Dereham Operatic Society

Dereham Theatre Company (formerly Dereham Operatic Society) is a charitable Trust and was formed in 1948 to offer the local community education and enlightenment in amateur dramatic arts. A very grand way of saying that we were formed to entertain the people of Dereham and Norfolk!

Our Shakespearian motto “Mere folk who give distraction are we” comes from Cole Porter’s musical “Kiss Me Kate”, which we first performed in 1970, and is based upon one of William Shakespeare’s most famous plays “The Taming of the Shrew”.

We stage three productions a year (not including the productions of our youth group) including a major musical in the autumn, a pantomime over the Christmas period and a play in the spring. There is something for everyone!

If you are looking to join one of the premier operatic and dramatic societies in Norfolk as either a performer (we actively encourage all whatever your ability or experience, whether you are a singer, an actor, dancer, or just enjoy being on stage), backstage helper, front of house staff or just looking to purchase some tickets for our next show . you need look no further; Welcome to our website.

Memorial Hall, Dereham. 1st January 2012

“Without a doubt the star of this show was the newly refurbished and extended Dereham Memorial Hall what a fantastic job has been done and DOS were lucky nay privileged to stage the first public show at this super venue. The public, who were less than keen to come to last years super panto at the High School, came in their droves, perhaps to see this new venue, but also to see a traditional family panto, and on both fronts were not disappointed. Dereham pride themselves on their traditional pantomimes and this one followed that fine tradition.

Firstly it was apparent that the live music with MD Ian Futers and percussionist Matthew Crittenden were ‘up for it’ and in tune with every opportunity for underscoring and musical sound effects, this can add so much to a panto! They both clearly enjoyed the whole package and had selected some great songs for principals and chorus. Additionally and perhaps unusually, I will give my first accolade to the six young ladies who made up the dance troupe (Martha Bailey, Rachael Bird, Jade Copeman, Amy Futers, Emma Hammond, Bryony Rowe). They were truly a highlight of this show with some twenty plus routines, they did not put a foot wrong and should be considered for the Olympic Synchronised Swimming (My assistant critic, Thomas Major age 10, said ; “I liked them a lotthey were brilliant and they put lots of effort into their parts!”).

Now Mother Goose is not a pantomime with a great story, with the good and evil sort of tagged on, but lively cockney Fairy Fortune (Emma Gall) with great pyrotechnic entrances, was a lovely rough and ready counter to Demon Discontent (Nick Bird) who worked hard and gave us all plenty of chances to boo and hiss as he made a play for the villain of the year probably not enough exposure in this show Nick need to see more of you next year ? In this panto you clearly need a Mother Goose and here was a fine Dame in this role (Gareth Evans) building on his excellent debut from last year as he was much more confident and totally comfortable in the various frocks and fineries that adorned his entrances. Good facials and his/her ‘bra’ jokes were a great and clever running gag, making this an uplifting performance! Maybe a more adventurous costume when the transformation takes place would have been the icing on the cake. He is a great Dame in the making Daughter Jill (Ellie Buckingham) was truly beautiful and sung with great style as she played the romantic role opposite our hero Colin (Jayne Andrew) who looked great, a truly traditional Principal Boy, with the occasional thigh slap (more please!), great stage presence and attitude. Perhaps a slightly less affluent costume would have been appropriate until their wealth was restored. We knew this pair were made for each other, perhaps a bit more suspense was needed as the path of true love ran abnormally smoothly. Not so that of Mother Gooses’ younger offspring, as ‘Silly’ Billy Gosling (Charlotte Buckingham) had all the kids on his side and ‘in his gang’, even if stealing a dubious pot of Christmas flowers was hardly worth shouting about we all did though! Billy kept up the energy throughout in a lively and engaging way a real audience pleaser (My assistant critic, thought she/he was great). In this panto there was little for the human baddies to do but with excellent bumptious blustering, the Squire (Tony Wilds) was suitably obnoxious and un moving in his desire to have Mother Goose evicted and to increase the rents of all the villagers. He was ably or not assisted by his henchman Bill Bumpkin (Kevin Reeve) and Ben Bogtrotter (Mark Wells) who had some nice comedy moments and worked well together as a fine pair of incompetent bumbling baddies. I particularly liked their sketch with the ‘broken crockery’ parcel.

Thus far, no mention of Priscilla the Goose, sent from space it seemed, and a fine eight foot specimen she was. Real goose feathers, beak and moving eyes (sadly nothing else did) she dominated the stage, dwarfing everyone around her, and of course she laid the golden eggs rather too soon in the proceedings I felt; and all at once! (I felt the script was a trifle lame in this respect). So the story had little else except the beautification of Mother Goose which worked well with ghosts and goblins by the enchanted pool a nice scene, of which I felt more could have been made. The Goose perhaps looked a trifle past its ’sell by date’ as not all parts were in working order, but it was ably handled from within by Amy Evans complete with in built duck call! Her ‘parents’ King Proper Gander (Peter Havis) and Queen Goosegog (Pat Tabor) gave well portrayed cameos, and yes there were plenty of goose gags!

This script was not particularly inspiring (the best of nine scripts read) but Dereham made the most of it and technically it worked well with excellent costumes and home made scenery giving the audience a great night out, the song sheet needed a bit more thought but we clapped and sang along with the ‘army of kids’ invited onto the stage to assist. They will all remember their, albeit brief, first time on stage! Well done, a show fit for this great new venueEnjoy it!

Dereham Theatre Company Norfolk amateur dramatic arts and theatre in Dereham

Dereham Theatre Company (formerly Dereham Operatic Society) is a charitable Trust and was formed in 1948 to offer the local community education and enlightenment in amateur dramatic arts. A very grand way of saying that we were formed to entertain the people of Dereham and Norfolk!

Our Shakespearian motto “Mere folk who give distraction are we” comes from Cole Porter’s musical “Kiss Me Kate”, which we first performed in 1970, and is based upon one of William Shakespeare’s most famous plays “The Taming of the Shrew”.

We stage three productions a year (not including the productions of our youth group) including a major musical in the autumn, a pantomime over the Christmas period and a play in the spring. There is something for everyone!

If you are looking to join one of the premier operatic and dramatic societies in Norfolk as either a performer (we actively encourage all whatever your ability or experience, whether you are a singer, an actor, dancer, or just enjoy being on stage), backstage helper, front of house staff or just looking to purchase some tickets for our next show . you need look no further; Welcome to our website.

“DEREHAM Operatic Society’s latest production certainly wasn’t afraid of dealing with weighty issues tackling everything from health farms to mothers in law, by way of motorcycle maintenance, fancy dress parties and domestic chores. The farcical action revolved around a day in the life of three couples who have recently moved to a housing estate, but have yet to meet their neighbours. And, although some of the actors were a bit rusty with their lines on the first night, the well timed delivery of Richard Harris’s script earned them regular peals of laughter. Rarely a minute passed without an innuendo of one sort or another, with members of the cast either rushing back and forth between ever more absurd costume changes or lounging in bed. Doctor on top in farcical affairs. An innovative stage design, showing the insides of three rooms in three houses at once allowed the quick fire action to jump between locations as characters peered out of windows or stormed across the street. But, although these situations were funny enough in themselves, the real butt of the jokes was middle class society, and all the characters were instantly recognisable. There was Lavina Pirret’s weight conscious mother, Tom Monument’s neurotic divorcee, or Jill Jarman’s meddling mother in law. But top of this chaotic heap was undoubtedly lan Sandell’s admirably eccentric Dr Charles Prentice, a borderline alcoholic with an irritable disposition who forces us to ask ourselves once again: “Why do we trust our GPs?”.”

Dereham Theatre Company

Dereham Theatre Company (formerly Dereham Operatic Society) is a charitable Trust and was formed in 1948 to offer the local community education and enlightenment in amateur dramatic arts. A very grand way of saying that we were formed to entertain the people of Dereham and Norfolk!

Our Shakespearian motto “Mere folk who give distraction are we” comes from Cole Porter’s musical “Kiss Me Kate”, which we first performed in 1970, and is based upon one of William Shakespeare’s most famous plays “The Taming of the Shrew”.

We stage three productions a year (not including the productions of our youth group) including a major musical in the autumn, a pantomime over the Christmas period and a play in the spring. There is something for everyone!

If you are looking to join one of the premier operatic and dramatic societies in Norfolk as either a performer (we actively encourage all whatever your ability or experience, whether you are a singer, an actor, dancer, or just enjoy being on stage), backstage helper, front of house staff or just looking to purchase some tickets for our next show .

The staging, production and vocals of this talented ensemble shout professionalism at its best and a packed audience on opening night made sure the cast and crew knew how much their hard work had paid off with whoops and cheers after every song.

The story itself needs little explanation. Charting the final days of Jesus Christ, his betrayal by Judas and subsequent trial and crucifixion the show brings all the emotion and turmoil of the biblical events to the fore.

Powerful voices from the lead characters filled the auditorium at Dereham’s Memorial Hall from the choral harmonies of the show’s most memorable title song to the sweet and gentle lyrics of Mary Magdalene (Genevieve Plunkett) singing I Don’t Know How to Love Him. Nobody missed a beat or a note throughout.

It was hard to believe this was Michael Stoker’s theatrical debut as he performed the lead role of Jesus of Nazareth with confidence and style and the beautifully crafted crucifixion scene was both memerising and distressing in equal measure.

Elliot Hunter played his troubled apostle Judas with such drama pushing himself to the limits to produce a performance of exhausting emotion while Chris Dilley as Pontius Pilate and Lewis Aves as apostle Peter showcased equally strong vocal performances. Tony Wilds as Caiaphas and Laura Marvell James as Annas with their stunning facial make up were convincingly menacing as the plotters of Jesus’ downfall.

Having never seen the show before I wasn’t sure if the Herod character was supposed to be quite so camp but Paul Allum, who is well known for playing the dame in the company’s Christmas panto, brought a much needed dose of laughter to the performance with his portrayal of the flamboyant King. His costume is a sight for sore eyes!

It is a captivating show from start to finish with a huge cast who use every inch and height of the cleverly crafted stage. Hats off to director John McInnes, musical director Helen Cowie and choreographer Jodie Quirke.

If you want to spend two or three times the amount to go to the West End or see a professional touring company perform this musical then there is always the opportunity to do so. But there really is no need when such a stunning show is right here on our doorstep. ”

Review by Stephen P. Hayter, NODA Regional Representative Area 4 North, October 6th 2015

“It has long been my suspicion that Tim Rice and Andrew Lloyd Webber’s rock opera ‘Jesus Christ Superstar’ is just too difficult for amateurs. The singing is extraordinarily complex across a very wide range of parts and acting without dialogue is not something everyone can do. I have seen some really good singers struggle with the rock style and I have also seen that same singing degenerate into shouting to music, which is just not good enough for an iconic piece such as this. So, in short, it was with a very, very large amount of apprehension that I made my way to the wonderful Memorial Hall, Dereham for the Dereham Theatre Company’s 2015 musical production.

It is always such an honour to deputise for local NODA rep, Sue Dupont, and the welcome here is as good as anywhere I have been, even if Colin had forgotten the keys to the bar and had rushed off home to retrieve them! This was Mr Rice and Lord Lloyd Webber’s second completed work and their first success and I have never been more certain that the story of the last days of Christ needs no retelling from me.

The very first thing to say was the set (Scenic Projects) was breath taking! A very grand affair with superb lighting (Emotive Sound Light) and a vast selection of misting and smoke effects that always seemed to be, and stay, in exactly the right place. I remember thinking this must be in with a shout for the Area 5 Best Technical Award for that achievement alone. Costumes (design by Michele Blanks and Katharine Lennox) were fine although I had been alerted to a late sixties early seventies flower power motif, which did seem to be a little diluted as the show progressed, giving in to some obviously Roman clothing and the usual smattering of militaria that always seems to form a part of this title. Judas seemed most at ease with his apparel with the white/black (good/evil) underscore. Make up (Sophie Blanks) did everything it needed to and incidental hair and wigs (Sophie Blanks assisted on the wigs by Elly Haylock) were really a bit special. The incredible red ringlets of Mary Magdalene were inspirational and aside from lifting the profile of the character gave her a empowerment that helped her all but steal the show.

The chorus ( lepers, prostitutes, followers ,soldiers, merchants and priests) were all enthusiastic and in the right places at the right times with choreography that allowed for sufficient movement, whilst containing plenty of familiar moves. They sang well, and just for a change that included the male ensemble (Disciples take a bow) with a superb harmony in “The Last Supper” that was just beautiful. It was a large group as well which was needed to support such a spectacular set and I take my hat off to Director, Musical Director and Choreographer for such a well drilled team.

In the supporting roles I enjoyed Laura Marvell James as Annas (a part that seems to be performed by a female as often as not), Andy Lofthouse as Simon Zealotes and Tony Wilds as the manipulating Caiaphas. I was also extremely impressed with Lewis Aves as Peter who struggled at first but by the time he got to “Could We Start Again Please?” his brilliant singing voice was bang on the money making this song (with Mary) the showstopper it always seems to be. In a similar vein, outstanding Chris Dilley as Pontius Pilate seemed ill at ease with “Pilates Dream” but when he got to “Trial Before Pilate/39 Lashes” I was captivated. An incredible singing voice and an acting performance that actually was the best in this production. The agony and torment in the position he found himself were conveyed with complete assurance.

In such a dark story (you know how it ends) a little comic relief even of the black type is always welcome, and the very camp Herod, beautifully played by Paul Allum, delivered all the laughs you were going to get.

It would be disingenuous to pretend that all the notes were hit at all the right times and that syncing with the band did not stray from time to time but I remind you of my opening remarks. This show is difficult to sing and just as difficult to act and any criticisms no matter how minor have to be balanced against that statement. I liked Michael Stoker as Jesus, but as usual I did find him a little sulky, and, as with every other production I have viewed, a little violent. The throwing over of the table in the temple is well documented but the shoving (with Judas most notably) just seemed out of character at least to me. Mr Stoker had a mighty stage presence and worked hard to get through a large amount of singing with his voice showing the strain towards the end. I thought his best work was during the crucifixion scene, where the carrying of the cross and the spectacular raising of it with him in place had me close to tears.

Perhaps the most difficult of all the parts is that of Judas. Long, complicated songs and a mixed grill of emotions to convey and Elliott Hunter was just superb. He also took a while to settle with the singing, but as the second half rolled out he just got better and better. In addition, I have to say he looked good and moved well, making it difficult to take your eyes off him at any time. However, beautiful Genevieve Plunkett as Mary Magdalene managed to steal every scene she took part in and I know a lot of people think it is the easiest of the lead parts . performing to such a high standard as she did is never easy. The crazy red wig was a brilliant tool to raise her profile, and her costume and movement would have been enough, but she also had the voice of an Angel. “Everything’s Alright”, “I Don’t Know How to Love Him” and “Could We Start Again Please?” were all close to perfection as she nailed one crowd pleaser after another. Her CV suggests she is a Gilbert and Sullivan fan ; well this was as far from G and S and you can get!

I had a pretty good idea where penultimate paragraph honours were going before the first note was sung and although Genevieve Plunkett, Elliot Hunter and Chris Dilley were all in the frame I award them to the set, lighting and effects. Outstanding!

My compliments to Director, John McInnes, this was the best version of this show I have seen and with the level of difficulty so high he should be very proud of his achievement. Some nice directorial touches I had not seen before included the tormenting lead guitarist who came on stage three times when Judas was in turmoil, which, (thanks to great reactions from Elliott Hunter) really amplified the internal struggle he was going through. My hat is also off to Musical Director Helen Crowe (Assisted by Dave Cowie) and the 10 (correct me if I am wrong) piece band who did a great job. General criticisms are few. I struggled to hear some of the lyrics but the overall volume of the orchestra was not too loud. This, combined with some of the timing issues, made me wonder if the cast could hear well enough or if the balance was not quite right yet. However, when you are talking about a show this difficult it seems unfair to offer even these minor dissatisfactions.”

Digging into Social Media with Qualitative Methods

The ever growing use of social media and the resultant Big Data excites quantitative researchers. The potential to use social media to collect rich data that can generate new insights excites qualitative researchers. Quantitative methods allow researchers to reveal and follow patterns of posts and responses by users of social media sites. But at some point we need to ask in order to discern users motivation, understand the significance of behaviours and learn how the experience is significant to their personal or professional lives. Qualitative researchers have the ability to do so. Qualitative research approaches allow us to dig below the surface to explore how, why or what, and to explore relationships and connections not readily evident in Big Data is why I taken to describing it as Deep Data.

While quantitative researchers typically collect data or track movements posted at a previous time, qualitative researchers can use asynchronous, synchronous and near synchronous approaches. Social media sites allow researchers to develop new interpretations of classic qualitative data collection approaches: observations, interview and document analysis. (For more on social media communications and qualitative data collection, see my video blog here.)

We have a lot of options when it comes to the type of study to be conducted with qualitative research on, about or with social media. We can look at the online behavior as the research phenomenon itself, or we may look at the online behavior in relation to other thoughts, experiences or attitudes related to life on or offline.

For example, as researchers we may be interested in how cancer survivors cope, and decide to conduct interviews with a text or video chat function in a social media platform because it allows us to select a more geographically dispersed sample. Or, we may be interested in how cancer survivors use social media to build networks that help them cope. In this case, to understand participants choices, communications and patterns of usage on that platform, we may use observations of community events, such as a webinar with a guest speaker, analysis of posts, and/or interviews with community members to collect data. In the first example the social media platform is a means for communication that allows us to understand a research phenomenon. In the second example, the social media platform itself is part of the phenomenon being investigated. This fundamental choice about the research purpose and researcher motivation for using social media influences the entire research design, sampling and mode of data collection: what data to collect from whom, how, using what synchronous or asynchronous communications (Salmons, 2012).

Clearly, varied combinations of social media tools and qualitative methods offer a wide range of options for social science researchers. There are many opportunities in the yet unexplored ways to think about qualitative research and social media well, there are many unanswered questions and challenges. A few intriguing areas for consideration are:

Ethical dilemmas. Qualitative researchers will always need informed consent for interviews and direct exchanges with research participants. But the situation is fuzzier when the researcher is conducting observations or drawing content from posted materials in online settings where it may be hard to distinguish public from private.

Diverse data types. Communication in social media settings may involve a mix of visual, verbal and text based exchanges. Qualitative researchers need to decide which types to use, and how to analyze them. As well, they need to consider intellectual property rights of images, or pictures that include other people who have not given permission for their use by the researcher.

Non neutral platforms: Most social media sites are commercially owned. They are designed to generate revenue, not simply for a social good. Features are designed to encourage users to navigate and participate in certain ways. This means participants they program their own online sites or interactive spaces not functioning online independent of technical and other constraints.

Darryl Tay14 December 2012 at 20:46

In my opinion, there will come a time when we can qualitatively measure the efficacy of social media. Nowadays, researchers are finding ways and are developing methods to measure the effectiveness and success of social media. Through Google Analytics, platform owners can track user activity on their website in real time. Soon, a more updated and comprehensive version will come out, which will answer the lingering doubts of this method.[Darryl Tay]David Harrison17 August 2017 at 20:53

Great panoramas! I really like the photographs with the northern light. I use a Hasselblad XPan

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Pablo Gustavo Rodriguez27 January 2013 at 21:21

I agree with Janet judicious statements. Certainly online research poses many new challenges unknown in offline research, that needs to be properly addressed.

I would comment on Darryl comment that a “qualitative measuring” is a kind of is a conceptual contradiction. Measurement is the “Association of numbers with physical quantities and natural phenomena by comparing an unknown quantity with a known quantity of the same kind” (Concise Encyclopedia). Or also “Compare a quantity with its respective unit, in order to find out how many times the second is contained in the first”.

By definition to measure something requires:

1) The physical property to be measured must be continuos and observable

2) There must exist a unit of measurement

3) This unit of measurement must be compared with the state of the physical property to be measured.

Therefore a) there no measurement without numbers, b) there no measurement without a unit of measurement, c) unobservable, discontinuos and non physical properties cannot be measured.

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Ruckscke haben lngst ihren uncoolen Schulhof Ruf abgelegt und zhlen heute billige parajumpers kodiak zu den heissesten Trends der Fashion Welt. Mode Profis und Stil Ikonen tragen die praktischen Taschen zu jeder Gelegenheit und beweisen damit, dass Style und Komfort sich nicht unbedingt ausschliessen mssen. Dieser Trend hlt sich nun schon seit mehreren Saisons und wird wohl nie wieder ganz verschwinden. Es ist einfach zu praktisch, in einem Rucksack alle wichtigen Sachen problemlos verstauen zu knnen und dann auch noch beide Hnde frei zu haben. Und dabei sehen die coolen Ruckscke auch noch super stylisch aus und lassen sich problemlos kombinieren. Ob aus Leder, Textil oder Synthetik fr jeden Style gibt es den passenden Begleiter!

Wann kommt der Rucksack zum Einsatz?

Als sich der Rucksack noch nicht im modischen Universum bewegte, fristete er ein eher langweiliges Dasein als sportliches Accessoire auf Wanderungen, Fahrradtouren oder Stdtetrips. Dabei stand seine Funktionalitt im Fokus, sodass der Style Faktor eher gering war. Doch das hat sich inzwischen zum Glck grundlegend gendert. Ruckscke sind zum beliebten Begleiter im Alltag, im Bro oder auf Parties geworden. Dank ihrer unterschiedlichen Formen, Materialien, Farben und Funktionen gelten sie als echte Allrounder und sind aus dem tglichen Fashion Leben nicht mehr wegzudenken. Styletechnisch gibt es also keine Grenzen mehr, die der Rucksack nicht berschreiten knnte, sodass er zu jeder Gelegenheit als eleganter Blickfang, sportliches Accessoires oder lssiges Statement Piece eingesetzt werden kann.

Trendradar Welche Ruckscke sind besonders angesagt?

Wie bei jedem Trend Piece gilt auch hier: Rucksack ist nicht gleich Rucksack. Denn in jeder Saison sind andere Formen, Farben und besondere Details angesagt. Gerade hat sich das praktische Accessoire zum Beispiel verkleinert und begeistert als stylischer Mini Rucksack. Trotz seiner geringen Grsse steht er mit knalliger Farben wie Pink, Gelb oder Orange und coolen Materialien wie Schlangenleder, metallischer Synthetik oder angesagter Mesh Optik im Mittelpunkt. Details wie Fransen, Nieten, grosse Schnallen oder Reissverschlsse finden ebenfalls Platz auf dem stylischen Accessoire und machen es zum echten Statement Piece. Wer mehr Platz braucht, liegt in dieser Saison mit einem stylischen Lederrucksack im Grossformat genau richtig. Aufregende Strukturen, raffinierte Details und farbiges Leder verpassen dem klassischen Rucksack ein modernes Update.

Was muss ich beim Rucksack Trend beachten?

Der Rucksack hlt sich nicht an Styling Regeln, er definiert sie neu! Dennoch gilt es, ein paar Basics zu beachten. So sollten vor allem Frauen, die eigenen Proportionen im Auge behalten. Auch wenn mglichst viel hineinpassen soll, der Rucksack darf nicht zu gross wirken und sollte optisch zu Grsse und Figur seiner Trgerin passen. Zu kleinen Frauen passen die angesagten Mini Ruckscke besonders gut. Grosse Frauen knnen auch zu etwas mehr Volumen greifen. Der Rucksack sitzt zwar auf dem Rcken und bestimmt damit den Look nicht sofort auf den ersten Blick, sein Einfluss sollte aber nicht ausser Acht gelassen werden. Passt er farblich, stilistisch und grssentechnisch zum gesamten Outfit, setzt ein Rucksacke das i Tpfelchen auf jeden Style.

Wie trage ich den Rucksack im Alltag?

Fr Damen gibt parajumpers light long bear es unzhlige Mglichkeiten, den Rucksack im Alltag zu kombinieren: Von Natur aus passt das robuste Accessoire natrlich am besten zum sportlichen Freizeitlook. Hier bieten sich coole Modelle aus Textil oder Synthetik an, die genug Platz fr alle wichtigen Dinge bieten und dennoch stylisch aussehen. Dabei kannst du mit der richtigen Farbwahl einen coolen Akzent setzen. Wer es in seiner Freizeit lieber romantisch verspielt mag, kann zum leichten Kleid oder zum flatternden Rock einen kleinen Rucksack mit Fransen kombinieren. Wenn du am liebsten wilde Muster oder ssse Flower Prints trgst, solltest du darauf achten, dass dein Rucksack eher schlicht und am besten einfarbig ist so kommt er am super zur Geltung!

Fr Herren ist das Rucksack Styling ein wenig unkomplizierter, sollte aber dennoch gut durchdacht sein: Zum sportlichen Freizeit Look und lssigen Streetstyle ist der Rucksack natrlich das perfekte Accessoire. Ein Modell aus Synthetik oder Textil bietet viel Platz und unterstreicht den coolen Look. Alternativ knnen Mnner auch zu angesagten Turnbeuteln greifen, die ebenfalls auf dem Rcken getragen werden und angenehm leicht sind. Wer in seiner Freizeit auf den etwas eleganteren Freizeit Look setzt, ist mit einem edlen Lederrucksack fr Herren bestens beraten. Klassische Form, hochwertige Materialien und hchster Tragekomfort machen den Rucksack Klassiker zum perfekten Begleiter fr den Mann.

Wie trage ich den Rucksack zum Office Look?

Auch im Bro und bei wichtigen Meetings wollen wir alle wichtigen Dinge dabei haben. Deshalb ist auch hier der Rucksack unser neues Lieblings Accessoire. Whrend schwere Handtaschen nicht nur unpraktisch, sondern auch ungesund sind, kann der Rucksack noch so voll sein, er entlastet dennoch den Rcken und bietet hchsten Tragekomfort. Sogar grosse Mappen und ein Laptop finden darin Platz. Entsprechend des Business Dresscodes sollte der Rucksack elegant und eher dezent sein. Fr Damen bietet sich ein angesagter Lederrucksack mit Schnrverschluss und grosser Klappe an. Farblich sollte er sich eher im schlichten Bereich bewegen: Schwarz, Braun, Grau oder Weiss sind zum Beispiel immer eine gute Wahl.

Als stylische Alternative zur Aktentasche, knnen auch Herren zum Rucksack greifen und den Business Look komfortabel gestalten. Wer im Bro nur einen lockeren Dresscode befolgen muss, kann zum Rucksack aus Textil greifen, der sich dennoch in einwandfreiem Zustand befinden muss. Gilt jedoch die Anzugpflicht, sollte auch der Rucksack den Stilvorgaben entsprechen und sich eher dezent verhalten. Dunkles Leder ist immer eine gute Wahl, auf keinen Fall solltest du mit Farben, Prints oder Applikationen herumexperimentieren klassischer Stil ist hier gefragt.

Kann ich auch zur Abendgarderobe einen Rucksack tragen?

Der Rucksack ist jetzt zu allem tragbar also ja, auch zur Abendgarderobe! Vor allem fr Damen bedeutet parajumpers jakke børn das ein echtes Upgrade hinsichtlich der Unbeschwertheit beim Tanzen. Ausserdem hast du jetzt endlich mehr Platz, als in einer kleinen Clutch oder Handtasche. Also trau’ dich ruhig und kombiniere das nchste Mal zum Abendkleid oder Party Outfit einfach einen stylischen Rucksack. Bist du auf eine coole Party eingeladen und stylst dich entsprechend lssig, kann dein Rucksack gerne extravagant sein und als echter Blickfang herhalten. Ein cooler Print, aufregende Materialmixes und knallige Farben sind jetzt absolut angesagt! Handelt es sich allerdings um einen festlichen Anlass, solltest du lieber zum eleganten Mini Rucksack greifen. Dieser darf jedoch gerne mit edlen Strass Applikationen oder Pailletten fr eine extra Portion Glamour sorgen.

Trendsales Magazine Parajumpers Jakke Dame Billige

Go idé at prve den frst.

Ang kopier, s kan man jo blive snydt allevegne desvrre

En god idé er at se om brugeren er valideret (varer i hjrisikogruppe) brugeren er lige nyoprettet, eller ingen smileys, s skal man nok vre lidt p vagt eller sprge rigtig grundigt ind til varen

Bed om en kvittering, bed evt om ekstra billeder sendt p mail. Det er specielt hvis der kun er et modelbillede af jakken p annoncen.

Hvis prisen p jakken lyder ‘for godt til at vre sandt’, s er det’ det, nok ogs.

Sidst men ikke mindst.

Bed om at f sendt forsikret, med Track and Trace nr.

S skulle du vre godt dkket ind

Alts, det glder jo (bare) om at bruge sin sunde fornuft.

Og som udgangspunkt tro det bedste om folk.

Se godt efter detaljer p jakken nr du prver i butikken.

Du kan ogs sige du vil handle over Ts, nu da der er kommet det nye kberbeskyttelsesgebyr (s kan Ts hjlpe dig hvis uheldet skulle vre ude).

Nu er det sdan med Parajumpers at de stort set aldrig (alts aldrig som i ALDRIG) kommer p udsalg, desvrre.

S med mindre du er parat til at smide 6 7000 p bordet, (eller har en rig/sd mand, der forrer dig den i julegave) s er TS ikke noget drligt sted at kbe.

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