Signé Barrière n°5 mar/avr/mai 2013
Signé Barrière n°5 mar/avr/mai 2013
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  • Parution : n°5 de mar/avr/mai 2013

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  • Editeur : O2C

  • Format : (210 x 270) mm

  • Nombre de pages : 100

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english version ‘Crowd Funding’The pennies behind a revolution It's an astonishing digital « Got a pound to spare ? » Born in the USA, ‘crowd funding’refers to the very successful collective funding of projects using the Internet and bypassing the need for a bank. Funding crowds, if you will. After salvation by the people, comes funding by the crowd. Or more precisely by a community of Internet surfers who support, with their own money (from 10 cents to an infinite amount), a multitude of projects via a digital platform. Here’s an example  : producers weren't keen on financing a film based on a Veronica Mars series that had known only limited success. In less than 24 hours, a community of fans got together that didn’t seem large enough for the anxious producers but was mobilised enough to provideup to 2.5 million dollars to fund the arrival of their series in cinemas... That was on 14th March on Kickstarter, an American crowd funding platform. But what about in France ? Well, crowd funding works here, too. The termwas coined and became known to the general public in 2010 at the same time as the singer Irma. The collection of small sums of money turned into a monetary force recognised by both the economy and the media. And it worked. For the first time. That’s how the song ‘I know’came to be a hit. Thanks to donors, 70,000 euros were collected via My Major Company, and the pretty brunette is now about to receive a gold disc for selling fifty thousand copies of her song. And how many times was the song listened to as a digital, let’s not say pirated, file ? It just goes to show that the intuition of e-producers is sometimes superior to that of industry professionals, who are often burdened and made cautious by a requirement to make profit in the short term. In France in 2012, according to the French Participatory Funding association (Financement Participatif France), 40 million euros were invested in 60,000 (sixty thousand !) projects thanks to the strong contender that is crowd funding. The Kiss Kiss Bank Bank platformcontributed in this way to the development of new media for Crumb, the international cross-culture magazine, and My Major Company supports music production... And then there's Touscoprod, which gets things moving for cinema with, amongst other things, the financing of Michele Laroque's next film. More than just financing, for the person concerned crowd funding is a real revolution, where effort is not rewarded by payment but by a symbolic, cultural contribution. So, shall we all become patrons ? Most projects − even the most hare-brained, such as the invention of a glove that allows you to play in a brass band without an instrument ! − are achievable. And we are no longer at the mercy of bankers who are bound to be overcautious in their calculations. In fact, it’s got to the point where the minister of the digital economy, Fleur Pellerin, wants to extend it to the financing of... more conventional undertakings. Are youup for it ? page 34 Are you dreaming of bringing out a record or financing an Italian ice cream stand ? www.mymajorcompany.com - has an ear for music www.the-united-donations.com - for green and ecologically responsible initiatives www.pret-dunion.fr - a credit system between individuals, gourmets or not fr.ulule.com - for all good ideas www.babyloan.org - is concerned with micro-credit www.kisskissbankbank.com - a platformthat rewards its donors And also… www.leguideducrowdfunding.com - by Nicolas Dehorter Déco, logos, yesterday’s wardrobes Time retraces its steps Key pieces revisited, ideas recycled and new, lasting creations. Generations are now seeing each other for what they are  : mothers, daughters and sisters. Each inspiring each other with the designs, trends and styles of the past. Old. Old-fashioned. Old-time. Not so long ago time 92 | Printemps 2013 - SignéBarrière
english version page 44 was insulting. Now it is encouraging. "The older the better ! ", chuckles Jean d'Ormesson, author of a beautiful memoire entitled "C'était bien" (It was good), published by Gallimard, in 2003. Yes, the older the better, and not just for the octogenarians making the magazine covers, featuring in bookshops'bestsellers'lists, flaunting their good health in adverts and parading their perfect - and original... - elegant collections at Paris and London fashion weeks. Just like a model, 83-year-old Daphne Selfe caused a sensation by slipping into the cone-breasted corset that Jean-Paul Gaultier (61) designed for Madonna in... 1990. "Why Daphne ? Look at her ! She personifies what we are today", explains the fashion designer, famous for his 100% woven-in-France cotton, nautical-striped shirts. What we are... His words betray the subtle tension of a filiation, a bond, a union. And the rejection of what claims or professes to be spontaneous, without influence, without recognition. For ten years, a curiosity for all things vintage - the return to the origins of a product or identity of the past - has logically led many designers to revisit the standards, the basics, the sources of what created the image of the brands they standup for or represent today. "Lasting is not about growing old, it's about always daring to move forward", said Marcel Bleustein-Blanchet, founder of Publicis. Half a century later, Christophe Lemaire, artistic director of Hermès, says the same thing  : "Fashion is a history book. It is timeless. It has to prioritise movement and motion. That is why I consider the 1920s to be so important. They gave birth to an Asian-influenced wardrobe free of restrictions for the body, along with a certain flamboyance. All of this, placed into the mixing bowl of what we call contemporary, becomes a recognition at the same time as a tribute." What goes for fashion also applies to all ranges of luxury goods or retail products. To all brands. To what we are when we rediscover what was created, then swept aside. With as well - thanks to a longer life expectancy which, in the western world, has resulted in a historically and demographically unprecedented coexistence of so many generations - the possibility to learnfrom those who created it or were alive at the time. "For people in their 40s and 50s today, this new demographic link is revolutionary", stresses sociologist Andrea Semprini, author of a number of studies on the nature and use of objects in daily life. Why revolutionary ? "Because it changes the order of things, the passing of time, the identity of each generation." It takes us back to "yesterday's future". How those who lived before us may have dreamedof or conceptualised the future. This curiosity about the past is different from nostalgia, which dictionaries define as "the melancholy yearning for something". Today, allusions to the past are supposed to shakeup the codes of brands that have lost their verve as a result of long marketing deliberations. As such, France's new princes of fashion - Christophe Lemaire (Hermès), Alber Elbaz (Lanvin)... - and its grand masters - Jean-Paul Gaultier, KarlLagerfeld... - delve into the closets of the flamboyant 1960s for yesterday's key wardrobe pieces  : slim tapered trousers or pencil dresses, head scarves and fine fabrics for girls ; mocassins (without tassels), boots, tie clips and white pocket handkerchiefs on cinch-waist jacket lapels for boys. The same goes for car design (round) and interior design (simple with precise contours). Brands all hint at the history that identifies them in the collective consciousness. But without it being overpowering. "Don't talk tome about DNA  : the most important thing is the soul, not the flesh ! ", concludes KarlLagerfeld. Which is reminiscent of what Dottore Giovanni Agnelli said about the seal of "his" car brand, Fiat  : "With sheet metal, a bit of steel and some wheels, we invented millions of cubic metres of freedom. Liberty belongs to each and every one of us. We sell the cubic metres." At the right time. Being there  : the signature of a brand. « Age is the New Youth » Old age He regards our times with the mischievous eye of a commentator who faces the blank page every day. Signé Barrière asked this great penman from Le Figaro to cast his eye over this time that leaves its marks and traces on us. There’s a stormcoming and a golden age  : the two are linked. When the sky cracks and the earth shakes, a child runs to the arms of his elders for refuge. The roaring twenties of The Great Gatsby or the fifties, sixties and seventies of Les Trente Glorieuses are back on our screens SignéBarrière - Printemps 2013 | 93



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