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Kaleidoscope is a catalogue and online based retailer specialising in women’s fashion and accessories, but also stocking homewear and electricals. Kaleidoscope is owned by Freemans Grattan Holdings (previously named Otto UK), which is in turn owned by Otto GmbH – one of the largest retailers in the world[1] with over 50,000 employees at 123 companies across more than 20 countries.[2]
Freemans Grattan Holdings largely operates in the UK through brands including Freemans, Grattan, Kaleidoscope, Oli, Look Again, Bon Prix and Witt. The company also owns Hermes (Previously named Parcelnet[3]) – A European home delivery courier company
History[edit]
Kaleidoscope was originally a division of W H Smith, and traded as its Book Club merchandise catalogue. This division was better known as BCA (Book Club Associates). In 1982 Grattan purchased both the Kaleidoscope name and the mailing list. The operation was operated from a location in Leicester with both computer and distribution resources being used in Bradford, from Grattan.
In 1985 Grattan purchased the Scotcade operation in Bridgnorth, Shropshire, Kaleidoscope relocated there and operated from with both Companies under one roof. The next few years saw the business develop and the acquisition of Aspect (a similar operation to Scotcade), which was originally based in Wetherby. This growth led to the formation of a strong Direct Mail Division. During this time Grattan, under the direction of David Jones (MD), had merged with Next [4] who were based in Leicester and managed by George Davies (retailer) - who is now synonymous with the ‘George’ brand in Asda stores. As a result of the Next site having sizeable office space Kaleidoscope returned to Leicester in 1989.
1991 saw the current owners, Otto GmbH, purchase Grattan Plc,[5] with Kaleidoscope part of this deal. The Direct Mail Division remained in Leicester, but moved to a new location in 1994-1995. In 1997 Kaleidoscope moved to Bradford wjoining the rest of the group. They occupied in a separate office space on the third floor of Anchor House, Bradford, housing the Kaleidoscope operation.
In December 2008, Otto UK became Freemans Grattan Holdings (FGH)[6] Kaleidoscope is one of their brands. The business has seen a gross annual turnover of £4m in 1982 increasing to its current[when?] figure of approximately £100m. The work force has 60 personnel, with the resources of FGH playing a vital supporting role.
The main focus now is on women's fashion targeting affluent women aged predominantly 45+; the product range also includes fashion accessories, bedding and soft furnishings, homewares. and gardening. Approximately half of all demand is generated online.
Location[edit]
Kaleidoscope is based at Vicar Lane in Bradford along with Freemans Grattan Holdings and all of its sub-companies.
Website[edit]
References[edit]
- ^Deloitte - Global Powers of Retailing 09
- ^'Otto Group - The Otto Group'. Archived from the original on 2009-05-10. Retrieved 2009-09-30.
- ^Hermes Europe
- ^'The Catalog Shop - Catalogue History - Grattan'. Archived from the original on 2017-05-03. Retrieved 2009-09-30.
- ^EU Commission - Competition - Case m70_en
- ^Retail Week - Freemans Moots US Fascias For UK As Restructuring Starts
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Terratec sound cards & media devices driver download. Softcover with dust jacket, 108 pages
26.5 x 36.5 cm
ISBN: 978-8-897185-06-2
Language: English, Japanese
Comes with a poster and two stickers
Designed by Kasper-Florio
With texts by Alessio Ascari, Venus Lau, Hans Ulrich Obrist
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Download your company name driver. This super book published by KALEIDOSCOPE accompanies a two-artist exhibition co-curated by Alessio Ascari and Shinji Nanzuka, bringing together for the very first time the work of Japanese artist Hajime Sorayama and Swiss artist HR Giger. Touring from PARCO Museum in Tokyo to PARCO Event Hall in Osaka between December 2020 and February 2021, the exhibition coincides with the 80th anniversary of Giger’s birth and features over 50 works ranging from the late 1960s to the present day.
The catalogue, designed by Swiss-based art direction firm Kasper-Florio with Samuel Bänziger, features a foreword by co-curator Alessio Ascari, a critical essay by Venus Lau, an interview with the late HR Giger by Hans Ulrich Obrist and Patrick Frey, and a recent interview with Sorayama by Ascari. It comes with a 50x70cm two-sided poster, and two 20cm die-cut stickers.
Download stenocast driver. Born and trained at opposite ends of the world, Sorayama and Giger are apparently at odds—one’s bright colors are swallowed by the other’s dark chiaroscuro; one’s enthusiastic outlook on technology borders with the other’s nightmarish dystopia; one’s “super-realism” challenges the other’s surrealism—yet they share more than meets the eye. Both emerged in the 1970s and 1980s, becoming acknowledged masters of airbrush painting and influential creators beyond the boundaries of the traditional art world, blurring the relationship between commercial and personal work. But more importantly, at the very core of their practice lies a similar concern: an obsessive investigation of AI, eternal life, and the fusion of organic and apparatus. Gynoids (female androids) are predominant subjects, conjuring the post-human and the apotheosis of the woman to reveal an underlying tension between life, death, power and desire.
Hajime Sorayama (b. 1947 in Imabari, Ehime prefecture) has established his position as a legendary artist, both within Japan and internationally, for his extensive oeuvre that centers upon an ongoing pursuit for beauty in the human body and the machine. Best known for his precisely detailed, hand-painted portrayals of voluptuous women, obtained through an astoundingly artful use of a wide array of realistic expressional techniques, most prominently airbrush painting, the artist’s international recognition is inextricably tied to his signature series titled “Sexy Robot” (1978-) featuring erotic android figures clad in shiny chrome metal, and to AIBO, the award-winning robotic pet he designed for SONY in 1999.
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Hans Ruedi Giger (1940–2014) was a Swiss surrealist painter, sculptor, and set designer known for his biomechanical creatures, extraterrestrial landscapes, and disturbing sexual machines. In a career that spanned more than five decades, he employed a staggering variety of media, including furniture, movie props, prints, paintings and sculptures, often creating exhibition displays and total environments with the immersive quality of a wunderkammer—including, most notably, the HR Giger Museum in Gruyères. In 1979, his concept design for Ridley Scott’s Alien (1979) won an Academy Award for Best Achievement in Visual Effects and catapulted to fame his daunting vision of death and futurism.