ed hardy discount

It says the addition of speakers on cinema ceilings and new software lets sounds be moved and positioned more precisely in theatres.

The San Francisco-based firm's senior vice president, Ioan Allen, said the innovation would give audience members "the illusion of there being an infinite number of [audio] channels… all the way around you and over your head".

Extra speakers behind the screen are also used to create "smoother pans" of sound – something the company says will be most noticeable in rooms with very wide screens.

It says each speaker needs to be individually wired back to the cinema's amplifiers to create up to 128 distinct, but simultaneous, audio feeds. In the past, mixers had assigned the same output to groups of speakers in large theatres.

He added: "The theatres want an immersive experience that is something superior to anything the public can have in the home because that's what keeps the cinema business driving, and I think we've achieved that."

Cinema sound system provider Dolby has announced that its new audio format will receive its premiere in June with the release of Pixar's movie Brave.

The Disney-owned animation studio's film will use the format in a limited number of "premium" cinemas in the US.

The firm has yet to release a price guide to equip or upgrade cinemas, but Forbes reports that the cost of fitting it in a medium-sized theatre is likely to be $25,000-$30,000 (£15,500-£18,600).

The firm adds that its Atmos tools can also generate mixes for its 5.1 and 7.1 speaker systems, meaning that sound technicians who adopt the format can save time when creating different versions of their soundtracks.

Extra speakers

Technical guidelines released by the firm state that the system offers more control through the addition of surround speakers on theatres' side walls and ceilings.

In 2010, the 3D release of Toy Story 3 was the first movie to feature the Dolby Surround 7.1 system, helping match sound effects to the on-screen action.

This is not the first time that Dolby and Pixar have teamed up to offer a new sound experience.

Using the example of the sound of a gunshot fired, it says that "being able to pinpoint this sound could be more effective than trying to emulate it through an array of loudspeakers".

Dolby plans a wider international release in 2013.

"The audience will enjoy a completely new listening experience with enveloping sound that brings the stories on screen more fully to life," it promises.

Pick up a pair at Bloomingdales.com for $44. As a bonus, the Shadows metallic line is on sale for $32!

These are comfortable on the feet, the range is extensive in colors and they look very lovely on the foot. A ton of these cheap sandals I own fall apart and actually hurt, the thong cuts into my toe and I end up spending more and more on the cheap crap. They are not made well. So, if you want what Angie’s got and want them to last more than one wearing, these are for you.

I love the way these look. And for those of you who are looking to buy one really good sandal, this is it. What’s super fun about these is that they’re designed as makeup for your feet. They come in groups like Liners (simple, rich colors), Foundations (neutrals to elongate) and  Highlighters (sparkly!). I know a lot of people who just need something that’s simple and pretty to wear for warm weather destination weddings when you need to forgo the heels, or if the weather is the same temperature all year round and you want something in a fall shade but in a season-less silhouette. Well, here’s your sandal!

By Sasha Charnin Morrison for UsMagazine.com. To read more of the Recessionista blog, click here.

These TKEES flip-flops are $48, and we love them (so do Angelina Jolie, Lauren Conrad and Ashley Greene!) . Before you all jump all over me and say “This isn’t cheap!” and “Target and Forever 21 have better!” or “You suck, and I’m leaving!” …take a look at these. They are chic, celebrities love them and they are made to last.

"I'd like to thank Paramount and Regency for backing my team's work to breathe new life into this biblical effort," Aronofsky continued.

Aronofsky was Oscar-nominated last year for Black Swan, which received five nominations in total, picking up one for Natalie Portman's performance as leading actress.

On Crowe, he added: "It's his immense talent that helps me sleep at night. I look forward to being wowed by him every day."

The director made his feature film debut in 1998 with Pi, earning the prize of best director at the Sundance Film Festival and best screenplay at the Independent Spirit Awards.

Director Darren Aronofsky said: "I rejoice that Russell Crowe will be by my side in this adventure."

He is heading up the jury for this year's Venice Film Festival.

Paramount Pictures and New Regency Productions confirmed the news following months of rumours that Crowe would play the title role.

Crowe's previous films include State of Play and his Oscar-nominated A Beautiful Mind and Gladiator – for which he won an academy award.

Russell Crowe has been cast as Noah in Darren Aronfsky's film of the same name, the movie's producers have announced.

The film will begin shooting in July in Iceland and New York.

The adaptation of the famous Bible story will be released in March 2014.

Crowe recently spent time in the UK filming scenes for the big-screen adaptation of the long-running musical Les Miserables, in which he plays Inspector Javert opposite Hugh Jackman's Jean Valjean.

Photo: Tommy Ton

All fashion types know that trend-setting is only half done on the runway; the other half is the province of the editors, stylists, and industry mavens that observe from the front row. And who watches the watchers? Our man in Milan (and Paris, London, New York, and wherever else stylish people go to peacock and preen), Tommy Ton. He’s just filed his seasonal dispatch on the looks, styles, prints, and colors of the moment. Tommy snapped everyone from models like Tati Cotliar and Joan Smalls to editors like Anna Dello Russo and Kate Lanphear and stylists like Catherine Baba. How to stay on message in the months to come? Go red, go bright, go for socks with those sandals, and above all, go check it out.

Fat Tuesday swiftly followed by Ash Wednesday, excess followed by penance. London fashion week’s MAN Day had the luck to fall on the latter this season. After the heady womenswear week closing on Tuesday, was it the turn of the sackcloth and ashes of menswear for Wednesday? Not quite; there were still some traces of carnival in the first day of Lent, even if at times they looked like the discarded remnants.

Earlier in the week, knit line Sibling’s carnival-referencing women’s collection, Sister, had been presented, alongside a few looks from the men’s—it made their best outing yet. But for the full men’s presentation on MAN Day, the party was over: Designers Joe Bates, Sid Bryan, and Cozette McCreery created an installation (pictured, above) in the form of a prison visiting room with a clever film by Sam Renwick and Thomas Bryant. It was in the shape of a triptych echoing the visiting booths, complete with telephone connections to the sound. “It’s where a matriarch might visit a son. Or vice versa,” Bates said. Yet the clothes were still their bright, excessive selves even behind bars. Called Marked Man, with designs based partly on prison tattoos, there was as much of the matriarch in the collection as there was the jailbird. An institutional bright orange was combined with pink ocelot spots in a men’s twinset. Their signature Fair Isle knits were further warped with the seamless addition of a skull with pompom ears blended into the traditional patterns. (It reflected the pompom-decorated full face masks and beanies also on view.) At once sinister and sweet, carnivalesque and penitential, there was something quite Leigh Bowery and Trojan in these proceedings that felt very true to the spirit of London. At the same time, Sibling’s output is so accomplished as to hold a global audience with ease.

Christopher Shannon’s catwalk was the first thing you noticed at his show. The brilliant backdrop was by the all-round creative and too-many-credits-to-mention Julie Verhoeven. “Creatively, I trust her implicitly,” said Shannon backstage. “I did want that inside of a Hoover bag vibe.” That’s certainly what he got. The set featured old tires, strewn pink net curtains with bricks caught in them, abandoned foil balloons in the shape of love hearts, and the bottom half of a female shop dummy, among other violent after-party detritus. At their best, the clothes and accessories had something of this random perversity, too; a broderie anglaise shirt with a ruffled back, a jacket covered in the designer’s swing tags, and a rucksack decorated with innumerable key rings. “We started excessive and pared back,” said the designer, yet there was maybe a bit too much paring back or, ultimately, the simple color palette of navy, white, sand, and black was a little too conservative or too flat to really help make some of the interesting points he was driving at.

On the other hand, the standout clothes in the MAN show reveled in a particular kind of vulgarity. Shaun Samson also had a restrained color palette and used stock conservative menswear fabrics perversely, such as a coat-length, gray flannel bomber jacket with cropped flannel dungarees. The big silhouette of this Californian’s background helped; big just seems better in menswear shapes at the moment, and the stock slouch of American-style clothes works. As did the play of artificial and real in fur and hair on the garments: “That’s real hair weave on fake fur,” Samson announced proudly. Shaved into the garments were also Mexican tribal-style patterns of faces with protruding tongues, another cheekily vulgar aside that seemed fitting.

Astrid Andersen, too, used a play on bad taste in sportswear to make her point in her show. A vivid fuchsia pink puffa with dark brown fur sleeves, inset with baby pink fur stripes? Quite purposefully horrible clothes—in a good way—such as these might provide a get-out clause from all the trite “gentleman’s wardrobe” fodder that has been dominating menswear. But they do have to toe the line lest they fall into the category of “scally drag,” that other great horror in London menswear.

Finally, to Topman Design (pictured, left). On first sight, this collection might have looked like the most sackcloth and ashes of the lot—dominated as it was by black, black, and more black—and yet underneath was one of the most decadent reference points of all: the life and work of Robert Mapplethorpe. Topman didn’t go as far as men exposing themselves in nylon suits or using strategically placed whips, but this was a quietly perverse collection and very in keeping with the mood now. Mapplethorpe flower print shirts protruded and westernwear boots had that hint of degeneracy. Mohair overcoats added a sensuous feel to the tone-on-tone proceedings and were belted with studded leather. It all added up to an unrepentant Ash Wednesday.
—Jo-Ann Furniss

Jo-Ann Furniss reports on the highs and lows of London fashion week’s dedicated menswear day.

Photos: Courtesy of Sibling; Samir Hussein / Getty Images (Topman)

In case any further proof was needed that cleavage is back, here’s LOVE’s first video for its iPad app, debuting any day now from the iTunes store, alongside its fourth issue, “The Gorgeous Issue” (out now). Katie Grand styled Elle Macpherson in Bottega Veneta, Chanel, Dolce & Gabbana, Nina Ricci, and Macpherson’s own line of lingerie. Macpherson channels sixties sweater girls in a hip-shaking short shot by Sharif Hamza, who’s lensed editorials for Interview and international editions of Vogue, and videos for Dior Homme and Dazed + Confused. Aside from reminding us all why Elle’s now and forever “The Body,” it’s also one of the better arguments we’ve seen for the rat’s-nest bouffant. Check out the exclusive debut, below.

Photo: Courtesy of Sergio Rossi

Rather than its usual day-long open house, this season, Sergio Rossi and creative director Francesco Russo elected to host a more intimate cocktail party to debut their new Fall collection in Milan. And intimate fits the entertainment as well as the event. For the occasion, Russo and director Luca Guadagnino created a three-minute short film starring model Diana Dondoe, whose shod (but largely unclad) form is placed front and center in the erotic piece.

Eroticism is nothing new to Guadagnino, who hit big with his film I Am Love, starring Tilda Swinton as a Milanese matriarch who embarks on a passionate affair with a young chef. (Russo cited a scene in which Swinton’s character and the chef first make love as a favorite.) “I’ve known Luca for 15 years, and for me it’s very important to work with people I feel close and comfortable with,” he explained to Style.com. “It all came together quite naturally, really.”

If the sensual is nothing new to Guadagnino, it’s familiar ground for Russo, too. Sex appeal has been one of his trademarks during his time at Rossi. “For me, the shoe is not just an object for its own sake, but something that can change the state of mind of the person wearing or observing it,” he says. “I’m moving forward towards accessories addressing the entire woman’s body. I refer to this project as ‘Skin to Skin,’ because the body pieces become a sort of a second skin playing with female transformation caused by wearing wonderful shoes.”

And those shoes? “Most are made of different types of leather and exotic skins like python, ostrich foot, lizard, crocodile, and kid suede, mostly in monochromatic colors to underline the different textures,” Russo says of the new collection. “They’re like objects in a constant mutation.” The film screens at the presentation, which begins now in Milan, and debuts here on Style.com.

—Matthew Schneier

Photo: Courtesy of Mercedes-Benz Berlin Fashion Week

At Berlin’s Fall ‘12 fashion week, just wrapped in the German capital, the city’s status as a European art hub was front and center. It was no accident that the largest hometown brand, HUGO, chose the Old Masters’ Museum as the venue to host its star-studded runway show and party, inspired by “surreal nostalgia” and “theater,” and incorporating recent runway trends like Art Deco graphicism and bodycon cuts inspired by athletic wear. And heat was generated by the young design talents who the city has been incubating. On the less-established front, a handful of Berlin’s “ones to watch” ripened this season with strong shows demonstrating the maturity of their concepts and skills. The best collections embodied the gritty “considered chaos” aesthetic which artists Jonathan Messe, Zhivago Duncan (Michael Milchasky’s collaborator this season) and Kirstine Roepstorff have made into Berlin’s signature creative style.

Along with the sleek sexuality of artists’ favorite DSTM (Don’t Shoot the Messengers), Juliaandben are Berlin’s best bridge between fashion and art. Designer Ben Klunker owned a gallery before he decided to devote himself completely to his collaboration with Julia Heuse. Their tie-dyed pieces used the old bathtub-dyeing technique favored by hippies and adolescents to create a fresh form of city-chic: leggings and dresses that look grungy but are gracefully cut. You could see them slinking off the presentation stage into Berlin’s studios, cafés, openings, and gritty after-opening bars.

Equally expressive of Berlin’s art scene is Vladimir Karaleev’s polished collection of black and Yves Klein-blue draped dresses and coats, in layers of worsted wool, mohair, silk and cotton. The Bulgarian-born Berliner debuted in 2007 when his show culminated in a gown made of twenty interlocking T-shirt fabrics hand-stitched, braided and tied together. Since then, his hand-sewn, abstractly attached and intentionally ragged clothes have inspired appreciation for his aesthetic but not sufficient confidence in their craftsmanship. This time, his collection gracefully balanced reassuring core construction with de-constructed details, in which elegant subtle black leather, artfully interwoven blue mohair and yellows, oranges and tans highlighted well-assembled stitching.

—Ana Finel Hongiman

The singer partied at DETAILS @ Midnight Coachella Party, with a look she described as “The Craft meets Garbage meets Tank Girl meets early No Doubt.” 5:38 PM PDT 4/14/2012 by Aaron Couch

Photos: Mikhail Metzel / AP Photo; Masatoshi Okauchi / Rex USA; Young Ho / SIPA Press

The Salt star has been traveling the globe on the promotional circuit for her new spy thriller, and we’ve noticed that she (and her stylists) are feeling the long evening looks we’ve been seeing so much of this Resort season. In Moscow on Sunday, she wore a halter-topped Atelier Versace gown in Russian red, complemented by flowing hair and soft, red lips. In Tokyo yesterday, she went back to Donatella’s atelier, choosing a floor-sweeping black Versace gown with a slit high enough to raise plenty of eyebrows (and a heavy, and we’d have to say ill-advised, sky-high beehive to match). And today at a press conference in Seoul, Jolie went the less glamorous route, opting for a full-length column gown with a bare face and barely visible nude heels. It’s been, no doubt about it, a long week. What do you think? Elsewhere, editors like WWD’s Bridget Foley are lamenting that Angie isn’t doing her part as an aspirational fashion icon, a claim that her hit-and-miss style might justify. Do you like Angie’s maxi look—and do you think she’s holding her own on the fashion front?