006 is the annual meeting place for anyone involved in the £ 100bn industry. UK properties and companies exhibiting include Manchester United, Granada, BBC Worldwide, Royal Ascot, Champneys. Paddington Bear, Beatrix Potter and Peter Rabbit.
This year's event sees the expansion of categories including corporate brands, food and beverage, home furnishings and consumer electronics.
The programme will include a session on 'The ins and outs of celebrity licensing', chaired by Rick lsaacson, senior vice-president of IMG.
Licensing show: 5700 brands
'When consumers see a credible celebrity endorsing a product, they think it must be OK'
Rick Isaacson
IMG
Case study Kelly Holmes/Sainsbury's
At a recent conference, Sainsbury's chief executive Justin King is reported to have claimed that his supermarket's 'Active Kids' initiative was 'the most successful of its kind in the UK'.
The schools-equipment scheme, which is fronted by Dame Kelly Holmes, is still ongoing, so results for this year are not yet in. However, following its launch last year, it signed up 86% of the UK's schools, tripling their average annual PE budgets and generating £17m worth of sports equipment for schools.
It also delivered a substantial uplift in sales for Sainsbury's when 'Active Kids' ran in the second quarter last year, it was responsible for 75% of that quarter's uplift, according to Robert Crumbie. Sainsbury's sponsorship manager for Active Kids.
'We can't isolate her influence, but anecdotal evidence shows Kelly has made a powerful contribution,' says Nicole McDonnell, group account director at Dynamo, the agency behind the scheme.
'Kelly is the ideal person to be the Active Kids ambassador,' adds Crumbie. 'Her message is for kids to keep on trying until they find what activity suits them.'
Sainsbury's: Active Kids campaign is fronted by Dame Kelly HolmesStar spotting
scriptgirl
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The People
Bushell on the Box: SMALL joys of TV
Byline: Garry Bushell
Edition: 3 STAR
Section: Features
SMALL joys of TV: Jennifer Garner as Elektra. Noemie Lenoir (M&Sundies ad). Montenegro's stunning scenery (A Place In The Sun). And Gordon Ramsay, come back soon, big boy. Yes?
Bushell on the Box: SMALL joys of TV
Byline: Garry Bushell
Edition: 3 STAR
Section: Features
SMALL joys of TV: Jennifer Garner as Elektra. Noemie Lenoir (M&Sundies ad). Montenegro's stunning scenery (A Place In The Sun). And Gordon Ramsay, come back soon, big boy. Yes?
scriptgirl
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Marketing
MFI has announced that 1470 jobs are likely to be lost following the expected closure of two of its five factories. The retailer is also considering closing stores and delivery depots.
de Keyser Fashions is introducing a 100m^sup 2^ concession at Harrods. The area, designed by RPA, will house four brands: Rock & Republic, Da-Nang, Alien B and Wheels and Dollaby.
Esprit, the clothes retailer, has launched a website that will enable consumers to download screensavers, wallpaper and films.
Sainsbury's has signed up sports recruitmentsitejobswithballs.com to partner its 'Active Kids' vouchers for schools programme. Sainsbury's will publicise the site through the programme, which provides schools with sports equipment and expertise in exchange for vouchers.
Marks & Spencer has branded five London taxis with its womenswear models Twiggy, Erin O'Connor, Laura Bailey and Noemie Lenoir. M&S bid £40,000 for the space in an auction held for Retail Trust, the national retail charity.
Angus Monro, chief executive of Poundstretcher owner Instore, has resigned. The announcement comes two weeks after the retailer announced a downturn in trading over the previous month.
Matalan has announced a 7.4% fall in like-for-like sales for the 26 weeks preceding 25 February. The store said results are partially due to poor sales over the Christmas period.
Jersey is closing the tax loophole that allows suppliers of goods under £ 18 to be exempt from paying VAT. It has been exploited by online retailers including Tesco.com, Asda.co.uk and Woolworths.co.uk.
Luke Johnson, chairman of Channel 4, has bought a 50% stake in fashion retailer East.Retail News: Briefs
MFI has announced that 1470 jobs are likely to be lost following the expected closure of two of its five factories. The retailer is also considering closing stores and delivery depots.
de Keyser Fashions is introducing a 100m^sup 2^ concession at Harrods. The area, designed by RPA, will house four brands: Rock & Republic, Da-Nang, Alien B and Wheels and Dollaby.
Esprit, the clothes retailer, has launched a website that will enable consumers to download screensavers, wallpaper and films.
Sainsbury's has signed up sports recruitmentsitejobswithballs.com to partner its 'Active Kids' vouchers for schools programme. Sainsbury's will publicise the site through the programme, which provides schools with sports equipment and expertise in exchange for vouchers.
Marks & Spencer has branded five London taxis with its womenswear models Twiggy, Erin O'Connor, Laura Bailey and Noemie Lenoir. M&S bid £40,000 for the space in an auction held for Retail Trust, the national retail charity.
Angus Monro, chief executive of Poundstretcher owner Instore, has resigned. The announcement comes two weeks after the retailer announced a downturn in trading over the previous month.
Matalan has announced a 7.4% fall in like-for-like sales for the 26 weeks preceding 25 February. The store said results are partially due to poor sales over the Christmas period.
Jersey is closing the tax loophole that allows suppliers of goods under £ 18 to be exempt from paying VAT. It has been exploited by online retailers including Tesco.com, Asda.co.uk and Woolworths.co.uk.
Luke Johnson, chairman of Channel 4, has bought a 50% stake in fashion retailer East.Retail News: Briefs
scriptgirl
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Campaign
The most successful brands achieve fame through their use of iconic imagery, so it is essential to find a photographer with the skill to turn your advertising concept into reality. Mark Roalfe on why the perfect picture can be worth a thousand words
Press advertising is not what it used to be. Long copy ads are a rarity nowadays. That is not to say that there is anything wrong with copy, but the photo has certainly become king. Many of today's press ads resemble posters in print.
Photography has become all important. Now, before we get too far into this, I had better own up to something about my tastes in photography. I'm no fan of the flat-lit, slightly Swedish-looking stuff that's all the rage at the moment. It was quite interesting when one or two people were doing it. But now, quite frankly, it has lost its novelty value and I'm not sure it creates a world that anyone who doesn't work in advertising wants to aspire to.
I'm glad I've got that of my chest, but I think my taste may be the basis of one of my principles of press advertising photography - it is used to create desire. I know that sounds a little simplistic, but we have to create brands people want to be seen with.
In doing this, we must also have a visual "tone of voice" for the brands we work for. A lot is talked about a verbal tone of voice but I think a visual one is equally - if not more - important. Maybe one of the best examples of this is car advertising. What makes one marque different from another or able to command a higher price? It is not all down to the engineering; a lot of it is to do with the imagery we build around the brand.
In the early days of my career, I worked on BMW at WCRS. Robert Campbell and I had finally got a BMW press ad through. Being the young upstart I was, I thought I would try to do it slightly differently. So off I went to the Cotswolds with a BMW 3 Series and a photographer. I did what I thought was rather a good shot and trotted back to the agency with it. I showed it to Ron Collins and Robin Wight, who "politely" asked me what on earth I was doing. Why had I made their precious Teutonic BMW look like a Volvo? A few days later, I was in Milton Keynes reshooting the ad against a typical BMW background of steel and glass. It was a hard lesson to learn but a good one - and it was my first about the photographic tone of voice. It is not about your own personal choice of what you think might make a good shot, it's about what is right for the brand.
At Rainey Kelly Campbell Roalfe/Y&R, we handle Land Rover. The 4x4 market is a very overcrowded place these days. However, compared with Land Rovers, the other 4x4s are pretenders. So we set out to prove the brand's true 4x4 credentials. Land Rover is also a brand with a bit of a personality, so we wanted to give it a sense of warmth. Mike Boles' and Jerry Hollens' "hippos" ad brought these qualities together perfectly. I remember when I first saw the rough, it was brilliantly simple and brought a smile to my face. However, a lot can go wrong between a rough and a finished ad.
In the briefing for this article, I was asked to discuss how to get the best from a photographer. I suppose everyone has their own way of going about it, but I think Hollens sets an example for any young art director to follow. First, he always seems to work with the very best photographer the budget will allow. Then, he really plans the shot, drawing the roughs in different ways, finding scrap art to get the feel he's after. Then, on the shoot, he always covers enough to give himself options. When Hollens comes back from the shoot, he spends a few days in the studio with Lee Aldridge, making sure the shot works before it goes anywhere near a retoucher. But throughout the process, his decisions are guided by the knowledge that the shot has to make the idea behind the ad work.
Now, I'm about to show my age. I worked on the launch of Today, Britain's first colour newspaper. At the time, it was a bit of a disaster. None of the colour shots were ever in register. There were sketches on Spitting Image about it and the phrase Eddie Shah-o-vision was coined. No-one thought colour repro would take off in the national press. The next thing we knew, The Sun's page three was in colour and the world had changed.
It was the fact that national press colour reproduction is now so good that led us to the Marks & Spencer press strategy. Women's magazines are crammed full of glossy fashion ads and we wanted a medium that would give us standout. Sadly, I don't think we claim to be the first to do this. A few years back, I remember seeing some full-page ads for Prada in the national press. They stood out like the proverbial "dogs", not just because they were out of their usual environment but also because of their size.
Now, choosing photographers to shoot an M&S campaign is never as easy as one might think. M&S is not a high-fashion brand but it is the nation's favourite high-street fashion brand. Most of the top fashion photographers only really specialise in high fashion. Their shots usually turn the models into something quite cold, whereas we were looking for warmth and humanity for M&S. It all comes down to what I was talking about earlier in terms of finding a photographer with the right photographic tone of voice. This year we chose Uli Weber. In his work, Weber treats the girls he shoots like real people rather than clothes-horses and the images he produces are always strong and iconic.
With M&S, not only is the choice of photographer all-important, so is the choice of model. This year we chose four different faces to reflect the diversity of the clothing ranges and the store's customers. The models were Twiggy, Erin O'Connor, Noemie Lenoir and Laura Bailey. Twiggy, a national treasure, was to appeal to the older customer. O'Connor represented the other end of the spectrum to enhance the fashion credentials.
I wanted the shots to have a softness to them so we shot everything in natural daylight. It always produces good skin tones and creates a naturalness that I think suits M&S as a brand. This shoot was also the first time I have ever shot fashion digitally. I have to say I had my reservations at first but Weber, who had assured me I would not be able to tell the difference, was absolutely right. The results were excellent. There is one final ingredient that can turn what could be an ordinary shot into a great one, and that's a little bit of luck. Luck comes in all shapes and sizes. It could be that little burst of sunlight, that unexpected look from the model, or the suggestion you had not considered. When it comes, grab it with both hands, it could transform your picture.
Well, that's my lot. I hope it was helpful in some way or other. Thank you for reading - and be lucky.
SIDEBAR
"It is not about your own personal choice of what you think might make a good shot, it's about what is right for the brand"
SIDEBAR
Uli Weber photographer
With any advertising campaign, whether for a newspaper advertisement or a billboard, the final images have to have a lasting impact. You need to remember that the customer can simply glance at the picture or decide to stare at it for longer. The reaction you want is for your images to hold people's attention for as long as possible.
The current Marks & Spencer campaign involved a lot of teamwork. We took a good look at all the key elements: the product, backgrounds, lighting, models and poses, and came up with this solution for the shoot. It was a pleasure to have the possibility of working with Mark Roalfe at Rainey Kelly Campbell Roalfe/Y&R on such an exciting project.
I decided to shoot digitally, but to give the feeling of real film. The result is that the pictures do not appear too sharp or unreal, but have the natural look that film would create. Also, the advantage of working on digital is that you can see the images straight away on screen. This allows for a much quicker turnaround because you can pick and choose images as you go along, immediately after each shot has been taken.
Using famous models is not essential, but it has worked in this case to raise the profile of this campaign. The secret is always to make sure you pick absolutely the right model.
The images were shot on location at Hampton Court House next to Hampton Court Palace in July. The models used for the shoot were Erin O'Connor, Laura Bailey, Twiggy and Noemie Lenoir.
Working with all four models for this campaign was a pleasure. This particular shot of O'Connor has been popular because it is a classic portrait-style shot. This was achieved by using natural daylight, very little artificial light and a fairly long lens with little depth of field.
The beauty of these pictures is that even though the shots are about the clothes, they are also about the people in the photos - a representation of every woman is featured somewhere in this advertising campaign.
I take my inspiration from old photography books and I visit contemporary exhibitions in London and abroad whenever I have the chance. As a photographer I am able to turn this inspiration into something new in my work.
When the press ads appear it is very satisfying when the finished result is as you had imagined. But it is also reassuring when the product you are promoting sells afterwards - it confirms the success of the shoot.
I'm delighted with the pictures and I was fortunate to work with a great team of experts that ensured a fantastic final product.
SIDEBAR
Nick Georghiou photographer
"Hippos" was the first Land Rover concept I was asked to shoot for Rainey Kelly Campbell Roalfe/Y&R and, although it looked very simple, I soon realised there were some technical complications to overcome if we were to pull off the concept. The fact that hippos are some of the most dangerous animals didn't make me feel any easier.
The layout that the art director, Jerry Hollens, had produced was a Photoshop comp, rather than the line drawings I usually receive. As such, it was more finished, so I was a concerned about how free an interpretation he might want.
Africa was the obvious location for the shoot, but our research indicated that a production there would be difficult to control in the time available, and too expensive. So my African adventure was over before it had begun.
So I thought we could build a set on location and I put this idea and its execution to Jerry. To my surprise, both he and his creative director, Mark Roalfe, agreed. A set-building friend found an old airfield in Norfolk, close to where he lives, which gave us simple expanses of flat land and sky. A large pool was built, which ran from three inches deep at the back to one foot at camera position, with the car standing in a hole on a concrete base. Another hole was made to accommodate a life-size model of a hippo's head, and the pool was filled with water. The model hippo was used to cast the reflections in the muddy water and also to provide an edge that a studio shot of a hippo could easily be positioned upon. The model hippo was so good, however, that we blended it with the image of a real hippo to achieve the right look.
Jerry, like all good art directors, is a luxury for any photographer to work with. He has strong ideas and is unafraid to select a photographer for what he or she can bring to the table, rather than simply selecting a car, still-life, portrait or baked-bean photographer. I remember a meeting for a VW Polo studio concept when an account person asked me if I had ever shot a car before. I replied: "No, but, up until last week, I hadn't shot a fridge either." This ad, like "hippos", went on to win Campaign gold and silver awards.
It doesn't matter what the product is or what techniques are employed, the buzz for me is the challenge of working on interesting projects and making them the best they can be; collaboration, which is a vital ingredient of a successful advertising campaign; 120 per cent commitment from the whole team; and fun. Like the fun of watching Jerry running across an African plain pretending to be a springbok being chased by a cheetah for a lighting test. But that's another story.
AUTHOR_AFFILIATION
Mark Roalfe is the chairman and executive creative director of Rainey Kelly Campbell Roalfe/Y&RTHE ART OF PHOTOGRAPHY
The most successful brands achieve fame through their use of iconic imagery, so it is essential to find a photographer with the skill to turn your advertising concept into reality. Mark Roalfe on why the perfect picture can be worth a thousand words
Press advertising is not what it used to be. Long copy ads are a rarity nowadays. That is not to say that there is anything wrong with copy, but the photo has certainly become king. Many of today's press ads resemble posters in print.
Photography has become all important. Now, before we get too far into this, I had better own up to something about my tastes in photography. I'm no fan of the flat-lit, slightly Swedish-looking stuff that's all the rage at the moment. It was quite interesting when one or two people were doing it. But now, quite frankly, it has lost its novelty value and I'm not sure it creates a world that anyone who doesn't work in advertising wants to aspire to.
I'm glad I've got that of my chest, but I think my taste may be the basis of one of my principles of press advertising photography - it is used to create desire. I know that sounds a little simplistic, but we have to create brands people want to be seen with.
In doing this, we must also have a visual "tone of voice" for the brands we work for. A lot is talked about a verbal tone of voice but I think a visual one is equally - if not more - important. Maybe one of the best examples of this is car advertising. What makes one marque different from another or able to command a higher price? It is not all down to the engineering; a lot of it is to do with the imagery we build around the brand.
In the early days of my career, I worked on BMW at WCRS. Robert Campbell and I had finally got a BMW press ad through. Being the young upstart I was, I thought I would try to do it slightly differently. So off I went to the Cotswolds with a BMW 3 Series and a photographer. I did what I thought was rather a good shot and trotted back to the agency with it. I showed it to Ron Collins and Robin Wight, who "politely" asked me what on earth I was doing. Why had I made their precious Teutonic BMW look like a Volvo? A few days later, I was in Milton Keynes reshooting the ad against a typical BMW background of steel and glass. It was a hard lesson to learn but a good one - and it was my first about the photographic tone of voice. It is not about your own personal choice of what you think might make a good shot, it's about what is right for the brand.
At Rainey Kelly Campbell Roalfe/Y&R, we handle Land Rover. The 4x4 market is a very overcrowded place these days. However, compared with Land Rovers, the other 4x4s are pretenders. So we set out to prove the brand's true 4x4 credentials. Land Rover is also a brand with a bit of a personality, so we wanted to give it a sense of warmth. Mike Boles' and Jerry Hollens' "hippos" ad brought these qualities together perfectly. I remember when I first saw the rough, it was brilliantly simple and brought a smile to my face. However, a lot can go wrong between a rough and a finished ad.
In the briefing for this article, I was asked to discuss how to get the best from a photographer. I suppose everyone has their own way of going about it, but I think Hollens sets an example for any young art director to follow. First, he always seems to work with the very best photographer the budget will allow. Then, he really plans the shot, drawing the roughs in different ways, finding scrap art to get the feel he's after. Then, on the shoot, he always covers enough to give himself options. When Hollens comes back from the shoot, he spends a few days in the studio with Lee Aldridge, making sure the shot works before it goes anywhere near a retoucher. But throughout the process, his decisions are guided by the knowledge that the shot has to make the idea behind the ad work.
Now, I'm about to show my age. I worked on the launch of Today, Britain's first colour newspaper. At the time, it was a bit of a disaster. None of the colour shots were ever in register. There were sketches on Spitting Image about it and the phrase Eddie Shah-o-vision was coined. No-one thought colour repro would take off in the national press. The next thing we knew, The Sun's page three was in colour and the world had changed.
It was the fact that national press colour reproduction is now so good that led us to the Marks & Spencer press strategy. Women's magazines are crammed full of glossy fashion ads and we wanted a medium that would give us standout. Sadly, I don't think we claim to be the first to do this. A few years back, I remember seeing some full-page ads for Prada in the national press. They stood out like the proverbial "dogs", not just because they were out of their usual environment but also because of their size.
Now, choosing photographers to shoot an M&S campaign is never as easy as one might think. M&S is not a high-fashion brand but it is the nation's favourite high-street fashion brand. Most of the top fashion photographers only really specialise in high fashion. Their shots usually turn the models into something quite cold, whereas we were looking for warmth and humanity for M&S. It all comes down to what I was talking about earlier in terms of finding a photographer with the right photographic tone of voice. This year we chose Uli Weber. In his work, Weber treats the girls he shoots like real people rather than clothes-horses and the images he produces are always strong and iconic.
With M&S, not only is the choice of photographer all-important, so is the choice of model. This year we chose four different faces to reflect the diversity of the clothing ranges and the store's customers. The models were Twiggy, Erin O'Connor, Noemie Lenoir and Laura Bailey. Twiggy, a national treasure, was to appeal to the older customer. O'Connor represented the other end of the spectrum to enhance the fashion credentials.
I wanted the shots to have a softness to them so we shot everything in natural daylight. It always produces good skin tones and creates a naturalness that I think suits M&S as a brand. This shoot was also the first time I have ever shot fashion digitally. I have to say I had my reservations at first but Weber, who had assured me I would not be able to tell the difference, was absolutely right. The results were excellent. There is one final ingredient that can turn what could be an ordinary shot into a great one, and that's a little bit of luck. Luck comes in all shapes and sizes. It could be that little burst of sunlight, that unexpected look from the model, or the suggestion you had not considered. When it comes, grab it with both hands, it could transform your picture.
Well, that's my lot. I hope it was helpful in some way or other. Thank you for reading - and be lucky.
SIDEBAR
"It is not about your own personal choice of what you think might make a good shot, it's about what is right for the brand"
SIDEBAR
Uli Weber photographer
With any advertising campaign, whether for a newspaper advertisement or a billboard, the final images have to have a lasting impact. You need to remember that the customer can simply glance at the picture or decide to stare at it for longer. The reaction you want is for your images to hold people's attention for as long as possible.
The current Marks & Spencer campaign involved a lot of teamwork. We took a good look at all the key elements: the product, backgrounds, lighting, models and poses, and came up with this solution for the shoot. It was a pleasure to have the possibility of working with Mark Roalfe at Rainey Kelly Campbell Roalfe/Y&R on such an exciting project.
I decided to shoot digitally, but to give the feeling of real film. The result is that the pictures do not appear too sharp or unreal, but have the natural look that film would create. Also, the advantage of working on digital is that you can see the images straight away on screen. This allows for a much quicker turnaround because you can pick and choose images as you go along, immediately after each shot has been taken.
Using famous models is not essential, but it has worked in this case to raise the profile of this campaign. The secret is always to make sure you pick absolutely the right model.
The images were shot on location at Hampton Court House next to Hampton Court Palace in July. The models used for the shoot were Erin O'Connor, Laura Bailey, Twiggy and Noemie Lenoir.
Working with all four models for this campaign was a pleasure. This particular shot of O'Connor has been popular because it is a classic portrait-style shot. This was achieved by using natural daylight, very little artificial light and a fairly long lens with little depth of field.
The beauty of these pictures is that even though the shots are about the clothes, they are also about the people in the photos - a representation of every woman is featured somewhere in this advertising campaign.
I take my inspiration from old photography books and I visit contemporary exhibitions in London and abroad whenever I have the chance. As a photographer I am able to turn this inspiration into something new in my work.
When the press ads appear it is very satisfying when the finished result is as you had imagined. But it is also reassuring when the product you are promoting sells afterwards - it confirms the success of the shoot.
I'm delighted with the pictures and I was fortunate to work with a great team of experts that ensured a fantastic final product.
SIDEBAR
Nick Georghiou photographer
"Hippos" was the first Land Rover concept I was asked to shoot for Rainey Kelly Campbell Roalfe/Y&R and, although it looked very simple, I soon realised there were some technical complications to overcome if we were to pull off the concept. The fact that hippos are some of the most dangerous animals didn't make me feel any easier.
The layout that the art director, Jerry Hollens, had produced was a Photoshop comp, rather than the line drawings I usually receive. As such, it was more finished, so I was a concerned about how free an interpretation he might want.
Africa was the obvious location for the shoot, but our research indicated that a production there would be difficult to control in the time available, and too expensive. So my African adventure was over before it had begun.
So I thought we could build a set on location and I put this idea and its execution to Jerry. To my surprise, both he and his creative director, Mark Roalfe, agreed. A set-building friend found an old airfield in Norfolk, close to where he lives, which gave us simple expanses of flat land and sky. A large pool was built, which ran from three inches deep at the back to one foot at camera position, with the car standing in a hole on a concrete base. Another hole was made to accommodate a life-size model of a hippo's head, and the pool was filled with water. The model hippo was used to cast the reflections in the muddy water and also to provide an edge that a studio shot of a hippo could easily be positioned upon. The model hippo was so good, however, that we blended it with the image of a real hippo to achieve the right look.
Jerry, like all good art directors, is a luxury for any photographer to work with. He has strong ideas and is unafraid to select a photographer for what he or she can bring to the table, rather than simply selecting a car, still-life, portrait or baked-bean photographer. I remember a meeting for a VW Polo studio concept when an account person asked me if I had ever shot a car before. I replied: "No, but, up until last week, I hadn't shot a fridge either." This ad, like "hippos", went on to win Campaign gold and silver awards.
It doesn't matter what the product is or what techniques are employed, the buzz for me is the challenge of working on interesting projects and making them the best they can be; collaboration, which is a vital ingredient of a successful advertising campaign; 120 per cent commitment from the whole team; and fun. Like the fun of watching Jerry running across an African plain pretending to be a springbok being chased by a cheetah for a lighting test. But that's another story.
AUTHOR_AFFILIATION
Mark Roalfe is the chairman and executive creative director of Rainey Kelly Campbell Roalfe/Y&RTHE ART OF PHOTOGRAPHY
scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,226
- Reaction score
- 5
Variety
'Asterix & Obelix' is fun for le tout family
Byline: Nesselson, Lisa
Volume: 385
Number: 11
ISSN: 00422738
Publication Date: 02-04-2002
Page: 33
Type: Periodical
Language: English
IMAGE PHOTOGRAPH
PYRAMID SCHEME: Monica Bellucci and Alain Chabat star in Chabat's "Asterix & Obelix: Mission Cleopatra."
IMAGE PHOTOGRAPH
IN DE NILE: Monica Bellucci is dressed in queenly attire.
REVIEWS
ASTERIX & OBELIX: MISSION CLEOPATRA (ASTERIX & OBELIX: MISSION CLEOPATRE) (FRANCE-GERMANY)
A Pathe Distribution (in France)/Miramax (in U.S.) release of a Claude Berri presentation of a Katharina/Renn Prods., TF1 Films Prods., Chez Warn (France)/CP Medien, Erste, Zweite & Vierte Beteiligung, KC Medien, KG Munich (Germany) production with participation of Canal Plus and CNC. (International sales: Pathe Intl., Paris.) Produced by Claude Berri. Executive producer, Pierre Grunstein.
Directed, written by Alain Chabat, based on the comicbook by Rene Goscinny and Albert Uderzo. Camera (color, widescreen), Laurent Dailland; editor, Stephane Pereira; music, Philippe Chany; production designer, At Hoang(cq); costume designers, Philippe Guillotel, Tanino Liberatore, Florence Saudane; hair designer, John Mollet; sound (Dolby), Pierre Escoffier, Thierry Lebon; digital visual effects, Duboicq; mechanical effects, Les Versaillais; associate producers, Roland Pellegrino, Dieter Meyer, Thomas Langmann; assistant directors, Louis Letterier, Nicolas Pillard, Larbi Idrissi, Nourreddine Douguena, Sade Zerrifi; second unit director, Robert Kechichian; second unit camera, Dominique Bouilleret; casting, Jeanne Biras, Luce Nordmann. Reviewed at UGC Normandie, Paris, Jan. 9,2002. Running time: 106 MIN.
Obelix ....................Gerard Depardieu
Asterix ...................... Christian Clavier
Numerobis ................ Jamel Debbouze
Cleopatra ..................Monica Bellucci
Panoramix ............... Claude Rich
Amonbofis ................Gerard Darmon
Caesar ...........................Alain Chabat
Casius Ceplus ................Dieudonnecq
Itineris .......................... Isabelle Nanty
Otis .................................. Edouard Baer
Malococsis .......... Jean Benguigui
Narrator ...................... Pierre Tchernia
With: Marina Fois, Edouard Montoute, Noemie Lenoir, Bernard Fancy, Michel Cremades, Zinedine Soualem.
It's silly, it's funny, the whole family can go to "Asterix & Obelix: Mission Cleopatra" - and Monica Bellucci's asset-enhancing costumes afford some of the nicest views in the ancient world. Like Mel Brooks with a really big budget (at $47 million, pic is touted as the most costly French pic to date), helmer, scripter and these Alain Chabat lets the groan-worthy puns and clever anachronisms fly in the service of a story, circa 52 B.C., that's thin as papyrus but good enough to entertain while it lasts.
"Asterix & Obelisk vs. Caesar," helmed by Claude Zidi, was the top French earner of 1999. This outing, also produced by Claude Berri, is peppier, suggesting local returns will probably be worthy of a pharaoh. Miramax acquired both installments and, while the hardcover comic books are not the cultural staple in the U.S. that they are in much of Europe, pies probably will be more profitable Stateside than, say, Talk magazine.
The cast brims with comic talents that are household names in Gaul, starting with Jamel Debbouze the sweet delivery boy who works with the nasty grocer in "Amelie" - as Numerobis, a young architect drafted to help Cleopatra win her bet with Caesar (Chabat), which is pie's raison d'etre. Fed up with Caesar's taunts that Egypt ain't what it used to be and Alexandria is no more than "a suburb of Rome," Cleopatra (Bellucci, imperious and sexy) bets Julius that her workers can build him a desert palace (yep, "Caesar's Palace") in three months flat. If she succeeds, Caesar must announce publicly that Egypt is the greatest civilization around. If the deadline is not met, Numerobis will be fed to the crocodiles.
The fly in the unguent is the queen's official architect, Amonbofis (Gerard Darmon, hissingly right on), who resents Cleo's decision to forego his "too classic" style for something young and trendy. Since the strict three-month deadline is unrealistic even with bountiful slave labor, Numerobis treks to France in hopes of buying some of the magic potion that has enabled the village in Brittany where Asterix and Obelix live to remain the lone holdout against the detested Roman empire that has overrun Gaul.
The basics of the comic book are recapped for novices: Just one sip of the potion, produced exclusively by the druid Panoramix (Claude Rich, delightful), confers superhuman strength. While short, feisty Asterix (Christian Clavier) requires the elixir to punch out Roman soldiers, sweetas-a-pussycat and wide-as-a-house Obelix (Gerard Depardieu) is permanently superstrong because he fell in a vat of it as ababy. Also, Obelix never travels without his smart dog, Idefix.
Panoramix won't sell the potion but, eager to do some research at the swell library in Alexandria, agrees to go to Egypt with Asterix, Obelix and the dog, to see if they can help speed up construction.
Jokes about contractors and construction delays will amuse anybody who has ever undertaken even minor home improvements. Script gets in funny riffs about contemporary labor relations and France's 35hour work week as the slaves negotiate for better working conditions. When it looks as if Cleopatra will win the bet, Caesar begins to play dirty.
Production design by At Hoang ("The Lover," "Seven Years in Tibet"), working in Malta, Morocco and studios, is terrific, with Cleopatra's throne room impressive and a construction scene with 2,000 extras a knockout. Costumes are tops, from Numerobis' ancient sneakers to Cleopatra's low-cut haute couture. Comic music cues are a mix of American (a slick and effective dance number to James Brown's "I Feel Good"), French and Italian hits.
The irreverent, tongue-in-cheek spirit of the comics is respected including a few cute animated interludes - and mechanical and digital effects are fine. Tone is consistently flippant and visuals for the most part admirably slick.
While gags built on Egyptian art and design will function anywhere, jokes and puns about cell phones which ingeniously take specific companies to task - may lose much of their satirical oomph in translation. Another lingo headache is the endless variations on character names ending in the Latin suffix "ix" and the Egyptian suffix "is."
The first published episode gf Asterix's adventures dates to October 1959. By 1965, the character was so famous that the first French satellite was named Asterix. To date, the 30 books - translated into countless languages including Latin and Esperanto - have sold 280 million copies worldwide.
For the record, Debbouze lost the use of his right arm long ago, hence the asymmetrical costume that conceals it.
'Asterix & Obelix' is fun for le tout family
Byline: Nesselson, Lisa
Volume: 385
Number: 11
ISSN: 00422738
Publication Date: 02-04-2002
Page: 33
Type: Periodical
Language: English
IMAGE PHOTOGRAPH
PYRAMID SCHEME: Monica Bellucci and Alain Chabat star in Chabat's "Asterix & Obelix: Mission Cleopatra."
IMAGE PHOTOGRAPH
IN DE NILE: Monica Bellucci is dressed in queenly attire.
REVIEWS
ASTERIX & OBELIX: MISSION CLEOPATRA (ASTERIX & OBELIX: MISSION CLEOPATRE) (FRANCE-GERMANY)
A Pathe Distribution (in France)/Miramax (in U.S.) release of a Claude Berri presentation of a Katharina/Renn Prods., TF1 Films Prods., Chez Warn (France)/CP Medien, Erste, Zweite & Vierte Beteiligung, KC Medien, KG Munich (Germany) production with participation of Canal Plus and CNC. (International sales: Pathe Intl., Paris.) Produced by Claude Berri. Executive producer, Pierre Grunstein.
Directed, written by Alain Chabat, based on the comicbook by Rene Goscinny and Albert Uderzo. Camera (color, widescreen), Laurent Dailland; editor, Stephane Pereira; music, Philippe Chany; production designer, At Hoang(cq); costume designers, Philippe Guillotel, Tanino Liberatore, Florence Saudane; hair designer, John Mollet; sound (Dolby), Pierre Escoffier, Thierry Lebon; digital visual effects, Duboicq; mechanical effects, Les Versaillais; associate producers, Roland Pellegrino, Dieter Meyer, Thomas Langmann; assistant directors, Louis Letterier, Nicolas Pillard, Larbi Idrissi, Nourreddine Douguena, Sade Zerrifi; second unit director, Robert Kechichian; second unit camera, Dominique Bouilleret; casting, Jeanne Biras, Luce Nordmann. Reviewed at UGC Normandie, Paris, Jan. 9,2002. Running time: 106 MIN.
Obelix ....................Gerard Depardieu
Asterix ...................... Christian Clavier
Numerobis ................ Jamel Debbouze
Cleopatra ..................Monica Bellucci
Panoramix ............... Claude Rich
Amonbofis ................Gerard Darmon
Caesar ...........................Alain Chabat
Casius Ceplus ................Dieudonnecq
Itineris .......................... Isabelle Nanty
Otis .................................. Edouard Baer
Malococsis .......... Jean Benguigui
Narrator ...................... Pierre Tchernia
With: Marina Fois, Edouard Montoute, Noemie Lenoir, Bernard Fancy, Michel Cremades, Zinedine Soualem.
It's silly, it's funny, the whole family can go to "Asterix & Obelix: Mission Cleopatra" - and Monica Bellucci's asset-enhancing costumes afford some of the nicest views in the ancient world. Like Mel Brooks with a really big budget (at $47 million, pic is touted as the most costly French pic to date), helmer, scripter and these Alain Chabat lets the groan-worthy puns and clever anachronisms fly in the service of a story, circa 52 B.C., that's thin as papyrus but good enough to entertain while it lasts.
"Asterix & Obelisk vs. Caesar," helmed by Claude Zidi, was the top French earner of 1999. This outing, also produced by Claude Berri, is peppier, suggesting local returns will probably be worthy of a pharaoh. Miramax acquired both installments and, while the hardcover comic books are not the cultural staple in the U.S. that they are in much of Europe, pies probably will be more profitable Stateside than, say, Talk magazine.
The cast brims with comic talents that are household names in Gaul, starting with Jamel Debbouze the sweet delivery boy who works with the nasty grocer in "Amelie" - as Numerobis, a young architect drafted to help Cleopatra win her bet with Caesar (Chabat), which is pie's raison d'etre. Fed up with Caesar's taunts that Egypt ain't what it used to be and Alexandria is no more than "a suburb of Rome," Cleopatra (Bellucci, imperious and sexy) bets Julius that her workers can build him a desert palace (yep, "Caesar's Palace") in three months flat. If she succeeds, Caesar must announce publicly that Egypt is the greatest civilization around. If the deadline is not met, Numerobis will be fed to the crocodiles.
The fly in the unguent is the queen's official architect, Amonbofis (Gerard Darmon, hissingly right on), who resents Cleo's decision to forego his "too classic" style for something young and trendy. Since the strict three-month deadline is unrealistic even with bountiful slave labor, Numerobis treks to France in hopes of buying some of the magic potion that has enabled the village in Brittany where Asterix and Obelix live to remain the lone holdout against the detested Roman empire that has overrun Gaul.
The basics of the comic book are recapped for novices: Just one sip of the potion, produced exclusively by the druid Panoramix (Claude Rich, delightful), confers superhuman strength. While short, feisty Asterix (Christian Clavier) requires the elixir to punch out Roman soldiers, sweetas-a-pussycat and wide-as-a-house Obelix (Gerard Depardieu) is permanently superstrong because he fell in a vat of it as ababy. Also, Obelix never travels without his smart dog, Idefix.
Panoramix won't sell the potion but, eager to do some research at the swell library in Alexandria, agrees to go to Egypt with Asterix, Obelix and the dog, to see if they can help speed up construction.
Jokes about contractors and construction delays will amuse anybody who has ever undertaken even minor home improvements. Script gets in funny riffs about contemporary labor relations and France's 35hour work week as the slaves negotiate for better working conditions. When it looks as if Cleopatra will win the bet, Caesar begins to play dirty.
Production design by At Hoang ("The Lover," "Seven Years in Tibet"), working in Malta, Morocco and studios, is terrific, with Cleopatra's throne room impressive and a construction scene with 2,000 extras a knockout. Costumes are tops, from Numerobis' ancient sneakers to Cleopatra's low-cut haute couture. Comic music cues are a mix of American (a slick and effective dance number to James Brown's "I Feel Good"), French and Italian hits.
The irreverent, tongue-in-cheek spirit of the comics is respected including a few cute animated interludes - and mechanical and digital effects are fine. Tone is consistently flippant and visuals for the most part admirably slick.
While gags built on Egyptian art and design will function anywhere, jokes and puns about cell phones which ingeniously take specific companies to task - may lose much of their satirical oomph in translation. Another lingo headache is the endless variations on character names ending in the Latin suffix "ix" and the Egyptian suffix "is."
The first published episode gf Asterix's adventures dates to October 1959. By 1965, the character was so famous that the first French satellite was named Asterix. To date, the 30 books - translated into countless languages including Latin and Esperanto - have sold 280 million copies worldwide.
For the record, Debbouze lost the use of his right arm long ago, hence the asymmetrical costume that conceals it.
scriptgirl
Active Member
- Joined
- May 1, 2006
- Messages
- 12,226
- Reaction score
- 5
Forecast
Forecast 05-07-2001
Casting Tiger Woods
Byline: Whelan, David
Volume: 21
Number: 6
ISSN: 10902015
Publication Date: 05-07-2001
Page: 1
Type: Periodical
Language: English
Multiracials step into the advertising spotlight.
Meredith Jacobson Marciano owns AmeriFilm Casting, a Manhattan-based company that casts extras for HBO's Sex and the City. She's always used an informal filing system to keep track of the head shots she receives, and for a long time this just meant separating them into either a black or white pile.
But three years ago she started a new pile on her desk, this one for actors with a multiracial look. The newest pile gets a lot of use these days, she says, since she regularly fields requests from ad agencies for talent with a "young, hip, and mixed look."
To Jacobson, and scores of other casting agencies, it comes as no surprise that in the 2000 Census a significant number of Americans identified themselves as members of multiple racial or ethnic categories. It's difficult to make a comparison between 2000 and 1990, since last year's census was the first to allow respondents to identify themselves in multiple categories. Still, the numbers suggest that the so-called multiracials are a growing community, composed largely of young people: Only 26 percent of the overall population is under 18, whereas 42 percent of multiracials are.
Perhaps that's why the marketing world's use of mixed models in ad campaigns has so far been limited to targeting young, urban consumers. According to census figures, 30 percent of the multiracial population is localized in five states: New York, Texas, Florida, Hawaii, and Illinois. However, it won't be long before "the look" extends to other areas.
"Right now it's just a trend, but it will be everyday business," says Luis Miguel Messianu, the chief creative director of the Coral Gables, Florida-based ad agency Del Rivero Messianu DDB.
After all, "casting goes where society goes," says Jerry Saviola, head of casting at New York City-based ad agency Grey Worldwide. He points out that it wasn't long ago that an audition would be for white or black performers. Ross Haime, an agent at Innovative Artists who represents dozens of models for TV commercials, says that lately he's been getting lots of calls for mixed-race models. Noemie Lenoir, an Innovative model who is of French and North African descent, recently appeared in Sports Illustrated's "Swimsuit Edition." She cut quite a figure posing with her curly hair, almond eyes, and honey-tone skin against a waterfall backdrop.
Census results only add statistical credence to what the casting community has known for a long time. Prior to the "Swimsuit Edition," Lenoir starred in a Pantene television commercial that was casted by Saviola. He recently shot an ad in an urban cyber-cafe in which he used actors whose race he wasn't sure of. For Saviola, the multiracial look screams "current, youthful, and urban." And it also evokes a certain authenticity, he says. "Eight strawberry blondes in a cyber-cafe wouldn't be realistic."
Paula Sindlinger, a partner in Godlove & Sindlinger Casting in New York City, has also had scores of recent requests for multiracial beauties. The mix of Asian facial features and kinky hair, she says, conjures up an immediate sense of both globalization and technology. "The blended look says 'we're all in this together' and that the 'world's getting smaller.'"
Advertisers and marketers remain divided, however, on the importance of this young, localized, multiracial population. Saul Gitlin, a VP at Kang & Lee, a firm that specializes in targeting the Asian market, thinks the focus on multiracials distracts marketers from the growth of minority populations, such as Asians, African Americans, and Hispanics. Just "2.4 percent of the country is multiracial," he says. "The bottom line is that virtually all the country is one race." Gitlin thinks the proper response to the census data in casting should be greater use of ethnic rotation, rather than use of one multiracial look.
Marketer Jack Trout of Trout & Partners, based in Old Greenwich, Connecticut, disagrees. The multiracial data "takes the pressure off agencies to play it ethnically," he says. Trout supports so-called melting-pot advertising. As for the new American look? He thinks it will have shades.
Al Ries, the chairman of Ries & Ries in Atlanta, also endorses the use of multiracial casts to advertise mainstream products. Ethnic casts, he says, are effective at targeting only one segment. A practice that may disappear along with single-- race segments-if the trend toward multirace continues.
Forecast 05-07-2001
Casting Tiger Woods
Byline: Whelan, David
Volume: 21
Number: 6
ISSN: 10902015
Publication Date: 05-07-2001
Page: 1
Type: Periodical
Language: English
Multiracials step into the advertising spotlight.
Meredith Jacobson Marciano owns AmeriFilm Casting, a Manhattan-based company that casts extras for HBO's Sex and the City. She's always used an informal filing system to keep track of the head shots she receives, and for a long time this just meant separating them into either a black or white pile.
But three years ago she started a new pile on her desk, this one for actors with a multiracial look. The newest pile gets a lot of use these days, she says, since she regularly fields requests from ad agencies for talent with a "young, hip, and mixed look."
To Jacobson, and scores of other casting agencies, it comes as no surprise that in the 2000 Census a significant number of Americans identified themselves as members of multiple racial or ethnic categories. It's difficult to make a comparison between 2000 and 1990, since last year's census was the first to allow respondents to identify themselves in multiple categories. Still, the numbers suggest that the so-called multiracials are a growing community, composed largely of young people: Only 26 percent of the overall population is under 18, whereas 42 percent of multiracials are.
Perhaps that's why the marketing world's use of mixed models in ad campaigns has so far been limited to targeting young, urban consumers. According to census figures, 30 percent of the multiracial population is localized in five states: New York, Texas, Florida, Hawaii, and Illinois. However, it won't be long before "the look" extends to other areas.
"Right now it's just a trend, but it will be everyday business," says Luis Miguel Messianu, the chief creative director of the Coral Gables, Florida-based ad agency Del Rivero Messianu DDB.
After all, "casting goes where society goes," says Jerry Saviola, head of casting at New York City-based ad agency Grey Worldwide. He points out that it wasn't long ago that an audition would be for white or black performers. Ross Haime, an agent at Innovative Artists who represents dozens of models for TV commercials, says that lately he's been getting lots of calls for mixed-race models. Noemie Lenoir, an Innovative model who is of French and North African descent, recently appeared in Sports Illustrated's "Swimsuit Edition." She cut quite a figure posing with her curly hair, almond eyes, and honey-tone skin against a waterfall backdrop.
Census results only add statistical credence to what the casting community has known for a long time. Prior to the "Swimsuit Edition," Lenoir starred in a Pantene television commercial that was casted by Saviola. He recently shot an ad in an urban cyber-cafe in which he used actors whose race he wasn't sure of. For Saviola, the multiracial look screams "current, youthful, and urban." And it also evokes a certain authenticity, he says. "Eight strawberry blondes in a cyber-cafe wouldn't be realistic."
Paula Sindlinger, a partner in Godlove & Sindlinger Casting in New York City, has also had scores of recent requests for multiracial beauties. The mix of Asian facial features and kinky hair, she says, conjures up an immediate sense of both globalization and technology. "The blended look says 'we're all in this together' and that the 'world's getting smaller.'"
Advertisers and marketers remain divided, however, on the importance of this young, localized, multiracial population. Saul Gitlin, a VP at Kang & Lee, a firm that specializes in targeting the Asian market, thinks the focus on multiracials distracts marketers from the growth of minority populations, such as Asians, African Americans, and Hispanics. Just "2.4 percent of the country is multiracial," he says. "The bottom line is that virtually all the country is one race." Gitlin thinks the proper response to the census data in casting should be greater use of ethnic rotation, rather than use of one multiracial look.
Marketer Jack Trout of Trout & Partners, based in Old Greenwich, Connecticut, disagrees. The multiracial data "takes the pressure off agencies to play it ethnically," he says. Trout supports so-called melting-pot advertising. As for the new American look? He thinks it will have shades.
Al Ries, the chairman of Ries & Ries in Atlanta, also endorses the use of multiracial casts to advertise mainstream products. Ethnic casts, he says, are effective at targeting only one segment. A practice that may disappear along with single-- race segments-if the trend toward multirace continues.
scriptgirl
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Daily Star
LINE-UP THAT HAS SIZZLING - AND THAT'S JUST OFF THE FIELD
ENGLAND and the rest of the UK teams may have flopped out of Euro 2008 but there'll still be plenty of talent on show when the big tournament kicks off. And we're not just talking about the top-flight football.
TD
The teams of Europe have wives and girlfriends hot enough to rival the most gorgeous Brit babes. So here's NADINE LINGE'S guide to the first XI of Euro 2008 WAGs who prove that football really is the beautiful game.
EVA GONZALEZ, 27, girlfriend of Spain's I k er Casillas.
The former Miss Spain d ates goalie Iker, 27, and lso works as a TV present e r.Eva was voted the h eha ottest footballer's partner t the 2006 World Cup.
SIMONE LAMBE, 30, wife of German star Michael Ballack.
When Ballack, 31, moved to Chelsea, ex-waitress Simone was soon moaning it was too expensive to live in London – despite her hubby's £130,000a-week pay packet.
ANINE BING,25, girlfriend of Swede Anders Svensson.
After starring in ads for Coca-Cola and Ikea, the model's raunchy billboard campaign for Ellesse Sportswear – which saw her writhing with a man in the rain – was banned by Birmingham City Council after it allegedly caused car crashes. During a brief split with Anders, 31, she was linked with actor Jim Carrey, 46.
NEREIDA GALLARDO, 24, girlfriend of Portugal's Cristiano Ronaldo.
Sizzling Nereida is all too happy to strip for the cameras.
The Spanish-born babe says she plans to marry Ronaldo, 23, who met her in Palma four months ago.
The pair have become inseparable, with Nereida often at his Cheshire home.
The Manchester United ace even blows her kisses in the stands whenever he scores.
Ronaldo is so smitten he has splashed out on a £28,000 Mercedes for his new love.
Oh, and a telltale ex of Nereida has told how she's a "wild animal" in bed.
CONSUELO MUTU, 31, wife of Romanian Adrian.
The Dominican model has adopted Romania as her home country and has two kids with former bad boy Adrian, 29, who was sacked from Chelsea for taking cocaine. He now plays in Italy.
NOÉMIE LENOIR, 28, wife of France's Claude Makelele.
Famous on our shores as an M&S underwear model, Noémie is one of Europe's classiest WAGs.
She is credited with making M&S lingerie fashionable again.
And she has also appeared in films After The Sunset and Rush Hour 3. Last year Makelele, 35, was accused of cheating on Noémie, who is mum to their three-year-old son Kelyan.
ALENA SEREDOVA, 29, girlfriend of Italy's Gianluigi Buffon.
Alena is a top Italian model of Czech descent, winning Miss Czech Republic in 1998. She has co-hosted many TV shows in Italy and made her acting debut with the movie Ho Visto Le Stelle in 2003.
She capped her fame in Italy by being picked to pose in the prestigious MAX calendar in 2005, as well as winning the heart of 30-year-old Buffon.
PAMELA CAMASSA, 21, girlfriend of Italy's Alberto Aquilani.
Her stunning looks saw her voted Miss Italy in 2005 and the green-eyed Milan model has been compared to Hollywood beauty Eva Mendes, 34. She makes a perfect match for Italian stallion Aquilani, 23.
SYLVIE VAN DER VAART, 30, wife of Holland's Rafael.
Another regular fixture in the league of hottest WAGs, Sylvie started modelling when she was just 18 and soon afterwards landed a presenting gig on MTV.
She also works as an actress.
But husband Rafael, 25, who married Sylvie in 2005, amazingly refuses to sleep in the same bed as her. "It's just as well, " she says. "His legs are heavy. If I get under them I can't get out."
OKSANA ANDERSSON, 25, girlfriend of Sweden's Christian Wilhelmsson.
The blonde from Stockholm is in dance act Sunblock, who had a top five hit in 2006 with Baywatch mix I'll Be There.
She says in her blog: "Being in front of the camera is my biggest passion." Apart from 27-yearold Wilhelmsson, presumably.
NS
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Document DAISTA0020080604e4640002f
LINE-UP THAT HAS SIZZLING - AND THAT'S JUST OFF THE FIELD
ENGLAND and the rest of the UK teams may have flopped out of Euro 2008 but there'll still be plenty of talent on show when the big tournament kicks off. And we're not just talking about the top-flight football.
TD
The teams of Europe have wives and girlfriends hot enough to rival the most gorgeous Brit babes. So here's NADINE LINGE'S guide to the first XI of Euro 2008 WAGs who prove that football really is the beautiful game.
EVA GONZALEZ, 27, girlfriend of Spain's I k er Casillas.
The former Miss Spain d ates goalie Iker, 27, and lso works as a TV present e r.Eva was voted the h eha ottest footballer's partner t the 2006 World Cup.
SIMONE LAMBE, 30, wife of German star Michael Ballack.
When Ballack, 31, moved to Chelsea, ex-waitress Simone was soon moaning it was too expensive to live in London – despite her hubby's £130,000a-week pay packet.
ANINE BING,25, girlfriend of Swede Anders Svensson.
After starring in ads for Coca-Cola and Ikea, the model's raunchy billboard campaign for Ellesse Sportswear – which saw her writhing with a man in the rain – was banned by Birmingham City Council after it allegedly caused car crashes. During a brief split with Anders, 31, she was linked with actor Jim Carrey, 46.
NEREIDA GALLARDO, 24, girlfriend of Portugal's Cristiano Ronaldo.
Sizzling Nereida is all too happy to strip for the cameras.
The Spanish-born babe says she plans to marry Ronaldo, 23, who met her in Palma four months ago.
The pair have become inseparable, with Nereida often at his Cheshire home.
The Manchester United ace even blows her kisses in the stands whenever he scores.
Ronaldo is so smitten he has splashed out on a £28,000 Mercedes for his new love.
Oh, and a telltale ex of Nereida has told how she's a "wild animal" in bed.
CONSUELO MUTU, 31, wife of Romanian Adrian.
The Dominican model has adopted Romania as her home country and has two kids with former bad boy Adrian, 29, who was sacked from Chelsea for taking cocaine. He now plays in Italy.
NOÉMIE LENOIR, 28, wife of France's Claude Makelele.
Famous on our shores as an M&S underwear model, Noémie is one of Europe's classiest WAGs.
She is credited with making M&S lingerie fashionable again.
And she has also appeared in films After The Sunset and Rush Hour 3. Last year Makelele, 35, was accused of cheating on Noémie, who is mum to their three-year-old son Kelyan.
ALENA SEREDOVA, 29, girlfriend of Italy's Gianluigi Buffon.
Alena is a top Italian model of Czech descent, winning Miss Czech Republic in 1998. She has co-hosted many TV shows in Italy and made her acting debut with the movie Ho Visto Le Stelle in 2003.
She capped her fame in Italy by being picked to pose in the prestigious MAX calendar in 2005, as well as winning the heart of 30-year-old Buffon.
PAMELA CAMASSA, 21, girlfriend of Italy's Alberto Aquilani.
Her stunning looks saw her voted Miss Italy in 2005 and the green-eyed Milan model has been compared to Hollywood beauty Eva Mendes, 34. She makes a perfect match for Italian stallion Aquilani, 23.
SYLVIE VAN DER VAART, 30, wife of Holland's Rafael.
Another regular fixture in the league of hottest WAGs, Sylvie started modelling when she was just 18 and soon afterwards landed a presenting gig on MTV.
She also works as an actress.
But husband Rafael, 25, who married Sylvie in 2005, amazingly refuses to sleep in the same bed as her. "It's just as well, " she says. "His legs are heavy. If I get under them I can't get out."
OKSANA ANDERSSON, 25, girlfriend of Sweden's Christian Wilhelmsson.
The blonde from Stockholm is in dance act Sunblock, who had a top five hit in 2006 with Baywatch mix I'll Be There.
She says in her blog: "Being in front of the camera is my biggest passion." Apart from 27-yearold Wilhelmsson, presumably.
NS
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scriptgirl
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The Observer
Marcus Christenson WC 394 wordsPD 1 June 2008SN The ObserverSC OBNGC Guardian & Observer - Print and OnlineGC CTGGROPG 13LA EnglishCY © Copyright 2008. The Observer. All rights reserved. LP
HOW THEY RATE: Raymond Domenech has an outrageously talented squad at his disposal and any team who can afford to leave out David Trezeguet, Mathieu Flamini, Djibril Cisse and Gael Clichy have to be in good shape. Domenech is likely to start with Nicolas Anelka or Karim Benzema partnering Thierry Henry up front in a 4-4-2. One of the few question marks is whether the creaking bodies of Lilian Thuram, Claude Makelele and Patrick Vieira - all expected to start - will survive a whole tournament. Back-up in midfield may be good, but in defence? Sebastien Squillaci and, yes, he's still there, the unique Jean-Alain Boumsong.
STAR MAN: Franck Ribery . Domenech will give the Bayern playmaker a free role on the right.
TD
ONE FOR THE SCOUTS: Bafetimbi Gomis , a powerful St-Etienne striker dubbed the new Didier Drogba. Newcastle are pondering a pounds 9m bid. Arsenal target Samir Nasri is also in the squad.
WILD CARD: Goalkeeper Gregory Coupet fell out with Domenech before the 2006 World Cup. 'Apparently Domenech wanted to cut my balls off to calm me down.'
WAG TO WATCH: Claude Makelele's wife, Noemie Lenoir , is a model and actress who recently featured in a Marks & Spencer ad campaign in the UK. Also appeared in such movie hits as After the Sunset and, er, Rush Hour 3.
THE FANS: Allez Les Bleus, Allez Les Bleus, Allez Les Bleus. . . Annoying.
PREDICTION: Second in the group, but they'll lose to Spain in the quarter-finals.
Keepers: 1 Mandanda (Marseille), 16 Frey (Fiorentina), 23 Coupet (Lyon). Defenders: 2 Boumsong (Lyon), 3 Abidal (Barcelona), 5 Gallas (Arsenal), 13 Evra (Man Utd), 14 Clerc (Lyon), 15 Thuram (Barcelona), 17 Squillaci (Lyon), 19 Sagnol (B Munich). Midfielders: 4 Vieira (Inter), 6 Makelele (Chelsea), 7 Malouda (Chelsea), 11 Nasri (Marseille), 20 Toulalan (Lyon), 21 Diarra (Portsmouth), 22 Ribery (B Munich). Forwards: 8 Anelka (Chelsea), 9 Benzema (Lyon), 10 Govou (Lyon), 12 Henry (Barcelona), 18 Gomis (St-Etienne).
NS
Marcus Christenson WC 394 wordsPD 1 June 2008SN The ObserverSC OBNGC Guardian & Observer - Print and OnlineGC CTGGROPG 13LA EnglishCY © Copyright 2008. The Observer. All rights reserved. LP
HOW THEY RATE: Raymond Domenech has an outrageously talented squad at his disposal and any team who can afford to leave out David Trezeguet, Mathieu Flamini, Djibril Cisse and Gael Clichy have to be in good shape. Domenech is likely to start with Nicolas Anelka or Karim Benzema partnering Thierry Henry up front in a 4-4-2. One of the few question marks is whether the creaking bodies of Lilian Thuram, Claude Makelele and Patrick Vieira - all expected to start - will survive a whole tournament. Back-up in midfield may be good, but in defence? Sebastien Squillaci and, yes, he's still there, the unique Jean-Alain Boumsong.
STAR MAN: Franck Ribery . Domenech will give the Bayern playmaker a free role on the right.
TD
ONE FOR THE SCOUTS: Bafetimbi Gomis , a powerful St-Etienne striker dubbed the new Didier Drogba. Newcastle are pondering a pounds 9m bid. Arsenal target Samir Nasri is also in the squad.
WILD CARD: Goalkeeper Gregory Coupet fell out with Domenech before the 2006 World Cup. 'Apparently Domenech wanted to cut my balls off to calm me down.'
WAG TO WATCH: Claude Makelele's wife, Noemie Lenoir , is a model and actress who recently featured in a Marks & Spencer ad campaign in the UK. Also appeared in such movie hits as After the Sunset and, er, Rush Hour 3.
THE FANS: Allez Les Bleus, Allez Les Bleus, Allez Les Bleus. . . Annoying.
PREDICTION: Second in the group, but they'll lose to Spain in the quarter-finals.
Keepers: 1 Mandanda (Marseille), 16 Frey (Fiorentina), 23 Coupet (Lyon). Defenders: 2 Boumsong (Lyon), 3 Abidal (Barcelona), 5 Gallas (Arsenal), 13 Evra (Man Utd), 14 Clerc (Lyon), 15 Thuram (Barcelona), 17 Squillaci (Lyon), 19 Sagnol (B Munich). Midfielders: 4 Vieira (Inter), 6 Makelele (Chelsea), 7 Malouda (Chelsea), 11 Nasri (Marseille), 20 Toulalan (Lyon), 21 Diarra (Portsmouth), 22 Ribery (B Munich). Forwards: 8 Anelka (Chelsea), 9 Benzema (Lyon), 10 Govou (Lyon), 12 Henry (Barcelona), 18 Gomis (St-Etienne).
NS
scriptgirl
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Daily Star
NEWSHD BOOM AND GLOOM AT £1BN M&S BY by CAMERON MILLAR WC 318 wordsPD 21 May 2008SN Daily StarSC DAISTAPG 14LA EnglishCY (c) copyright Express Newspapers 2008 LP
Profits up, bonuses cut
SIZZLING Noémie Lenoir and Myleene Klass have helped Marks & Spencer to make £1billion profit.
TD
A sterling effort by the sexy models on the advertising front means the firm's biggest annual profit for a decade.
Noémie, 28, and Myleene, 30, have pulled in the M&S shoppers by starring alongside the likes of Twiggy, 58, Lizzie Jagger, 24, Erin O'Connor, 30, and Laura Bailey, 35.
But in bad news for the firm, City experts predict bonuses for the 75,000 staff will only be a fraction of last year's £91million payout, as shoppers are hit by the credit crunch.
Chief executive Sir Stuart Rose, 59, has also missed out on a bonus of up to £3m, according to pundits.
Pre-tax profits were up 4% to just over £1bn, only the second time in the company's history it has hit the magic figure.
But M&S suffered a disappointing Christmas, and like-for-like sales fell 1.7% in the last three months of the financial year.
Shares have also fallen to almost half their value.
Sir Stuart, who is on a salary of £1.13m, said: "We did not meet the profit target and we did not deserve the bonus.
"At the end of the day, if you don't earn it you don't get it." A source said: "There's no doubt these girls helped the firm's profits.
"Women snapped up the clothes because they wanted to look as good as these models.
"Even though it's not as much as managers hoped, it is not to be sniffed at." M&S, which spent around £1bn modernising stores last year, is also reviewing its food business. It may decide to sell non-M&S-brand products for the first time.
CO
mks : Marks & Spencer Group PLC
IN
i645 : Clothing Stores | i656 : Mixed Retailing | i64 : Retail/Wholesale | i654 : Specialty Stores | iclt : Clothing/Textiles | iretail : Retail
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More Like This
NEWSHD BOOM AND GLOOM AT £1BN M&S BY by CAMERON MILLAR WC 318 wordsPD 21 May 2008SN Daily StarSC DAISTAPG 14LA EnglishCY (c) copyright Express Newspapers 2008 LP
Profits up, bonuses cut
SIZZLING Noémie Lenoir and Myleene Klass have helped Marks & Spencer to make £1billion profit.
TD
A sterling effort by the sexy models on the advertising front means the firm's biggest annual profit for a decade.
Noémie, 28, and Myleene, 30, have pulled in the M&S shoppers by starring alongside the likes of Twiggy, 58, Lizzie Jagger, 24, Erin O'Connor, 30, and Laura Bailey, 35.
But in bad news for the firm, City experts predict bonuses for the 75,000 staff will only be a fraction of last year's £91million payout, as shoppers are hit by the credit crunch.
Chief executive Sir Stuart Rose, 59, has also missed out on a bonus of up to £3m, according to pundits.
Pre-tax profits were up 4% to just over £1bn, only the second time in the company's history it has hit the magic figure.
But M&S suffered a disappointing Christmas, and like-for-like sales fell 1.7% in the last three months of the financial year.
Shares have also fallen to almost half their value.
Sir Stuart, who is on a salary of £1.13m, said: "We did not meet the profit target and we did not deserve the bonus.
"At the end of the day, if you don't earn it you don't get it." A source said: "There's no doubt these girls helped the firm's profits.
"Women snapped up the clothes because they wanted to look as good as these models.
"Even though it's not as much as managers hoped, it is not to be sniffed at." M&S, which spent around £1bn modernising stores last year, is also reviewing its food business. It may decide to sell non-M&S-brand products for the first time.
CO
mks : Marks & Spencer Group PLC
IN
i645 : Clothing Stores | i656 : Mixed Retailing | i64 : Retail/Wholesale | i654 : Specialty Stores | iclt : Clothing/Textiles | iretail : Retail
NS
c151 : Earnings | c15 : Performance | ccat : Corporate/Industrial News | ncat : Content Types | nfact : Factiva Filters | nfcpin : FC&E Industry News Filter
RE
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scriptgirl
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The Sun
SE FeaturesHD Is your new cut top of the crops?;Sun Woman BY Richard Ward, Celebrity Hairdresser WC 475 wordsPD 12 February 2008SN The SunSC THESUNPG 34LA EnglishCY (c) 2008 News Group Newspapers. All rights reserved LP
WITH supermodel Agyness Deyn sporting her signature short cut, the time has never been so right for celebs to go for the chop.
The season's hottest new crop has been the style benchmark of many famous names - from Katie Holmes to American Beauty's Mena Suvari.
TD
When a cut captures the public's imagination, whether it's the Rachel, the "Pob" or last season's fringe trend, women are tempted to take the plunge. But they don't always get it right - even the stars.
A good hairdresser should consider:
* FACE SHAPE: Petite, delicate features work best for crops. Round and square face shapes work better with softer, mid-length looks.
* AGE - What works on a 20-year-old may not be so forgiving on someone aged 45. Think long and hard between the extremes of potentially ageing, long hair and the "mutton dressed as lamb" crop.
* MAINTENANCE REGIME: Short hair can be higher maintenance than long and needs styling and polishing to look its best, not to mention regular cutting to keep style definition.
WHO'S GOT IT RIGHT
SINGER Rihanna has just had her hair restyled into a geometric, textured crop which perfectly suits her heart-shaped face and defined features.
It's short and cropped, but the tapered fringe and layers at the front provide softness and femininity giving her a sassy, sexy new look.
It's so nice to see a pop star who is willing to move away from the traditional, celeb "long straight extensions" look.
Natalie Imbruglia works short hair brilliantly, changing and adapting her cut seasonally to echo catwalk trends.
Her stunning cheekbones and doe eyes, coupled with her delicate features, make her trademark crop a perfect example of ultimate short style.
Condition is key and her brunette tresses are always glowing with vitality and styled to perfection.
WHO'S GOT IT WRONG
INSTEAD of making her look younger and sexier, Nancy Dell'Olio's new short style highlights her age, making her look mumsy.
Her trademark mane was always a little inappropriate for her advancing years, but somehow it suited her personality and looked fiery, defiant and high maintenance - rather than this middle-of-the-road option.
This cut is too long to be sassy and too short and middle-aged to be glamorous. She should go for a glamorous shoulder-length look with soft face framing layers.
Famous M&S and Next lingerie model Noemie Lenoir proves that even with a beautiful face, the wrong haircut can have a devastating effect. Her caramel coloured corkscrew locks were part of her look, so the nation was shocked when she recently appeared with an unflattering new cut, making her naturally curly hair resemble a newly shorn sheep.
SE FeaturesHD Is your new cut top of the crops?;Sun Woman BY Richard Ward, Celebrity Hairdresser WC 475 wordsPD 12 February 2008SN The SunSC THESUNPG 34LA EnglishCY (c) 2008 News Group Newspapers. All rights reserved LP
WITH supermodel Agyness Deyn sporting her signature short cut, the time has never been so right for celebs to go for the chop.
The season's hottest new crop has been the style benchmark of many famous names - from Katie Holmes to American Beauty's Mena Suvari.
TD
When a cut captures the public's imagination, whether it's the Rachel, the "Pob" or last season's fringe trend, women are tempted to take the plunge. But they don't always get it right - even the stars.
A good hairdresser should consider:
* FACE SHAPE: Petite, delicate features work best for crops. Round and square face shapes work better with softer, mid-length looks.
* AGE - What works on a 20-year-old may not be so forgiving on someone aged 45. Think long and hard between the extremes of potentially ageing, long hair and the "mutton dressed as lamb" crop.
* MAINTENANCE REGIME: Short hair can be higher maintenance than long and needs styling and polishing to look its best, not to mention regular cutting to keep style definition.
WHO'S GOT IT RIGHT
SINGER Rihanna has just had her hair restyled into a geometric, textured crop which perfectly suits her heart-shaped face and defined features.
It's short and cropped, but the tapered fringe and layers at the front provide softness and femininity giving her a sassy, sexy new look.
It's so nice to see a pop star who is willing to move away from the traditional, celeb "long straight extensions" look.
Natalie Imbruglia works short hair brilliantly, changing and adapting her cut seasonally to echo catwalk trends.
Her stunning cheekbones and doe eyes, coupled with her delicate features, make her trademark crop a perfect example of ultimate short style.
Condition is key and her brunette tresses are always glowing with vitality and styled to perfection.
WHO'S GOT IT WRONG
INSTEAD of making her look younger and sexier, Nancy Dell'Olio's new short style highlights her age, making her look mumsy.
Her trademark mane was always a little inappropriate for her advancing years, but somehow it suited her personality and looked fiery, defiant and high maintenance - rather than this middle-of-the-road option.
This cut is too long to be sassy and too short and middle-aged to be glamorous. She should go for a glamorous shoulder-length look with soft face framing layers.
Famous M&S and Next lingerie model Noemie Lenoir proves that even with a beautiful face, the wrong haircut can have a devastating effect. Her caramel coloured corkscrew locks were part of her look, so the nation was shocked when she recently appeared with an unflattering new cut, making her naturally curly hair resemble a newly shorn sheep.
scriptgirl
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