Friday, November 17, 2017

Youtube daily report Nov 17 2017

Hello, everyone! This is Yana Smakula here at Spellbinders and thank you so much for

joining me today.

This is the third episode in a new video series I am hosting on Spellbinders blog and Youtube

channel called "Shaped Cards with Spellbinders". Once a month I am sharing a card and and video

tutorial featuring a shaped card base using Spellbinders dies!

I am using the following dies to create this project:

I'm going to start working on this card by die-cutting all of my elements first and

will assemble the project later.

I'm going to cut two panels using the largest die from from the Coralene's Chemise Layering

Frame Large set out of white cardstock. Since this is such a detailed die I have found that

it's better to use thinner cardstock. I love to use 110 lb cardstock for my card bases,

but for this element, and this will make the base of my card I am using 80lb cardstock

just to make it easier to cut it.

And I am going to run this through my die cutting machine, this is Platinum machine,

twice - first at a slight angle and then will run it again rotating it about 90 degrees

to make sure the top and bottom detailed portions of this die are cut. And I always run my piece

back and forth. I find this to be helpful.

I'm going to cut 2 pieces - to form the front and back of my card base. You can emboss

this die cut, but I am not going to do any embossing for these.

Next, die cutting a rectangle out of blue paper, it is sized perfectly to go on top

of the label we just cut. I picked white and blue or aqua colors for my project along with

hits of gold, but you can chose other colors you like. Don't feel like you have to use

this exact color combo.

I've also die-cut and embossed Extra Large Label from the Breanna's Corset Label set

out of white cardstock and now I'm cutting and also embossing two Hemstitch Ovals from

the Hemstitch Ovals set out of gold foil cardstock. I am using the oval die here and the hemstitch

detail to cut the piece out and only keeping the hemstitch detail to emboss it.

Also die cutting a decorative label out of same gold foil paper, I'm not embossing

this one - there's no need to do so and finally I die cut another label out of blue

paper.

The die cutting portion of this video is over - time to assemble the card.

I'm going to score one of my card base pieces to create a hinge - I'm using a scoring

board for this and scoring at about 1 ½ at the top - you can leave less space, but since

there's all of that detail die cutting at the top there I felt I needed to score at

at least an inch from the top.

I'm going to add some tape and will also use glue to adhere the two panels together

to create a card base. And here's what the shaped base of this card looks like - it's

very delicate, so a card like this would probably need to be hand delivered or mailed in a padded

envelope.

Going to adhere the rectangle next - and this element will actually make the card a lot

sturdier. If you want - you can die -cut additional rectangles like this one and adhere one onto

each side of the card base.

The rest is actually very simple - use foam adhesive or regular adhesive and layer all

of the elements on top of each other to create a stunning and one of a kind card front. Be

sure to alternate the colors and go from the largest size die cut to the smallest to have

a beautiful professional look.

Finally, this card will need a sentiment, the project in the photo features one that

reads Your Kindness Makes Such a Difference. I couldn't find this stamp set when I was

filming my video so I decided to use a different message and this card design can work for

many different occasions.

I stamped my sentiment in black ink onto a strip of white paper and adhere it onto the

card. The project on the photo used a die to cut

the stamped sentiment panel out - and that die also added beautiful pierced detail along

the edge.

Lastly, I used a 1" wide grosgrain ribbon and created a bow to embellish my card. I'm

never good at tying bows, so I just pre cut my ribbon and use a piece of gold thread to

tie everything together - I find this way I'm able to create cleaner bows for my projects.

I used a glue dot to adhere the bow in place and embellished my card using white self adhesive

pears.

And our project is finished!

I hope you've enjoyed the third episode from my Shaped Card with Spellbinders video

series. Be sure to hit thumbs up and share this video with your crafty friends and do

check previous episodes if you haven't yet seen them.

If you have any questions about this card, please leave them in the comments section

below. Also be sure to subscribe to Spellbinders Youtube channel for more education and inspiration!

If you are subscribed but are not receiving new video notifications, be sure to click

the bell icon on the homepage of our video channel on youtube.

Thanks for watching! I'll see you next time!

For more infomation >> Shaped Cards Video Series with Yana. Episode #3 - Coralene's Chemise Layering Frame Large - Duration: 6:14.

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Sick Vlog - UPDATED Makeup Storage Tour | Bec's Vlogs - Duration: 4:10.

I don't want to wear mascara every single day firstly

I don't want to ruin my lashes when I'm removing my makeup because when I'm removing makeup

I lose like six eyelashes off each eye, and you only have, like, a billion eyelashes

What's up my friends welcome to a brand new video

My name is Bec, and I'll be your YouTuber for the next handful of minutes

If you wouldn't mind checking us a like and offering us a subscribe, that would be duly appreciated. So today

I am going to be doing a

updated makeup storage tour

Excuse my voice I am

Currently sick I'm trying very hard to sound normal at the moment so

Here's to working hard

The only thing in life that I work hard on. So the last time I did a storage tour video

Was actually two years ago, so that would have been

2015 which was probably my second year of youtube it's actually kind of sad at how much my makeup storage hasn't changed

It's actually

Quite similar to what I have now except now, I've got maybe double the makeup

Or at least I've bought double the makeup and half of its in the bin, so yeah

I'm just going to do a real quick run-through of what my

This could even be classified as my YouTube set up tour, because I literally record at my makeup table excuse all the powder stains

Make up, believe it or not, is very messy

Basically the tray that's closest to me is the makeup that I use the most often

besides the foundation and the mascaras, they're in the other tray thing. So the tray that's the one over that's got all my

Not as important brushes

It's got my nail polishes that I never use, I just have nowhere else to put them. Quick fYI about the Vaseline

I use Vaseline on my eyelashes everyday for school because you know I don't actually know if it works

But you need those strong eyelashes man, and also because

I don't want to wear mascara every single day, and then the eyeshadows that are outside. I just have nowhere for eyeshadows

I just got too much crap. You know I need to get like a different spot to put them

But they're there and then I've got a blush which I never use, got my Beauty Blender

Looking very big and thick and voluptuous

Because it's filled with water currently and my eyelash curler because where the hell do people even put those and then

Because I've got like weird palettes. I don't know how they would fit anywhere else

I just plop them underneath my recording light. I've got my q-tips and then in the bedside table

Which is no longer a bedside table, but a makeup side table, a makeup table side table, whatever

In that I have all my crappy makeup that I never use. It's filled with crappy makeup

Makeup that's pretty much run out and I can't be bothered to fish the rest of the product out

Yeah, I'm looking at you, Maybelline. I'm looking at you

Um and I got all of my weird tester products, so yeah

I've got two boxes full of that sort of stuff especially nail polish

I do not wear nail polish, and then I got my little experiment. I'm occasionally a scientist at heart. I mean I do

Three Sciences at school. I can't remember what eyeshadows I mixed together, but by the looks of things

It's a cream eyeshadow and a blue eyeshadow. Yeah, that's my that's my makeup storage. It's pretty sad

I don't even know what I'm doing. I think I'm like high on the drugs

I'm not taking... The medicinal drugs for colds of course. Thank you all so much for watching

I love you guys, and I'll see you in one of the previous videos or one of the next ones, it depends

don't forget to check out the cards to see how I did my makeup and

Yeah, bye

For more infomation >> Sick Vlog - UPDATED Makeup Storage Tour | Bec's Vlogs - Duration: 4:10.

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Circe - Il bordello (5) da Ulisse di Joyce (con sottotitoli) - Duration: 18:59.

For more infomation >> Circe - Il bordello (5) da Ulisse di Joyce (con sottotitoli) - Duration: 18:59.

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라이프 오브 파이 LIFE OF PI 2차 공식 예고편 (한국어 CC) - Duration: 2:38.

For more infomation >> 라이프 오브 파이 LIFE OF PI 2차 공식 예고편 (한국어 CC) - Duration: 2:38.

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YouTube TV Now Available

For more infomation >> YouTube TV Now Available

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Nicky Butler 12.50ctw Multigem "Cicada" Cuff Bracelet - Duration: 2:40.

For more infomation >> Nicky Butler 12.50ctw Multigem "Cicada" Cuff Bracelet - Duration: 2:40.

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Allerøds borgmester, Jørgen Johansen, Borgmesterduel i Lynge 15/11-2017 - Duration: 1:47.

For more infomation >> Allerøds borgmester, Jørgen Johansen, Borgmesterduel i Lynge 15/11-2017 - Duration: 1:47.

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Understanding American Money - Part 2 - Writing, Saying, Vocabulary, Grammar - Duration: 9:39.

Hi.

I'm Denise.

Thank you for watching my video.

Today I'm going to talk about writing and saying money amounts.

This is a dollar sign and this is a cent sign.

So we use this to represent the number of dollars, and we use this to represent the

number of cents.

We can also represent the number of cents without this but by using decimal digits with

the dollar.

So this here, this is one dollar and twenty-five cents.

And this is how you would read it, one dollar and twenty-five cents.

We first write the dollar sign, then the number of dollars, then a decimal point, and then

the number of cents.

Here's another example.

This is forty-two dollars and thirty-seven cents.

That's what I have written here, forty-two dollars and thirty-seven cents.

Again, the dollar sign goes first, then the number of dollars, then the decimal point,

and then the number of cents.

If we have some dollars without any cents, we can write either like this, so the dollar

sign, the number one, a decimal point, and use zeroes to represent the number of cents.

So this is one dollar, or sometimes we drop those zeroes and we just write one dollar like

this.

So these two are the same.

Here's another example, forty-two dollars showing the two zeroes for the cents or forty-two

dollars like this without showing the zeroes.

Those are both read forty-two dollars.

If we have an amount of money less than one dollar, we can write it either like this with

a zero in the dollars' place, so this would be zero dollars and fifty-two cents.

That's what I have here, zero dollars and fifty-two cents.

Or, I can also just read this as fifty-two cents, which is what I have here.

I don't have to say zero dollars, but this is fifty-two cents.

I can also write fifty-two cents like this.

So with the dollar sign and a zero in the dollars' place, a decimal point, and the number

of cents, or if we're only talking about the number of cents and we don't want to

show a zero in the dollars' place, we can write it this way, fifty-two cents.

When we write money amounts, we write the dollar sign first and then the number of dollars

second, but when we say money amounts, we say the number of dollars first and then we

say the word 'dollar' or 'dollars' after that first number.

So this is one dollar and twenty-two cents.

We say the word 'and' for this decimal point, so one dollar and twenty-two cents.

Or, for the word 'one' we often say the word 'a,' so this would be a dollar and

twenty-two cents.

Or, we could just say a dollar twenty-two and not say the word 'cents' and we can

also just say one twenty-two.

So these are just different ways of saying this number.

For this number, for a longer number, many people would say two hundred and twelve dollars

and twenty-two cents.

This first 'and' is not really correct but many people do say it.

Many people put the word 'and' between the number in the hundreds' place and any

number following.

So many people would say two hundred and twelve dollars.

As I said, that's not really correct, but many say it.

This 'and' is correct.

This 'and' is for the decimal point.

So without the first 'and' would be two hundred twelve dollars and twenty-two cents,

so some people also say it this way.

We can also say two twelve eighty-six.

For a number like this with a zero in the tens' place, we very often say 'oh'

for that zero.

It's not an 'o.'

It's a zero, but we very often do say 'oh.'

So this could be read by many people as two oh two eighty-six.

This is a very common way of saying it.

But, of course, we could also say either of these two which are the same as the first

two I put up here or similar.

Two hundred and two dollars and eighty-six cents and as with the one above, this first

and is not really correct but many people do say it.

Without that and, we would have two hundred two dollars and eighty-six cents.

And this and in this position is correct.

It's for the decimal point.

So those are just different ways of saying money amounts.

Oops.

That was supposed to be eighty-six cents and eighty-six cents.

This piece of paper is called a bill.

These are called coins.

We usually only use the words bill and coin if we're talking about the physical object.

If we're talking about the amount of money, we don't use those words.

We would just talk about the amount, for example, I have one dollar or I have fifty cents or

it costs $37.22.

So we do not use the words bill and coins unless we're talking about the actual object.

Here are some examples of using and not using the words bill and coin.

In example 1, I have Denise: Do you have any money for the vending machine?

Jim: I have five dollars.

Denise: Okay.

Great.

Notice that Jim did not say, "I have a five-dollar bill."

He only says the amount of money which is five dollars.

Remember I said that the word bill is used when we're talking about the actual physical

object.

But he's talking about the quantity of money he has, the amount of money.

Here's example 2.

Denise: Do you have any money for the vending machine?

Jim: I only have a five-dollar bill.

The machine only takes ones.

We need to get change.

Denise: Okay.

Let's go.

In this case, it is necessary for Jim to use the word bill.

He's talking about the actual object, the item he's holding.

It's a five-dollar bill.

But that will not work in this machine.

He needs to have one-dollar bills.

So in this case, it was necessary for him to talk about the bill.

He could have also said, though, I just have a five or I only have a five.

To say I have a five means I have a five-dollar bill.

To say I have a ten or a twenty, it means a ten-dollar bill or a twenty-dollar bill.

The machine only takes ones means that the machine only accepts one-dollar bills.

To get change means that he wants to exchange the bill that he does have, the five-dollar

bill, for smaller bills or even for coins.

Here's example three.

Denise: Do you have any money for the vending machine?

Jim: I have a dollar but the machine only takes coins.

We need to get change.

Denise: Okay.

Let's go.

So here, Jim did not use the word bill.

He said I just have a dollar.

He could have said I have a dollar bill but it's really unnecessary.

The word bill is understood.

The machine only takes coins means that the machine only accepts coins.

So Jim used the word coins because he was talking about the physical object.

He could have also said, "The machine only takes change."

Then he goes on to say, "We need to get change."

That means he wants to exchange his dollar for coins.

Notice when we use a phrase such as one-dollar, five-dollar, ten-dollar, twenty-dollar, etcetera

as an adjective, we do not add an 's' at the end.

So I have a one-dollar bill.

I have a five-dollar bill.

I don't put an 's' on dollar here.

I don't say a five-dollars bill.

We only put the 's' if we're talking about the number of dollars.

So if I have five dollars, I do need to put an 's' here.

If I say ten dollars, I need an 's,' but if I say a five-dollar bill, a ten-dollar

bill, a twenty-dollar bill, there's no 's' at the end of dollar.

These words are being used as adjectives, and we do not put an 's' at the end of

our adjectives.

So, we would say a one-dollar bill or one dollar, a five-dollar bill or five dollars,

a ten-dollar bill or ten dollars, a twenty-dollar bill or twenty dollars.

Here are some examples where I'm using a noun other than the word 'bill' here.

A fifty-dollar shirt.

Okay, there's no 's' on dollar.

The shirt costs fifty dollars.

In this sentence, though, I do have an 's' on the word dollars because I'm talking

about the number of dollars.

A one-hundred dollar coat.

There's no 's' at the end of dollar.

The coat costs one hundred dollars.

And I need a hyphen right here between hundred and dollar.

Thanks for watching.

Bye.

For more infomation >> Understanding American Money - Part 2 - Writing, Saying, Vocabulary, Grammar - Duration: 9:39.

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FurReal Makers Proto Max GIVEAWAY 🤖 🐶 ✳ TottyChoCho - Duration: 4:32.

Guys stick around because I'm going to tell you how you can with this FurReal Makers Proto Max Toy!

Oh Yea!

TottyChoCho!

A big thanks to Hasbro for sending us this big FurReal Makers.

Create and code your ultimate pup.

Has over 400 sounds.

This is Proto Max.

Hey, let's check out the back.

You can create and code with the app.

Guys I'm so excited, let's just take a look.

Let's take out the body and the head first.

Looks god, can you see?

If my eye looks funny, I got damaged at school.

Alright, let's connect the head.

Purple?!

Look at his eyes.

Let's put his ears on.

I'm putting the last leg on.

You're missing something…

THE TAIL!

Let's have a little look at it.

He's got fur on top that you can pet, and he know's you're petting him.

And he's got his tail.

He's got 4 legs.

He's got these ears.

And let's see if we can show his eyes.

The thing about this guy is he comes with his own App!

We're going to turn the lights off.

You can select a whole bunch of colours here.

Wow, you can just change the colours using that wheel.

Any colour you want.

There he goes! hahaha

Oh my goodness, what's he doing? what's he doing?!

He's going to control his own app.

Let's go upstairs, and control him ourselves.

Sound like a good idea?

Yea man.

OK.

Yea Yea Yea Yea.

Now he's set up with the GoPro here.

Sammy's going to control him with this.

Ready? here he goes.

OK, Proto Max is going to give Lucy a smoochy.

Me too!

OK!

Here he comes!

Oh No! hahaha!

Another thanks to Hasbro for sending us FurReal Makers.

For this Giveaway you have to live in Canada to win.

The first thing you do is click the link down in the description.

It will take you to a page where you will fill out your name and address.

Make sure you get your parents to do that part.

That's all you have to do, and you're in the contest.

But we'll give you more chances to win.

You can just click all of these other buttons and do what they say.

For example, watch one of our videos.

Check out our instagram page.

Dad, what's instagram?

That's it, easy right?

Make sure you share this video with every body in the world.

The contest starts NOW!

For more infomation >> FurReal Makers Proto Max GIVEAWAY 🤖 🐶 ✳ TottyChoCho - Duration: 4:32.

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FS17-Timelapse-Goldcrest Valley 49-Adiós tío Harold! - Duration: 15:12.

Episode 49 Goodbye Uncle Harold!

Good morning to all. Today we will start the day selling our sunflower reserves.

Mark is planting rapeseed in the fields of group 1, Daniel barley in field 20,

And Paul soya beans in the fields of group 3.

While I will sell a few wool pallets and a few trailers of pigs.

When the planting is over, the boys will feed and drink the animals.

Yesterday night I called my aunt Dorothy again. Uncle Harold has gotten worse. I can not postpone the trip any more!

In the next few days I will travel to the old continent. For the moment, take a seat and enjoy!

It seems that the planting is over. Let's see what the guys do.

What a beautiful monstrosity!

With this seeder any field seems small.

We will sell the remaining silage in the BGA!

Aunt Dorothy just called. Uncle Harold has just died :-( I'm going to the airport and I'll take the first flight.

For more infomation >> FS17-Timelapse-Goldcrest Valley 49-Adiós tío Harold! - Duration: 15:12.

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S4 E3 Well Care Group / Reno Flying Services - Duration: 28:32.

For more infomation >> S4 E3 Well Care Group / Reno Flying Services - Duration: 28:32.

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라이프 오브 파이 LIFE OF PI 2차 공식 예고편 (한국어 CC) - Duration: 2:38.

For more infomation >> 라이프 오브 파이 LIFE OF PI 2차 공식 예고편 (한국어 CC) - Duration: 2:38.

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Toto Riina, ancien chef suprême de la mafia sicilienne, est mort - Duration: 5:53.

For more infomation >> Toto Riina, ancien chef suprême de la mafia sicilienne, est mort - Duration: 5:53.

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드레이크 갑자기 공연 중단하더니 - Duration: 2:26.

For more infomation >> 드레이크 갑자기 공연 중단하더니 - Duration: 2:26.

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Ableton Live 10: What's New

For more infomation >> Ableton Live 10: What's New

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Toyota Auris 1.4 D-4D ASPIRATION - Duration: 0:57.

For more infomation >> Toyota Auris 1.4 D-4D ASPIRATION - Duration: 0:57.

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Toyota Land Cruiser 3.0 D-4D-F LX BLIND VAN Automaat - Duration: 0:56.

For more infomation >> Toyota Land Cruiser 3.0 D-4D-F LX BLIND VAN Automaat - Duration: 0:56.

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Alfa Romeo 147 1.6 T.SPARK CLIMATE / CRUISE CONTROL / D-RIEM VERVANGEN 2017 - Duration: 0:54.

For more infomation >> Alfa Romeo 147 1.6 T.SPARK CLIMATE / CRUISE CONTROL / D-RIEM VERVANGEN 2017 - Duration: 0:54.

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Didier Lambert - Autour d'un keg épisode 6 - Microbrasserie Le Bilboquet - Duration: 4:07.

For more infomation >> Didier Lambert - Autour d'un keg épisode 6 - Microbrasserie Le Bilboquet - Duration: 4:07.

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20 des choses que vous allez regretter lorsque vous serez plus âgé. - Duration: 6:16.

For more infomation >> 20 des choses que vous allez regretter lorsque vous serez plus âgé. - Duration: 6:16.

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Now You See Me - Duration: 0:58.

Come in close

closer

Sleep!

Because the more you think you see...

the easier it´ll be to fool you.

I´m gonna make it actually...

STOP!

Seeing is beLIEving...

I always keep something in my sleeve

Welcome to the eye

Really?

For more infomation >> Now You See Me - Duration: 0:58.

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En attendant l'hiver - Duration: 6:55.

For more infomation >> En attendant l'hiver - Duration: 6:55.

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9 aliments brûle-graisses que vous devez connaître - Duration: 11:56.

For more infomation >> 9 aliments brûle-graisses que vous devez connaître - Duration: 11:56.

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VW T6 Multivan - Duration: 1:06.

For more infomation >> VW T6 Multivan - Duration: 1:06.

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Emma­nuel Macron : son chien Nemo a encore fait des siennes à l'Ely­sée… - Duration: 1:52.

For more infomation >> Emma­nuel Macron : son chien Nemo a encore fait des siennes à l'Ely­sée… - Duration: 1:52.

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EXO PLANET #3 EXO'rDIUM in JAPAN [Limited - Blue-Ray Version] Haul/Unboxing - Duration: 10:44.

I'm Karina Natsumi

and today's video will be a Haul and unboxing of my new exo dvd, EXO'rDIUM

It's here

this is the blue-ray limited edition

I will open it now to see how it is

my voice is a little bit strange because I'm sick, so sorry (filmed in june)

for those who don't' know this is exo planet, the EXO'rDIUM in japan

it's the blue-ray edition, it's like this

an overview, there are some things written here

hte music names and contents

let's see inside

ah, it is so beautiful because it's metalic

the cover

I don't know, I just found this metalic aspect very cool

look at this, so beautiful

omg so beautiful

guys! it's more beautiful than the others

for those who haven't seen, I will leave the link to my other unboxings here

I did for the exo planet the lost planet

and exoluxion

so here now, my EXO'rDIUM

let's see

even before opening I can see it's way better than...

as the lost planet was a korean version it always come with more stuff

my exoluxion was a japanese version but it was the limited edition

it was... it was beautiful but it was not highly produced as the korean versions

this version seens to come with more content in a first look

some papers

I think it's the show's dates with the setlist

wow, beautiful

ah, it's a separeted photobook and it seens huge

and here are the dvds

dvd one

and two...

so beautiful, omg

here is the book, let's see

wonderful

I think Lay is not present in this show... let's count

1, 2, 3, 4, 5, 6, 7, 8... no wait

1, 2, 3, 4, 5, 6, 7, 8.....

Lay is here!!!!

in my exoluxion he wasn't there!

I love this wolf pose with the tree and so on

and I loved the addition of these galaxy effects in the cover

because I love galaxys

so beautiful

I will as always just take a quick look

and show all the photos properly later

omg

the photos are amazing

even the dvd is chanbaek shipper!

here we have Baekhyun and here Chanyeol <3

yes, Lay was there, here his photo

I don't know if you can see but I will show it later

but this is my first look

so handsomes

wolf part

the trees, I love this wolf photos

*this person totally forgot about the "quick" look thing*

this water thing is so beautiful

more water, omg Chanyeol is so handsome here

wow

this dvd is way better than the other one

wow, woooow

quick look, quick look

what a wonderful photo

wonderful photo!

wonderful photo!

omg

these photos are amazing

wow

so amazing

omg

and that's the end of the photobook

and wow, it's so beautiful

I loved it, loved it

now I will show you every detail of this wonderful dvd

and that was my haul and unboxing of EXO'rDIUM dvd

I'm in love and I wanna watch it now!

it's so beautiful, omg

the photos are so good

and I loved this... I think the japanese dvds are getting better in my opinion

'cause look at the size of this dvd! it looks like the lost planet the first dvd in korea

omg it's so beautiful and wonderful and amazing!

so, I hope you liked and give this video a thumbs up if you did

and watch my other unboxings, I will leave the link here

comment down bellow what you think of this wonderful dvd

ah! I forgot to say something!

let me say

My friend Anne who also has an unboxing channel

unboxing of various things and exo things, she also likes exo

this is her dvd!

if you want to see her unboxing I will leave the link here when she upload

this is the limited version of EXO'rDIUM

I don't know if the content is the same as mine because I can't open because it's not mine

so, if you want to see the inside of this

just watch her video because I will leave the link here

so that's it, I hope you liked it

I already said it but, like and subscribe

activate the notification so you won't miss any video

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For more infomation >> EXO PLANET #3 EXO'rDIUM in JAPAN [Limited - Blue-Ray Version] Haul/Unboxing - Duration: 10:44.

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Engineering Fashion - Inventions - Duration: 1:11:43.

>> KRISTINE UPESLEJA: THANK YOU VERY MUCH, MAX, FOR INVITING ME.

AND I'M VERY HAPPY AND VERY DELIGHTED TO BE HERE TONIGHT.

SO, FIRST QUESTION, "HOW MANY OF YOU ARE

INTO FASHION, INTO DESIGN?

HOW MANY OF YOU KNOW ABOUT SMART FABRICS, WEARABLE TECHNOLOGY?"

HAVE YOU EVER HEARD ABOUT IT?

OKAY, NOT SO MANY.

OKAY, THEN YOU ARE AT THE RIGHT PLACE HERE, BECAUSE I WANT

TO GIVE YOU SOME INSIGHTS OF NEW OR THE LATEST TRENDS IN THE,

NOT ONLY FASHION INDUSTRY, BUT DESIGN INDUSTRY.

SO, AND LET ME TELL YOU A LITTLE BIT MORE ABOUT MYSELF.

SO, MANY YEARS AGO, I STARTED MY CAREER AS A COSTUME DESIGNER

FOR OPERA, FILM, AND THEATER BACK IN EUROPE.

AND I'VE ALWAYS BEEN FASCINATED BY MATERIALS AND TEXTILES

AND WHAT YOU CAN DO WITH THESE MATERIALS.

SO, PLEAT, DYE, CUT, SEW, STITCH OR WHAT ELSE NOT.

AND WHEN I MOVED TO L.A. AND STARTED WORKING AT FIDM,

I HAD ONE DAY THIS AH-HA MOMENT.

I SAW A MAGAZINE, AND IN THE MAGAZINE, WAS A RAINCOAT

THAT COULD BE TURNED INTO BLOW-UP MATTRESS.

AND IT WAS CALLED URBAN SURVIVOR.

AND SO, IMMEDIATELY I KIND OF GOT CONNECTED

TO THIS WHOLE IDEA, AND STARTED RESEARCHING NEW,

INNOVATIVE IDEAS, GARMENTS, TEXTILES, ETCETERA.

AND EVER SINCE I FOUND MY PASSION, I STARTED

AND ESTABLISHED THE INNOVATIVE TEXTILE MATERIALS DEPARTMENT

AT FIDM, THE FASHION INSTITUTE OF DESIGN AND MERCHANDISING.

AND STARTED ALSO MY OWN CONSULTING FIRM, MADISONS.

SO, BECAUSE YES, I'M PASSIONATE ABOUT EDUCATING YOUNG PEOPLE

OR YOUNG DESIGNERS AND PROFESSIONALS

ABOUT THE POSSIBILITIES THAT EXIST

IN THE DESIGN AND FASHION INDUSTRY.

SO, ENGINEERING FASHION, WHAT DOES THAT MEAN?

THAT MEANS BRINGING IN NEW MATERIALS

AND NEW WAYS OF MAKING THINGS.

SO, I'D LIKE TO POINT OUT FIVE CONCEPTS AND PRODUCTS

IN THE TEXTILE AND DESIGN INDUSTRY.

FOR EXAMPLE, CIRCULAR ECONOMY AND SUSTAINABILITY.

SO, MEANING BEING MINDFUL OF THE ENVIRONMENT,

AND PRODUCTION PROCESSES.

THEN BIO-FASHION AND BIO-SYNTHETICS.

MERGING BIOLOGY AND DESIGN.

WEARABLE TECHNOLOGY, HIGH PERFORMANCE.

THAT MEANS GARMENTS THAT ATTEMPT TO COMBINE ESTHETICS

WITH TECHNOLOGY AND FUNCTIONAL TECH.

AND THEN, 3D-PRINTING WHICH IS INNOVATIVE

AND CONSIDERED SUSTAINABLE BECAUSE THERE'S ALMOST NO WASTE.

SO, HAVE YOU HEARD OF -- DO YOU KNOW FAST FASHION,

WHAT FAST FASHION MEANS?

SO, THAT'S WHAT WE ARE DOING RIGHT NOW.

SO, WE BUY CHEAP STUFF THAT LASTS MAYBE FIVE OR TEN WASHES

AND THEN WE JUST TOSS IT.

IT LANDS ON THE LANDFILLS AND DOESN'T GO ANYWHERE.

SO, THAT'S A CONCEPT CALLED TAKE, MAKE,

AND OR END TO DISPOSE, OR LINEAR ECONOMY

THAT JUST LAND ON LANDFILLS.

AND THE FASHION INDUSTRY IS THE SECOND LARGEST POLLUTER

IN THE WORLD.

I DON'T KNOW IF YOU KNEW THAT.

SO WHERE IS CIRCULAR ECONOMY?

SO, THERE'S A WHOLE CYCLE.

AT THE BEGINNING, YOU SEE YOU AS A DESIGNER,

YOU PICK THE RIGHT MATERIAL THAT YOU KNOW THAT AT THE END

OF THIS LIFE CYCLE, IT EITHER CAN BE RE- OR UPCYCLED AGAIN

AND START ALL OVER AGAIN, OR IF IT LANDS ON A LANDFILL,

THAT IT CAN BIODEGRADE.

SO, THAT IS CALLED CIRCULAR ECONOMY.

I WILL SHOW YOU A VIDEO BY A COMPANY RECOVER.

RECOVER IS MY FAVORITE COMPANY RIGHT NOW.

THEY'RE BASED IN SPAIN, BUT THEY HAVE REPRESENTATIVES HERE

IN THE UNITED STATES.

AND RECOVER COLLECTS GARMENTS FROM ALL OVER THE WORLD,

AND TURN DISCARDED COTTON AND POLYESTER GARMENTS INTO FIBER,

YARNS, AND NEW FABRICS.

AND LET'S SEE HOW THAT WORKS.

[ MUSIC ]

SO, THIS IS QUITE AMAZING CONCEPT, I THINK,

AND THEY ALREADY STARTED COLLABORATING WITH MAJOR BRANDS

THAT ACTUALLY POLLUTE THE WHOLE WIDE WORLD,

SUCH AS ZARA AND H&M.

HERE WE SEE A DENIM JACKET DESIGNED BY PHARRELL WILLIAMS.

YOU ALL KNOW PHARRELL WILLIAMS, RIGHT?

THE SINGER?

AND HE HAS BECOME THE CREATIVE DIRECTOR OF G-STAR RAW,

AND HE'S ON THE FOREFRONT OF SUSTAINABILITY, AS WELL.

SO, THEY COLLABORATE WITH A COMPANY CALLED BIONIC YARN.

AND BIONIC YARN COLLECTS OCEAN WASTE, OCEAN PLASTICS,

FROM THE OCEANS, AND TURNS IT INTO A YARD, INTO FIBER.

BIONIC YARN ALSO COLLABORATES WITH H&M

ON THEIR CONSCIOUS COLLECTION.

AND LET'S WATCH.

>> WE ARE COMPLETELY SURROUNDED BY WATER.

AND WATER IS THE LIFEBLOOD, OF THIS PLANET.

>> EVERY YEAR, A MASSIVE AMOUNT

OF PLASTIC ENDS UP IN OUR OCEANS.

IN AN EFFORT TO HELP SOLVE THIS PROBLEM, G-STAR RAW DENIM,

BIONIC, AND THE VORTEX PROJECT,

JOIN FORCES TO CREATE THE WORLD'S FIRST DENIM COLLECTION

EVER MADE FROM OCEAN PLASTIC.

RAW FOR THE OCEANS.

VORTEX [INAUDIBLE] WILL USE THE PLASTIC FROM THE OCEANS,

FROM WHICH BIONIC MAKES THE YARN.

TO TURN THIS YARN INTO DENIM,

WE NEEDED TO REVISE OUR ENTIRE MANUFACTURING PROCESS,

AND HOLDING EVERYONE IN SUPPLY CHAIN FROM OUR [INAUDIBLE],

TO THE FABRIC SPECIALISTS, AND THE DESIGNERS.

TOGETHER WITH BIONICS' CREATIVE DIRECTOR, PHARRELL WILLIAMS,

WE DESIGNED THE COLLECTION.

FOR OUR CAMPAIGN, WE CREATED A CHARACTER CALLED [INAUDIBLE]

WHICH WAS INTEGRATED INTO THE DESIGN OF THE COLLECTION.

AND BROUGHT TO LIFE, IN AN ANIMATION.

>> DEAR HUMAN BEINGS.

WE VACATION BY THE OCEANS.

WE BATHE IN THE OCEANS.

WE EAT FROM THE OCEANS.

BUT VERY FEW OF US THINK

OF THE OCEAN BEYOND WHAT WE WANT FROM THEM.

THE OCEANS NEED US NOW.

IT'S FILLING UP WITH PLASTIC AND RUINING THE NEIGHBORHOOD.

G-STAR AND BIONIC YARN WANT YOU TO COME TOGETHER FOR BIG BLUE

AND WEAR THE RESPONSIBILITY FOR THE OCEANS.

HAPPY LIFE, HAPPY HUMAN BEINGS, AND HAPPY OCEANS.

>> DURING NEW YORK FASHION WEEK, WE LAUNCHED OUR CAMPAIGN,

JOINED BY INTERNATIONAL PRESS

AND A NETWORK OF OCEAN SPECIALISTS.

>> I SEE THIS ECLECTIC GROUP OF PEOPLES, A PARADIGM IF YOU LIKE,

FOR A NEW [INAUDIBLE] FUTURE.

>> IF WE DO WHAT WE'RE SUPPOSED TO DO,

THEN THE ENTIRE WORLD COULD BE HAPPY.

SO, THANK YOU.

>> WITHIN A FEW DAYS, OUR MESSAGE SPREAD ACROSS THE WORLD.

THIS IS NOT JUST A DROP IN AN OCEAN.

G-STAR TRULY HOPES WE'LL INSPIRE OTHERS

TO WEAR THE RESPONSIBILITY FOR THE OCEANS.

>> KRISTINE UPESLEJA: SO, AND HE ALREADY CAME UP NOW

WITH HIS FIFTH COLLECTION, AND MADE OUT OF BIONIC YARN.

ANOTHER COMPANY THAT RETRIEVES PLASTIC

FROM THE OCEANS IS PARLEY -- CAN YOU HEAR ME?

YES. FOR THE OCEANS AND STELLA MCCARTNEY HAS BEEN USING THIS

YARN IN PARTS OF HER COLLECTION.

SO, THE LATEST AND BIGGEST TREND RIGHT NOW IS CREATING COMPLETELY

NEW MATERIALS FROM LEFTOVERS, OR WASTE FROM THE FOOD

AND DRINKING INDUSTRY.

SO, THERE'S FIBERS, FABRICS, MADE FROM ORANGE PEELS,

COFFEE GROUNDS, COCONUT SHELLS, MUSHROOMS, PINEAPPLE, AND CORK.

HERE WE SEE A BAG MADE FROM PINEAPPLE.

LEATHER, SO SO-CALLED LEATHER.

IT'S A LEATHER-LIKE MATERIAL,

AND THE COMPANY CALLED PINATEX MAKES THIS MATERIAL

FROM THE WASTE OF PINEAPPLE PLANT LEAF FIBERS.

WE HAVE A BAG AND A PAIR OF SHOE

IN OUR FIDM PERMANENT COLLECTION.

OR HERE WE SEE OLIVIA FIRTH, FOUNDER OF ECO AGE, LTD,

AT THE MET GALA IN MAY 2017.

I'M NOT SO SURE ABOUT THE DESIGN.

I DON'T KNOW.

WHAT DO YOU THINK ABOUT IT?

BUT I JUST THINK IT'S A NICE TRY, JUST TO SHOW, YES,

WHAT IS POSSIBLE AND COULD BE MORE DEVELOPED AND ENHANCED.

SO, AND THEN THERE'S A THING CALLED MUSHROOM LEATHER.

SO, ITALIAN COMPANY IS GROWING LEATHER-LIKE MATERIAL CALLED

MUSKIN, AND MUSKIN IS A SKIN EXTRACTED

FROM THE MUSHROOM HATS.

SO, AND THE TOTAL ABSENCE

OF CHEMICALS MAKES MUSKIN TOTALLY NONTOXIC,

AND IT'S BREATHABLE AND HAS WATER REPELLANT CHARACTERISTICS.

YOU RECEIVE BAG MADE FROM MUSKIN AND IT WAS BLENDED WITH HEMP

AND LINEN TO MAKE IT MORE DURABLE.

AND COMPANY IN ITALY ARE CALLED ORANGE FIBER, MAKES FABRIC

FROM THE WASTE OF CITRUS FRUIT PEELS, WHICH ARE PROCESSED

IN A CERTAIN WAY TO EXTRACT THE CELLULOSE.

AND MORE THAN 700,000 TONS OF CITRUS WASTE LANDS

ON LANDFILLS IN ITALY.

SO, I'M CURIOUS HOW MUCH HERE IN CALIFORNIA LAND ON LANDFILLS.

SO, THAT WOULD BE A NICE THING TO INVESTIGATE.

AND MAYBE YOU KNOW THIS HIGH FASHION BRAND,

SALVATORE FERRAGAMO, ITALY, AND THEY HAVE USED --

IT'S THE FIRST BRAND TO USE THIS EXCLUSIVE ORANGE FIBER FABRIC

IN THEIR COLLECTION.

OR CORK WOOL.

SO, A COMPANY CALLED SCHOELLER,

CREATED AN AWARD-WINNING TECHNOLOGY CALLED CORKSHELL.

AND IT'S MADE BY APPLYING LAYERS OF RECYCLED CORK

FROM THE WINE INDUSTRY, ON TOP OF THE WOOL

TO MAKE IT MORE BREATHABLE, AND MORE WATER REPELLANT.

SO, BIO-FASHION OR BIO-COUTURE, WHICH IS ONE

OF THE MOST FASCINATING RESEARCH PROGRAMS RIGHT NOW.

HERE WE SEE GARMENTS GROWN IN THE LAB

FROM YEAST, SUGAR, AND TEA.

SUZANNE LEE IN LONDON

AT THE FAMOUS CENTRAL SAINT MARTINS SCHOOL,

SPEARHEADS THIS PROJECT.

AND YES, IT GROWS AND PUTS UP LAYERS AND LAYERS.

YOU'LL SEE ON THE LEFT SIDE, THAT'S THE BACTERIA, YOU KNOW,

THAT BUILDS UP THE MATERIAL.

AND THEN SHE DRIES IT AND CUTS AND SEW IT AND TURNS IT

INTO THESE BEAUTIFUL PIECES OR THIS SHOE.

SHE ALSO SPEARHEADS RIGHT NOW THE COMPANY MODERN MEADOW

IN NEW YORK THAT JUST RELEASED THE FIRST BIO-FABRICATED

LEATHER MATERIAL.

MODERN MEADOW USES A TECHNIQUE CALLED BIO-FABRICATION.

IT'S MADE OUT OF COLLAGEN AND GENETICALLY ENGINEERED YEAST.

SO, COLLAGEN IS THE MAIN STRUCTURAL INGREDIENT

IN NATURAL ANIMAL SKIN.

OR STELLA MCCARTNEY, SHE COLLABORATES WITH BOLT THREADS.

BOLT THREADS DEVELOPS FIBERS FROM SCRATCH-BASED

ON PROTEINS, FOUND IN NATURE.

AND SHE JUST RELEASED HER LATEST COLLECTION A MONTH AGO,

WITH VEGAN FRIENDLY SILK THAT WAS CREATED FROM YEAST.

HERE WE SEE A PROTOTYPE BY ADIDAS,

MADE FROM NATURE-BASED SPIDER SILK FIBERS CALLED BIO-STEEL.

AND NATURE BASED AND COMPLETELY BIO-DEGRADABLE,

HIGH PERFORMANCE FIBER.

SO, THE MOST AMAZING THING ABOUT THIS SHOE IS THAT THEY CLAIM

THAT IT WILL BIODEGRADE WITHIN 36 HOURS,

IF IT LANDS ON LANDFILLS AND CONNECTS

WITH PROTEINASE [ASSUMED SPELLING] ENZYMES.

SO, WE WILL SEE WHEN THEY WILL RELEASE IT.

AND BIO-SYNTHETICS ARE FIBERS DEFINED AS MANMADE FIBERS,

MADE FROM CORN, SOYBEAN, MILK, AND SEAFOOD.

BIO-PRINTING.

HERE ON THE LEFT SIDE, WE SEE A PETRI DISH

THAT CONTAINS PIGMENTS OF BACTERIA THAT CAN BE FOUND

IN HERBS, SUCH AS TARRAGON, OREGANO, AND SAGE.

AND PROBABLY YOU KNOW HOW TOXIC

AND HOW BAD THE WHOLE DYEING PROCESS IS FOR GARMENTS

OR [INAUDIBLE] PROCESS.

YOU KNOW, THAT WOULD BE --

COULD BE AN ALTERNATIVE TO YES, CONVENTIONAL DYEING.

SO, ON THE RIGHT SIDE, IT'S A PIECE OF SILK

THAT WAS DYED IN THIS PETRI DISH.

LET'S SEE WHAT THAT-- .

[ MUSIC ]

>> [INAUDIBLE] CHOOSE THE [INAUDIBLE] PIGMENT BLACK

AS IT PROTECTS WHAT HAS BEEN INSPIRED BY THE BACTERIA

WITHIN A ROOT SYSTEM OF THE PLANT.

EVERY PLANT HAS MILLIONS OF BACTERIA IN ITS [INAUDIBLE]

THAT ARE SYMBIOTIC [INAUDIBLE] WITH THE ACTUAL PLANT.

A TARRAGON PLANT MIGHT HAVE A COMPLETELY DIFFERENT MICRO

ECOSYSTEM, THAN TO A ROSEMARY PLANT.

SO, WE SCREEN AND [INAUDIBLE] THE DIFFERENT HERB PLANTS

FOR BACTERIA THAT ARE PIGMENT PRODUCING,

AND ISOLATE IT [INAUDIBLE].

AND [INAUDIBLE] PROJECTS SHOWS

THAT PROCESS [INAUDIBLE] BACTERIA

TO THE SCREENING PROCESS

OF [INAUDIBLE] CONCENTRATIONS AND [INAUDIBLE].

AND THEN FINALLY, THE ISOLATES DYEING [INAUDIBLE]

FABRIC [INAUDIBLE].

[INAUDIBLE] AND I THINK THAT'S

WHERE SYNTHETIC [INAUDIBLE] COMES IN,

BECAUSE NOT ONLY CAN PROGRAM THE BACTERIA TO GROW FAST

TO MEET THE DEMANDS OF THE INDUSTRY, BUT YOU CAN --

WELL, YOU WILL BE ABLE

TO PROGRAM A SPECIFIC DESIGNER COLORS

WITHIN [INAUDIBLE] BACTERIA.

SO, IT COULD [INAUDIBLE] SYNTHETIC BIOLOGY.

I SEE THAT [INAUDIBLE] MANUFACTURING.

>> KRISTINE UPESLEJA: SO,

THIS IS A REALLY BIG MOVEMENT RIGHT NOW,

THIS WHOLE BIO-FASHION MOVEMENT AND LOOKING FOR NEW SOLUTIONS.

HOW WE CAN REUSE MATERIALS THAT ALREADY EXIST

AND NOT PRODUCE SOMETHING NEW, ESPECIALLY IN NOTHING OIL-BASED.

SO, HIGH PERFORMANCE AND WEARABLE TECH.

AND THIS IS QUITE INTERESTING RIGHT NOW WHAT'S GOING

ON IN THIS FIELD.

I LOVE THIS PICTURE.

I CHOSE THIS PICTURES FROM THE CHANEL COLLECTION,

KARL LAGERFELD.

HE'S ALWAYS UP TO SOMETHING.

HE HAS USED 3D PRINTING IN CHANEL COLLECTION,

AND HE'S FASCINATED WITH ROBOTS, ETCETERA, ETCETERA.

SO, HERE WE SEE THE RALPH LAUREN SMART SHIRT.

IT MONITORS YOUR HEART RATE, BREATHING,

AND MOVEMENT ACTIVITY.

YOU SEE THIS LITTLE CORE HERE ON THE CHEST THAT

YET SENDS ALL THE DATA TO YOUR PHONE.

AND IT'S KNITTED WITH BIO-SENSING SILVER FIBERS

AND NYLON AND SILVER'S BECOMING VERY CRUCIAL

IN TODAY'S TECHNOLOGY, BECAUSE IT KILLS BACTERIA ON ODORS

AND IT IS ABLE TO ACT AS A CONDUIT BETWEEN YOUR BODY

AND YOUR PHONE WITH -- AND YOUR DEVICE.

ANOTHER COMPANY THAT DOES AMAZING THINGS, IS THERMALTECH.

THEY HAVE INVENTED A STAINLESS-STEEL FABRIC

THAT COLLECTS SUN ENERGY.

IT CAN BE USED AS INNER LINING IN YOUR JACKET TO KEEP YOU WARM,

BUT IT ALSO CAN -- YOU KNOW,

THERE'S MANY MORE APPLICATIONS AND CAN BE KNITTED.

IN [INAUDIBLE] HERE, WE SEE A FRENCH TERRY THAT IS KNITTED

WITH THE STAINLESS-STEEL YARN.

AND IT HAS ALSO CONDUCTIVE PROPERTIES.

YOU HAVE HEARD PROBABLY, ABOUT THIS PROJECT?

HAVE YOU? GOOGLE JACQUARD, NO?

LEVI'S, THE COMMUTER JACKET?

COME ON, GUYS.

IT WAS RELEASED, LET'S SAY FOUR OR FIVE WEEKS AGO BY LEVI'S.

YOU CAN GO ONLINE, BUY THIS COMMUTER JACKET THAT IS WOVEN

WITH A CONDUCTIVE YARN IN YOUR SLEEVE.

AND IF YOU'RE RIDING YOUR BICYCLE, SO YOU JUST TAP

ON YOUR SLEEVE AND IT TURNS ON YOUR PHONE.

YOU CAN MAKE PHONE CALLS, LISTEN TO MUSIC, ETCETERA, ETCETERA.

SO, IT RETAILS FOR $350 AND LET'S SEE HOW IT WAS CREATED.

>> WHAT I FIND FASCINATING

ABOUT TEXTILES IS THE STRUCTURE OF TEXTILES.

IT'S [INAUDIBLE] STRUCTURE OF FLAT SCREENS

WHICH [INAUDIBLE] EVERYDAY [INAUDIBLE] AND TABLETS.

THAT MEANS THAT IF YOU JUST REPLACE SOME OF THE THREADS

IN TEXTILES, THE CONDUCTIVE THREADS, YOU SHOULD BE ABLE

TO WEAVE THE TEXTILE, WHICH CAN MAKE A NICE VARIETY

OF SIMPLE [INAUDIBLE], JUST LIKE [INAUDIBLE]

WHERE YOU HAVE A MOBILE PHONE.

SO, IF WE CAN HIDE A WEAVE INTO [INAUDIBLE], INPUT DEVICES

INTO THE MATERIALS, THAT WILL BE THE FIRST STEP

TO MAKING COMPUTERS WITH COMPUTING INVISIBLY INTEGRATED

INTO OBJECTS AND MATERIALS AND CLOTHING.

SO, THIS IS EXCITING TO ME.

THE CHALLENGE OF CREATING JACQUARD YARN,

WAS TO CREATE YARN THAT IS HIGHLY CONDUCTIVE,

AND THE SAME [INAUDIBLE] WHICH MEANS IT COULD BE USED

ON INDUSTRIAL WEAVING MACHINES, EVERYWHERE IN THE WORLD.

>> FOR TEXTILE DESIGNERS OR FASHION DESIGNERS

OR FURNITURE DESIGNERS, IT IS INTERESTING

BECAUSE IT'S SOMETHING YOU ARE FAMILIAR WITH.

IT'S JUST TEXTILE.

WE MADE THE YARN VERY THIN AND IT FEELS SO NATURAL,

SO IT LOOKS LIKE JUST NORMAL YARN.

THE ONLY THINGS DIFFERENCE, IT CONDUCTIVE.

WE WANT [INAUDIBLE] TEXTILE [INAUDIBLE] ALL OVER THE WORLD,

AND IT'S REALLY INTERESTING TO SEE WHAT KIND

OF POSSIBILITIES [INAUDIBLE] HAS.

IT COULD BE [INAUDIBLE] OBVIOUSLY, BUT IT'S HERE.

IT ALSO CAN BE TOTALLY INVISIBLE.

SO, WE'RE CREATING POSSIBILITIES BY COMBINE WITH A WAY

OF [INAUDIBLE] TECHNIQUE, AND THAT'S TOTALLY UP DESIGNERS

TO CHOOSE AND IT'S UP TO THE [INAUDIBLE].

>> WE ARE TRYING TO SHRINK DOWN ALL THE COMPONENTS

DOWN TO THE SIZE OF A BUTTON, AND ULTIMATELY,

THIS WILL BE SOMETHING THAT'S SO SMALL, WE CAN EMBED

INTO THE MANUFACTURING PROCESS.

SO, THE USERS WON'T EVEN SEE IT OR FEEL IT INSIDE THE GARMENT.

>> THE IDEA THAT JACQUARD IS AN INTERFACE AND IS BLENDED

INTO THE CLOTHING THAT WE WEAR, THAT HAS AN INDICATION

IN THE WAY THAT YOU WOULD USE [INAUDIBLE] APPLICATIONS

AND ANYTHING THAT WE [INAUDIBLE] OUR DEVICES.

IT'S SOMEHOW GETTING THE TECHNOLOGY OUT OF THE WAY

AND MAKING INTERACTIONS MORE NATURAL AND MORE SEAMLESS.

>> IN TERMS OF [INAUDIBLE] WHAT YOU CAN DO,

IT'S REALLY UP TO THE USER AND TO THE DESIGNERS,

AND WE EXPECT [INAUDIBLE] WE CONFIGURE IT

AS MUCH AS THEY WANT TO.

SOFTWARE [INAUDIBLE] AND FASHION DESIGN, OFTEN DON'T EXIST

IN THE SAME PLACE, SO WE'RE HOPING TO MAKE IT VERY SIMPLE

FOR EACH OF THOSE PARTIES TO COLLABORATE, AND WE'RE HOPING

TO PROVIDE BOTH SOFTWARE AND HARDWARE KNOWLEDGE

AND COMPONENTS TO MAKE THOSE COLLABORATIONS VERY EASY.

>> WE LIKE TO THINK THAT WE HAVE THESE ICONIC PRODUCTS

THAT HAVEN'T CHANGED MUCH, BUT THE WORLD IS CHANGING.

SO, I THINK JACQUARD PRESENTS A GREAT OPPORTUNITY FOR BRAND,

FOR DESIGN, TO OPEN A DOOR TO THE FUTURE.

[ MUSIC ]

>> IN TAILORING, WE USE METHODS THAT HAVE BEEN USED

AND NOT CHANGED IN 200 YEARS.

SO, WHEN SOMETHING NEW COMES ALONG, IT'S REALLY EXCITING.

WHAT'S AMAZING ABOUT THE PROJECT IS THAT I DON'T HAVE

TO HAVE ANY KNOWLEDGE

ABOUT THEIR ELECTRONICS AND HOW IT WORKS.

SO, LET'S SEE WHAT WE CAN CREATE NOW.

[ MUSIC ]

>> JACQUARD IS A [INAUDIBLE].

DESIGNERS AND DEVELOPERS.

WE ARE JUST AT THE BEGINNING, AND WE ARE REALLY EXCITED

TO SEE WHAT PEOPLE WILL DO.

[ MUSIC ]

>> KRISTINE UPESLEJA: YES, I'M EXCITED TOO.

SO, IT'S A QUITE, YES, AMAZING PROJECT.

SO, THAT WE WILL SEE HOW FAR IT GOES, OR IT CAN GO,

BECAUSE RIGHT NOW, THEY SAY THAT IT ONLY SURVIVES TEN WASHES.

SO, THEN THE CONDUCTIVE YARN HAS BEEN, YOU KNOW, DESTROYED.

MAPPING BRAIN ACTIVITY, THAT'S ANOTHER KIND

OF FORM OF CONDUCTIVITY.

HERE WE SEE A HEAD PIECE THAT IS LINED WITH SWAROVSKI CRYSTALS

THAT HAVE BEEN GROWN IN THE LAB.

AND HAVE BEEN ENGINEERED AND PAINTED WITH AN INK

THAT CHANGES COLOR THROUGH TEMPERATURE, THAT IS CAUSED

BY ENERGY LOSS OF THE BRAIN.

SO, THE [INAUDIBLE] ENERGY LOSS [INAUDIBLE] CAUSES THE CHANGE

OF THE COLORS.

SO, THE COLORS AND LOCATIONS

OF ENERGY LOSS CHANGE THROUGHOUT THE DAY, WHICH IS AMAZING.

IT TENDS TO BE MORE ORANGE IN THE MORNING, AT THE FRONT

OF THE BRAIN, AND MUCH BLUER IN THE EVENING

TO THE BACK RIGHT OF THE BRAIN.

SO, LET'S SEE WHAT MATERIALS ALCHEMIST

AND DESIGNER LAUREN BOWKER HAS TO SAY

ABOUT HER COLOR-CHANGING INK.

>> MY NAME'S LAUREN BOWKER.

I'M THE MATERIALS ALCHEMIST AT THE UNSEEN,

WHICH IS A MATERIALS EXPLORATION HOUSE, AND WHICH IS KIND

OF BASED ON INTEGRATING BIOLOGICAL

AND CHEMICAL TECHNOLOGY.

[INAUDIBLE] TOGETHER WITH THE [INAUDIBLE] AND THE [INAUDIBLE].

THE UNSEEN IS A PLACE WHERE PEOPLE CAN COME TOGETHER

AND FIND WHAT THE UNSEEN MEANS TO THEM.

WE DECIDED TO PUT TO USE [INAUDIBLE] AS THE LAUNCH

WHICH WAS AN INK I DEVELOPED OVER THE PAST THREE

OR FOUR YEARS, WHICH CHANGES ACCORDING TO PRESSURE.

AS A CONSULT, AND WE USE THAT ON ONE [INAUDIBLE] AERODYNAMICS.

AND THEN, WE CREATED THE THEORIES OF SCULPTURE

AND WHICH ARE BEHIND ME, WHICH WILL CHANGE COLOR

TO DIFFERENT FLUCTUATIONS OF AIR AROUND THE BODY.

WE WANTED TO SHOW THAT YOU DON'T HAVE TO JUST USE [INAUDIBLE].

SO, YOU DON'T HAVE TO JUST GO AND PUT IT ON A BIG [INAUDIBLE].

YOU KNOW, YOU CAN DO IT BEAUTIFULLY AND THEN

IF THE TECHNOLOGY IS ADD-ON.

THEN WE WERE APPROACHED BY SWAROVSKI.

WE WERE A BIT LIKE [INAUDIBLE]

TO NOT REALLY RUN THE [INAUDIBLE].

THE MORE WE SPOKE WITH THE [INAUDIBLE],

WE WENT OVER TO [INAUDIBLE] IN AUSTRIA AND WE HAD A BIG TOUR

OF THEIR FACTORIES AND REALIZED HOW TECHNICALLY GREAT THEY WERE

IN CREATING A PIECE WITH THEM WHICH HAD [INAUDIBLE].

IT WAS BEAUTIFUL, AND IT WAS TECHNICAL.

WHEN YOU THINK IN DIFFERENT WAYS

AND IT SHOWS THE BRAIN IS ACTIVE,

THE PIECE WILL CHANGE COLOR.

ALTHOUGH IT WAS FOR SWAROVSKI, THE AMOUNT OF PEOPLE WE'VE HAD

FROM THE HEALTHCARE INDUSTRY SIDE OF THINGS AND EMAILS

FROM PARENTS WHOSE, YOU KNOW, CHILDREN HAVE

LIKE NOT HAD ANY BRAIN ACTIVITY [INAUDIBLE] CHANGE THEIR LIVES,

AND I HOPE THAT WILL [INAUDIBLE] INTO HEALTHCARE

AND [INAUDIBLE] I WORKED IN THE STATES BEFORE,

AND I LEFT BECAUSE IT WAS VERY, VERY LONGWINDED

AND I DIDN'T WANT TO SPEND THE NEXT 30 YEARS ON ONE THING,

BUT I THINK I'LL GO BACK TO THAT.

AND WE'RE STILL SO YOUNG AND WE'RE SO LUCKY YOU KNOW,

THAT IT'S GOING REALLY, REALLY QUICKLY, AND I THINK PART OF IT

BECAUSE [INAUDIBLE] TECHNOLOGY IS [INAUDIBLE] RIGHT NOW,

AND MY DESIGNER'S USING THESE [INAUDIBLE] BEING REALLY

EXCLUSIVE WITH IT AND CREATE LOOKS [INAUDIBLE]

THAT WILL LAST A LONG, LONG TIME.

AND THROW IT ON EVERYTHING AND [INAUDIBLE].

AND [INAUDIBLE] WHAT WE DO, IS WE DON'T HAVE

TO CREATE ANY [INAUDIBLE] PROCESS,

WHERE THE TECHNOLOGY [INAUDIBLE] WE'RE USING MICRO-ENGINEERED

CIRCUITS [INAUDIBLE] GO FIND WHERE THEY CAN GET THAT FROM,

AND TRY AND FIT IN PRODUCTION LINE, WHEREAS WE GO STRAIGHT

INTO ANY [INAUDIBLE] PRODUCTION LINE [INAUDIBLE].

WITH [INAUDIBLE] WE'RE BUILDING,

IS SORT OF ALL [INAUDIBLE] POSSIBLE,

SO WE CAN DO SMALL SCALE PRODUCTIONS AND LICENSE

OUT THE TECHNOLOGY THAT WE CREATE EACH SEASON.

[INAUDIBLE] THE [INAUDIBLE] THAT WE HAVE [INAUDIBLE]

TO [INAUDIBLE] AND THE ENVIRONMENT,

SO THEY CAN SENSE HEAT, UV, POLLUTION, [INAUDIBLE],

FRICTION, CHEMICAL, AND THEN SOUNDS,

AND THEN [INAUDIBLE] THIS SEASON.

WE'RE WORKING WITH BIG BRANDS, WHICH [INAUDIBLE]

BUT HAVE SIGNED ON FROM A [INAUDIBLE] FROM [INAUDIBLE]

AND FROM ARCHITECTURE.

[INAUDIBLE] THE FUTURE OF [INAUDIBLE], I DON'T THINK SO.

NO. I THINK IT WILL ALWAYS BE NOW,

LIKE PEOPLE DON'T REALLY WANT CHANGE.

I THINK IF YOU ASK ME WHAT 2050 WAS LIKE, IT WAS EXACTLY

LIKE THIS, AND THEN NOTHING'S CHANGED EXCEPT

EVERYBODY'S [INAUDIBLE].

I DON'T THINK IT WOULD BE ONE MOMENT WHERE WE WAKE UP

AND WE'RE ALL IN BLADE RUNNER.

>> KRISTINE UPESLEJA: TALKING ABOUT BLADE RUNNER, YES.

HERE WE SEE -- WHO OF YOU HAVE SEEN THIS TWITTER SKIRT BEFORE?

IT WAS DESIGNED A COUPLE OF YEARS AGO ALREADY

FOR KATY PERRY, BUT A COMPANY CALLED CUTECIRCUIT.

AND CUTECIRCUIT IS THE FIRST COMPANY

THAT HAS BEEN CREATING LED GARMENTS

AND INTERFACE DESIGNS SINCE 2004.

THEY RECENTLY ALSO RELEASED THIS GRAPHENE DRESS THAT IS MADE

WITH LEDS THAT CHANGE THE COLOR WHEN THE WEARER TAKES A BREATH.

SO, GRAPHENE IS 1 MILLION TIMES THINNER THAN PAPER.

IT'S ALMOST CONSIDERED TWO-DIMENSIONAL.

AND THE DRESS HAS A BAND AROUND THE WAIST

WITH A STRETCHABLE GRAPHENE SENSOR,

THAT MEASURES THE WEARER'S BREATHING RATE.

SO, AND THE LEDS ARE PLACED

ON THE TRANSPARENT GRAPHENE ELEMENT,

SO IT LOOKS LIKE THE LED IS FLOATING.

LET'S LISTEN TO THE CUTECIRCUIT FOUNDERS.

>> IN THE LAST 90S, I WAS WORKING AS AN INTERFACE DESIGNER

IN CHICAGO, AND I WAS REALLY OBSESSED WITH INTERFACE DESIGN.

AND I SORT OF REALIZED THAT INTERFACES WERE GOING

TO EXPAND BEYOND JUST THE SCREEN AND THE MOUSE AND KEYBOARD.

I HAD HEARD ABOUT THIS INSTITUTE

IN ITALY CALLED INTERACTION DESIGN INSTITUTE IVREA.

AND I WENT THERE WITH AN INTEREST IN INTERFACE DESIGN

AND AN INTEREST IN FASHION.

AND THAT'S WHERE I MET FRANCESCA.

>> AND I WAS WORKING AS A [INAUDIBLE] FASHION DESIGNER

AND IT'S LIKE MY FIRST JOB OUT OF THE UNIVERSITY.

I WAS A VALENTINO.

THEY SENT OUT ALL THESE IDEAS ABOUT LIKE FASHION.

IT WAS A LITTLE MORE.

AND THEN PEOPLE JUST TELL ME, "NO, YOU CANNOT DO IT."

>> WHEN WE LEFT THE INTERACTION DESIGN INSTITUTE IVREA,

WE FORMED CUTECIRCUIT, AROUND THIS CONCEPT

OF DESIGNING ADVANCED FASHION, THAT USES WEARABLE TECHNOLOGY.

WHEN PEOPLE SAY, "WEARABLE TECHNOLOGY,"

THEY IMMEDIATELY THINK OF EITHER GOOGLE GLASS OR SOME BRACELET

THAT YOU STRAP ON A WRIST.

BUT BOTH OF THOSE SOLUTIONS WERE TAKEN PRETTY MUCH

FROM A TECHNOLOGY POINT OF VIEW.

THEY THOUGHT, "OH, LET'S THINK OF SOME TECHNOLOGY,

AND FIGURE OUT A WAY TO STRAP IT ON THE BODY."

AND I THINK THAT FOR THAT REASON,

GOOGLE CAN'T IMAGINE THE WIRING BECAUSE IF YOU WANT

TO WEAR SOMETHING, IT HAS TO BE FIRST

AND FOREMOST, A PIECE OF FASHION.

SO, WE DESIGN THE FASHION,

WE DESIGN THE TECHNOLOGY TO GO INSIDE.

WE EVEN WRITE THE SOFTWARE TO CONTROL IT AND THE SOFTWARE

THAT RUNS IN THE TECHNOLOGY.

SO, WE CAN MAKE A DRESS THAT LOOKS PERFECT, BUT [INAUDIBLE]

BECAUSE WE DESIGNED EVERY SINGLE, LITTLE ASPECT OF IT.

>> WITHOUT THE [INAUDIBLE] MATERIALS,

I THINK THE MOST AMAZING THING IS

THAT WE [INAUDIBLE] TO MANUFACTURE.

TO MANUFACTURE A SMALL [INAUDIBLE] FOR US.

AND THAT'S [INAUDIBLE] GAME CHANGER BECAUSE AT THAT POINT,

THEY ARE MORE LIKE TWO FIRES [INAUDIBLE].

WE DESIGNED IT THE WAY THAT WE INTERCONNECT SMART FABRICS,

MICRO-ELECTRONICS, AND TRADITIONAL TEXTILES,

IN A MANNER THAT ALLOWS THE GARMENTS EVEN TO BE WASHED.

>> MOST OF OUR GARMENTS ARE ALSO CONNECTED TO THE INTERNET.

SO, WE HAVE TRULY TELECOMMUNICATING GARMENTS.

>> [INAUDIBLE] THE EVOLUTION EXHIBITION,

WE'RE GOING TO BE [INAUDIBLE] THIS MINI-SKIRT, BUT IT'S GOING

TO BE CONTROLLED VIA SMALL TABLET, AND IT'S GOING

TO DISPLAY TWEETS FROM THE PEOPLE VISITING THE EXHIBITION,

AND A SERIES OF ANIMATIONS.

AND THE NEXT SKIRT WAS WORN PREVIOUSLY BY KATY PERRY

FOR [INAUDIBLE] FESTIVAL [INAUDIBLE].

SO, [INAUDIBLE] TIGERS DISPLAYING THIS CHARACTER

AS WELL.

>> I WANT TO DRESS [INAUDIBLE].

I THINK SHE'S AWESOME.

I WANT TO DRESS [INAUDIBLE], AND SHE'S [INAUDIBLE] TOO.

I [INAUDIBLE] DRESS [INAUDIBLE].

I WANT TO DRESS MICHELLE OBAMA.

>> I ALWAYS WANTED TO DRESS MICHAEL JACKSON.

AND WE MISSED THAT OPPORTUNITY.

OVER THE TEN-YEAR EVOLUTION OF THE COMPANY, CUTECIRCUIT,

WE'VE SEEN QUITE A CHANGE THOUGH, BECAUSE WHEN WE STARTED,

WE ALWAYS SAID, "WE'RE DESIGNING FASHION, WEARABLE TECHNOLOGY."

EVERYBODY SAID, "WHAT'S THAT?"

WE JUST GOT BACK FROM THE [INAUDIBLE] FAIR

IN PARIS, TWO DAYS AGO.

IT WAS GREAT TO HAVE KIDS COME UP TO US, YOU KNOW,

TEENAGE KIDS, THAT KNEW ALL ABOUT WEARABLE TECHNOLOGY

AND THAT'S REALLY INSPIRING BECAUSE IT'S GREAT

TO SEE A NEW GENERATION ADOPTING THE NEW TECHNOLOGY.

>> KRISTINE UPESLEJA: YES, I LOVE THEM.

THEY ARE REALLY ON THE FOREFRONT AND DOING ALL KINDS

OF FUN EXPERIMENTS AND FUN STUFF.

THEN [FOREIGN NAME] HAS LAUNCHED RECENTLY THE FIRST PRODUCTS

OF STRETCHABLE CONDUCTIVE INKS THAT CAN BE PRINTED ON TEXTILES

TO PRODUCE SMART ACTIVEWEAR AND HEALTH MONITORING CLOTHING.

SO, I WILL SHOW YOU A VIDEO BY THE UNIVERSITY OF TOKYO,

WHO HAS DEVELOPED A SIMILAR INK THAT CAN BE PRINTED ON TEXTILES.

AND IS-- .

[ MUSIC ]

>> WITH THIS NEWLY DEVELOPED INK,

ELECTRONIC FUNCTIONALITY CAN BE ADDED TO THE FABRIC,

MERELY BY PRINTING THE INK ON THE FABRIC.

EVEN WHEN THE INK IS PRINTED ONTO THE FABRIC,

THE FABRIC ITSELF ISN'T DAMAGED.

IN ADDITION, IF THE FABRIC IS STRETCHED,

THE ELECTRONIC FUNCTION ISN'T LOST.

SENSORS THAT READ BIOLOGICAL INFORMATION, SUCH AS MYOELECTRIC

AND ELECTRO-CARDIAGRAPHIC DATA,

CAN BE INCORPORATED ONTO THE FABRIC.

[ MUSIC ]

THIS RESEARCH WILL MAKE IT POSSIBLE TO EASILY USE CLOTHING

AS A SUBSTRATE FOR ELECTRONIC CIRCUITRY,

BY SIMPLY PRINTING ON THE FABRIC.

I HOPE TO BE ABLE TO CLEAR THE WAY FOR FUTURE APPLICATIONS

OF THIS TECHNOLOGY IN A VARIETY OF FIELDS,

INCLUDING HEALTHCARE, WELFARE, AND SPORTS.

>> KRISTINE UPESLEJA: SO, AND WHO OF YOU IS AN NBA FAN?

BASKETBALL FAN?

[INAUDIBLE] SO, WHAT YOU CAN DO NOW, OR BUY NOW, IS THE SHIRT

OF YOUR FAVORITE PLAYER, AND BE CONNECTED

WITH YOUR FAVORITE PLAYER.

SO, NBA AND NIKE HAVE CREATED A JERSEY THAT CONNECTS YOU

TO YOUR FAVORITE ATHLETE.

AND, YES, GETS YOU CONNECTED TO EXCLUSIVE OFFERS AS WELL.

AND THE GAME YOU LOVE.

[ MUSIC ]

SO, I JUST THINK THAT'S FUN.

SO, LEBRON'S JERSEY IS A LITTLE BIT MORE EXPENSIVE

THAN THE ONES OF THE OTHER PLAYERS.

AND 3D PRINTING, DO YOU GUYS HAVE 3D PRINTERS HERE,

ON CAMPUS?

SMALL ONES?

BIG ONES? SMALL ONES?

THE MAKERBOTS OR-- ?

>> WE HAVE FORMLABS.

>> KRISTINE UPESLEJA: FORMLAB?

OKAY. SO, YES, 3D PRINTING SO, IS REALLY BREAKING NEW GROUND.

SO, IT OFFERS SUSTAINABLE AND INNOVATIVE ALTERNATIVES,

NOT ONLY IN THE TEXTILES BUT MATERIALS [INAUDIBLE] AND THEN

OF COURSE, IN THE BIOMEDICAL FIELD.

SO, BY PRINTING HUMAN TISSUE.

SO, THIS IS WHAT I CALL THE FIRST GENERATION

OF 3D PRINTED DRESSES.

IT WAS CREATED FOR DITA VON TEESE.

WE HAD FITTED IN THIS DRESS ON LOAN.

IT WAS DESIGNED BY MICHAEL SCHMIDT AND FRANCIS BITONTI.

AND IT WAS JOINED TOGETHER FROM 17 SINGLE PRINTED PIECES.

WHEREAS THIS NEXT GENERATION, ALREADY WAS ALL PRINTED

IN ONE PIECE, BY SHAPEWAYS AND KINEMATICS.

AND THEN HERE, WE HAVE A QUITE AMAZING PROJECT

BY A YOUNG FORMER STUDENT IN ISRAEL, DANIT PELEG,

WHO HAS CREATED AN ENTIRE COLLECTION

ON A LITTLE MAKERBOT AT HOME.

AND I WILL SHOW YOU NOW, TWO VIDEOS,

BECAUSE THE FIRST ONE IS TWO, THREE YEARS OLD WHEN SHE CAME

UP WITH THIS WHOLE COLLECTION,

AND TODAY SHE IS A LITTLE BIT MORE ADVANCED

AND REALLY IS SELLING THE FIRST 3D PRINTED JACKET ONLINE.

[ MUSIC ]

>> MY NAME IS DANIT PELEG.

I JUST GRADUATED FROM CHICAGO COLLEGE OF DESIGN.

I WANTED TO CREATE A LADIESWEAR COLLECTION, PRINTED ENTIRELY

AT HOME, USING PRINTERS THAT ANYONE CAN GET.

I'VE SPENT THE PAST YEAR SEARCHING FOR THE BEST SOLUTION.

I WORKED WITH LEADING EXPERTS IN THE FIELD.

[ MUSIC ]

I REALLY LIKE THE RESULT.

IT LOOKS A LITTLE BIT LIKE LACE.

AND IT MOVES BEAUTIFULLY.

[ MUSIC ]

JUST IMAGINE THE POTENTIAL.

IF YOU'RE COLD, PRINT YOUR OWN JACKET.

TRAVELLING WITH NO LUGGAGE,

JUST PRINT YOUR CLOTHES IN THE HOTEL ROOM.

WILL WE SOON BE ABLE TO DESIGN, SHARE,

AND PRINT OUR OWN CLOTHES DIRECTLY FROM HOME?

>> KRISTINE UPESLEJA: WHAT DO YOU THINK?

>> COOL.

>> KRISTINE UPESLEJA: WILL WE BE ABLE TO DO THAT SOON?

I THINK SO.

SO, I WILL JUST SHOW YOU NOW THE NEXT STAGE OF HER DESIGN

AS I MENTIONED, THAT SHE HAS CREATED A JACKET NOW

THAT CAN BE BOUGHT ONLINE.

>> NEXT [INAUDIBLE] BUILD A READY-TO-WEAR COLLECTION,

PRINTED ENTIRELY AT HOME.

I WAS AMAZED BY THE INCREDIBLE GLOBAL ATTENTION

THAT 3D PRINTED FASHION GOT.

THREE-D PRINTED FASHION EVEN MADE IT TO A MAINSTREAM STAGE,

[INAUDIBLE] AS THE OPENING CEREMONY

OF THE [INAUDIBLE] OLYMPIC GAMES IN RIO.

BUT THE TECHNOLOGY STILL HAS MANY CHALLENGES, AND UNTIL NOW,

IT'S ONLY BEEN AVAILABLE FOR THE RUNWAY.

IN THE PAST YEAR, I HAVE WORKED

TO MAKE 3D PRINTED FASHION AVAILABLE TO MORE PEOPLE,

WHICH IS WHY I CREATED AN ONLINE STORE LETTING ANYONE CUSTOMIZE,

PERSONALIZE, AND ORDER MY NEW JACKET.

IT TAKES 100 HOURS TO PRINT EVERY JACKET,

WHICH IS WHY I CAN ONLY PRINT A LIMITED EDITION OF 100.

I BELIEVE THAT ONE DAY, WE'LL BE ABLE TO DOWNLOAD OUR CLOTHES,

AND PRINT THEM AT HOME.

BUT UNTIL THEN, FINALLY, YOU CAN BUY 3D PRINTED CLOTHES ONLINE.

>> KRISTINE UPESLEJA: SO,

WHO WOULD WEAR A JACKET LIKE THIS OF YOU?

YOU, YES? OKAY, COOL.

SEE, ME TOO.

AND ADIDAS JUST RECENTLY RELEASED THE 3D PRINTING

MID-SOLE THAT FITS YOUR FOOT,

MATCHING EXACT CONTOURS AND PRESSURE POINTS.

[ MUSIC ]

SO, I THINK OVER THE YEARS, THE MATERIALS ALREADY HAVE CHANGED

FROM REALLY LIKE STURDY OR HARD NYLON POLYESTER, TO SOFT,

RUBBER-LIKE TPUS OR LIKE THIS SOLE.

SO, I THINK THE BREAKTHROUGH WILL HAPPEN

IN THE FASHION INDUSTRY WHEN THEY DISCOVER HOW TO PRINT

WITH NATURAL FIBERS, SUCH AS COTTON OR WOOL OR WHAT ELSE NOW,

AND THEN IT'S GOING TO BE A MAJOR STEP FORWARD.

SO, HERE WE ARE.

WHAT DO ALL THESE COOL THINGS

THAT I JUST SHOWED YOU, HAVE IN COMMON?

SO, THEY REFLECT OUR VASTLY CHANGING LIFESTYLES.

HOWEVER, WEARABLE TECHNOLOGY AND SMART FABRICS HAVE BEEN HYPED

FOR A WHILE, AND THE LAB IS ACTUALLY OVERFLOODED

WITH SIMILAR IDEAS.

AND THERE'S A BIG FRUSTRATION ABOUT NONEXISTENT PRODUCTS

THAT PRETEND TO BE AVAILABLE AND ACTUALLY ARE NOT.

SO, THE CONSUMER IS CONFUSED.

I'M CONFUSED BECAUSE I'M DOING RESEARCH ON A DAILY BASIS,

AND IF I TRY TO GET SOME MATERIALS THAT HAVE BEEN HYPED

AND I REALIZE, "OH, NO.

THEY'RE NOT AVAILABLE," THEN I'M GETTING REALLY MAD.

SO, AND SMART FABRICS NEED TO BE MORE THAN COOL TECHNOLOGY.

THEY REALLY NEED TO PROVIDE A SOLUTION.

TEXTILES AND TECHNOLOGY DO NOT SPEAK THE SAME LANGUAGE

RIGHT NOW.

THEREFORE, A COMPLETELY NEW APPROACH

AND EXPERTISE IS REQUIRED.

WE NEED TO MERGE TWO INDUSTRIES.

TOOLS, MATERIALS, AND PROCESSES, AND MANUFACTURING ARE CHANGING.

SO, COLLABORATIONS WITH OTHER INDUSTRIES ARE INEVITABLE.

NEW JOB DESCRIPTIONS SUCH AS MATERIALS ALCHEMIST,

SYNTHETIC BIOLOGIST, OR DESIGN FUTURIST,

WILL BE NECESSARY TO MOVE FORWARD.

AND DESIGNERS NEED TO EXPLORE ELECTRONICS, SOFTWARE,

BIOENGINEERING, AND AN ENTIRELY NEW RETAIL WORLD.

WE ARE LOOKING RIGHT NOW AT A MAJOR TECHNOLOGICAL REVOLUTION.

SO, CAN THE DESIGN WORLD OR THE DESIGN INDUSTRY,

RISE TO THE CHALLENGE AND PUSH FORWARD NEW TECHNOLOGIES.

AND CAN THE TECH WORLD EMBRACE THE ESTHETICS AND SENSIBILITY

OF THE DESIGN INDUSTRY IN A CREATIVE, ESTHETIC,

SUSTAINABLE, AND EYE-CATCHING WAY.

SO, I LEAVE YOU WITH THESE QUESTIONS.

THANK YOU VERY MUCH.

[ APPLAUSE ]

SO, ANY QUESTIONS?

>> YES, WITH ALL -- [INAUDIBLE] ALL THESE DIFFERENT TYPES

OF MATERIALS, IS THERE ANY CONCERN

WITH HOW THEY MIGHT REACT WITH VARIOUS PEOPLE,

LIKE ORANGE PEELS AND MUSHROOMS.

THEY CAN ADD ESSENTIAL OILS THAT CAN CAUSE SKIN RASHES

OR OCEAN PLASTICS ARE CONTAMINATED WITH LATEX.

HOW MIGHT THAT AFFECT SOMEBODY WITH LATEX ALLERGY?

>> KRISTINE UPESLEJA: YES, I THINK THEY ALL HAVE --

ALL THESE MATERIALS HAVE BEEN SO MUCH PROCESSED

THAT THERE'S NOT MUCH LEFTOVER, YOU KNOW,

LIKE FROM THE CITRUS PEELS, THE OILS, YOU KNOW, LIKE-- .

SO, THERE'S ALWAYS A DOWNSIDE TO THESE MATERIALS

THAT I SHOWED YOU, YOU KNOW, BECAUSE THEY OF COURSE,

THEY'VE BEEN USED IN CHEMICALS, SO TO -- JUST TO BREAK DOWN.

TO BREAK DOWN THE PLASTICS, TO BREAK DOWN THE CITRUS PEELS

OR THE COFFEE GROUNDS, ETCETERA, ETCETERA.

SO, IT'S JUST ABOUT USING THESE MATERIALS THAT ARE SITTING

ON LANDFILLS ALL ALREADY THERE, AND YES.

NOT USING NEW STUFF THAT IS MADE WITH OILS.

>> THERE'S A 3D PRINTER OUT THERE CALLED [INAUDIBLE]

BY [INAUDIBLE] USE OF HIS [INAUDIBLE] FIBER THREAD.

[INAUDIBLE] ANY PRINTERS LIKE THAT THAT ARE INTEGRATED

WITH OTHER TYPES OF FABRICS AND/OR MATERIALS [INAUDIBLE]

FOR DIFFERENT TYPES OF USES?

>> KRISTINE UPESLEJA: YES, NO, UNFORTUNATELY NOT.

I HAVEN'T HEARD, NO.

I CAN'T ANSWER THAT QUESTION.

YES?

>> IS THERE [INAUDIBLE] COVER THE [INAUDIBLE] HAS BEEN

LIKE [INAUDIBLE] AND THEY'RE ALREADY SORT OF [INAUDIBLE].

WHAT'S THE LONGEVITY DO YOU THINK?

>> KRISTINE UPESLEJA: YOU KNOW, I CAN'T TELL THE LONGEVITY,

SO I THINK THAT'S YES, THAT'S WHAT WE HAVE TO SEE,

BUT I KNOW THAT MAJOR BRANDS HAVE BEEN USING IT NOW,

AND I DON'T KNOW HOW MANY WASHES OR YES,

HOW MANY DRY-CLEANS THEY ARE AND SURVIVES.

SO, DOES THAT ANSWER -- OR NOT ANSWER.

SO, I THINK ALL THESE MATERIALS ARE, YES, IN THE STAGE

OF EXPERIMENTING AND WE WILL ONLY KNOW I BELIEVE,

IN A FEW YEARS WHAT THE IMPACT IS, YOU KNOW,

AS ALL WITH ALL THE WEARABLE TECHNOLOGY

THROUGH THE CONDUCTIVE YARNS.

WE ACTUALLY CAN TELL THAT IT'S NOT VERY --

PROBABLY NOT VERY HEALTHY FOR THE ENVIRONMENT.

NEITHER IS THE SILVER YARN.

SO, WE ALREADY HAVE RESEARCH YES, LIKE THAT SILVER ENDS

IN THE WATER STREAM AND HAD BEEN EATEN BY FISH.

AND SO, WE EAT THE FISH, ETCETERA, ETCETERA.

SO, [INAUDIBLE] THE SAME APPLIES TO RECOVER YARN.

SO, I THINK IT'S A GREAT THING THAT THEY YES, THEY DON'T DYE --

THEY DON'T USE ANY CHEMICALS, YOU KNOW, TO BREAK IT DOWN,

SO TO MAKE THIS NEW FIBER, MAKE THE NEW YARN.

BUT ABOUT HOW LONG IT'S GOING TO LAST, I DON'T KNOW.

>> OVER THE LAST SEVERAL MONTHS,

THERE'S BEEN RESEARCH THAT'S BEEN BEING CIRCULATED

THAT SHOWS POLYESTER AND OTHER SYNTHETIC FIBERS

THAT ARE BEING WASHED IN OUR PERSONAL MACHINES

AND [INAUDIBLE] LEAVING THESE MICROSCOPIC--

>> KRISTINE UPESLEJA: MICROFIBERS, YES.

>> YES, MICROFIBERS INTO THE OCEAN AND THEY'RE BEING FOUND

IN SHELLFISH AND SEAFOOD AND WHAT NOT.

AND PATAGONIA, THE SITE IS SELLING THIS BAG

THAT YOU COULD PUT YOUR CLOTHES IN, THAT'LL YOU KNOW,

HELP HINDER THAT EFFECT.

>> KRISTINE UPESLEJA: YES.

>> BUT I'M WONDERING IF THERE ARE OTHER PHENOMENA

LIKE THIS WHAT THAT MAYBE WE'RE NOT AWARE OF THAT'S YOU KNOW,

BEEN -- CLOTHING THAT WE'RE USING EVERY DAY,

THAT IS AFFECTING THE ENVIRONMENT NEGATIVELY

AND IF THERE IS SOLUTIONS THAT YOU KNOW OF?

>> KRISTINE UPESLEJA: YES, I MEAN,

SO ALMOST ANYTHING WHAT WE WEAR IS NOT VERY

ENVIRONMENTALLY FRIENDLY.

AS I MENTIONED AT THE BEGINNING,

THE FASHION INDUSTRY IS THE SECOND LARGEST POLLUTER

IN THE WORLD, SO THEY'VE BEEN USING, 25% OF ALL WATER.

THEY USE CHEMICALS.

I DON'T KNOW WHO OF YOU HAVE SEEN A RIVER BLUE

OR THE TRUE COST?

HAVE YOU HEARD ABOUT TRUE COST?

THIS IS A MUST-SEE FOR EVERYONE.

SO, EITHER YOU'RE INTERESTED IN FASHION OR NOT INTERESTED

IN FASHION, IT'S REALLY ABOUT THE ENVIRONMENT.

SO, AND HOW BAD WE YES, AS CONSUMERS.

AND IT'S A THING OF EDUCATION.

AND SO, I AM REALLY HAPPY THAT YOU ARE HERE BECAUSE I CAN SENSE

THAT MANY OF YOU DON'T KNOW ABOUT THESE THINGS,

AND I HOPE THAT YOU DO A LITTLE RESEARCH WHEN YOU GET HOME

AND YES, LEARN ABOUT THESE THINGS.

AND SO, WE ALL GO AND SHOP AT H&M.

HOWEVER, H&M IS -- TRIES TO DO SOMETHING POSITIVELY,

BUT THEY'RE STILL ON THE FOREFRONT OF FAST FASHION.

SO, IS ZARA.

SO, ALL MAJOR BIG COMPANIES, AND THEY ARE REALLY BAD.

AND THE WHOLE PRODUCTION PROCESS IN BANGLADESH, INDIA, CHINA,

HOW THEY POLLUTE THE RIVERS, THE WATER, IT'S JUST MINDBOGGLING.

PLEASE, PLEASE WATCH THE TRUE COST.

>> SO, YOU PRESENTED TWO TECHNOLOGIES OR TWO APPROACHES

THAT ARE OBVIOUSLY COMPLETELY AT ODDS WITH EACH OTHER.

>> KRISTINE UPESLEJA: YES.

>> SO, CIRCULATING KIND [INAUDIBLE].

>> KRISTINE UPESLEJA: YES.

>> WHEN WEARABLE TECH, WHICH IS [INAUDIBLE] NOW,

SCALES UP TO [INAUDIBLE] FASHION INDUSTRY--

>> KRISTINE UPESLEJA: YES.

>> -THAT'S [INAUDIBLE] PROBLEM

TO [INAUDIBLE] INCONCEIVABLE [INAUDIBLE].

>> KRISTINE UPESLEJA: EXACTLY.

YES, EXACTLY.

SO, AND YES, AND THIS IS REALLY LIKE VERY CONTRADICTIVE.

SO, THERE'S ON ONE HAND THEN THIS WHOLE SUSTAINABILITY

MOVEMENT, AND TO GET AWAY FROM ALL THIS.

AND THEN NOW THE WHOLE TECHNOLOGY WEARABLE TECH

MOVEMENT WITH THE CONDUCTIVE YARN

LIKE FOR THE LEVI'S JACKETS.

SO, WHERE DOES THE CONDUCTIVE YARN GO?

>> SO, AS COOL AS ALL THIS STUFF IS,

DO YOU THINK IT'S IRRESPONSIBLE

TO KEEP DEVELOPING [INAUDIBLE] PRODUCT?

>> KRISTINE UPESLEJA: THAT'S A GOOD QUESTION.

IRRESPONSIBLE?

I MEAN, YES.

SO, WE WERE ALL USING SMARTPHONES.

WE DON'T KNOW THE IMPACT YET.

MANY PEOPLE CLAIM IT CAUSES BRAIN CANCER.

WHO THE HELL KNOWS?

I DON'T KNOW.

YES, WE DON'T KNOW.

BUT IT'S JUST MOVING FORWARD.

YES, MOVING FORWARD.

AND WHEN IN THE 50S OR WHENEVER POLYESTER

AND NYLON WAS INVENTED, NOBODY KNEW.

YOU KNOW, IT WAS THE GREATEST AND THE MOST AMAZING THING.

AND TODAY WE KNOW THAT POLYESTER IS SO BAD, AND NYLON IS BAD

BECAUSE IT DOESN'T GO ANYWHERE.

IT SITS ON LANDFILLS AND SITS THERE FOR 700 YEARS

AND DOESN'T GO ANYWHERE.

EVEN I MEAN, THE CONCEPT OF BIONIC YARN,

IT'S STILL PLASTIC, RIGHT?

THEY RETRIEVE PLASTIC FROM THE OCEANS, MAKE A DENIM JACKET OUT,

BUT IF THE DENIM JACKET LANDS ON LANDFILLS, IT STILL SITS THERE.

>> RIGHT NOW IT SEEMS

LIKE ENVIRONMENTALLY FRIENDLY CLOTHING IS STILL

REALLY EXPENSIVE.

IS THERE A PUSH TO BRING THE COST

DOWN IN THE FASHION INDUSTRY?

WHEN DO YOU THINK IT WILL BE ATTAINABLE [INAUDIBLE]?

>> KRISTINE UPESLEJA: YES, THAT'S DEPENDING

ON YOU OR US, THE CONSUMER.

THE HIGHER THE DEMAND, THE LOWER THE COST.

>> SO, TO PLAY OFF [INAUDIBLE] QUESTION A LITTLE BIT,

IT SEEMS LIKE THERE'S A LOT

OF EXPERIMENTATION [INAUDIBLE] RIGHT NOW.

>> KRISTINE UPESLEJA: YES.

>> ON BOTH SIDES [INAUDIBLE].

AND SUSTAINABILITY.

IS THERE A DEMAND FOR THE INDUSTRY TO JUST KIND

OF PICK ONE THAT'S LOW COST AND DOES EVERYTHING

THAT WE NEED IT TO DO?

IT'S SUSTAINABLE AND [INAUDIBLE] FRIENDLY?

DOES THAT DEMAND EXIST OR --

DOES THE INDUSTRY WANT TO HAVE VARIETY OF MATERIALS?

>> KRISTINE UPESLEJA: THE INDUSTRY?

I THINK THE INDUSTRY WANTS WHAT THE CONSUMER WANTS,

OR DOES WHAT THE CONSUMER WANTS.

AND WE ARE STILL NOT EDUCATED ENOUGH.

I CAN REALLY TELL FROM -- BECAUSE AT FIDM,

WE HAVE TOURS COMING THROUGH MY INNOVATIVE TEXTILES ROOM

EVERY DAY.

AND I REALLY REALIZE THAT PEOPLE

OR YOUNG PEOPLE HAVE NO CLUE WHAT'S GOING ON, NOT IN TERMS

OF POLLUTION, ENVIRONMENT, NO.

THERE'S A LACK OF PROFOUND LACK OF EDUCATION AND INFORMATION.

>> YES, TO ADD TO THAT BECAUSE THERE IS A LACK

OF EDUCATION [INAUDIBLE].

THE CONSUMER I FEEL LIKE ONLY FOLLOWS WHAT'S --

WHO'S ON THE FACE OF THAT DESIGN OR LIKE A CELEBRITY.

I FEEL LIKE THEY DON'T [INAUDIBLE].

SO.

>> KRISTINE UPESLEJA: YES, EXACTLY.

>> AS A DESIGNER, SHOULDN'T BE TAKING RESPONSIBILITY FOR THAT?

[INAUDIBLE]

>> KRISTINE UPESLEJA: YES, YOU HAVE TO.

AND AS I SHOWED YOU THE CIRCLE OF THE CIRCULAR ECONOMY,

IT STARTS WITH YOU AS A DESIGNER.

YOU PICK THE MATERIAL THAT YOU KNOW.

THE MATERIAL CAN BE AT THE END OF A CYCLE.

IT CAN BE UPCYCLED AGAIN.

SO, PUT BACK INTO THE CIRCLE OR IF IT LANDS ON LANDFILLS,

THAT IT'S BIODEGRADABLE.

SO, IT'S YOUR RESPONSIBILITY AS A DESIGNER.

WHAT I'M WONDERING, AND I DON'T KNOW,

MAYBE YOU CAN ANSWER THIS QUESTION,

WHY IN THE FOOD INDUSTRY, WE SEE A WHOLE DIFFERENT DEVELOPMENT.

EVERYBODY IS RUNNING NOW TO WHOLE FOODS AND TRIES

TO EAT HEALTHY, AND IS VERY CONSCIOUS ABOUT, YES,

WHAT TO EAT AND WHAT TO DRINK, AND SO BUT --

IF IT COMES TO THE FASHION AND DESIGN, NOT AS MUCH.

YES, OF COURSE, IT'S A COST THING, PROBABLY, YOU KNOW.

IT'S COOL TO BUY A T-SHIRT OR TWO T-SHIRTS FOR $5.

AND TOSS THEM TEN WEEKS LATER.

>> TO BOUNCE OFF YOUR ANALOGY OF PEOPLE'S NEEDS, YOU KNOW,

THE THINGS THAT [INAUDIBLE] AND WHAT NOT,

IS THERE SOMETHING AKIN TO SAY YOU KNOW,

WE LOOK AT THE NUTRITION FACTS AND YOU KNOW, THE TYPE OF FAT

AND THE CALORIES AND INGREDIENTS AND WHAT NOT.

IS THERE SOMETHING AKIN TO THAT FOR ALL OF US

IN THE FASHION INDUSTRY TO WHERE WE'VE BEEN YOU KNOW,

KIND OF SEE WHAT, YOU KNOW,

WHAT THE REAL IMPACT OF THE [INAUDIBLE]?

>> KRISTINE UPESLEJA: SOME COMPANIES ALREADY TRY TO DO IT.

THERE'S AN AMAZING COMPANY HERE IN L.A., REFORMATION.

SO, AND IT'S ALL ABOUT TRANSPARENCY,

THAT THEY REALLY SHOW YOU AND LET YOU KNOW

FROM THE VERY BEGINNING, WHERE THEY SOURCE THEIR MATERIALS,

WHO MADE THEM AND HOW MUCH WATER THEY'VE BEEN USING,

AND WHAT'S THE DYEING PROCESS, ETCETERA, ETCETERA.

SO, YOU NEED -- IT'S HARD.

YOU NEED TO DO RESEARCH BUT THERE ARE COMPANIES OUT THERE

THAT ARE TRANSPARENT AND THAT GIVE YOU ALL THE INFORMATION.

THERE'S STILL NOT LIKE THE USDA YOU KNOW, LIKE IN --

IT IS IN FOOD, YOU KNOW?

THAT'S CERTIFIED ORGANIC OR CERTIFIED YOU KNOW?

THERE'S LOTS OF FRAUD OUT THERE STILL.

BUT MORE AND MORE COMPANIES BECOME TRANSPARENT

AND RELEASE THE WHOLE PRODUCTION PROCESS.

SO, REFORMATION IS REALLY GREAT.

YES?

>> [INAUDIBLE] ACTION AND HOW IT'S ACHIEVED

AND [INAUDIBLE] COMPANIES LIKE [INAUDIBLE] A LOT OF WASTE,

WOULD YOU SAY AS SOMEONE WHO'S LIKE GOING [INAUDIBLE],

SUSTAINABLE AND ENVIRONMENTALLY [INAUDIBLE]?

WOULD YOU SAY LIKE -- WOULD YOU RECOMMEND THAT PEOPLE STEER AWAY

FROM THOSE COMPANIES SINCE IT IS LIKE HARMFUL TO THE ENVIRONMENT?

>> KRISTINE UPESLEJA: YES, OF COURSE, I WOULD SAY.

YES, NO. HOWEVER, I MUST ADMIT, SO I'M IN A BIG,

BIG CONFLICT AND BIG MESS MYSELF.

SO, I MUST ADMIT BECAUSE HERE, I'M TALL.

IT'S VERY HARD FOR ME IN L.A. TO FIND CLOTHING

THAT FITS ME, THEN ESTHETICALLY.

SO, I'M EUROPEAN.

I'M VERY MINIMALISTIC IN MY TASTE.

SO, AND THE ONLY COMPANY THAT MEETS MY DEMANDS

OR MY NEEDS IS UNFORTUNATELY ZARA.

SO, WHAT I'M GOING TO DO?

SO, AND I HAVEN'T FOUND ANY COMPANIES

THAT ARE SUSTAINABLE COMPANIES, EVEN REFORMATION YOU KNOW.

REFORMATION MAKES CLOTHES LIKE FOR YOUR GUYS.

YOUNG, THIN, BEAUTIFUL GIRLS.

YOU KNOW, BUT NOT FOR MY AGE, UNFORTUNATELY.

SO, I'M LIVING EVERY DAY WITH A BAD, HOW YOU SAY --

I FEEL GUILTY EVERY DAY.

SO.

>> HOW MUCH PUSHBACK IS THERE FROM SAY

LIKE THE PROVERBIAL BIG COTTON OR BIG WOOL BRANDS

FOR NEW FIBER DEVELOPMENT IN TERMS OF TECHNOLOGY?

>> KRISTINE UPESLEJA: WHAT DO YOU MEAN BY PUSHBACK?

>> [INAUDIBLE] THE IDEA THAT [INAUDIBLE] TAKING A TON

OF MARKET SHARE FROM THE COTTON INDUSTRY, AS THEY FIGURE OUT HOW

TO DO REUSED COTTON FASTER THAN COTTON CAN DEVELOP.

>> KRISTINE UPESLEJA: YES.

>> AND IF THE CUSTOMER'S POSITION ON COTTON CHANGES,

AND REALIZED HOW MUCH WASTE THERE IS IN WATER

AND HOW TOXIC THE DYING PROCESS IS, WE CAN RE-HARNESS THAT.

AND COULD IT EVENTUALLY AND VERY LIKELY FOR THE COTTON INDUSTRY,

THAT ALL COTTON IS NECESSARILY [INAUDIBLE].

>> KRISTINE UPESLEJA: YES, NO.

I DON'T THINK.

NOT RIGHT NOW.

I THINK YES, WE ARE NOT THERE YET.

I MEAN, I DON'T KNOW IF IT WOULD BE GOOD THING.

SO, THERE'S OF COURSE A POTENTIAL FOR ORGANIC COTTON,

BUT THIS IS ANOTHER WHOLE, VERY EXPENSIVE PROCESS, YOU KNOW?

AND THE COTTON INDUSTRY IS SO POWERFUL, YES.

I DON'T THINK THERE'S A WAY THAT THEY'RE GOING TO BE PUSHED

OUT BY COMPANIES SUCH AS RECOVER OR SO.

NO WAY.

>> DO YOU HAVE A RECOMMENDATION?

YOU MENTIONED THERE'S A LOT OF [INAUDIBLE] STUFF ONLINE?

>> KRISTINE UPESLEJA: YES.

>> WHEN YOU'RE RESEARCHING,

AND YOU ARE A PROFESSIONAL RESEARCHER--

>> KRISTINE UPESLEJA: YES.

>> -A LOT OF OUR STUDENTS, WHEN WE GO THROUGH YOU KNOW, PRETTY,

HEAVY DUTY PROJECTS AND MOST OF THE RESEARCH IS DONE ONLINE.

DO YOU HAVE ANY RECOMMENDATIONS FOR FINDING GENUINE,

INFORMATION, OR BEING ABLE TO SPOT SOME

OF THE BOGUS INFORMATION, AND/OR COMPANIES THAT ARE [INAUDIBLE]?

>> KRISTINE UPESLEJA: YES, THERE'S A --

IF IT COMES TO SUSTAINABILITY, FOR EXAMPLE,

TEXTILE EXCHANGE IS A REALLY GREAT COMPANY.

MAJOR COMPANY.

THAT ADDRESSES LIKE ORGANIC COTTON

OR COTTON AND OTHER FIBERS.

THEN INHABITAT IS A GREAT RESEARCH ENGINE,

AND SOURCING JOURNAL.

THAT'S, YES.

FOR DESIGN, I MEAN, SOMETIMES DAZINE [PHONETIC].

YOU KNOW, DAZINE, YES.

>> ANYTHING SPECIFIC TO THE YOU KNOW,

CROSSOVER OVER OF TECHNOLOGY IN LIKE WEARABLES?

BECAUSE A LOT OF THAT IS YOU KNOW,

EVEN [INAUDIBLE] PRODUCE IDEAS THAT CAN BE REPRESENTED IN A WAY

THAT LOOKS LIKE IT'S ON THE MARKET.

>> KRISTINE UPESLEJA: YES, SO YES,

BUT THIS EXACTLY IS MY ISSUE OR MY PROBLEM AS WELL.

SO, I HAVEN'T -- THERE IS A -- NOT THAT I'M AWARE OFF,

LIKE A REALLY RELIABLE SOURCE THAT TELLS YOU THAT THIS IS --

THAT EXISTS AND THAT DOESN'T EXIST.

SO, THIS IS JUST LEARNING OR TRYING

OR TO HUNT THESE PEOPLE DOWN, YOU KNOW, LIKE THE --

OR THE SHOE COMPANY IN INDIA, YOU KNOW?

THEN YOU WRITE TEN EMAILS, OR YOU GET ON THE PHONE

AND THEN YOU REALIZE, "OH, THEY DON'T EVEN EXIST ANYMORE,

OR THEY NEVER HAVE EXISTED, ETCETERA, ETCETERA.

IT'S A REALLY HARD TO GAME ON A DAILY BASIS TO BE CONSISTENT.

AND YES, AND THEN FIGURE OUT THAT -- EVEN WITH ADIDAS,

THEY ANNOUNCED TWO YEARS AGO, THREE YEARS AGO, THE SHOE MADE

FROM OCEAN WASTE, IT STILL HASN'T BEEN RELEASED.

YOU KNOW? AND I HAVE, YOU KNOW, MY CONTACTS AT ADIDAS AND YES.

NOTHING HAS HAPPENED.

I'M REALLY SURPRISED THAT LEVI'S CAME UP NOW

WITH A COMMUTER JACKET, BECAUSE I SAW THEM A YEAR AGO IN BOSTON

AT THE SMART FABRIC CONFERENCE, WHERE THEY LAUNCHED THE JACKET.

AND IT TOOK ANOTHER YEAR, YES, TO RELEASE IT

OR TO PUT IT ON THE MARKET.

>> WOULD YOU SAY BASICALLY FOLLOWING UP [INAUDIBLE]

THAT INFORMATION OR NOT JUST [INAUDIBLE].

>> KRISTINE UPESLEJA: YES, YES.

AND SOME COMPANIES, YES.

SOME COMPANIES, THEY DON'T HAVE TIME,

OR THEY DON'T ANSWER YOUR EMAILS OR DON'T RETURN.

AND YOU NEED TO BE PERSISTENT.

THE SAME WITH PATAGONIA.

I'VE BE HUNTING PEOPLE AT PATAGONIA.

THEY THINK I'M CRAZY PROBABLY OR I DON'T KNOW.

SO, "OH, THIS WOMAN.

STAY AWAY FROM HER."

SO, BUT YES.

>> SO, AS YOU SAID FOR YOURSELF, WHEN IT COMES TO TRYING

TO FIND CLOTHES THAT ARE HELPFUL FOR THE ENVIRONMENT,

DO YOU SAY THAT OUT OF YOUR RESEARCH, HAVE YOU FOUND A LIST

OF COMPANIES THAT [INAUDIBLE] IT'S ALMOST LIKE [INAUDIBLE],

AND "OH, THIS IS [INAUDIBLE]."

DO YOU HAVE LIKE THAT LIST OR MAYBE [INAUDIBLE]?

>> KRISTINE UPESLEJA: THERE'S TWO.

I HIGHLY RECOMMEND TWO BOOKS.

THERE'S ONE BY KATE BLACK.

AND KATE BLACK HAS INVENTED THE SO-CALLED ECO SESSIONS HERE

IN L.A., NEW YORK, MONTREAL, BERLIN AND SO.

AND SHE HAS WRITTEN A BOOK, MAGNIFICO,

AND SHE LISTS ALL KINDS OF DESIGNERS, COMPANIES,

BEAUTIFY COMPANIES THAT ALL BEEN USING, YES, SUSTAINABLE

AND ECOFRIENDLY PRODUCTS.

THEN THERE IS A DIRECTORY CALLED FASHION DECKS.

FASHION DECKS SUSTAINABILITY [PHONETIC].

SO, THEY HAVE OTHER -- FASHION DECKS IS LIKE TRIMS AND FABRICS,

BUT THIS IS THE GREEN SUSTAINABLE FASHION DECKS

AND THAT IS QUITE AMAZING.

THE LIST DESIGNERS, COMPANIES, DYE HOUSES, ETCETERA, ETCETERA,

ARE ALL OVER THE UNITED STATES.

>> AND DO YOU DO TOURS OF THE [INAUDIBLE]?

>> KRISTINE UPESLEJA: YES.

AND YOU ARE REALLY WELCOME ANYTIME TO VISIT ME

IN THE [INAUDIBLE] OF TEXTILE MATERIALS DEPARTMENT AT FIDM.

YOU JUST SEND ME AN EMAIL.

I GIVE YOU MY CARD OR TRY TO GIVE ME A 24-HOUR NOTICE

IN ADVANCE, AND THEN I WILL TOUR YOU

AND SHOW YOU SOME NICE STUFF.

>> THANK YOU VERY MUCH.

>> KRISTINE UPESLEJA: THANK YOU.

[ APPLAUSE ]

For more infomation >> Engineering Fashion - Inventions - Duration: 1:11:43.

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Sick Vlog - UPDATED Makeup Storage Tour | Bec's Vlogs - Duration: 4:10.

I don't want to wear mascara every single day firstly

I don't want to ruin my lashes when I'm removing my makeup because when I'm removing makeup

I lose like six eyelashes off each eye, and you only have, like, a billion eyelashes

What's up my friends welcome to a brand new video

My name is Bec, and I'll be your YouTuber for the next handful of minutes

If you wouldn't mind checking us a like and offering us a subscribe, that would be duly appreciated. So today

I am going to be doing a

updated makeup storage tour

Excuse my voice I am

Currently sick I'm trying very hard to sound normal at the moment so

Here's to working hard

The only thing in life that I work hard on. So the last time I did a storage tour video

Was actually two years ago, so that would have been

2015 which was probably my second year of youtube it's actually kind of sad at how much my makeup storage hasn't changed

It's actually

Quite similar to what I have now except now, I've got maybe double the makeup

Or at least I've bought double the makeup and half of its in the bin, so yeah

I'm just going to do a real quick run-through of what my

This could even be classified as my YouTube set up tour, because I literally record at my makeup table excuse all the powder stains

Make up, believe it or not, is very messy

Basically the tray that's closest to me is the makeup that I use the most often

besides the foundation and the mascaras, they're in the other tray thing. So the tray that's the one over that's got all my

Not as important brushes

It's got my nail polishes that I never use, I just have nowhere else to put them. Quick fYI about the Vaseline

I use Vaseline on my eyelashes everyday for school because you know I don't actually know if it works

But you need those strong eyelashes man, and also because

I don't want to wear mascara every single day, and then the eyeshadows that are outside. I just have nowhere for eyeshadows

I just got too much crap. You know I need to get like a different spot to put them

But they're there and then I've got a blush which I never use, got my Beauty Blender

Looking very big and thick and voluptuous

Because it's filled with water currently and my eyelash curler because where the hell do people even put those and then

Because I've got like weird palettes. I don't know how they would fit anywhere else

I just plop them underneath my recording light. I've got my q-tips and then in the bedside table

Which is no longer a bedside table, but a makeup side table, a makeup table side table, whatever

In that I have all my crappy makeup that I never use. It's filled with crappy makeup

Makeup that's pretty much run out and I can't be bothered to fish the rest of the product out

Yeah, I'm looking at you, Maybelline. I'm looking at you

Um and I got all of my weird tester products, so yeah

I've got two boxes full of that sort of stuff especially nail polish

I do not wear nail polish, and then I got my little experiment. I'm occasionally a scientist at heart. I mean I do

Three Sciences at school. I can't remember what eyeshadows I mixed together, but by the looks of things

It's a cream eyeshadow and a blue eyeshadow. Yeah, that's my that's my makeup storage. It's pretty sad

I don't even know what I'm doing. I think I'm like high on the drugs

I'm not taking... The medicinal drugs for colds of course. Thank you all so much for watching

I love you guys, and I'll see you in one of the previous videos or one of the next ones, it depends

don't forget to check out the cards to see how I did my makeup and

Yeah, bye

For more infomation >> Sick Vlog - UPDATED Makeup Storage Tour | Bec's Vlogs - Duration: 4:10.

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Brant Pitre: Basados en la Última Cena, ¿quién creía Jesús que era él? - Duration: 2:26.

For more infomation >> Brant Pitre: Basados en la Última Cena, ¿quién creía Jesús que era él? - Duration: 2:26.

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क्या होगा अगर सूर्य गायब हो जाए what's happening |if there was no sun| how far is the sun from earth - Duration: 4:03.

For more infomation >> क्या होगा अगर सूर्य गायब हो जाए what's happening |if there was no sun| how far is the sun from earth - Duration: 4:03.

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OnePlus 5T tem bordas menores e tela de 6 polegadas - Duration: 1:03.

For more infomation >> OnePlus 5T tem bordas menores e tela de 6 polegadas - Duration: 1:03.

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LAS PROPIEDADES DEL HUEVO COCIDO PARA LA SALUD - BENEFICIOS DE COMER HUEVOS. - Duration: 10:35.

For more infomation >> LAS PROPIEDADES DEL HUEVO COCIDO PARA LA SALUD - BENEFICIOS DE COMER HUEVOS. - Duration: 10:35.

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Jeremias Rodriguez: "Cecilia avrà una botta quando uscirà, con Francesco ho parlato subito" - Duration: 10:00.

For more infomation >> Jeremias Rodriguez: "Cecilia avrà una botta quando uscirà, con Francesco ho parlato subito" - Duration: 10:00.

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Toto Riina : une vie si folle qu'elle a été adaptée en série télé - Duration: 4:08.

For more infomation >> Toto Riina : une vie si folle qu'elle a été adaptée en série télé - Duration: 4:08.

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Toto Riina, ancien chef suprême de la mafia sicilienne, est mort - Duration: 5:53.

For more infomation >> Toto Riina, ancien chef suprême de la mafia sicilienne, est mort - Duration: 5:53.

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Featuring Musician Megan Ni...

For more infomation >> Featuring Musician Megan Ni...

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Toyota Land Cruiser 3.0 D-4D-F LX BLIND VAN Automaat - Duration: 0:56.

For more infomation >> Toyota Land Cruiser 3.0 D-4D-F LX BLIND VAN Automaat - Duration: 0:56.

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👑👑 [Tarraxinha] - Vany-Fox Beat'z - M Y S E L F [Instrumental] - Duration: 1:49.

For more infomation >> 👑👑 [Tarraxinha] - Vany-Fox Beat'z - M Y S E L F [Instrumental] - Duration: 1:49.

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NOVEMBER IPSY BAG UNBAGGING 2017 - Duration: 6:49.

Oh my god, my camera's gonna die. I'm so stressed out!

I look like a naked mole rat once again,

because, I like . . . because I am a naked mole rat.

I don't . . . I don't really understand the question.

So today, I'm going to be doing

my November Ipsy bag unbagging.

I wanna die.

I didn't put on any makeup today,

so that's why I'm not wearing any makeup whatsoever.

I'm honestly not quite sure

what's in my Ipsy bag this month.

I never checked. So . . .

This is the second-to-last Ipsy bag

of this year, y'all. It's coming to an end.

I don't think I'm gonna be getting

Ipsy again next year.

I'm probably gonna move on to Boxycharm,

just because my love for makeup

has grown so much since last year

that I think that I'm ready to take the next step.

But, yeah. This is what the bag looks like this month.

I really wish that I had gotten the one

that was brown leather and then, orange.

I loved that one. I really wanted it.

But I got the blue and black one.

It's fine. Whatever.

It's not like I'm paying ten bucks, you know. It's fine.

The card says, "All you.

The way we see it, November is a time to reflect

on what matters most.

For us, what matters most is you."

Thanks, Ipsy.

I'm such a b--.

First, I just need to look at everything that I have,

because . . . Ooooh. Okay. So . . .

We have a liquid foundation.

Oooh, we have a Tarte blush.

We have a Naked Cosmetics pigment.

Highlighter by Barfly.

No way it's "BARF - ly."

Literally, the name is Barf - ly.

And then . . . Oh my god!

We have the Too Faced Hangover Rx Priming Spray!

It's awesome! Wait. I want to open it.

You've got to be f-ing kidding me.

No. This is literally the size of a f-ing perfume sampler.

Honey, what the f- do you mean?

Also, this perfume sampler wasn't even filled all the way.

I feel cheated.

Ulta, what the f-- are you doing?

Okay, but you know what?

We have some really good base products.

I look like a f-ng mess. Okay.

We have some really good base products

for us to play around with.

Let's start with the Too Faced Priming Spray.

Why couldn't it have been, like, this size?

Like, I got this as a Sephora reward.

Why couldn't it have been like this much?

Like, why? I'm kind of mad about it.

But like, it's fine. I'm fine. I'm okay.

Mmm.

M-kay. I'm gonna rub that in.

It feels really nice. Feels very hydrating.

It smells very coconut-y,

and I hate coconut, so . . .

Yeah.

But now I'm gonna take the Touch in Sol

- okay, we like that brand -

Advanced Real Moisture Liquid Foundation.

And this is in the shade 23 - "Natural Beige."

I am not beige in anything.

Oh. That might be my color.

I'll do half of my face with my Real Techniques sponge,

and I'll do the other half with a brush.

I think this is almost exactly my color.

It could be a little bit lighter.

But this would be perfect for my September shade.

Like, not super tan, but not super pale.

Okay. Okay.

I like it better with a sponge, I'll tell you that.

I feel like I like mostly everything better with a sponge.

You know what? I was expecting to hate it.

I will just flat-out tell you.

Like, I actually thought it was gonna hate it.

But . . . I don't hate it.

And it is a pretty good shade match.

All I told Ipsy about my skin shade was that I was light.

Maybe that was just dumb luck.

I feel like Ipsy shouldn't be including face products.

I just think that's too risky.

They can do highlighters and stuff,

but foundations and concealers? I don't think so.

I don't think so, sister.

Now I'm going to be using the "Barf - ly" Cosmetics

Highlighter in the shade "Candlelit."

I hate plastic wrap more than I hate myself,

which is a lot.

I'm really scared.

I feel like this is gonna be a champagne highlighter,

and I hate champagne highlighters so much.

It's a champagne highlighter.

They look so ashy on me.

But maybe, since it's winter . . .

No, but this foundation is too dark.

First, let's swatch it on our hands.

Okay, okay. Not that bad.

It's so oily. It's like . . . it's really, really greasy.

Feels like I'm rubbing sweat onto my face,

to be quite honest. It's so greasy.

But, yeah. I'm gonna set my face,

I'm gonna do the rest of my makeup,

and then I'm gonna come back

and show you the blush and the eyeshadow.

I'm really happy with my eyebrows today.

You guys might think that they're ugly,

but I feel like they're sisters today.

Like, twins might be a stretch, but they work.

Also, I just wanted to pop on

some of this OFRA highlighter.

I just want to say, we don't f-- around with this p--y sh-t.

No.

No, I'm sorry. I . . .

Uh . . .

"Barf - ly"? I don't . . . I don't know her.

I only f-- with this sh--, b--.

Oh wait, let's apply blush first.

So this is a Tarte blush. I'm excited.

The only Tarte blush that I have

is in the shade "Exposed."

This is their sample size,

but it still is really big.

And you would never go through this.

This is in the shade "Feisty."

It's kind of like a deep rose shade.

I also . . . I just love Tarte's blushes.

They're pretty sheer,

which I like. So that you can build them up.

Their colors are just so pretty.

And they last a really, really long time,

So now we're gonna work on the eyes.

The pigment that we have is from Naked Cosmetics,

and it is in the shade #MN-06.

"Mother Nature," I think.

It looks to be like MAC's blue / brown pigment.

I'm honestly not a huge fan

of the blue / brown duochrome,

but I'm going to use it today.

I think that I'm just gonna do a brown smokey eye,

and then do the blue on the lid.

I'll do the brown, and then I'll come back.

I'm back. I used the Huda Beauty Rose Gold Palette.

I just used the shades

"Sandalwood," "Henna," and "Cocoa."

And that's what I used there.

And then, I left a little portion

on the inner part of the eye open for the pigment.

I'm gonna take this e.l.f. brush.

I cut it, so it doesn't really matter what brush it is,

because it's completely different than whatever it is.

Essentially, what it is now

is just a really short, dense brush.

And I'm going to take the pigment.

Should I spray it? I'll spray it.

Just because I feel like spraying it

makes it adhere to the brush better. I don't really know.

And I'm going up at the end of my sentences,

because I'm a real beauty guru.

Moist. Did I spray the wrong side?

I'm so dumb.

It definitely performs better when it's moist.

I feel like it just becomes more foiled,

which is true for all eyeshadows.

I like it.

You know, I'm not a huge fan of the color,

but that's just personal preference.

And it looks pretty. Like, they did it well.

They did the duochrome well. And I'm pretty sure

that Naked Cosmetics is cheaper than MAC,

and it's also cruelty free, and MAC is not.

So if you're looking for MAC's blue / brown pigment,

this is a really good alternative.

I'm gonna do my whole face, and I will come back

and give you my final thoughts.

I'm back. I actually really like the look that I did.

I just put some of the Urban Decay

24/7 Velvet Glide-on Pencil in the shade "Lush"

on my lower lash line, and on my tight line.

And I really like the way that it turned out, actually.

I'm a huge fan of the way that this pigment looks.

I just don't like pigments.

They're so messy for me.

But all in all, I was actually a pretty big fan

of this month's bag.

I got four products that I was happy with.

Like three and a half, just because . . . ehh.

I loved the foundation,

and I actually think that I'm going to wear it elsewhere.

Like, it's beautiful. It's like a soft matte finish.

It doesn't look super matte,

but it just kind of looks like my skin.

I love the Too Faced Hangover thing.

I wish that it were bigger,

but I do actually really like it.

In fact, I'll just set my face with it.

Oh.

I do like that. I'm actually kind of interested.

I kind of wanna buy the full size, because . . .

I with that they had . . . . like, the full size is so big.

Like, that's what she said.

It's also so expensive. I want this.

Why couldn't they have just put this in my bag?

I love the Tarte blush, obviously.

The only thing that was iffy about

was the Barf highlighter. But other than that,

I actually thought that it a pretty good bag.

I'm not gonna lie.

This is probably one of the best bags

that I've gotten from Ipsy.

I just was really happy with all my products.

I'm so impressed with this foundation, by the way.

Like, I actually might consider buying the full size.

I really, really like it.

Let's just see how it wears.

I'll update you guys in the description.

And, yeah! Thank you guys so much for watching!

Please comment, rate, subscribe, and

keep on Ipsying!

For more infomation >> NOVEMBER IPSY BAG UNBAGGING 2017 - Duration: 6:49.

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Network (1976): Why The Acting Is So Good | Acting - Duration: 19:39.

Hello Cinephiles!

Tyler here.

The next film you voted for is Paddy Chayefsky and Sidney Lumet's 1976 diatribe of the

television industry, Network.

I often wonder how much of Network's biting satire is lost on someone my age simply because

it had all mostly come true before I had seen it.

I must say, it took a couple of viewings for me to realize just how funny the movie was.

"You can blow the seminal prison-class infrastructure out your ass!

I'm not knocking down my goddamned distribution charges!"

[Gunshot]

What I want to look at today is how the film got such great performances out of its cast.

The cast won a multitude of awards including the Oscar for Best Actress won by Faye Dunaway

and the Oscar for Best Actor won by Peter Finch— who won over another nominee for

the same film: William Holden.

Beatrice Straight won Best Supporting Actress for only five minutes and two seconds of screen

time— the shortest performance to win an Oscar.

And Ned Beatty was nominated for the Best Supporting Actor Oscar for pretty much one scene.

The previous year, Sidney Lumet had directed Dog Day Afternoon, which itself, contained

some of the greatest performances captured on film.

So what was Lumet doing to elicit such brilliant motion picture acting?

This is Making Film...

Ensemble casts were nothing new for Lumet, who had previously directed Murder on the

Orient Express, The Group, and the iconic Twelve Angry Men (Under the Influence).

And Lumet's reputation for strong character pieces was helpful when casting the film.

Sidney Lumet: "We never got a turn-down.

Whoever we sent the script to said, 'yes.'

Usually somewhere down the line, you've got second, third, fourth choices and then

finally some compromised choices.

Not on Network.

Everybody there was the first choice and they knew it."

Another reason for this was the reputation of the screenwriter, Paddy Chayefsky.

Chayefsky was one of the most successful television writers in the 1950s—

the [quote] "golden age of television."

He was disillusioned with the direction television was going and wrote the satire as a commentary

on the medium he had once been such an important part of (Cinephilia).

Chayefsky had previously won screenwriting Oscars for Marty and The Hospital, and after

his win for Network, he became the only person in history to win three screenwriting Oscars

without the help of a co-writer (Wiki).

Highly unorthodox, Chayefsky's contract stated that he, the writer, was given final cut of

the film— a power usually reserved for the director.

This was Chayefsky's film (Washington Post).

The first thing Lumet did was to bring the cast and crew together for two weeks of rehearsals

at the Hotel Diplomat in Times Square (Itzkoff 99).

Script supervisor, Martha Pinson who worked with Lumet on many of his later films, detailed

Lumet's rehearsal process in an essay titled "The Lumet Method" (hodah).

Once gathered together, Lumet would first make an address about the piece, then they

would move onto a table reading and discussion (hodah).

The rehearsal process began on a cold January 5th, 1976.

They had wanted to use the large ballroom at the Hotel Diplomat for the table-read,

but it was unheated and they had to use an adjacent room (Itzkoff 99).

Everyone was excited to witness the meeting of acting giants William Holden and Peter

Finch who many had grown up with— Holden and Finch had never worked together (Itzkoff 99).

After the table read, Lumet would show location photographs, they'd analyze each scene to

[quote] "[put] the film on its feet" (hodah).

As I mentioned in a video on Dog Day Afternoon, Lumet sometimes used the rehearsals to have

the cast improvise dialogue that they would write into the script.

This was not the case with Network.

Here, the screenplay was sacred.

Every line had to be spoken exactly as it was written.

Chayefsky attended the rehearsals to make sure everything was working toward his vision.

After all, he had final cut.

Lumet announced to the cast that he wanted them to "keep their performance simple"

and that they should display [quote] "pure behavior," but of course not quite as naturalistic

as Dog Day Afternoon (Itzkoff 100).

Sidney Lumet: "I don't know what to say about actors reacting perfectly because it's

so much a part of the norm of what they're doing if they're working well.

So many times on pictures, because they haven't rehearsed it, because they haven't worked

it out cleanly and in advance, these things are mechanical and forced, but not here."

The actual rehearsals would begin after the assistant directors taped the floor plan of

each set onto the floor the rehearsal space (hodah).

Luckily the heat to the ballroom was fixed and so they spent the next few days in there

blocking the action in each scene (Itzkoff 100).

Chayefsky explained the hierarchies of UBS and CCA to the cast

and they were ready to begin (Itzkoff 100).

Then they were off, rehearsing each scene of the film as if it were a play.

The scenes were blocked within the confines of the taped-off floor plans, all the props

needed were at their disposal.

Lumet said that they would even rehearse transition scenes of walking and, if there were a car

chase, they'd rehearse that too (Under the Influence).

During rehearsal, Dunaway was often found thumbing through her [quote] "heavily annotated

copy of the script" (Itzkoff 100).

Other actors were afraid of the amount of Lumet's preparation.

Lumet said, "When I have worked with actors who've only worked in movies, they come in

terrified of rehearsal.

They say, 'Sidney's going to kill the spontaneity.'

The truth is the exact opposite.

Because they know what they're doing, because they know where they are in the character,

because they feel safe with me and in the selections they've made,

they are twice as free.

On a location, if a plane goes by, fine, they'll incorporate it or ignore it.

If a dog bites them, they'll incorporate it or ignore it.

They're open to whatever the momentary situation is because they are much more secure.

So, if anything, it helps spontaneity" (Under the Influence).

This makes sense.

The actual location will be a different environment and there will always be a number of variables

that the production will have to figure out how to roll with.

If the cast is thoroughly prepared, I'd imagine that they might feel comfortable enough

with the character to make spontaneous decisions if needed while still having a sense-memory

of what is important for them to include.

Faye Dunaway: "But it's just so much better to have layered already,

some sense of the performance."

Sidney Lumet: "You need the continual exposure to the same thing happening again and again

to give you an inkling of 'ah ha,' there's something interesting here."

Pinson said that these run-throughs would [quote] "[clear] up uncertainty about the

arc and pitch of an actor's role, the tone of a performance, [and] the intensity needed

for any given scene in relation to what comes before and after" (hodah).

Everybody, even the bit players would be on the same page and understand how they fit

into the whole of the film (hodah).

Lumet brought in his notebook of [quote] "hand-drawn diagrams of where he expected to place his

cameras and how he expected each sequence to unfold" (itzkoff 100).

That said, even though everything was worked out beforehand,

they were still able to remain flexible.

If, on the day of shooting, he couldn't remember how he wanted to block a scene he

would say that it "must have been bad" (itzkoff 100).

Lumet said, "I can't remember going past four takes on anything we did in Network.

If I go more than four takes, it's usually because I staged it wrong, or maybe there

are some words that are wrong.

[Rehearsal] is also a time in which the actors can develop faith in me,

in my taste and in my knowledge.

Once they have that, they are released, they are free" (Under the Influence).

Lumet would have a final run-though on the last day of rehearsal in which

the Director of Photography would attend— in this case, Owen Roizman— and they would work out the

lighting around what the actors were doing.

This way, they could even be prepared enough to send the crew out to rig lights on sets

well before they were ready to shoot there (hodah).

They would also diagram all the camera positions and lenses they would use for each shot (hodah).

The point of all of this extensive preparation was that Lumet liked to go fast during production.

If you can believe it, the iconic "mad as hell" speech

was done on the first day of shooting (itzkoff 108).

These were actually the shots done with the television camera

that would appear on the screens.

They did four takes and in each take, Peter Finch performed the entire two-and-a-half-minute

scene except for take three, which

[quote] "halted at the one-minute mark for an unspecified reason" (itzkoff 108).

"Stick your head out of the window, open it and stick your head out and keep yelling

and yell: I'm as mad as hell, I'm not going to take this anymore!"

Remember when Lumet said that everyone they sent the script to said yes?

While technically true, this doesn't mean that Peter Finch was their

first choice from the start.

In the months leading up to the production, Chayefsky and Producer Howard Gottfried were

intensely searching for an actor that had what it took to play Howard Beale.

They even had to halt the production at one point because they were having such trouble

finding the right person (Cast and Characters).

A talent manager named Barry Krost came across the script and, while not too impressed with

the character of Howard Beale, he decided to pester Gottfried into auditioning his client,

Peter Finch (Itzkoff 87, 91).

When Finch realized he would have to audition for the role, he angrily hung up on Krost

only to call back a few minutes later to apologize saying,

"Sorry, darling, I forgot I was an actor" (Itzkoff 87).

Finch was an Australian living in England and Lumet and Chayefsky were worried about

whether or not he could be convincing as an American newscaster.

Finch had Lumet send him a copy of the New York Times and he read it in front of a camera

to show that he could portray a newscaster's cadence in an American accent (Commentary).

Sidney Lumet: "And one day, Peter Finch called and he said if we would be good enough

to send him a tape of Walter Cronkite or John Chancellor—any one of the evening anchors,

he would send us back a tape in two weeks with a perfect accent.

That's exactly what we did, the tape arrived, and we hired him."

The second day of shooting— January 20th, 1976— had Finch performing the 'bullshit speech.'

"Well I'll tell you what happened—I just ran out of bullshit."

"Alright, cut him off."

"Leave him on."

The next day— January 21st— Finch was performing the "mad as hell" scene again,

but this time it was for the actual camera (Itzkoff).

This is perhaps the most important scene in the movie.

Howard Beale needed to be so impassioned that he would make an incredible impact on the

country and carry us through the rest of the film.

"Ladies and Gentlemen, let's hear it!

How do you feel?"

"We're mad as hell and we're not going to take this anymore!"

Much like Sonny's phone call in Dog Day Afternoon, Lumet loaded up two cameras with

film so that they wouldn't need to take time reloading.

They could start the next take immediately after finishing the first and maintain the

momentum and exhaustion of the performance.

The first take ended— Lumet remarked that it was marvelous

and they immediately started take two.

Finch got up to the congressmen line —

"I don't want you to write to your Congressman because I wouldn't know what to tell you to write."

and then collapsed in his chair and said that he couldn't go any further (Itzkoff 110).

What we're actually seeing in the film is the first half of take two and then the second

half of take one (Itzkoff 110).

"I want you to get mad!"

I believe the two takes are stitched together by this shot of Faye Dunaway.

Finch being unable to finish the second take of the speech was an ominous foreshadowing

of his failing health.

About 8 to 10 months later, well after the film had wrapped and the Academy Awards were

approaching, Finch was sitting on a bench at the Beverly Hills Hotel and Lumet was coming

down to meet him when he suffered a fatal heart attack and keeled over (Commentary).

He went on to win the Oscar for his performance becoming the first and only person to posthumously

win Best Actor.

In 2009, Heath Ledger became the second actor to win an Oscar after death— Ledger's

was for Best Supporting Actor (Under the Influence).

What's interesting is that every line spoken in the film was exactly as Chayefsky had written it,

except for the most important line of the film.

Finch managed to accidentally sneak an extra 'as' into the line which originally read,

"I'm mad as hell and I'm not going to take this anymore!"

But you can hear Finch say:

"I'm as mad as hell and I'm not going to take this anymore!"

You can even hear the correct line shouted by the people on the fire escapes and out

of the windows.

"I'm mad as hell and I'm not going to take this anymore!"

They had to leave Finch's version in the film because they had only shot it one and

a half times (Itzkoff 109, 110).

Lumet said that the beauty in Chayefsky's scripts was that it made the actors "toe

the line" of what is realistic and unrealistic.

It's the subtle progression of madness that makes you accept the insanity of exploiting

Howard Beale for ratings (Commentary).

It is because of this that Lumet said perhaps the most important thing to consider when

casting is the progression of change over a character's arc.

He says that you should cast for the third act.

Cast for who the character ends up becoming (Cast and Characters).

When casting a character like Howard Beale, cast the madman.

Chayefsky would sit as close as possible to the actors so he could evaluate their performances

and so he could make sure every line was delivered verbatim.

He liked to sit under the key light because it was the angle in which the actors were

"best lit" (Itzkoff 106).

There was even a running joke that if anyone was looking for Chayefsky on set, the first

place they should look is under the key light (Itzkoff 106).

Chayefsky said, "My biggest contribution is in explaining my humor to the actors" (Moss).

"He's saying that life is bullshit and it is, so what are you screaming about?"

One of Chayefsky's contributions was in the scene of Howard Beale arriving at the studio

directly before his "mad as hell" speech.

Lumet originally had the security guard look Beale up and down and make a face at the strangeness

of a news anchor arriving at the station soaking wet in his pajamas.

Chayefsky told Lumet, "This is TV…

He shouldn't even notice him" (Itzkoff 107).

"How do you do Mr. Beale?"

"I must make my witness."

"Sure thing, Mr. Beale."

I had never quite realized how similar the humor in Network is to the humor in American Psycho.

"I like to dissect girls.

Did you know I'm utterly insane?"

"Uh, great tan Marcus."

The world seems indifferent to what we perceive as madness and I think that's what gives

the satire its weight.

I think the trick is that we should believe that what is humorous to us is absolutely

serious to the characters.

"The light is impending!

I bare witness to the light!"

For the role of Diana Christensen, they needed to find someone willing to do the part as

Chayefsky had envisioned the character— he would not allow any actor or actress to

demand anything about their character be changed (Lumet 41).

Diana was a tricky part to cast because, as Lumet put it, Diana had to be played by someone

who didn't need to be loved on screen (Cast and Characters).

Lumet had heard that Faye Dunaway had a reputation for being difficult, so he visited her at

her home to make sure that everything was out in the open.

In his book, Making Movies, Lumet writes, "Crossing the floor of her apartment, before

I'd even reached her, I said, "I know the first thing you're going to ask me:

Where's her vulnerability?

Don't ask it.

She has none."

Faye looked shocked.

"Furthermore, if you try to sneak it in, I'll get rid of it in the cutting room,

so it'll be a wasted effort."

She paused just a second, then burst out laughing…

She said yes.

She never tried to get sentimental in the part, and she took home an Academy Award.

My point is that it's so important to thrash these things out in advance.

If push comes to shove, you can then say the obvious truth…

This is a script we both said yes to.

So let's do it" (Lumet 41).

Faye Dunaway: "It was something that I couldn't NOT do because I thought, if I can infuse

the performance with some sense of what she's paying for this life of what kind of poignancy-

and I think I did, I think there was something there that you felt you couldn't put your

finger on it maybe, but you felt for this character.

It's probably in the writing."

On being considered difficult, Dunaway said, "The fact is that a man can be difficult

and people applaud him for trying to do a superior job…

It's in my nature to do really good jobs, and I would never have been successful if

I hadn't" (Itzkoff 78).

Diana is such an interesting character because she is both the hero and the villain of the story.

We follow her work and the conflict that arises when she meets obstacles, but because she

tramples over these obstacles so fiercely and easily, we begin to notice how she is

ruining real human beings on her way there.

Lumet noted that each character becomes corrupted by the end of the film except for Diana who

he says was the way she was since the day she was born.

"For God's sake, Diana, we're talking about putting a manifestly irresponsible man

on national television."

That said, one of the most brilliant things about the character is that they don't explain

why she is the way she is.

It makes things more complex to leave it unknown because the audience lacks the comfort of

being able to explain her personality as a result of something specific.

For the role of Max Schumacher, William Holden's name came up during a brainstorming session

and everyone approved and that was that (Cast and Characters).

Holden had done around seventy movies before Network, yet Lumet noted that he was actually

pretty shy about acting (Commentary).

He had no theater background, so the theater-style rehearsal process was much different than

what he was used to.

Holden remarked after the rehearsal period that he finally felt like a real actor (Commentary).

Sidney Lumet: "The difference in training or difference in acting styles never matters

if both actors are working honestly, which they both were."

In his book, Lumet points out the importance of what the actor is seeing.

He explains the standard practice of clearing the actors' eye-line to make sure that the

actor sees only what the character sees.

You can't have Holden bare his soul to Dunaway with

[quote] "some teamster sipping coffee behind her" (Lumet 119).

I think we're all aware of what happened when the director of photography didn't clear

Christian Bale's eye-line during a scene in Terminator: Salvation.

"Alright!

I'm trying to f--- do a scene here and I'm going, 'why the f--- is Shane walking in there?

What is he doing there?'

Do you understand?

My mind is not in the scene if you're doing that."

Removing these distractions also helps an actor pretend that they are not being filmed

at all— that the scene is actually unfolding.

This way Holden can play the scene as if Dunaway is the only thing he sees.

But while rehearsing one of the most powerful scenes in the film— the 'primal doubts' scene—

Lumet noticed that Holden was looking everywhere but Dunaway's eyes.

Lumet said, "He looked at her eyebrows, her hair, her lips, but not her eyes" (Itzkoff 101).

Lumet made a note of it, but didn't say anything.

There is a good reason why he didn't try to correct this even though the rehearsals

were supposed to be place to fix any issues that arise in the performances.

Lumet said, "On the day of shooting we did a take.

After the take, I said, "Let's go again, and Bill, on this take,

would you try something for me?

Lock into her eyes and never break away from them."

He did.

Emotion came pouring out of him.

It's one of his best scenes in the movie.

Whatever he'd been avoiding could no longer be denied.

The rehearsal period had helped me recognize the emotional reticence in him" (Lumet 66).

Lumet gave Dunaway the same direction, but for her, Lumet wanted Dunaway to [quote] "just

try to understand what he's talking about" (Itzkoff 126).

And when Holden says:

"I just want you to love me, primal doubts and all.

You understand that don't you?"

We get her only vulnerable moment in the film.

"I don't know how to do that."

[Ringing Telephone]

Lumet said, "That's as close a moment as she gets" (Itzkoff 126).

Dunaway described how she played the line as the character's

[quote] "quintessential expression" (Itzkoff 127).

Dunaway said, "[Diana] isn't connected as a woman, doesn't feel like a woman.

With just those few seconds on the screen, you knew that she was

completely unable to love" (Itzkoff 127).

By the way, this scene was built entirely out of one take (Commentary).

Thanks for watching!

Stay tuned for part 2 where I will discuss Robert Duvall, Beatrice Straight, Ned Beatty,

and Arthur Burghardt who played the Great Ahmed Kahn.

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