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hellomynameiseril · 4 years

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Ten questions Voice

But when compared to reputation of DeFi, Tone of voice has made little progress, but there are numerous doubts. Including me, I have a lot of queries about Tone of voice, and in the past year, Voice hasn't resolved the queries in my own mind. These questions are expressed in the next 10 points: 01 When will Tone of voice go live? Let's start with the timeline of Tone of voice events: In June 2019, Block.one announced the start of Voice; In February 2020, Tone of voice released a beta version; In July 2020, Tone of voice will be open to the planet; In the first quarter of 2021, Voice is tentatively scheduled to release the state version of the App... On the surface, Voice has been developed step-by-step. But for those who have been watching Voice this year, our experience will not appear to be so orderly. The reasons are the following: 1. How many occasions do you wish to contact "The wolf will be coming"? I don't know how many people are like me. Previously yr, they thought "Tone of voice will be released soon" many times, but it has not been released yet. The moment such news came out, the state attitude was possibly ambiguous, or waited until the topic was fermented to a certain degree before approaching forward to produce a clarification. Although I am aware that Tone of voice, as a highly anticipated project, needs to constantly get rid of quite a few news to generate hot topics through the two-year development cycle. As a loyal EOS enthusiast, I can't help but believe that Tone of voice shouts "The wolf is coming" more often, which is a bit consuming enthusiast expectations. 2. "Toothpaste squeeze" marketing method Take Voice's July 4th update: If the reading through permission is only open on July 4, unregistered people nevertheless cannot register and cannot participate, please make it clear, don't add a few phrases of "details restriction" following the hot fry.

This behavior is really like a crayfish shop with a banner of "50% off today" hung downstairs in my own house. When I questioned a good friend to eat out excitedly, the merchant informed you: Sorry, it's 50% off peanuts! 3. Does Voice create us wait too much time? Officials have clearly stated that the state version of Tone of voice will be launched in the first quarter of 2021. We can not say that there surely is nothing incorrect with using 2 yrs to polish the boutique social platform, but we carry out believe that two yrs is really a bit long. When this time is long, the popularity of EOS will drop noticeable to the naked eye; the expected worth of Voice may also drop noticeable to the naked eyesight. Furthermore, from June 2019 to July 2020, this year roughly, almost occupied 2/3 of the development time officially disclosed by Tone of voice, but so far as we see Tone of voice, there seems to be no obvious bright spot. It's been less than per year since the official version premiered. Will Voice bring us some highlights in the next 1/3 of that time period? Hard to state. But as the steadfast EOS holder, I am still ready to think that good things are hard to come by and give the Voice group full trust.

02 Is Voice playing hunger marketing I'm not sure if Voice is doing hunger marketing, but I believe everyone is really starving for Voice's authorized accounts. Because we are able to clearly feel Voice's handle over the number of registered accounts: Last year, there were few users who authorized through Tone of voice. We can understand it as a regional restriction, but based on the latest official information: Although Voice began to open worldwide registration on August 15th, not really everyone can register-only after receiving invitations from registered users are eligible to register for Voice. This is like hunger marketing! More community customers have got bold guesses: If the state launch of "the number of invitations per registered user is limited", then I am afraid that a Tone of voice invitation code will be hyped by the marketplace.

03 KYC disputes and policy supervision Anyone who has watched the Tone of voice promo knows: Different from centralized social media, Voice expectations to utilize decentralized features to protect user privacy whilst truly using the right to speak in its own hands. However, Voice includes a KYC mechanism that violates the principle of decentralization, so we have to worry about privacy leakage once again. In response, BB's response was: ** ** Only your name and nationality will be recorded on the chain, some other sensitive information will not. But will Block.one get the user's private information? Will there be any threat of Block.one leaking user privacy information? However, some people state that the introduction of KYC is really a regulatory requirement to a certain degree, and we've also seen the initiatives of Block.one for Tone of voice "compliance": Last year, Block. one recognized a fine from the US SEC. The SEC furthermore granted Block. one an important exemption. Block. one will not be restricted by certain existing rules. But supervision is also contrary to the theory of decentralization. Although I usually think that "there is no complete decentralization on earth," I also think that social systems do require a certain degree of regulatory measures. But however, I still care about Voice, an equal, free, and decentralized platform: Will compliance with "regulation" come at the expense of fairness brought about by decentralization, thereby harming the interests of ordinary customers? I think this is also one of the things that Voice hasn't yet clear.

04 Is the Voice pass really fair? The disadvantages of Steem are: 1. The proliferation of robots, readers' wool celebration rampant; 2. The older authors hold an organization, like each other and comment to get income, brand-new authors hardly ever have a possibility. In reaction to this, Tone of voice has produced improvements: 1. Introduce KYC to remove fake accounts; 2. Modify the weight. The excess weight of the likes of viewpoint leaders on Tone of voice is the same as that of common people. As for the Voice pass, the currently known details includes: 1. You will get Tone of voice tokens by posting, liking and other procedures on Tone of voice, and high-quality content material producers/KOLs can get more Tone of voice tokens; 2. You may make your posts appear in a far more prominent position by paying Tone of voice tokens; 3. Whenever someone pays more Tone of voice than you, your article will move lower, and the original Tone of voice tokens used may also be returned. In addition, you can even get additional Tone of voice, which encourages you to speak louder than before. Check it out once.

This appears to avoid Steem's problem, but don't forget: Voice tokens are tradable. This raises another concern: Can We spend money to buy a lot of Tone of voice and place my posts on top? In this manner, if Tone of voice really develops right into a huge traffic pool, is the news I saw on Tone of voice also the consequence of capital operation? In reaction to this, perhaps Tone of voice includes a better design yet to be announced.

05 How can Voice's spending budget of hundreds of millions of bucks be used? Originally, there is you don't need to tell users how a team would spend money. But Block.one is different. As the parent corporation of EOS and retains 100 million EOS in its hands, its every shift will more or less affect the development of EOS, so we care about Block.one's cash. flower. Currently, Block.you have invested US$150 million in Tone of voice make it possible for it to use independently from Block.one. The US$150 million includes US$100 million in cash and US$50 million in intellectual property assets. Furthermore, Block.one purchased the domain title voice.com for People$30 million. It could be seen that the investment decision is high. But looking at Voice's official Twitter, you can find only 4869 enthusiasts, and the promo video released on July 4th is thought to have already been watched by everyone, and the level is not really very high.

However, marketing expenses are only section of Voice's investment, technology may account for the bulk, and after all, Voice hasn't officially launched. When BM chose to be a social platform, it must also remember that EOS's strong user base may divert Voice. Upon this point, I am not very worried.

06 If Tone of voice is successful So how exactly does EOS load millions of users Someone calculated a merchant account: Block.one invested 150 million U.S. bucks for Voice. Based on the customer acquisition cost of 100 yuan per KYC user on the web, Voice can easily reach the million user level. But may EOS performance carry millions of users? Although the performance of EOS can be called the best, the scene of network paralysis caused by EIDOS mining half a year ago continues to be vivid, and many people are questioning whether the EOS network can support the operation of Voice.

Some people say: The dApp on the EOS chain can pay for the CPU for users, and Tone of voice is backed by Block.one, so there is no need to worry about resource issues. However, as we described at the beginning of the article, Voice is really a dApp template on EOS chain meticulously created by Block.one, which can provide a reference for some other dApp projects. Not every dApp developer gets the strong power of Block.one. From the viewpoint of paying customers for CPU, is the cost of dApp development on the EOS chain too much? Consequently, achieving technological breakthroughs and improving the functionality of the general public chain are what really matters.

07 Can Tone of voice out from the circle Anyone who has seen the Tone of voice page can easily see that Tone of voice isn't just limited to blockchain socialization, but addresses all areas of life such as sports, tradition, and tourism.

Individuals who think Tone of voice can be out from the circle have the next reasons: 1. Voice is the second period for BM to choose the social track, which avoids several Steem problems; 2. Blockchain has three natural benefits: DeFi, interpersonal, and games. Tone of voice belongs to interpersonal; 3. Voice offers a free EOS account for each registered user, which greatly reduces the threshold for use; 4. As a blockchain social platform, Voice's vision nevertheless solves the pain points of many centralized social platform users. However, this will depend on whether the official version of Voice may convert these benefits well.

08 Experience school or even technology flow Although it includes a lot of advantages, the knowledge of using Voice is also very important. Being out from the circle implies that an individual base is large, but technologies is quite abstract after all, in fact it is difficult for everyone to comprehend the technical logic behind the product. Therefore, the product experience is very important. But when compared to already very mature Facebook, Twitter, etc., we've not seen too many highlights from the presently released Tone of voice beta. Even Tone of voice product visions such as decentralization, openness and transparency, rejection of control reviews and manipulation caused by bogus accounts are difficult for users to seriously feel. Whether Voice may attract numerous users is without a doubt yet to be known.

09 If Tone of voice is unsuccessful Does EOS have other big techniques to release Asking this issue isn't to end up being optimistic about Tone of voice, but after all, we must pay attention to one in the event. While looking towards Voice, we are able to carefully recall the entire 2020: Aside from Voice, perhaps you have heard some other hot information of EOS that has caused widespread conversation in the community? This is simply not a good thing, because provided that there is prosperity, there will be a hundred flowers blooming: Voice can be a dApp template created by Block.one on the EOS community chain, but EOS cannot only have this template. Moreover, everyone's anticipations for Tone of voice are high. Nearly 80% of EOS hotspots are created by Voice. If the excellence of Tone of voice does not meet up with everyone's anticipations, how can Block.one stabilize everyone's confidence in EOS?

When may Chinese customers use Voice This question is my biggest concern. I as soon as thought that Tone of voice attached great significance to the Chinese marketplace. In the end, in EOS, the influence of the Chinese market lies there; In the end, Voice nevertheless relied on EOS to attract traffic in the first stage. And, just as the cover up of the beaming Twitter personal homepage, BB, in the last yr of the Rat, who dares to state he doesn't worth the Chinese marketplace?

But excluding quite a few "scientific online" customers, the Chinese marketplace is definitely blocked by Tone of voice at present. Although you can find regulatory reasons, past knowledge tells us: The sooner you enter the overall game, the greater the bonus you love. I wish that when the state version of Tone of voice is released in the first quarter of 2021, we will be treated equally.

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ladystylestores · 4 years

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Ralph Toledano Defends Fashion Weeks, Runway Shows – WWD

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Ralph Toledano has attended many, many runway shows — as head of brands including Guy Laroche, Karl Lagerfeld, Chloé and Nina Ricci, and in his current role as president of the Fédération de la Haute Couture et de la Mode.

Forced to cancel men’s fashion week and couture week in the wake of the coronavirus pandemic, French fashion’s organizing body is preparing for digital showcases in July hinged on films and videos. But it hopes to resume runway shows as early as this autumn, conditions permitting.

In an exclusive interview, Toledano articulated the value of the physical format, of fashion weeks, and the central place of Paris:

WWD: Let’s pretend you’re in a court of law, asked to defend the reputation and purpose of the runway show. How would you state your case?

Ralph Toledano: It is the very best incentive for the designer and his or her team to excel in every single aspect: design, materials, colors, construction, embellishment — not only for ready-to-wear, but also for shoes, bags, jewelry, beauty, etc. And the show is such a stimulant that the closer it gets, the more innovative and prolific the design team becomes.

For each house, it is the highlight of the season: a moment of fever, excitement, celebration, when everybody comes together to support the design team — a situation when everything becomes possible. And the show itself is an exceptional moment of excitement and buzz, as at a specific time, in the same place, you gather all the fashion experts to see — I would even say to feel, smell and practically to touch — the result of several months of hard and intensive work. The staff can’t wait for the show and no one would miss it for any reason.

It is quite emotional, and I do not think that we are even close to finding an alternative to a fashion show. This being said, the above applies only to brands who stand for creativity and workmanship, which is the hallmark of Paris.

WWD: That’s a lot of pros. Do you see any cons for runway shows or fashion weeks?

R.T.: Each season, more and more brands apply to be included in the calendar of Paris Fashion Week. It’s a unique moment for the industry, a kind of ceremony where we celebrate our passion for fashion and for creativity.

Regarding the cons, I would mention two. First, the cost. Even if there is a very wide range of budgets, shows are generally expensive. I think that in this very difficult period, we will see more intimate presentations in the federation’s’s calendar. They are generally very warm, have a special character, and allow social distancing.

The sustainability aspect has also been identified, sometimes exaggerated as, in terms of carbon footprint, Paris Fashion Week represents the equivalent of a small international music festival or event. Since a while, the federation has been active on this topic. Paris Fashion Week is getting greener every season, and we have been working on a bill of specifications with all the stakeholders — brands, producers, venues — in order to be more and more sustainable.

Additionally, we are developing a tool to find more sustainable alternatives at each step of the value chain. The goal is to improve the decision-making process from the conception to the dismantling of the sets.

The Set at Chanel Haute Couture, fall 2017. Stéphane Feugère/WWD

WWD: How do you feel about “see-now, buy now” formats for the Paris shows?

R.T.: You and I have been discussing this topic already a few years ago, and on behalf of the federation, I listed all the reasons why for creative brands, it did not make sense. The facts proved that we were right. It may work for consumer-driven or lifestyle brands. These kind of brands may find relevant to organize a kind of entertainment event, highly Instagrammable.

WWD: How about coed shows?

R.T.: As long as the two lines are consistently designed, or if one of the two lines is underdeveloped, it may make sense for some houses. But in my opinion, it is more powerful and it gives more strength to each collection to show separately.

WWD: And how do you feel about digital formats in lieu of physical shows?

R.T.: All the fashion houses must be highly digitally minded, in each aspect of their organization. Regarding the shows, digital is becoming an interesting complement, and a possible alternative in very special circumstances — such as this awful period we are going through. It can be a real source of innovation for expressing creativity, and it is what we are working on for our men’s wear and couture online projects, which will take place in July.

But, as I mentioned previously, at least for the moment, nothing can replace the very special emotion of a fashion show in “real life.”

WWD: The CFDA and the BFC recently issued a statement saying “the fashion system must change, and it must happen at every level,” urging a slower pace and recommending “that brands attempt to show during the regular fashion calendar and in one of the global fashion capitals in order to avoid the strain on buyers and journalists of traveling constantly.” Do you agree with all that? Why or why not?

R.T.: I agree that the fashion system must change, and in several aspects, starting with the seasonality of deliveries and sales, a proposal well developed by Dries Van Noten and his task force. I think that fall-winter collections should be sold from August/September to February, and spring-summer from February/March to August — that is, during the periods when the customer wears those clothes. Sales would take place in September and March.

Discounting very early in the season should stop: It is the cancer of our industry. American department stores have started this kind of practice and have successfully exported it to the whole world. It is now very dangerously adopted by e-commerce pure players.

The bottom line is that after having tremendously damaged the excellent network of American specialty stores, the American department stores are now in big trouble. And I worry a lot for e-commerce pure players.

WWD: That sounds dire. What do you recommend?

R.T.: The industry must fully embrace digitalization by using digital tools in the entire value chain.

In terms of inventory, which is another challenge, a clear difference must be made between fast fashion, which indeed builds huge stocks of unsold products, and creative fashion. It is definitely up to the fast-fashion players — whose volumes represent at least 100 times those of creative fashion — to handle the problem of overproduction.

With regards to the numbers of collections, the profession cannot decide that there will be only two collections per year. It is the customer who drives the process. Each house has to analyze what’s best for them. Until they reach a critical size, brands — as far as deliveries are properly cadenced — can concentrate on one collection per season. But on the other side, it is also crystal clear that, up until now, large businesses needed to bring novelty much more often to satisfy their customers. And I do not think this is going to change because of COVID-19.

WWD: And the idea of showing in one city each year like the Olympic Games? How does that grab you?

R.T.: For decades, Paris has been carefully selecting exclusively creative brands, and it is this consistency which made Paris the indisputable worldwide capital of fashion. In no way would we mix this portfolio of brands in an incoherent ensemble.

We do not think all the shows should take place in one city, because the strength and the indispensable success factor for a fashion week is the consistency of the offer in terms of shows.

Paris stands for creativity and workmanship, and it would be nonsense to mix it with other brands which do not have the same characteristics.

WWD: So the competition between fashion capitals goes on?

R.T.: It is absolutely not the case, from time to time we have informal discussions. With Milan, we even have a close and friendly relationship.

WWD: How do you see the place of Paris going forward, and what is the federation doing to reinforce this?

R.T.: Paris is presently the indisputable capital of fashion — whether you talk of women’s wear or men’s wear — attracting the most talented designers from all over the world, and has the privilege of being the city of haute couture.  Being the City of Light and offering very good infrastructure and the best possible service to our guests is certainly another strength.

This is the result of a constant policy of very strict selection of the designers showing in Paris, of an openness to the world. Paris Fashion Week has forever practiced inclusivity, abided by very precise rules for the calendars, and remained obsessed with making the stay of our guests as pleasant as possible. These will continue to be our guidelines.  And being aware of the precariousness of any situation, we aim to perform better every season.

WWD: You mention the international character of Paris Fashion Week. Any concerns that fashion weeks might become more local, and Paris could lose its Japanese, its Americans, its Chinese designers?

R.T.: We do not think so. The best designers, whatever their nationality, will always want to compete with the champions, and this happens in Paris.

WWD: There’s considerable doubt about the possibility of physical shows in September, and already Dries Van Noten, Marine Serre, Saint Laurent, Off-White, Thom Browne and Valentino have said they will not have runway shows in Paris. Has anyone committed to do a physical show here?

R.T.: The first priority is to know if we can safely organize physical shows. A lot of designers have continued to work during the lockdowns, and we think that they will be able to show their collections. But again, our concern at this stage is to make sure that we can organize a safe fashion week.

WWD: Individual brands, including Gucci and Saint Laurent, seem to be breaking away from the organized fashion weeks. Is this setting the stage for a free-for-all?

R.T.: With regards to YSL, I spoke both to Kering and YSL after the YSL announcement, and I was assured that the brand would be back on the calendar in February.

A free-for-all will not happen: The fashion industry is not suicidal.

WWD: Any other recommendations for the sector?

R.T.: The future of the fashion system will depend on various parameters: First and foremost, we must put creativity at the center, and listen carefully to the customers’ wishes, whatever their nationality, and fulfill their needs.

Companies should focus on a direct-to-consumer approach, and resolve the problems with seasonality and discounting. They should also increase digitalization, use AI, be more sustainable, work less in silos and bring humanity and respect to our teams. Creative people are the most important asset of a fashion brand.

For various reasons, there is presently a malaise in this population, a malaise that Alber Elbaz was the first one to express four or five years ago, and it must be the top priority for managers and designers to open the dialogue, and discuss openly the missteps of each party.

WWD: The crisis prompted much soul-searching, and fashion seems destined to be a slower, smaller and perhaps less omnipresent industry and cultural force. Do you agree, and how do you feel about it?

R.T.: I do not believe in decay. More than ever, we need to grow and massively create jobs. The next 10 to 18 months will clearly be tough in terms of business, but the fashion industry will come back, probably with changes — positive ones — in my opinion. It will strongly come back.

A pandemic does not change the human being’s nature: the desire to dream, to dress, to adorn, to be desirable, the appetite for newness and workmanship and to show one’s difference will not disappear because of COVID-19.