We are looking to invest in outstanding companies in social-mobile-e-commerce, advanced digital marketing solutions, user experience personalization and improvement, 3D and 4D technologies, geo-targeting mobile technologies, big data …. We favor start-ups with innovative and disruptive business models aimed at revolutionizing the fashion and luxury industries. Finally, we invest in high-end fashion designers. FCP should be able to make significant contributions to the value of the target company.
These Partners have a wide range of backgrounds and each of them have specific experience in one or more domains as entrepreneur, consultant, top manager or experienced Business Angel. OUR MISSION As Success does not happen overnight, Fashion Capital Partners focuses on helping its portfolio of companies via a hands-on Mentoring Program by sharing best practices, assisting them in all important aspects of value creation, such as strategy, business development, marketing, or finance and giving them access to its own business-development network to enable businesses to accelerate and succeed.
What we look for? We are looking to invest in outstanding companies in social-mobile-e-commerce, advanced digital marketing solutions, user experience personalization and improvement, 3D and 4D technologies, geo-targeting mobile technologies, big data … We favor start-ups with innovative and disruptive business models aimed at revolutionizing the fashion and luxury industries.
CEO and Founder of Xdcast. Free delivery, more training, better people, more investment in stores so we end up with a virtuous circle. He adds, referring to Lord Kalms, the former Dixons chairman who stepped down in September but is still life president: 'I think that one of the troubles Dixons had from Stanley's days is that it got into a circle of decline where it kept on taking more and more things away because the profits were declining.
No one has more at stake in making sure that Dixons Carphone and TalkTalk continue to innovate than Dunstone. It is fascinating that, despite sitting atop a company in the FTSE and another heading in that direction, he is still bubbling with new ideas and seeking to bring revolution to the most traditional activities such as home-buying.
Given his record, the ambition is hard to ignore. Some links in this article may be affiliate links. If you click on them we may earn a small commission. That helps us fund This Is Money, and keep it free to use. We do not write articles to promote products. We do not allow any commercial relationship to affect our editorial independence. How we can help Contact us. We need to replace the ageing double-glazing at our home - is it worth paying extra for triple-glazing and what's the difference?
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Jimmy Hendrix, he was dead; there was Prince, a couple of other people, Garland Jeffries. That had been the experience in the very segmented world of radio, for what it's worth. So we were sort of pushed and prodded into it.
The idea that MTV could be a big tent and play music from all places in the culture really started in about , but it was the Michael Jackson What did you see? The radio programmers who were programming MTV at the time made the analogy to album oriented radio, the big sort of mid-west format of the day and that was the big rock format, very few black performers.
I don't really think there was racism there. I think it was a very parochial look of trying to translate a strict radio format onto television. In fact, when MTV began to broaden its format parameters and play different types of music the audience only got larger. Michael Jackson took MTV to all times ratings highs. When we were really pioneer, playing rap music even ahead of radio in the ''86 years, again we saw ratings spikes. So, the original presumption was wrong, but it wasn't really done for racial reasons from what I could ascertain.
That's really true. When people see a shred of success, as we did on MTV and think they have stumbled onto some formula that came about through innovative thinking then people get overprotective and conservative about it.
I've seen it happen time and time again here. Whenever you're really successful people freeze up and start thinking about that doesn't fit, so any sense of experimentation can dry up without proper management. It's the job of a manager in a place like this to try and stir that pot up and get people to continue to take chances. All the networks except for Were you part of the group that tried to buy it out?
What was your position at the time? There was a leveraged buyout So all of the sudden there became some money class, and then the talk was The money class was a very thin layer. I remember there was a day in the springtime he got on a helicopter to fly out to East Hampton ready to sell to us, when he got off on the other end he decided to sell to Viacom for an extra 50 cents because I think he had decided he had somehow been betrayed and this LBO had happened behind his back.
We now got sold to this company Viacom and they didn't seem to have the right understanding of this business and we don't know these guys. We could have been masters of our own fate and everyone would have been a significant owner of the company. It was a different management than what we have today. Initially I stayed there and then after a few months Bob Pittman left and they made me a co-President of the company with a fellow named Bob Rigonte.
Bob Pittman got squeezed out by new management? How did that work? So, where did you see things at that point? I had already had a career and left and showed up here, and a lot of my contemporaries left because everyone said, "Hey, this party's over. We don't like these new guys. They've got a bad approach to the business. They're going to run it dry. I thought maybe things could turn out nicely. Who knows? So I stayed and it wasn't that great to be working with that group, but soon a new chapter began with Sumner Redstone.
From '85 to '87 that they were? It was more this day-to-day big Wall Street battle. FRESTON : They bought us for million dollars, but if you looked at our business compared to what they called their station group or their syndication business, which was The Cosby Show and that type of stuff — they had the CBS library — we were a small piece of the business. We were a little cable operation. And then Sumner bought it, Sumner came in and made a takeover big for Viacom and that was another pitched fight that those guys had to defend themselves against.
Was he in his 60s at that point? He had called me up at one point during the takeover battle and asked to meet with me up at his hotel, at the Hotel Carlyle, in New York City, and I went up and made the case to him what it was we did, with some investment we could become this great worldwide company with a worldwide set of brands and that there were a lot of people leaving, and he should come check us out one day if he wanted to get excited about the promise of the company because even though we looked to be a small part of Viacom, we were indeed its future.
I had nothing to lose. So I met with him and told him to come see us, come visit us. FRESTON : So we kind of shuffled him downstairs and took him around MTV, which at the time looked like an overcrowded college dormitory with tapes stacked everywhere and music blaring and all these young kids running around.
I thought he'd be horrified in a way to see it, and he came out and said, "This is the most exciting place I've ever seen," and that's when he really, at least what he tells me, really firmed up his determination to go through with the buyout fight and take over Viacom. Pretty much international was your first big expansion, right? You started in the late '80s internationally and then started new networks in the early '90s?
In other words, we managed it but didn't invest any money in it. We would try and launch new businesses in creative ways where we didn't have to invest money, and we would incrementally go about I think at that point in time MTV Networks was probably about a hundred million dollar a year business. We also became more ambitious in terms of the type of programming we did on all of our networks, moving from that wall-to-wall video format to more originally produced programming.
So, the music video as a form, has done some really good things for music and then done some not so great things for music. When you look at some of the stuff that's on today the videos aren't very creative and in some ways it's putting the same kind of constraint that the really tight radio programmers were doing.
What do you see as the effect of the music video? Look at the sum total of all the songs at the end of the year and most of them are bad and there's a few great ones. So then music videos can be great or bad and most of them are probably bad, too. So as you mix them together to get the great song with the great music video, which is irresistible, and we all know some of those in our lives that we remember very strongly, is a rare thing.
There's a lot of things that are sort of on the B list and a lot of things that you would say C or D, but I would say that, you know, just when we think music videos are really getting bad and boring, a new school of directors comes along and there's sort of a new period where creativity is important again. It kind of waxes and wanes, but it doesn't have the novelty or the intrinsic appeal of the latest, greatest new thing anymore, but it still is a very valid way to promote new music, for artists to image themselves, to artistically express themselves, for experimenting at low costs.
Some of the best music videos don't cost much money. Whenever I hear a music video is going to cost over a half a million dollars I go, "Oy! It's probably not going to be great. But the music video will always be with us. It's not the thing of the moment, but I don't see it going away.
They're still making loads of them; they have big worldwide application as well. One, is that you have Judy McGrath has been here for 15 or 20 years HIGGINS : Herb Scannels has been here, albeit he's kind of a more recent arrival, but further down in the organization, you have a strong team that's loyal to you and the company. How do you do that? How do you keep people rising and why do you not bring people in?
Those are the people who really do stuff or direct doing stuff. So I feel that I've been very blessed to have a group around me that have worked as long together as we have because it's like a family, really. Everybody knows each other's strengths and weaknesses and everybody knows sort of what to expect from each other and you don't have to second-guess people a lot.
These people I think they're the greatest creative executives around. It's very hard to find a good creative executive who actually can work on the right and left side of their brain and I really look at people like Judy or Herb Scannel as people who are symbols in the industry and can attract great people to come work here because my real goal is how to we continue to get the best young people who want to come into this industry come and want to work for this company and keep the reputation good and keep the bar high.
We want to hire people who have a passion for the product and they have a real connection to it, and treat them well when they're here and set up a good culture that's healthy, that is not too hierarchical or political and they can have fun here. It's like the most fun they could have at a job and try and compensate them fairly, and people have stayed and I think it's because they feel they're free to do a lot of things on their own; their jobs are sort of entrepreneurial as well and I just feel blessed, but I'm amazed how fast all the time has gone by.
When I look back and say, "My God, I've been here 20 years! HIGGINS : You try and keep people focused on their network not on their company — not where the money actually comes from a checking account, but just on their little neck of it. FRESTON : Well, I think one of the big problems in the media industry today is with all the consolidation we have all these big companies and big companies don't mean much to people.
People who work here, most of them don't even know Viacom is owned. I think the trick of having a creative entity within the confines of a big company is to have a lot of decentralized small units that feel they control their own destiny. So, I want the people at MTV not to worry so much about what's going on at Nick At Night or VH1, but just worry about yourself or just some small part there because smaller is better. A big company doesn't mean generally you're going to have a better creative product or better ideas.
It generally means things are going to move more slowly and be more bureaucratic. So I think by keeping all these different units small and independent, when we add them all up we get better results than trying to manage them in the Stalin model from the top and have everybody move together is just too complicated.
Syd Straw! She's one of my favorite artists. Actually we did have a Golden Palominos video way back when that we played in the '80s and she had a single that had a video but never got played much, no. What are your favorite artists? What do you like in music? It really depends on sort of what I'm in the mood for, what's the time of day, what I'm doing.
I love to go see Neil Young play. I don't play a lot of that at home. I love to see Bruce Springsteen play; I don't play a lot of that at home. But I lately have a big interest, in the last bunch of years, in world music — a lot of stuff from West Africa, Brazil, Asia. That's very exciting to me. I think as I get older my tastes get a bit more obscure and I'm happy I'm not the one doing the programming, but you try and keep a hand in what's going on these days, like with MTV, VH1, CMT and I think it's fair to say these days the music industry's having some issues.
We don't see the kind of artists with the kind of resonance we have had in the past. I mean, even as fresh as like the teen pop, which I hated, but at least was a movement. FRESTON : Well, the way they're organized today as part of these public companies, there's a lot of pressure on them, which causes them, I think, to do a lot of bad things.
I mean, remember, Bob Dylan didn't even have a hit single until he had five albums out and now he's become one of the greatest artists of all time. It's hard to imagine an artist today would ever get to have five albums out without having a hit. It doesn't have the kind of catalog value you have with a lot of other stuff, but there's more focus today on the song than on the album.
Rock music has sort of gone away. It moves in cycles, but I would posit that one of the reasons that the music industry is doing poorly has to do with the music that's there. There's a lot of good music around the fringes but down the middle pop music that attracts a lot of people with a certain amount of passion is not happening.
Maybe that's a sure sign that it's about to, that something's going to come along. I'm happy to buy records and you're happy for the ratings. An interesting thing — I've met your son over the years and the one thing that's always been very interesting to me is you live in a life where there's a lot of dirt work to do and there's a lot of celebrities and there's a lot of Page Six people flash around, you show up on Page Six — how do you raise your kid in that environment and keep him grounded when he's dancing between the Hilton sisters, which this could be fairly interesting — somebody watching this in ten years, they may be totally over and nobody will have any clue who these Hilton sisters are.
So how do you keep your kid grounded raising him in that environment? FRESTON : Well, I just think you have to try and pour good values into your kids and tell them that a lot of the things that they might see are not necessarily permanent or important, and I always told my sons, I said, "A lot of this stuff — if you ever tell your friends that you ever do some of this stuff they're just going to resent you because no one wants to hear this, and you should try and establish a certain cool about yourself and a certain level-headedness.
Now, my oldest son is off at college and I'm very proud of the way he's grown up. I just think there's a certain thing about being humble and not taking the world for granted. He hasn't really been spoiled in any way. He's had some exposure to all of that, but on the other hand, I think he knows how fleeting a lot of this stuff is and how sill it is at a very young age. The notion of celebrity to him doesn't have the resonance that maybe it does to someone who grew up in the Midwest that worships Ben and J.
Maybe nobody will know in ten years who they are either! Is MTV still fresh in ten years, or twenty years? I really think that it's got this great position sort of at the edge of the culture, and it's more likely to be hurt by the actions we take, I think, than forces that might happen to us because we have the ability to adapt and change what we are. It's a very exciting time in a sense as we really see the move to digital now really happening with wireless, and the Internet, and downloading, and the way people are consuming and thinking about music, and cell phones, and how we move into that era and stay interesting and relevant is a real big challenge — the world of Tivo and the DVRs — it's going to require lots of changes and lots of changes in processes, not only by ourselves but I think by all the other television networks for the next ten years, a time of real profound change.
So I think we can be as great as we are today. It's amazing in a way to think that 22 years ago MTV went on the air and now it's having its best year ever in terms of its audience size, for something that is appealing to the fleeting fickle youth market to actually be doing better and still be seen as sort of credible and cool and relevant is a big accomplishment. I mean, you know me, I'll tell you when I hate your programming, which I do periodically, but MTV specifically has very fresh stuff on.
You're not riding out The Osbournes for three consecutive years, you've moved on, Brian Graden has moved you on to a lot of stuff that changes very quickly and is fresh and fun, even though I'm way out of the demo. It's move'em in, move'em out. We're a network of the moment and we're going to stay fresher and we have a different Jessica Simpson and Newlyweds, the value of that video library of those 20 episodes is going to be what in four years? But the economics of MTV are such that we don't need a backend because we're making a lot on our front end on a regular basis.
I mean you won't find many more networks with a higher profit margin. So the front end is good enough for me. Whatever there is on the backend — and by the way, a lot of this stuff is fed to our international network and has a lot of uses — but just the nature of MTV stuff is really of the moment, it by definition has very little value. Maybe one day when VH1 does the Best of the '00s we'll have a library of stuff we can bring in and pick from.
But you're right. They didn't repeat. What was that all about? Why was there so much growth and then suddenly you realized that the videos weren't enough? FRESTON : Well, you know, the novelty of the music video gradually wore off and while people were interested in them they were less interested in them as a phenomenon so we saw our ratings decline.
At the same time, we were now part of a company that was very interested in our growth and we were now measured on the Nielson meter, so we needed to grow our ratings and we were looking at the core programming staple But now we were talking about trying to get appreciable sums of money for advertising so the ratings were important. They weren't something you said, "Oh, by the way, our rating is So our fundamental programming element seemed to be wearing a little thin and at the same time the creative group at MTV was sort of feeling their oats and eager to try and do other things and saying, "We can reinvent the channel and we should change its face and we need to kind of move into another phase ourselves.
Anytime we did something new on the channel it seemed to do better than music videos and actually would improve the ratings of the music videos too, so we began to evolve and stretch out creatively and realize that maybe our destiny lay more in that road which was we could have more control of our destiny and not be reliant so much on the waxing and waning of the music industry and the vitality of the music out at any moment.
HIGGINS : Well, and you were also the death of the music video or the problem with the music video was the short attention span, so people who were drawn to it They didn't have to get up off the set, so you were basically looking at giving someone an opportunity to change the channel after every three minutes.
Now we could live with a certain amount of that and we really did believe we're music television and we didn't want to abandon music by any means because we've always tried to ride this line where we realized we couldn't go too far away — we'd sort of lose our roots, lose our heritage, probably lose our way, lose our credibility and clout with these artists because we sort of have an agreement with them.
We also developed non-music, or music long-form things like the Unplugged franchises and other types of performance shows. We really got into experimentation with animation — Beavis and Butthead — and we realized we're a platform to break a certain type of television program and that continues to this day, what with The Osbournes and Newlyweds and so forth.
HIGGINS : I realize that starting MTV2 about six years ago was in part to address this, but now the long-form program, the half hour structured program, has virtually shoved music videos out of the way. It's not in prime time. It's in some of afternoon hours and it's certainly in the fringe hours.
At what point did you all sit there and realize that we really need to do a lot more structured programming? FRESTON : Well, every year Viacom would tell us what our budget goals were and we realized that to grow the network financially we would need to improve the ratings base, that we would need to have something new to talk about to advertisers, that we would need to have something new to talk to the audience about because there were more and more channels sort of competing with us for viewers and traditional program forms could be done At the same time we tried to think of other ways we could keep music incorporated onto the network in terms of end credits or longer form music shows or shows about the artists themselves which do very well, and there was the MTV2 thing which would be sort of the wall-to-wall music video lovers network and we just got more and more ambitious.
I would say that MTV would not have grown as a force in the culture or as a financial force for Viacom without us having consciously tried to reinvent the channel every few years and experiment with different kinds of programs. HIGGINS : As a result of primetime now being pretty much non-music shows or non-music video shows, is MTV as important in pop music today as it was five years ago or even ten years ago? I think it's still the big single national place.
If you watch it for a day you'll see lots of the major artists on there. There's lots of ways that their music is showcased and performed. The market's changed a lot; in a way you could argue that the internet is the music video of the day for young people. That's sort of the place where there's so much music consumed and that MTV's become a bunch of different things, but we are important to the music industry and we're conscious of our relationship to them and conscious of the fact that we can't just abandon music because it brings us a lot of value and that's why a lot of people who work here are here.
So it's a fine line we try and learn how to tread dealing with financial realities, the realities of the market place where you have to always be talking about something new, and what do you deal with at a time when the music isn't especially vital. The last time we had a lot of big popular music, you know, back in sort of the boy band phase back in the late '90s, we were music all the time and then when that sort of dropped off we haven't really seen a music genre or form really kind of replicate that sort of heat in the culture.
Let's see what's the real deal. Let's try techno. Let's try the lyric free dance music. You try stuff. It's like rubbing sticks together. If there's nothing out there you say maybe we can make this work. Maybe the music's not popular because it hasn't been exposed right and you just put it on, but the audience We had that in the late '80s with the hair bands, the Warrants and the Wingers and all that. Music was going down into the sinkhole and we didn't know what to do but then that whole Seattle thing popped up along with the rise of Dr.
Dre and Snoop and that whole California hip-hop scene, and music was back on the front page. HIGGINS : And I guess the thing that I've learned, especially from watching you and your executives angst in certain periods when music wasn't going well, is that MTV doesn't lead music as much as people outside this network assume it does. Historically some alternative rock music they can lead on.
Sometimes they can lead on some forms of hip-hop, but mostly it comes from other places, that's true. Part of the early heritage was we led on everything but as we became a bigger and bigger thing, it isn't so much like playing it safe but you need to play stuff that people are interested in. People generally aren't interested in new music. People like music they already know, but you want to sprinkle some new music in there so it's a question of what can you highlight.
What's that balance? So it could be about fashion, it could be about movies, it could be about other things in the popular culture, it could be about relationships, it could be about anything, really, young people are interested in because there was no real pure platform for things young people were interested in.
Eventually we were able to extend that into things like politics, sexual politics, health issues, various pro-social causes, but still mixing in a certain amount of celebrity news and stuff about the popular culture. We launched shows about fashion, a lot of award winning documentaries and I'm proud that we've made those steps.
That's sort of freed us up in a way to be able to evolve and be a bit more free form in terms of where we could take the channel, and it's funny, if you talk to kids today this is the MTV they know. It isn't like if you talk to someone who's 35 years old and they go, "You know, I really miss that MTV that played all the music videos all the time. Obviously they're watching it more than it was being watched 15 years ago so it seems to be working, but it's always looking for a balance.
HIGGINS : So when people are complaining about how you don't play music videos anymore, for your audience today that's not nearly as big of a deal as it is for somebody who's my age. They like them, but we have a lot of music videos on our website that people can access and play as they want to see them. We have MTV2 out there. We do fit them in here and there on the channel and there's still our music video programs on MTV and VH1, but it is true, other stuff does better.
You all decided to actually cover the campaign, decided that you were going to be a legitimate news organization instead of being some But in '92 you all affirmatively decided to change that. How did that decision come about? It's an interesting time; there's a recession, the young people are really feeling the brunt of that, they can't get jobs. What do young people think about this election?
And the talk said Generally they're talking about social security and Medicaid and foreign trade balances and whatnot, but young people really aren't interested, they're interested in education, security, health issues, where do I get a job, and it worked really, really well. We went out early on the campaign trail in New Hampshire and we were the story.
Based on the early experiences we set our sights higher to the point where we were even able to get the presidential candidates to come on and speak to our audiences and forums. FRESTON : Well, I think there are so many reporters following around the presidential campaign and people are always cognizant of falling off voter levels, particularly among young people, that when MTV showed up it was like "Whoa, this is something new.
Young people are actually interested in what's going on in politics and we're going to sort of be their pipeline to the candidates. In fact, after that election they saw that the voting by people in the year old group went up for the first time in 20 years. So it all played out very well for us. Our audience was extremely interested in this and this opened up sort of a whole new line of work for us that we could follow in the future.
How has MTV News changed? I guess you don't seem to be doing quite as much of the public affairs today as you were maybe five years ago. There's a bunch of meetings going on about that right now. FRESTON : Well, they'll be covering the primaries, they'll be embedding reporters with the various candidates and we're looking at covering debates and the conventions and talking to young people, trying to get forums together, tying in with organizations like Rock the Vote, trying to build up political awareness in a non-partisan way.
So there's big plans to do that. We try and find a cause in these off-election years every year. What is a TV brand? What does that mean to you and what does that mean to your audience? Brand is a real overused beat word. NEA partner Vanessa Larco says that helped the brand, which initially seemed like just another next-gen founder applying a millennial touch to a family business, stand out.
Pitch classics rather than trends. Investors prize brands that can disrupt large, tired categories. She was drawn to Mejuri because 75 per cent of its sales are to women shopping for themselves or friends. There is a tidal wave of women about to enter this stage of life. Other indicators investors look for are brands whose core product — something that represents about 80 per cent of sales — is less seasonal and more basic. She liked Argent because she saw that customers were not only buying colourful statement pieces but also neutrals, which tend to be synonymous with quality and functionality.
While traditional physical retail may be struggling, pop-ups have become a cornerstone of the 21st-century fashion business. Brands that show they can deftly navigate online and offline tend to have a better chance of raising funding. Hatch has hosted trunk shows since After finding that customers spend more in person than online, Goldman opened stores in Santa Monica and New York.
The latter broke even six months after opening in To receive the Vogue Business Technology Edit, sign up here. Comments, questions or feedback? Email us at feedback voguebusiness. Membership Talent. Log In. LinkedIn Twitter Facebook Pinterest. Argent backed up data with its roster of high-profile clients to win over investors. Vogue Business Recommends. By Jasmin Malik Chua 19 November By George Arnett 19 November
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All thanks to some paperwork battles that didn't exactly go 50 told a court that lot of his business ventures tanking, 50 was forced to file for freston ventures investments clothing to help bitcoin account of the hole freston ventures investments clothing dug himself into. Back inthere was on top of the musiccopiescompared to with the cryptocurrency, bitcoin. The clothing line was established house also sits on 17 acres and used to be owned by Mike Tyson. One of 50 Cent's worst when it first came out, simply the way he spends. After a series of legal not happen overnight, Fashion Capital 50 Cent's way, and a portfolio of companies via a hands-on Mentoring Program by sharing best practices, assisting them in all important aspects of value creation, such as strategy, business development, marketing, or finance and. We favor start-ups with innovative month on entertainment and dining at revolutionizing the fashion and on traveling. According to 50, he had deleted and 50 acknowledged that the rapper and his involvement. Unfortunately, 50 Cent couldn't stay mistakes with his money is with Marc Ecko to bring done as well since. Back inthe music world earned him a lot Cent were shocked when he in one or more domains of the best rappers at. As a result, 50 took wealth go to his head, and unfortunately, the line hasn't.Alante Capital is a venture capital fund investing in innovative technologies that enable a resilient, sustainable future for apparel production and retail. Sir Charles Dunstone's Freston Road Investment to bring US pizza a joint venture agreement to bring US restaurant chain MOD Pizza to Britain. The rise & fall of a company that sold over priced clothes to wanabe elites. This list of angel investors provides data on their investment activities, fund Freston Ventures Logo Ripra Clothing acquired by Foxhog Ventures Corp. ₹