Day: December 16, 2013

Funds face anxious wait for super review

Systems refresh projects hang in the balance.

The Australian Government has hinted that it may ease some of the technology cost burdens on Australia’s $1.7 trillion superannuation industry, by softening legislation that had aimed to offer transparency to regulators and consumers.

Under an exposure draft of rules the former ALP government released for consultation earlier this year, registered super entities faced portfolio disclosure obligations requiring investment in costly and sophisticated reporting systems.

The proposal was one of number derived from the Cooper review of Australia’s savings retirement industry, which recommended that consumers and the Australian Prudential Regulation Authority (APRA) be given better visibility of super fund assets.

However, under a series of proposals being considered by the newly-crowned assistant treasurer Senator Arthur Sinodinos, these reporting requirements could be scaled back dramatically.

Senator Sinodinos has launched a discussion paper that explores the disclosure issue, as part of a wide-ranging review of the current super regulation scheme.

In it, the federal treasury made note of “submissions from across industry” that “raised various concerns”, particularly around the requirements to disclose commercial-in-confidence and market sensitive information, the degree of look through involved and the requirement to disclose disaggregated data.

William Fraser, head of esolutions for investor services at J.P. Morgan, welcomed the government’s new approach.

“The practicality of it is part of what this review is trying to look at, because just providing information for information’s sake puts a tremendous amount of cost and burden on the various providers and it needs to have an outcome that’s going to deliver value.

“That’s what’s really driving this – let’s not disclose data for data’s sake, let’s look at the value and what the purpose of this is going to be,” Mr Fraser said.

Mr Fraser said that under one of the previous scenarios being considered, the industry faced obligations to report up to 10,000 lines of data. This, he said, was “just silly, because no-one is going to get value from that”.

Under current legislation trustees are only required to disclose details of investments valued in excess of five percent of their total assets.

Under the proposal favoured by the former Labor government, super funds and their custodians were facing highly granular portfolio disclosure rules including reporting on assets they did not own directly, such as collective investment vehicles. Had the rules been accepted they would have been in place from July 1, 2014.

Rhys Octigan, head of business development for superannuation technology specialist DST Global Solutions said that full portfolio disclosure became complicated once offshore fund managers became involved.

“Where that information is offshore with an international fund manager, that fund manager is not subject to the same regulations as Australian fund managers and it’s more difficult to get,” Mr Octigan said.

A materiality threshold is one of the proposals now on the table for consideration.

David Haynes, executive manager of policy and research at the Australian Institute of Superannuation Trustees said that the materiality threshold was an area in which the super industry needed clarity to avoid over-investing in technology.

“Government needs to provide some level of certainty so that funds don’t put together unnecessary systems which then aren’t required to be put in place.

“There are costs involved with building systems to disclose each and every discrete element in your holdings,” he said. “If there is a materiality threshold in place – so that you only need to disclose holdings worth more than say, a million dollars or one percent of your holdings – that might be a completely different solution.”

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Souce: BusinessSpectator.com.au

Source:

DAVID Jones has celebrated the signing of designer Martin Grant after having “deleted” high-profile designer Alex Perry.

David Jones has held an intimate fashion parade at its Elizabeth Street Sydney flagship store, showcasing a collection of elegant, black outfits and modern geometric patterned dresses, created by Melbourne-born Paris-based designer Martin Grant.

Outfits by Martin Grant, who designed the new Qantas uniforms, will be available at the department store from February, while the Alex Perry brand will be “exited” from August.

Alex Perry joined David Jones after defecting from Myer in 2007, but a David Jones spokeswoman said sales of the brand have declined over the past three years.

“The deletion of this brand enables David Jones to reallocate this floorspace to new brand Martin Grant and to high performing brands such as Camilla World and Rachel Gilbert,” group executive merchandise Donna Player said on Monday.

Meanwhile, Martin Grant, who attended the launch event, said he was honoured to have secured representation in his home market, adding that he is “excited that my collections will be available locally in Australia.”

Martin Grant’s designs are worn by actors and celebrities, such as Cate Blanchett, Juliette Binoche, Blake Lively and Kate Hudson and are stocked in high-end department stores around the world, including US stores Barneys and Saks Fifth Avenue.

by Napoleon Perdis

Live makeup installations, Greek dancing, and a tank? That’s right! The King of Colour arrived on a military-style tank in a bright blue suit designed by Gypsy Taylor for the launch of his makeup collection in MYER.

Guests enjoyed lunch while five models were transformed into couture makeup looks by the Napoleon Perdis Creative Team.

In the style of a proper emperor, as his name suggests, the official launch of makeup maestro Napoleon Perdis’ collection at Melbourne’s Myer last Tuesday was an epic one, as he entered Bourke Street perched on an ex-military tank.
Joining the King of Colours’ grand entrance to the Myer store, that blocked traffic and saw thousands of shoppers join the spectacle, was former Miss Universe and face of Myer Jennifer Hawkins.

Between a four course meal that included lipstick and eye shadow-like garnish, Napoleon, dressed in a metallic blue leather suit, celebrated the launch of his collection in Myer like a proper Greek son.
To the rhythms of DJ Krazy Kon, Napoleon, his wife Soula-Marie and model Jennifer Hawkins led a Zorba dance around the tables, joined by VIPs and media heavyweights as Greek music filled the retail giant’s Mural Hall in Bourke Street.
Born to Sydney immigrant parents and takeaway food store owners John and Liana Perdis, Napoleon Perdis built his $100 million worth cosmetic empire from scratch.
Today, his cosmetics are sold in 23 countries, in some of the world’s best retailers, including Neiman Marcus and Bergdorf Goodman.
In Australia, his brand was available only at David Jones where it was the top selling cosmetics brand. In July, the retailer’s exclusive contract with Napoleon Perdis ended, as the makeup king decided not to renew the agreement. That’s when Myer’s management took over – and with Tuesday’s epic launch of the Perdis collection, the rest is history.
At the launch, Myer CEO Bernie Brooks said $10 million had been allocated to get the Napoleon brand rolling at Myer, and counters are now in 61 Myer stores.

See below for a glimpse into the magnificent event, and be sure to check out our Facebook Album for even more behind the scenes photos.

The grand entrance!

MYER CEO Bernie Brookes, The makeup master, and Jennifer Hawkins.

Makeup as art at the MYER launch.

Not your typical media lunch! Napoleon and Jennifer Hawkins leading a Greek dance.

Source: Couriermail.com.au

Australian tennis prodigies Thanasi Kokkinakis and Nick Kyrgios after the Australian Open final. Source: News Limited

IT HAS been seven long years since an Australian man was in the world top 10.

But the boss of tennis in this country can see three of them on the horizon.

Bernard Tomic, the world No.51, you know about.

Nick Kyrgios, the 18-year-old Victorian who won the Australian Open juniors last summer and has since turned heads at the French and US Opens, has blown his cover through performances this year which have him ranked No.182.

Thanasi Kokkinakis, a 17-year-old from Adelaide, was runner-up of the Australian and US Open juniors in a year in which he needed time off due to stress fractures of his back.

Kyrgios has been given a wildcard into the main draw of the Brisbane International, which starts on December 29, and with the urgency of youth says he relishes the idea of a draw to play one of his heroes, Roger Federer.

It was June 2006 when Lleyton Hewitt last checked out of the top 10. His Newcombe Medal win this month as the year’s most outstanding player, at the age of 32, has been used by many as the latest stick to bash Australian tennis over the head for its ability to generate top players.

Nick Kyrgios is one of the top ranked juniors in world tennis. Source: News Limited

Craig Tiley, the Tennis Australia chief executive who was TA’s director of tennis prior to his promotion in October, knows the statistics say only one player, Sam Stosur, is in the men’s or women’s top 50.

But he insists programs for young professionals are making progress, with changes made over the past five years.

“Kyrgios and Kokkinakis are the two best players under the age of 20 in the world,” Tiley said.

“I say that for a number of reasons, including the respect I have for the comments of people like Pat Rafter, John McEnroe, Brad Gilbert and Paul Annacone about them.

“Nick’s coach Simon Rea has done a magnificent job with him. He has jumped like 600 places this year.

“They are both tall, very athletic, love playing tennis, want to compete and have each other to compete against. There are other Australian players who are pushing them as well.

“Everyone is in place. They may make big jumps early.

Thanasi Kokkinakis showed rapid improvement during 2013. Source: News Limited

“They have to be healthy, keep improving, keep having a good attitude. That’s up to them, but based on where they are, they are tracking to be future stars of the sport if they do the hard work.”

While Australia has a history of producing Grand Slam winners and runners-up in juniors, supporting those teenagers through to ATP Tour careers has been much more difficult. That battle has led to several changes in elite squad programs over the past 15 years.

Tomic, at No.51, is the highest ranked male player in the world under the age of 22.

While Spain, the nation with the most depth in the past decade, has 14 men in the top 100, only one is under the age of 25.

The 190cm Kyrgios, ranked No.1 in world juniors during the year, possesses the requisite weapons of a big serve and big forehand.

Of Greek-Malaysian extraction, he was more keen on basketball until settling finally on tennis at age 14.

Bernard Tomic and his sister Sara are both seen as the future of Australian tennis. Source: News Limited

Kyrgios was a late withdrawal from this week’s Australian Open playoff series in Melbourne Park with an elbow injury, but it is not expected to prevent his Brisbane appearance.

In his Davis Cup debut in Poland in September, Kyrgios teamed with Chris Guccione in a five-set doubles loss to Poland before he notched a first win in a dead fifth rubber when Pole Michal Przysiezny retired.

“Talent wise, he’s up there. It’s fantastic,” Rafter said.

“We’ve got one of the great Davis Cup players coming up right now.”

Rafter said with Tomic to be joined by “Nick and Thanasi, the next three or four years, it’s going to be a really strong team”.

A Challenger title win in Sydney in March and his French Open first round win over the crafty Radek Stepanek won the attention of top coach Gilbert.

“Any time a 17-year-old wins a challenger you take notice. This young Aussie has a big game and he showed it,” Gilbert tweeted after the Sydney win.

Tiley said statistically it took three times as many years for a top-100 male player to reach that milestone than it required 10 years ago, and the average tenure was double what it was then.

“We’ve realised it does take a long time and you cannot let politics get caught up in the decision-making, which has to be long term,” Tiley said.

Source: abc.net.au

Bamboozled: Why I am quitting Tropfest

Photo: Matt Hardie (l) in a scene from his short film Bamboozled, which won the December 2013 Tropfest. (tropfest.com)

Will Kostakis was only 19 when his first novel for young adults, Loathing Lola, was released. It went on to be shortlisted for the Sakura Medal in Japan and made the official selection for the Australian Government’s 2010 Get Reading! programme.

In 2005, Will won the Sydney Morning Herald Young Writer of the Year for a collection of short stories.

Now 23, Will spends his time working as a freelance journalist, writing his sophomore novel, due in early 2013, and touring Australian secondary schools.

Photo credit: Marina Pliatsikas

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Teaching Notes for The First Third by Will Kostakis

A comprehensive unit of work is now available for Will Kostakis’ brilliant new contemporary novel, The First Third. With links to the Australian Curriculum, assessment tasks and a plethora of activities, Laura Gordon has provided all you need to teach this brilliant novel in your classroom or library.

Download the teaching unit for free HERE.

Tropfest’s winning film this year is an unintentionally poignant reminder that we have a long way to go when it comes to treating the LGBTQI community as ‘equal’, writes Will Kostakis.

Ugh, Tropfest.

I go to Tropfest each year expecting to be disappointed. There always tends to be two or three films I like, and a lot more with too much ‘typically Australian’ humour for me to stomach (lots of bodily functions and fluids). The latter kind always do better in judging than the former, but I leave knowing I’ll come back next year.

Two films into Tropfest 22, I knew I didn’t want to come back next year.

I didn’t even want to stay for the rest of this year’s.

Now, I understand comedy is subjective, and I’m certain that others would consider a lot of the comedy I appreciate offensive (If It’s Always Sunny in Philadelphia were food, I could live off it), but Matt Hardie’s Bamboozled was… soul-crushing. Capping off a weekend that saw the nation’s first legal same-sex marriages, it was an unintentionally poignant reminder that we have a long way to go when it comes to treating the LGBTQI community as ‘equal’, rather than ‘other’.

In Bamboozled, Pete bumps into his ex at a bus stop. The twist? His ex has had a sex change (a really tasteful use of the year’s theme, ‘change’) and is now a man. They catch up over a few (hundred) drinks, rehashing the two years they spent together. Their connection is clear. The next morning, Pete wakes up next to his ex (a man) and he clearly regrets his decision. Yes, their shared history and obvious chemistry is null and void because, ‘Ew, gross, I slept with a boy.’ Cue audience laughter. Then, he finds out it’s an ‘elaborate hoax’, and instead of sleeping with a Helen-turned-Harry, he’s just slept with a Harry. And he’s shamed for it. Cue more audience laughter.

“We got you, man! We got you!” Harry howls.

As if things can’t get any worse, in comes Helen, his real ex. “How do you like that, Pete?” she asks. “And now, you slept with a guy!”

“You totally banged me, man. You totally banged me!” Harry continues. He adds a, “He loved it!” as he high-fives his co-conspirators.

So, yeah: Ugh, Tropfest.

Director Matt Hardie has defended the film as a parody of the media in an interview with ABC.

“The punchline really is a comment on media and how the world may have homophobia, but the lead character, and what I was saying, he was completely willing to go with either gender, he was in love with the person,” he says.

Right, okay. I don’t know what media he’s commenting on. Yes, reality programmes like 2003’s There’s Something About Miriam were vile and exploitative, but they were also in 2003. Since then, we’ve seen positive, sensitive portrayals of the LGBTQI on the small screen thanks to reality TV. I’m no fan of Big Brother, but there’s no denying it’s done some good in this regard.

Let’s be honest here, if Hardie’s character Pete really was “completely willing to go with either gender”, his first words when waking up next to an affectionate man wouldn’t have been, “What the F?” In fact, the whole scene wouldn’t have been framed like every other morning-after-drunken-regret scene committed to film.

Hardie says the punchline is two-fold. It’s a commentary on a media (that may or may not actually exist), and “how the world may have homophobia”. I’m assuming he means Helen’s gleeful, “How do you like that, Pete? … You slept with a guy!” This is perhaps the most problematic part of his explanation. The world having homophobia isn’t a punchline.

There’s nothing particularly funny about being intimate with someone of the same gender. That, in and of itself, is not humorous. And neither is shaming them for it. That’s othering anyone who doesn’t identify as heterosexual, pointing at them and laughing (literally, in this case).

If selecting the film as one of 16 finalists wasn’t – wait for it – bamboozling enough, it went on to win. In the short term, it’s disheartening. In the longer term, it may have a positive effect. It may have inspired someone who was sitting in Centennial Park who wasn’t laughing to pick up their camera and tell a story we didn’t see on the big screen tonight.

Source: heraldsun.com.au