Id magazine usa. I-D Magazine: Pioneering Fashion, Art, and Youth Culture Since 1980

How did i-D magazine evolve from a hand-stapled fanzine to a trendsetting fashion publication. What makes i-D unique in its approach to fashion and youth culture. Why is i-D considered a training ground for up-and-coming talent in photography and fashion.

The Origins and Evolution of i-D Magazine

i-D magazine, founded in 1980, has become a cornerstone of fashion, art, and youth culture. Originally a hand-stapled fanzine, it has grown into one of the most influential publications in the industry while maintaining its authenticity and street-level perspective.

How did i-D manage to preserve its grassroots appeal while achieving mainstream success? The magazine’s dedication to showcasing emerging talent and street style has been crucial. By focusing on real people and underground trends, i-D has consistently stayed ahead of the curve, often featuring “the next big thing” before it hits the mainstream.

From Fanzine to Fashion Authority

i-D’s journey from a DIY publication to a respected fashion authority is a testament to its innovative approach. The magazine’s ability to spot and nurture new talent has made it a launching pad for many careers in fashion, photography, and design.

• Founded in 1980 by Terry Jones
• Initially focused on street style and youth culture
• Gradually expanded to cover high fashion, art, and music
• Maintained its edgy, unconventional aesthetic throughout its growth

The Iconic Wink: i-D’s Visual Signature

One of i-D’s most recognizable features is its cover models’ signature wink. This playful gesture has become synonymous with the magazine’s brand, embodying its cheeky, irreverent spirit.

Why do i-D cover models wink? The wink serves multiple purposes:

1. It creates a visual representation of the magazine’s name (i-D)
2. It establishes an immediate connection with the reader
3. It reflects the magazine’s playful, unconventional approach to fashion

This simple yet effective branding technique has helped i-D stand out on newsstands and in the digital space for decades.

The “Straight-Up” Portrait: Redefining Fashion Photography

i-D pioneered the “straight-up” portrait style, which has since become influential in fashion photography. This approach involves photographing subjects standing against a plain background, often on the street, with minimal styling or direction.

How does the “straight-up” portrait challenge traditional fashion photography? By stripping away artificial poses and elaborate sets, this style:

• Emphasizes the subject’s natural style and personality
• Democratizes fashion by focusing on real people rather than models
• Captures authentic street style and emerging trends
• Allows the clothing and individual style to speak for themselves

This innovative approach to fashion photography has influenced countless photographers and publications, cementing i-D’s role as a trendsetter in visual culture.

Nurturing Emerging Talent: i-D’s Role in Shaping Fashion Careers

i-D has long been recognized as a breeding ground for up-and-coming talent in fashion, photography, and styling. The magazine’s commitment to showcasing new voices has helped launch numerous careers and shaped the industry landscape.

How does i-D support emerging talent? The magazine employs several strategies:

• Featuring work by unknown or lesser-known photographers and stylists
• Providing a platform for new designers and brands
• Highlighting underground scenes and subcultures
• Collaborating with art schools and fashion programs

This focus on emerging talent keeps i-D at the forefront of fashion innovation and ensures a constant influx of fresh ideas and perspectives.

Beyond Fashion: i-D’s Coverage of Art, Music, and Youth Culture

While fashion remains at its core, i-D has always taken a holistic approach to youth culture, covering art, music, and social issues alongside style. This multifaceted coverage reflects the interconnected nature of contemporary culture and resonates with its young, engaged readership.

How does i-D’s broad coverage contribute to its cultural impact? By exploring the intersections between fashion, art, and music, the magazine:

• Provides a more comprehensive view of contemporary culture
• Appeals to a wider audience beyond fashion enthusiasts
• Identifies and reports on emerging cultural trends
• Fosters dialogue between different creative disciplines

This approach has helped i-D maintain its relevance and influence across multiple generations of readers and creatives.

Digital Transformation: i-D in the Online Era

Like many print publications, i-D has had to adapt to the digital age. The magazine has successfully transitioned to a strong online presence while maintaining its print edition, allowing it to reach a global audience and engage with readers in new ways.

How has i-D adapted to the digital landscape? The magazine has embraced various digital strategies:

• Launching a comprehensive website with daily content updates
• Producing original video content and documentaries
• Engaging with readers through social media platforms
• Collaborating with digital artists and influencers
• Experimenting with interactive and immersive digital experiences

This digital transformation has allowed i-D to expand its reach while staying true to its core values and aesthetic.

Global Influence: i-D’s International Editions and Cultural Impact

From its origins as a British publication, i-D has expanded its reach to become a global brand with international editions and a worldwide readership. This global presence has allowed the magazine to showcase diverse perspectives and styles from around the world.

How has i-D’s international expansion influenced its content and perspective? The magazine’s global reach has led to:

• Coverage of fashion and culture from diverse regions and communities
• Collaborations with international artists, designers, and photographers
• A more nuanced understanding of global youth culture
• Increased cultural exchange and cross-pollination of ideas

This global outlook has helped i-D maintain its relevance and influence in an increasingly interconnected world.

Notable International Editions

i-D has launched several international editions, each with its own unique flavor while maintaining the core i-D aesthetic and ethos. Some notable editions include:

• i-D Japan: Known for its cutting-edge coverage of Tokyo’s vibrant fashion scene
• i-D Italy: Celebrating the country’s rich fashion heritage and emerging designers
• i-D Spain: Exploring the intersection of traditional Spanish culture and contemporary style
• i-D Poland: Showcasing Eastern European fashion and youth culture

These international editions have helped i-D expand its global footprint while providing localized content for diverse audiences.

Collaborations and Special Projects: i-D’s Creative Partnerships

Throughout its history, i-D has engaged in numerous collaborations and special projects with artists, designers, and brands. These partnerships have resulted in unique content, limited-edition products, and innovative experiences that extend the magazine’s influence beyond its pages.

How do collaborations contribute to i-D’s cultural impact? These creative partnerships serve multiple purposes:

• Generating excitement and buzz around the brand
• Providing unique experiences for readers and fans
• Fostering creativity and experimentation
• Strengthening relationships within the fashion and creative industries

Some notable i-D collaborations have included:

1. Limited-edition fashion collections with emerging designers
2. Art installations and exhibitions featuring work from i-D photoshoots
3. Music festivals and concerts showcasing artists featured in the magazine
4. Pop-up shops and experiential retail concepts

These collaborations help keep i-D at the forefront of cultural conversation and reinforce its position as a tastemaker in fashion and youth culture.

The Future of i-D: Navigating Changing Media Landscapes

As the media landscape continues to evolve, i-D faces both challenges and opportunities. The magazine must balance its print heritage with the demands of digital-first audiences while maintaining its unique voice and perspective.

How is i-D preparing for the future of fashion media? The magazine is focusing on several key areas:

• Investing in digital platforms and technologies
• Exploring new content formats, such as podcasts and augmented reality experiences
• Strengthening its community engagement through events and social media
• Continuing to champion diversity and inclusion in fashion and culture
• Addressing sustainability and ethical concerns in the fashion industry

By staying true to its roots while embracing innovation, i-D is well-positioned to remain a influential voice in fashion and youth culture for years to come.

Sustainability and Ethical Fashion

As sustainability becomes an increasingly important issue in the fashion industry, i-D has taken steps to address environmental and ethical concerns in its coverage. The magazine has featured:

• Profiles of sustainable and ethical fashion brands
• Articles exploring the environmental impact of the fashion industry
• Interviews with activists and thought leaders in sustainable fashion
• Editorials showcasing upcycled and vintage clothing

This focus on sustainability aligns with i-D’s history of challenging industry norms and advocating for positive change.

The Legacy of i-D: Shaping Fashion Media for Over Four Decades

As i-D approaches its fifth decade of publication, its influence on fashion, photography, and youth culture is undeniable. The magazine has played a crucial role in shaping the aesthetics and values of multiple generations of creatives and fashion enthusiasts.

What makes i-D’s legacy so enduring? Several factors contribute to the magazine’s lasting impact:

• Consistent commitment to showcasing emerging talent
• Willingness to challenge industry norms and conventions
• Ability to evolve while maintaining its core identity
• Strong visual identity and innovative approach to fashion photography
• Focus on authentic representation of youth culture and street style

As i-D continues to evolve and adapt to changing media landscapes, its legacy as a pioneering force in fashion and culture remains secure. The magazine’s influence can be seen in countless publications, photographers, and designers who have been inspired by its unique approach to style and creativity.

Notable Alumni and Contributors

Throughout its history, i-D has nurtured the careers of numerous influential figures in fashion, photography, and journalism. Some notable alumni and contributors include:

• Wolfgang Tillmans: Renowned photographer who got his start shooting for i-D
• Nick Knight: Influential fashion photographer and founder of SHOWstudio
• Edward Enninful: Former fashion director of i-D, now editor-in-chief of British Vogue
• Judy Blame: Iconic stylist and accessories designer who frequently contributed to i-D
• Pat McGrath: Legendary makeup artist who began her career working on i-D shoots

These individuals, among many others, have helped shape the visual language of contemporary fashion and continue to influence the industry today.

In conclusion, i-D magazine’s journey from a hand-stapled fanzine to a global fashion authority is a testament to its innovative spirit and unwavering commitment to authenticity. By consistently championing emerging talent, pushing boundaries in fashion photography, and maintaining a finger on the pulse of youth culture, i-D has secured its place as one of the most influential and enduring voices in fashion media. As the magazine continues to evolve and adapt to new challenges, its legacy of creativity, inclusivity, and cultural impact remains stronger than ever.

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i-D is a cutting-edge fashion, art, music, and youth culture magazine that started on the street and has retained its authenticity throughout its illustrious career. It’s a training ground for up-and-coming photography talent, and is contemporary and trendy. The iconic winking smiley (i-D – try looking at it with your head on one side) is mimicked by most of the cover models, winking cheekily at you as you open the page. i-D is a trend-expressing and trend-setting, pioneering and visually exciting read, and responsible for several exhibitions, issuing every 2 months.

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i-D doesn’t just have a finger on the pulse of fashion, it’s plugged into the heart monitor.

i-D magazine is a UK magazine dealing with fashion, music, art, and youth culture. It’s not your usual catwalk-of-the-mill fashion mag though: i-D has a reputation for being groundbreaking, trendy and young, with innovative photography and street style, and has grown up from a hand-stapled fanzine to become one of big names in the business. That’s authenticity in a magazine: i-D is the band that spent 10 years playing pubs before they made it big but never sold out, as opposed to the X-Factor champion shot instantly to stardom by the cannon of Simon Cowell.

i-D has become known as a training ground for up-and-coming talent, so you’re likely to see the next big thing here first.

You may have noticed that i-D is a little winky smiley, and most of the cover models are winking cheekily at you. It’s a flirtatious expression of vitality: sex appeal and fun rolled into one.

i-D pioneered the “straight-up” portrait: initially going out on the streets and photographing interesting looking youths with mo’s, piercings, etc, as they unassumingly stand straight against a plain black wall. The effect is obvious: it’s not the pose that hypes up the clothes, the style speaks loudest for itself.

i-D started on the street, it’s an expression of fashion as it happens: it doesn’t attempt to control fashion, or wait for it to appear on the catwalk before it’s deemed worthy of documentation. i-D magazine’s come a long way since then, but it remains cutting-edge, and a thrilling read.

I.D. Magazine, 1954–2009

Remembering my time at I. D., first as a staff writer, then as editor-in-chief, later as an editorial consultant and columnist, triggers a rich flood of memories that can bring me to tears of nostalgia. Because they would bring you to tears of boredom, I will spare you those, but after 55 years some obituarial record seems in order.

Before launching I.D. Charles Whitney, the publisher of Interiors magazine, ran into the industrial designer Henry Dreyfuss on the street. “Henry,” he exclaimed, “I’m about to start a magazine for industrial designers.” “That’s great,” Dreyfuss replied. “There are 14 of us.” Charlie loved to tell that story, and while I was skeptical of most of his favorite tales, I never questioned that one. The small number of professional designers (actually, there were 15, originally) was for some time and for some designers a point of pride. In 1944 they had won a court battle in New York establishing industrial design as a profession.

In February 1954 the first issue of I. D. appeared, co-edited by Jane Mitarachi and Deborah Allen, the two young women who had been largely responsible for the section of Interiors that covered industrial design. The great Alvin Lustig was art director. Lustig was already well known to the designers in I.D.‘s target audience; the co-editors were less so. But they were superb choices. Jane, who had worked under Philip Johnson at MoMA, had a rare understanding of design, plus a relentless drive to get information no one was eager to share, and a journalistic prescience for seeing prospective developments that would make good story subjects. Deborah Allen was a gifted writer able to infuse seemingly arcane subjects with common sense, and her criticism of automobile design quickly became celebrated both in the United States and the United Kingdom. Early on she wrote a series on what Americans then called “human engineering” (only the British called it “ergonomics”) that laid out the design significance of that emerging field.

Each of the early issues broke fresh ground. Articles explored the automotive industry, product planning, the operations of design offices large and small, and the operative differences between consultants and in-house designers. The first issue carried a publisher’s postscript, expressing the hope that I.D. would “serve as a creative stimulus for many years to come.” It did last for many years to come, but it was always a struggle. Enormously successful with Interiors, Whitney had high hopes for supporting I.D. with comparable advertising revenues. They didn’t come. For one thing, industrial design was new and not easily understood by corporations—a fact that plagued all design firms. Few people really knew what designers did. Ironically, Charlie was not one of those few. He was never able to accept that I.D.‘s readers, however important they were to their clients and to industry generally, did not often specify particular products. Interior designers did: They specified the carpets, flooring, wallpaper, paint and furniture that their designs called for, which was why purveyors of such things bought space. But although an industrial designer might specify that a product be made of aluminum, he was not empowered to choose Reynolds or Alcoa.

I.D. was from its inception committed to preserving the distinction between design and styling, and perhaps for that reason the second issue featured a long, densely informative article by Jane on the development of the tractor as an example of a product that rarely can be improved by a face lift. Illustrated with a gatefold by Andy Warhol, it was exemplary of the case studies that became standard I.D. fare. “The case study is a very good means of getting a lot of facts into a small space,” Deborah explained.

I.D.‘s first issue carried an article by Ladislav Sutnar, and the magazine regularly featured graphic designers as well as product designers. Paul Rand, Will Burtin, Leo Lionni, Lou Dorfsman, Saul Bass, Sister Corita, Tomi Ungerer, Lester Beall and Quentin Fiore are a few of those whose work was the subject of major articles.

In 1957 the humor magazine I was working for had folded, and I learned through the friend of a friend that there might be an opening at Industrial Design. I called the magazine and made an appointment with Jane, who asked to see samples of my writing about design. I had none, but had written some satirical articles about computers (which few citizens had ever personally encountered at the time), illustrated by a young graphic artist named Bob Guccione (yes, that Bob Guccione). I think Jane was more taken with the illustrations than with the articles, but after a series of trial assignments and interviews I was hired.

By this time Deborah Allen was no longer co-editor but consulting editor, having moved to Washington, D.C. But she was still very active in the magazine, coming once a week, meeting with the staff, leaving with a suitcase full of manuscripts and outlines, and returning the following week with a load of revisions and comments.

I.D. already had a pretty well-hewn editorial philosophy, one premise being that it was not a trade magazine because design was not a trade. During my job interviews I had been asked to suggest ideas for appropriate articles. I had recently read a newspaper article mentioning an ice cream container that could be used as a purse; desperate, I muttered that there hadn’t been much written lately about reusable packaging.

So for my first assignment at I.D. I wrote an article about dresses made of flour sacks; cigar boxes that, when empty, made perfect toy stages; oil drums that became musical instruments in Jamaica; and, of course, an ice cream container that could serve as a purse. No one in particular had been assigned the packaging beat, so I became by default the editor in charge of packaging.

Staffing at I.D. was largely by default. As the first publication in a new field the magazine had no pool of experienced writers to draw on. Only the art director had any design training. Specialists of the kind a design magazine needed were scarce. The technical editor was Arthur Gregor, a widely published poet from Austria who had a degree in engineering but no interest in it.

The ambience of those years is best understood by looking at the TV series Mad Men. The stereotypical two-martini lunch was no joke. It was de rigueur. In the decade of the two-martini lunch, however, Charlie Whitney had three. That made an enormous difference, for it meant that no business could be transacted in the afternoon. Editorially this didn’t matter much, for Whitney astutely kept his hands off what the editors wrote. But he insisted on strict approval rights of the cover, which meant that any given cover might require a full afternoon’s defense. Also, while he rarely questioned, or even saw, any copy we were about to publish, he would regularly discover that we weren’t making money (we weren’t) and call the editors into his office for a lengthy lecture.

Our chronic lack of money led me to what I think of fondly as my most daring editorial innovation as editor-in-chief, although it had nothing to do with either design or journalism. Almost every day corporations launching new products held press parties to announce them. We received several invitations each week that looked too interesting to turn down. But sending an editor to attend them was costly, entailing not only an editor’s time away from the office, but if alcohol were served, as invariably it was, the additional loss of the editor’s productivity when and if he or she returned (one didn’t). So I.D. officially eschewed many parties, but we needed the press kits for pictures and information.

I can’t think why, but for the first few years I lived in New York I happened to know an unusually large number of actors, who spent their days auditioning. They did rounds. Doing rounds meant presenting themselves at casting calls to be judged. This humiliating daily drill required that they be well dressed and well groomed. Being broke and hungry was not required, but they usually were. Moreover, they were attractive, personable and articulate. I had generic business cards printed, identifying the card carrier as an associate editor of I.D., and distributed them to actors I knew, asking them to occasionally attend events as representatives of the magazine. All I asked of them was that they bring me press kits. What they got in return were free drinks and free lunch. True, lunch frequently consisted only of cocktails and hors d’oeuvres. But these events tended to be lavishly catered affairs and the snacks were substantial.

The actors loved it. After all, they were role-playing, which was the business they were in. And I.D. developed a reputation for having an uncommonly large and spectacularly good-looking staff.

News of I.D.‘s demise leads to thoughts of some of the contributors who nourished its pages over the years: George Nelson, Jay Doblin, Ada Louise Huxtable, Eric Larrabee, Edgar Kaufmann, Jr., Reyner Banham. And of staff members, many gone but some of whom continue to enrich the field. Jane Mitarachi, now Jane Thompson, heads Thompson Design Group, an architectural planning firm in Boston. She is the creator of a soon-to-be-published book on Design Research, the Cambridge design store founded by her late husband, architect Benjamin Thompson. Steven Holt is the Distinguished Professor of Industrial Design at California College of the Arts. Bob Malone is an expert in robotics and automation, and the author of The Ultimate Robot and other books on the subject. Photographer Maude Dorr is in Bhopal, India, documenting the still contentious aftermath of the 1984 gas-leak disaster. Chee Pearlman directs the editorial and curatorial design consultancy Chee Company. Julie Lasky is the editor of Change Observer, the branch of Design Observer concerned with societal innovation. Fifty-five years ago an industrial design magazine run by two women was a curious presence in a field that was entirely masculine. By the time Annetta Hanna, Chee Pearlman and Julie Lasky were individually at the helm, that was no longer an anomaly.

Some I.D. editors left to win distinction in other fields. John Gregory Dunne became a screenwriter and novelist. His death six years ago was the subject of the book The Year of Magical Thinking by his widow, the author Joan Didion. Jim Mellow, former editor-in-chief, won international renown for his biographies of Gertrude Stein and other writers of the Lost Generation.

It began as a professional magazine named Industrial Design but called I.D. Originally published every other month, its frequency fluctuated through the years from monthly to bimonthly and even eight times per year. As its coverage expanded, the name was changed to International Design. Not everyone noticed; it was still called I.D.

For a magazine or a newspaper to cease publication is not unprecedented in these times. And not surprising. But beyond the sentimental attachments there is reason to mourn I.D.‘s passing, to speculate on what further losses that portends, and, more important, to think of what might take its place. One of the validating marks of a profession is a journal to steadily examine and interpret it. That function cannot be fulfilled by official organizational publications. It is hard to think it could be fulfilled now anywhere but on the internet; but it is equally hard to see the form that will take.

As for reflecting on the life of this magazine, I’ve been here before. In 1988 I was asked to review 35 years of I.D. Here’s what I said in conclusion:

…I.D. got off to a better start in life than any child has a right to expect. My impression—and it is only that—is that the magazine went through a difficult middle period, when both it and the professions it served were unstable, unsure and unsurely perceived. There were the usual weight problems, acne, confusion about identity, uneven growth and flashes of brilliance. During that period I sometimes felt pangs of disappointment, even going so far as to ask, “Where did we go wrong?” My impression—only that—is that today the magazine has an enviable inner strength, self-confidence and direction. I don’t know that I have any right to take pride in that, but I do.

Twenty years later I don’t feel much different.

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i-D Magazine, Spring 2021 (Travis Scott)

Over 40 years, i-D has carved its position as the premier source for fashion inspiration, and in 2012, joined the VICE Media family to expand VICE’s reach into digital fashion content. i-D has come a long way since its beginnings as a hand-stapled magazine and has developed into a leading video-driven platform, documenting fashion, music and contemporary culture from around the globe. i-D reaches an ambitious and creative audience, offering access to the most inspiring names in fashion and exploring everything from high-end couture to underground style scenes.

In this issue:

Travis Scott unveiled as i-D’s first Spring Issue cover star, photographed by Spike Jonze at his home in Los Angeles. To celebrate the new issue launch, i-D has teamed up with Travis Scott on a i-D x Cactus Jack limited edition merch collaboration available globally in a limited run from today

Today, fashion publisher i-D unveils the first cover star of its Spring issue, Travis Scott photographed at his home in Los Angeles by Spike Jonze. Scott graces two covers for the issue, including a limited edition cover featuring original artwork by Jonze

Under the leadership of Editor-in-Chief Alastair McKimm, i-D’s first print offering of 2021, ‘The Utopia in Dystopia Issue’, will focus on the stories around the people, places and voices that inspire i-D. The issue looks to the future, creating our own utopia during these dystopian times, looking to the reconnection and the creative renaissance that will emerge after the upheavals of 2020.

During a time when we are all increasingly questioning our surroundings, from our entire social system to the four walls we live between, Travis Scott has been busy building his own dream world. In just over a decade, the 28-year-old Houston native – born Jacques Bermon Webster II – has gone from university dropout to his generation’s undisputed leader. As millions of fans around the world feverishly wait for his next album Utopia, Travis Scott opens up to Robert Rodriguez, the acclaimed director behind From Dusk

Till Dawn and Sin City about creating the year’s most anticipated album, keeping a collaborative spirit during dystopian times, how fatherhood has changed his life and how Spy Kids is one of his favourite movies for i- D’s Spring cover story.

I.D. Magazine Shuts Down, Blames Change

One of the most influential design magazines, I.D. Magazine, closed down earlier this week. It’s kind of sad, because most people in the design community have been touched by their articles.

But, as with the 429 other magazines that have ceased operations this year (in USA and Canada), this trend is likely to continue for quite some time.

So why did it fail? Well, it’s the same old story. (important parts emphasized):

Ceasing publication of an iconic brand like I.D. is never an easy decision, but there are several forces that have worked against its sustainability. Certainly the downturn in print advertising has contributed to this decision, but other factors include the fragmentation and specialized information needs of I.D.’s core readers (product designers) and the plethora of information resources available to them-some for free (online and B2B) and others that are highly specialized and targeted to specific industries served.

– Gary Lynch, Publisher & Editorial Director

There is no question that advertising is getting problematic. Not only for print magazines, but also on all other channels. And there is simply no way that a print magazine can cut cost to keep up. Printing and distributing is hideously expensive, and it is getting more expensive everyday.

Especially compared to internet publishing where all you need is an exceptionally cheap publishing platform (WordPress, Squarespace etc.), and where you just need to pay the people who actually create content.

But advertising online is equally problematic. Not only are the advertising rates between 20-100 times lower, but companies are increasingly looking towards direct interaction via social channels.

Not to mention that in a world of infinite choice, ad spending is spread across the field to get as much exposure as possible. The days where you could persuade a company to focus a substantial part of their advertising budget, on just your magazine, are gone.

Advertising clearly isn’t the only problem, because I.D. Magazine also failed to change. They stuck with the old “generic” design approach, trying to cover as broad as spectrum as possible (just as most other newspapers and magazines). What they should have done instead was to create a number sub-channels, all specializing in a specific field.

In a market of infinite choice, the only way to get really big is to turn niche. Instead of one magazine, they should create five or six niche channels under the same brand and resources.

But the most telling cause is a single word in the press release: “fragmentation”

What I.D. Magazine fails to realize is that the market isn’t fragmenting. It is transforming. “Design” in the past used to be about graphics and style, whereas now it is as much about people and feelings.

The product is not fragmented into two or three different groups. It’s being split apart and joined with other industries. Design and communication used to be two different jobs, now its one. Art direction and sale used to be two jobs, now art direction is sale.

I.D. Magazines stuck with the old type of jobs. The ones before the transformation. As such, their target market slowly slipped away – and all that was left was the laggards.

The story of I.D. Magazines is a sad one, and I am sorry to see them go. But, we are going to see many more of these stories in 2010.

Ad revenue is a problem for everyone (online and offline), but lack of change is a terrible excuse.

Alastair McKimm Named i-D’s Editor-in-Chief | News & Analysis

NEW YORK, United States — I-D’s former fashion director Alastair McKimm is returning to the Vice-owned British style title as global editor-in-chief. He succeeds Holly Shackleton, who left i-D for Condé Nast International, where she started as Vogue International’s editor-in-chief last week.

Originally from Ireland, McKimm began his career as a stylist at i-D at the end of 2000, as assistant to Edward Enninful, the magazine’s fashion director at that time. For the last five years, McKimm has worked as i-D’s fashion director despite being based out of New York while i-D’s staff is concentrated in London. He exited the title in November.

As editor-in-chief, McKimm plans to remain in New York and travel frequently to the UK. He will report to Lucy Delacherois-Day, who was recently promoted to be i-D’s global publisher. (Before, Shackleton reported to Vice’s EMEA chief executive.)

Alastair McKimm | Source: Ezra Petronio

Known for its fresh take on youth culture and for being one of the first magazines to cover street style, i-D was founded in 1980 by creative director Terry Jones. He retired from the magazine after selling it in 2012 to the controversial and trailblazing digital media company Vice, which has since pushed an online and global expansion for i-D.

Now the title operates in 13 countries online and reaches 15 million users each month across its digital platforms. A Japanese print magazine launched in 2016, but its April issue will be the last because, according to a representative for Vice, the company wants to focus on digital and video content. The English-language magazine, published out of London four times a year, will be the only print product moving forward.

“We continue to invest and will look to grow this brand further as a digital fashion platform,” said a representative for Vice, adding that i-D’s revenue has grown by double-digits year-over-year since the acquisition.

Like Enninful, who is now editor-in-chief of British Vogue, McKimm is one of several editors with styling backgrounds who have assumed the top job at fashion magazines in recent years, including Laura Brown at InStyle and Nina Garcia at Elle in the US.

“I think it’s all because of globalisation…. When you make an image, you can speak to everybody,” said McKimm in an interview at his New York studio, where a collection of the last 20 years of i-D issues take up an entire bookshelf.

But it is still unusual for fashion directors to become editors-in-chief, which was part of the reason McKimm decided to leave i-D last year: He felt he had reached the limit of what he could do at the title. But when the company reached out to him after Shackleton decided to leave, he realised it was a possibility for him to advance within the magazine.

“There’s no reason why someone who spent 20 years making imagery can’t step into that role, because at the end of the day its more about being a curator,” said McKimm. “It’s like having 20 years of experience and knowing 20 years worth of fashion industry people that you can call on and get their point of view. It’s all about the curation of the people.”

The editor is confident that the fact that he lives in New York will not be a problem for i-D because he has already worked that way for the title for five years.

“The days of everybody being in the same room all the time are over,” he said. “So many creative practices now are done on WhatsApp.”

McKimm does not plan to fundamentally change i-D’s editorial approach but instead hopes to make his mark by encouraging the title’s different global teams to communicate and collaborate more. He wants to unite the entire team in one city once or twice a year. I-D operates in the US, UK, China, France, Germany, Italy, Spain, Netherlands, Poland, Canada, Mexico, Australia and Japan.

“I want to feel the global network, and I want to really encourage a new generation to come forth,” said McKimm, describing the magazine at the “top of the pyramid” of the i-D brand, and a “mood board” for each season. “I feel very confident in the team that’s already in place and how we can work together… It’s not about reinventing the wheel.” His first task will be to hire a fashion director to succeed himself and get to work on the September issue.

I want to feel the global network, and I want to really encourage a new generation to come forth.

McKimm also wants to explore new revenue streams, such as events and an expanded i-D store, which currently sells the magazine and branded merchandise.

Throughout his past tenure at i-D, McKimm had the flexibility to style photoshoots for other publications, such as British Vogue and T: The New York Times Style Magazine, and brand campaigns, such as Saint Laurent and Reebok’s collaboration with Victoria Beckham. While he still has the option to do outside work, he said his focus now is on i-D and he will not be contributing to other titles.

“It’s a new challenge for me, it’s a new job its a new way of working, so I really need to focus on that,” he said.

Vice, which is backed by Disney and private equity firm TPG, has had a tumultuous few years. The company and its fellow investor-backed new digital media companies have struggled to keep up with the market’s high expectations for growth. On top of that, Vice had a sexual harassment controversy, revealed by the New York Times in 2017, which led to the exit of Vice Media co-president Andrew Creighton, among others. Creighton founded the UK division of Vice in 2002 after working as i-D’s head of advertising.

In March 2018, Vice founder Shane Smith stepped down from the chief executive role and former A+E chief executive Nancy Dubuc stepped in. Dubuc has focused on growth and optimization by consolidating the different online channels into one online media brand and fixing the cable network, Viceland, among other priorities.

Vice’s fashion properties, which also include Garage magazine and brand development and creative agency Starworks, have served as a way to work with fashion and luxury advertisers who were wary of Vice’s reputation. It also connected the company to a network of stylists and photographers it can hire for its creative agency work.

McKimm said Vice has had a positive influence on i-D. “If it wasn’t for Vice, who knows where i-D would be right now,” he said. “Graham [Rounthwaite, creative director] and Holly and I were able to do the magazine and make a product that we wanted to make, 100 percent.” He doesn’t anticipate that changing.

What has changed is the magazine market around i-D, as mainstream glossy publishers struggle to keep print readers and focus on building extensive online audiences. Many mass-market publications, free from some of the conventions that once determined what would or wouldn’t sell on the newsstand, are thinking differently about their covers and content in a way that threatens the space i-D has carved for itself.

“I-D always stood for diversity, identity, gender, all the things that people are suddenly [claiming],” said McKimm, adding that the title is differentiated from its competition by its authentic point of view. “It’s about taking that legacy and DNA and keep moving forward with it. I don’t want to look back at all.”

McKimm will begin his new role at i-D in June.

Related Articles: 

Inside Vice’s Fashion Strategy

Vice Relaunches Amuse as Luxury Travel Play

Refinery29, Dazed and i-D Battle for Millennials

Photography Internship in New York, NY, USA

Photography Internship

INDIRA CESARINE (http://indiracesarine.com) is currently reviewing applications for an internship position working directly with her on art and photography productions, as well as assisting with coordination of her exhibitions, archives, and media.

About INDIRA CESARINE

Indira Cesarine is a multidisciplinary artist who works with photography, video, painting, printmaking and sculpture. Her work as an artist has been featured internationally at many art galleries, museums and festivals, including The Metropolitan Museum of Art, Mattatuck Museum, Albany Institute of History and Art, CICA Museum, San Luis Obispo Museum, French Embassy Cultural Center, Art Basel Miami, Cannes Film Festival and the International Festival Photo Mode to name a few. In 2014, her public art sculpture, “The Egg of Light” was exhibited at Rockefeller Center as part of the Fabergé Big Egg Hunt. Her work was auctioned at Sotheby’s New York for the annual “Take Home A Nude” art benefits in 2017 and 2018, and at Artwalk NY 2018 benefiting the Coalition for the Homeless. Cesarine’s artwork was also featured at SCOPE Art Basel (Switzerland) and SCOPE Miami in 2018, as well as SPRING/BREAK Art Show in 2018 and 2019. Recent exhibitions of her work include the 26th Annual Watermill Center Benefit and Auction, July 2019, HERFLAG presented at Albany Museum in July, 2019, and Hudson Valley Museum of Contemporary Art, August 2019. She have been featured internationally in many publications including American Vogue, Vogue Italia, NY Times, Forbes, Newsweek, W Magazine, Harper’s Bazaar, Dazed and Confused, New York Magazine, i-D Magazine, and The Huffington Post among many others.

A graduate of Columbia University with a triple major in Art History, French and Women’s Studies, she additionally studied art and photography at Parson’s School of Design, International Center of Photography, School of Visual Arts, The Art Students League and New York Academy of Art. Cesarine had her first solo show at the age of sixteen at Paul Mellon Arts Center. She began working as a photographer from the age of seventeen, shooting for top modeling agencies Elite, Ford and IMG while she completed her degree. Upon graduation from university, she continued her career in London where she was awarded photography commissions by Vogue, GQ, Harper’s Bazaar and many other international titles while still in her early twenties. As a photographer, she focused on creating empowering images of women that encapsulated strength, sensitivity, and intelligence. Over the past twenty years, her photography has been published in hundreds of international magazines. Cesarine has been featured internationally on TV shows and networks such as E! TV, Entertainment Tonight, MTV, Inside Edition, HBO, The Ricki Lake Show, iTV (UK), High Society, H&M Life TV, Ford Supermodel of The World, Make Me a Supermodel US and UK editions, and Fashion One TV. Her work as a director has included music videos, documentary shorts, fashion, and video art films.

After 15 years of working as a photographer between New York, London, and Paris, in 2009, she shifted her focus from fashion photography to contemporary art. That same year she launched online publication, “XXXX Magazine” which was comprised predominately of original short films and video art productions. The magazine was re-launched in 2011 as the globally distributed print publication “The Untitled Magazine” of which she is currently editor-in-chief. Her work for the magazine, which presents exclusive interviews with inspirational artists, as well as articles on contemporary culture, includes overseeing all creative direction and content, as well as contributing as a photographer and journalist. Ever-expanding her creative vision, in 2015 she broadened her work to include art curatorial and founded The Untitled Space art gallery as a platform supporting women in art. She continues to explore her creative vision as an artist vis-a-vis traditional and new mediums and finds strength in examining new ideas in contemporary culture.

For more information visit ————

CV + ARTIST STATEMENT ————

PRESS LINKS ————

ENTERTAINMENT PORTRAITURE ————

MAGAZINE ————

GALLERY ————

Application Requirements

– Must be available for a minimum of 3 – 6 months (full time or part-time) for minimum 3-5 days per week to qualify for the internship.

– Hours are 10am – 6pm, we do not allow partial days except under special circumstances.

– Candidates must live in New York area during course of internship and be available for an interview (in person or online). We do not offer remote internships at this time.

– Work experience or educational focus in one of the following: Photography, Studio Art, Design, Public Relations and Marketing, or related field of study.

– Passion for art and culture

– Possess excellent written and verbal communication

– Have a positive attitude and strong social skills

– Demonstrate attention to details while maintaining perspective

– Have working knowledge of MS Office Suite (Word & Excel), Adobe Creative Suite and WordPress

– Fluent in English, other languages such as French or Italian are a plus

– Strong knowledge of social media platforms: Facebook, Twitter, Instagram, Tumblr, Pinterest.

– Must own a smartphone and laptop

Daily responsibilities could include:

– Assist with art and photography production

– Assist with magazine / editorial shoots

– Assist with coordination of exhibitions

– Assist with archives of works

– Assist with marketing materials, books and art catalogs

– Assist with art handling and shipping

– Assist with social media and communications

– Assist with exhibit openings, events and special projects

Please send a link to your website or blog if you have one, your resume and please detail your previous experience and qualifications.




The internship includes a daily stipend or school credit if relevant.

Industrial Product Design in Austin, Texas, USA.

d:e Awards

1988 American Gerontological Gold Award
1989 IDEA Industrial Design Excellence Silver Award
1990 PC Plus Magazine Good Award
1990 Micro Datum Best Product of the Year
1991 Comdex Exposition ‘Best of Comdex’
1991 PC Magazine Editors Choice
1991 R&D Most Technological Significant Product of the Year
1991 IDEA Industrial Design Excellence Bronze Award
1992 PC Magazine Technical Excellence Award
1993 New Media Vision Magazine Award of Excellence
1994 IDEA Industrial Design Excellence Silver Award
1994 IDEA Industrial Design Excellence Bronze Award
1994 Appliance Manufacturer Excellence in Design
1994 Chicago Museum of Design Permanent Collection
1995 Appliance Manufacturer Excellence in Design – Baricare Bariatric Bed
1995 Good Design Distinguished Product Award
1995 IDEA Industrial Design Excellence Silver Award
1995 ID Magazine Annual Design Review
1995 Chicago Museum of Design Good Design Award
1995 Chicago Museum of Design Good Design Award
1995 Chicago Museum of Design Permanent Collection
1995 IDEA Industrial Design Excellence Gold Award – LCD Color Monitor
1996 IDEA Industrial Design Excellence Silver Award – PicNic
1996 International Consumer Electronics Show Design and Engineering Award
1996 International Consumer Electronics Show Design and Engineering Award
1996 International Consumer Electronics Show Design and Engineering Award
1996 ID Magazine Annual Design Review – Rocket Lamp
1996 ID Magazine Annual Design Review – Color LCD Monitor Series
1996 CES Exposition Innovation Award – Texas Instruments Pocket Solutions
1996 CES Exposition Innovation Award – Canon InnovaBook Series
1997 Good Design The Good Design Award – Kit Lamps
1997 Apex Award – Brother Kitchen Assistant
1997 American Corporate Identity 15 Award of Excellence – Brother Kitchen Assistant
1998 IDEA Industrial Design Excellence Gold Award – Galileo Flat screen Monitor
1998 SXSW Best Business Website – d:e Website
1999 LG Electronics Design Competition Honorable Mention – Orbit
1999 LG Electronics Design Competition Award of Excellence – Aria
1999 IDEA Industrial Design Excellence Bronze Award – Siemens Gigaset 2420
1999 International CES Design and Engineering Showcase Award – Siemens Gigaset 2420
1999 American Corporate Identity 15 Award of Excellence – Newworld Entertainment
1999 Graphis Design Annual – d:e Website
1999 Austin Ad Federation Silver – d:e Website
2000 Austin Ad Federation Silver – Continental Club Website
2000 Austin Ad Federation Silver – Hotel San Jose Website
2000 Austin Ad Federation Gold – Chuy’s invite
2000 Print Magazine Regional Design Annual – Ten X logo
2000 Dallas Society of Visual Communications – d:e Holiday animation
2000 Creativity Annual 30 Award of Distinction – Ten X logo
2000 Creativity Annual 30 Award of Distinction – Caducian logo
2000 Creativity Annual 30 Award of Distinction – Caducian paper system
2000 Creativity Annual 30 Award of Distinction – Visionary Research Logo
2000 Creativity 30 Award of Distinction – Festival of Dance Poster
2000 Creativity 30 Award of Distinction – d:e Holiday animation
2000 Creativity 30 Award of Distinction – d:e Expect More Mailer
2000 IDEA Industrial Design Excellence Bronze Award – C-shell Compact Disc Holder
2001 Graphis Design Annual – Visionary Research logo
2001 Dallas Society of Visual Communications – Wetnoz paper system
2001 American Corporate Identity 16 Award of Excellence – Pony Xpresso
2001 American Corporate Identity 16 Award of Excellence – d:e Promo
2001 American Corporate Identity 16 Award of Distinction – Ten X logo
2001 American Corporate Identity 16 Award of Excellence – Ten X logo
2001 SXSW Best Web Redesign – Hotel San Jose Website
2001 SXSW Web Finalist – Continental Club Website
2001 Step-by-Step Graphics 100 Annual Design Awards – Wetnoz logo
2001 Step-by-Step Graphics 100 Annual Design Awards – Wetnoz paper system
2001 Step-by-Step Graphics 100 Annual Design Awards – Hotel San Jose Website
2001 IDEA Industrial Design Excellence Bronze Award – M/D Totco V-ICIS
2001 LG Electronics Honorable Mention – Digital Satellite Radio
2002 Macworld ‘Best in Show’ Award – Formac Gallery 1740
2002 Austin Ad Federation Best in Show New Media – Chuy’s Website
2002 ID Magazine Annual Design Review Distinction – Maternus Joey Clamp
2002 ID Magazine Annual Design Review Honorable Mention – Wetnoz
2002 American Ad Federation Silver Austin Addy Award – Wetnoz
2002 Communication Arts Annual Design Competition – Wetnoz
2002 Chicago Museum of Architecture and Design Good Design Award – Wetnoz
2003 Step Inside Design 100 Top Designs – Wetnoz
2003 How Magazine International Design Competition – Wetnoz
2003 The Chicago Athenaeum Museum of Architecture and Design Permanent Collection – Wetnoz
2003 The Chicago Athenaeum Museum of Architecture and Design Permanent Collection – 3M Wall Display
2003 ID Magazine Design Distinction – Maturnus Joey Clamp
2003 IDEA Medical Design and Excellence Gold Award – Maternus Joey Clamp
2003 IDEA Industrial Design Excellence Silver Award – 3M Wall Display
2003 IDEA Industrial Design Excellence Gold Award – Maternus Joey Clamp
2005 IDEA Industrial Design Excellence Gold Award – Spring Roll Fetch Toy for Dogs
2006 ID Magazine Design Distinction – Zukr Toy Vacuum

Hacking an iPhone smartphone using Face ID and the US Constitution

Security Management

Nikolay Blinkov | 10/07/2018

For the first time in history, the US intelligence services used Face ID to force unlock the iPhone X: a person was simply forced to look at the screen. At the same time, American lawyers argue that such unlocking of the device is not entirely legal and can be appealed.

For the first time in history, the US intelligence services used Face ID to force unlock the iPhone X: a person was simply forced to look at the screen.At the same time, American lawyers argue: such
unlocking the device is not entirely legal and may be subject to appeal.

The introduction of the technology of visual unlocking of the iPhone, Face ID, without the need to enter a password every time (however, in some situations, the iPhone still requires a password), its owner was
the innovation that made the iPhone X so popular at the end of 2017. In addition, Face ID has migrated to all three successors to the iPhone X – the iPhone XR, XS and XS Max, as well as came to
replacement of the older technology of unlocking by means of the Touch ID fingerprint scanner.

At the same time, the problem of crime, of course, has not gone anywhere, and often special services need to get access to a specific blocked phone within the framework of investigating crimes. but
American law enforcement officers have no right to require the owner to divulge the password from the device if he refuses to name it. Disclosure of the access code can be regarded as
testifying against oneself, if there is compromising information on the device against its owner.

Of course, the owner’s refusal to disclose the password does not deprive American law enforcement officers of their rights as part of an investigation to hack the device in any way – be it a computer, smartphone or tablet. Hacks
Android smartphones, PCs and other devices, of course, most often do not cause any difficulties for the American intelligence services.

As for the iPhone, although formally the CIA and the FBI have already more or less figured out the technology of hacking a password-protected phone on their own, if it is very much needed.Since make it long
time did not succeed in any way, the American special services took pressure on Apple in this matter. Recall that at one time this led to a loud scandal – Apple categorically refused to help
in hacking iPhone 5C terrorist Syed Farruk, who committed mass murder in San Bernardino (California, USA).

In the end, it was not possible to force Apple to make concessions, so the American special services were forced to use, according to some sources, the services of Israeli hackers.In the end, they did manage to
to gain access to the device, but jailbreaking the iPhone 5C required an unprecedented amount of effort and expense (the FBI paid for it, according to some assumptions, to Israeli hackers (the exact name
the organization that hacked the device was never disclosed) $ 1.3 million.

Mass jailbreaking of suspects’ password-protected iPhones is still not possible – and if the device is password-protected, and the owner refuses to tell the passcode, then what is on
device, will remain a secret for the special services.However, if the special services are lucky, and there is an alternative to entering a password – Touch ID or Face ID – then the problem of accessing the device can be very resolved.
for them quickly.

With a suspect or accused in custody, you can force him to look at his gadget. It is only important to do it as quickly as possible by introducing Face ID, Apple still left the need
occasionally enter your password on the screen. To do this, the device asks for a password every 156 hours (6.5 days). What does it do if Face has not been applied in the last 4 hours
ID (this is done so that the owner of the gadget does not have to get into an awkward situation, for example, in public transport).Well, if the iPhone has been lying for more than 48 hours without using it at all, it
will also ask for a password, and finally after each reboot.

For the first time Face ID was used to force access to the iPhone for the purposes of American law enforcement on August 10 this year. On this Friday, the FBI ransacked the home of 28-year-old Grant
Michalski in Columbus, Ohio, who was suspected of possessing and receiving pornographic material involving minors.The special services seized a number of
devices, including the iPhone X.

It was found that to access the device, it is enough to go through Face ID, without having to enter a password. To unlock it, FBI special agent David Knight obtained
a court order, and on the basis of it, he ordered Michalsky to place his face in front of the phone, which was executed. The phone was unlocked, and law enforcement officers gained access to all of it
content: photos, applications, chats and other information that could be useful for intelligence agencies.Ironically, this iPhone X does not contain any useful information for the FBI.
It turned out (although it was found elsewhere), and therefore the incident turned out to be interesting precisely in the context of the first use of Face ID for the purposes of intelligence services.

At the same time, the Fifth Amendment to the United States Constitution, which is part of the Bill of Rights, once again, declares the right of a person
suspect or accused of committing a crime, do not incriminate yourself.Therefore, using a face to unlock an iPhone can be considered violent.
testifying against oneself as a result of the actions of law enforcement agencies.

In this case, the use of a face or fingers is not considered information, but is considered a physical action, although the effect of using Face ID is the same as entering a password into a device – gaining access to
information. For this reason, American law enforcement agencies have the right to legally unlock Face ID-protected iPhone X (and other models), and owners can just as legally go to court.
because of forcibly forced testimony against oneself.

The problem with Touch ID did not arise so acutely – the American special services have the legal right to collect fingerprints, and making a duplicate fingerprint without an owner is not a problem. Application
the same entity is clearly contrary to the Fifth Amendment to the US Constitution.

For this reason, Fred Jennings, a senior lawyer at Tor Ekland Law, interviewed by Forbes magazine, believes that in the future against forced unblocking via Face ID and other
similar identification systems on other platforms, one should expect protests in the courts.

Apple Hacking a Smartphone Hacking an iPhone

Magazine: IT-News Magazine, Magazine Subscription

Marijuana Legalized in the 24th US State – Vademecum Magazine

The governor of the US state of Pennsylvania has signed a law to legalize marijuana. Pennsylvanians who qualify for the marijuana treatment program can take it in pill, oil, vapor, ointment, or liquid form.

Democratic Gov. Tom Wolfe signed into law a comprehensive medical marijuana program on Sunday, April 17.

“This is truly a historic decision. It will improve the quality of life for patients and their families throughout Pennsylvania, ”the governor said when signing the document. It is assumed that the use of marijuana relieves the pain and suffering of patients with serious illnesses, including cancer, HIV and AIDS, sclerosis, Parkinson’s disease, epilepsy, post-traumatic conditions, glaucoma, autism and others.

The signed law establishes the rules for controlling the circulation of marijuana on the market, certification of doctors and licensing of producers.Patients will be able to take medical marijuana in pill, oil, vapor, ointment, or liquid form.

Medical marijuana retail stores in Pennsylvania will not open until two years from now, detailed state regulations for the distribution of marijuana and the operation of stores must be prescribed, after which the law will go into effect completely.

Of the 50 states in the United States, 24 already allow medical marijuana as directed by a physician.

In the neighboring state – Mexico – on April 8, on the contrary, they refused to support the initiative allowing the use of marijuana for medical and scientific purposes. Other US neighbors, Canadians, have decided to allow sales in only one city – Vancouver. The city council has licensed shops to trade marijuana for medical purposes, but no less than 300 meters from schools and community centers.

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90,000 PRICE DROP COULD CHANGE THE PROFITABILITY OF US PETROCHEMICALS

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NEWS
15:07, 18 December 2014

According to Platts’ latest quarterly forecast, the Global Polyolefins Outlook, the petrochemical industry has begun to feel the impact of the fall in oil prices (and in turn the price of naphtha).

While falling energy prices do not directly affect the cost of producing ethylene from cheap US shale feedstock, lower naphtha prices are expected to affect oil shale margins, as ethylene and polyethylene are shrinking globally.

Polyethylene is the most widely used plastic in the world, primarily for the production of films for the production of packaging materials and plastic bags. More than half of the world’s ethylene supply is consumed for the production of polyethylene.

Falling prices for naphtha will make the supply of olefins around the world more competitive, as 44% of the world’s ethylene is currently produced from naphtha. According to the latest Global Polyolefins Outlook, the impact of naphtha prices on the plastics market is expected to diminish slightly over the next decade as naphtha will only produce 41% of the world’s ethylene in 2024.

According to Jim Foster, director of petrochemical analytics at Platts, what we are seeing now is more of an anomaly.For this to become a sustainable trend, indicators are needed that oil and naphtha prices will remain below $ 70 / bbl for an extended period of time. Much will depend on how hard-to-recover US companies respond to such low oil prices.

Author:
EKATERINA ATEPAEVA, “Oil and Gas Vertical” magazine based on Platts materials

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The

REAL ID with an asterisk in the upper right corner allows the holder to fly on domestic flights and enter federal buildings, while the enhanced American flag ID in the lower right corner does all the same but also allows the holder to cross the US border from Canada, Mexico and some Caribbean countries.

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Everyone. I’m talking about business, of course. The ruble may sink, customers may not reach your restaurant.

Just Saturday risks, nothing out of the ordinary.

I read a lot of your articles and comments, guys, and I know that some of you will risk your money tomorrow, your business, and maybe something more.So good luck, take care of yourself

In the photo: a happy Russia of the future according to the issue of Google

UPD. On city walks, it is advised to take exercise, water, warm clothes, milk (for washing the eyes). I do not fully understand about the passport, but the lawyer advises taking, or better notarized screenshot copy of

14869

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Sports Day by Day (SDD).Sports press, analytics.

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