Latest news with #Caban
Yahoo
26-03-2025
- Business
- Yahoo
Digicel and Caban Energy Combat Climate Change With Solar Rollout
Cutting emissions while enhancing network reliability and energy security KINGSTON, Jamaica, March 26, 2025 (GLOBE NEWSWIRE) -- In a powerful statement of its commitment to environmental responsibility and combatting climate change, Digicel today announced a partnership with Caban Energy (Caban) which will diversify its energy source using solar technology and reduce its greenhouse gas (GHG) emissions while significantly reducing operational costs. This partnership in renewable energy infrastructure will support the Caribbean region in achieving its sustainability goals as outlined in the Paris Agreement. As a leader in renewable energy, Caban is working to deploy solar energy and storage solutions on cell towers across Jamaica for Digicel, both in collaboration with Phoenix Tower International (PTI) and independently. Providing a reliable, sustainable and cost-effective alternative power source for cell tower, data centers and other critical infrastructure locations, solar energy and storage solutions enhance network reliability, energy security and communications resilience. By integrating renewable energy into its network once fully deployed, Digicel will reduce GHG emissions by over 38,674 tons of CO2e per year or 580,109 tons of CO2e for the life of the project. Commenting on the partnership, Digicel Group CEO, Marcelo Cataldo, said; 'As a meaningful expression of our Connecting. Empowering mission, our commitment to ESG is fundamental to who we are as a business. With robust social and governance programmes in place, we're now making tangible progress in our environmental agenda as we drive multiple benefits through the deployment of sustainable, renewable and cost-effective energy solutions. Jamaica is our first market with Caban and is the shape of things to come with the expectation that more of our 25 markets will come on stream in the coming months.' Stephen Murad, Digicel Jamaica CEO, elaborates; 'In the wake of Hurricane Beryl in July 2024 which caused significant damage to the south coast of Jamaica, and in particular to the power supplies that we rely on to run our telecoms infrastructure, we made a commitment to the Prime Minister of Jamaica that we would invest in renewable energy. We're proud that just eight months later, we're honouring that commitment and actively stepping up to help combat climate change.' Alexandra Rasch, CEO of Caban, commented; 'This is about building a sustainable future for all. With Caribbean countries at the forefront of the negative effects of climate change, the region's energy landscape is evolving. Mindful of its ESG commitments, Digicel is partnering with us to harness renewable energy sources to benefit those same countries and enable their progress towards achieving national and global climate targets. It makes for an exciting future.' About Digicel Enabling customers to live, work, play and flourish in a connected world, Digicel's world class LTE and fibre networks deliver state-of-the-art mobile, home and business solutions. Serving nine million consumer and business customers in 25 markets in the Caribbean and Central America, our investments of over US$5 billion and a commitment to our communities through our Digicel Foundations in Haiti, Jamaica and Trinidad & Tobago have contributed to positive outcomes for over two million people to date. With our Connecting. Empowering vision at the heart of everything we do - supported by our DIGI values of Diversity, Integrity, Growth and Innovation - our 5,000 employees worldwide work together to make that a powerful reality for customers, communities and countries day in, day out. Visit for more. About Caban Caban, founded in 2018, set out to tackle the challenge of decarbonizing the most fossil fuel-dependent industries. Initially focused on providing alternative energy solutions for the telecommunications industry in the Americas, the company has since grown and demonstrated success in supplying energy to several of the world's largest telecom operators. Building on this momentum, Caban has scaled globally and expanded its reach to support clean energy needs across critical infrastructure sectors worldwide. Caban uniquely combines service, hardware, software, and finance to deliver reliable, clean power and boosts your bottom line. This turnkey approach allows you to work directly with one trusted ESG partner to achieve decarbonization across your operations. Visit for more. Contact:Antonia GrahamHead of Group Communications+1876 564 Jacqueline Castilloinfo@ in to access your portfolio
New York Times
28-01-2025
- Entertainment
- New York Times
The Joy of Escapism
It was Day 1 of the couture shows in a chilly Paris, and the Schiap pack were tottering around the Petit Palais in their gold-toe shoes and anatomical gold jewelry, swinging their bejeweled Face bags and waiting for the Schiaparelli show to start. That they were a little — um, overdressed for 10 a.m. on a Monday didn't seem to startle anyone. They had loosed the bonds of convention and entered that liminal space known as fashionland, where ball gowns at dawn are a perfectly reasonable response to the trauma of waking up. 'All I really want is to suspend the weight of reality,' Daniel Roseberry, Schiaparelli's artistic director, said backstage before his show. 'I hope people are transported, even if just for 10 minutes. That's my goal.' Then his first look appeared, a high-neck, long-sleeve lace top covered in enamel flowers and dropping into tiers of organza ruffles with the aged look of cloth dipped in tea, like a relic from the courtly era. And it was clear: We were entering a Trump-free zone. Designers love to talk about 'beauty' and 'elegance' as their Band-Aid for the ills of the world; a panacea for the eyes, made to offset a reality that can be harder to see. Often this comes across as defensive; an excuse for not taking a stand on an issue or not getting involved. Sometimes, it can make the industry seem so out of touch, so determinedly frivolous, it's paradoxically unattractive. But sometimes it is exactly what you need. This is one of those times. Reality is so unrelentingly exhausting, so overwhelming and uncertain, that having a moment to escape into fantasy, to ogle at the sheer skill of seamstresses who can perform the kind of material alchemy that would leave Rumpelstiltskin in awe, is a balm. And for this the couture, the handmade for the .001 percent slice of fashion that is not about wearability but rather doing the impossible, is almost perfectly conceived. It brings you sliding down wormholes of reference and craft into moments of how-did-they-do-that delight that have nothing to do with whether you can actually buy the clothes, and everything to do with simply reveling in the view. With thinking: 'Yeah, take me away!' Perhaps that's why, as the shows got underway, time traveling seemed to be something of a theme, with corsets and hoop skirts and the exaggerated S curve of the belle epoque — all padded hips and bottom and bust — dominating the runways. Even the body was being transformed. Perhaps that's why, for a show that wasn't officially couture, but that was entirely couture-inspired, Simon Porte Jacquemus lured his guests to a penthouse aerie in the 16th Arrondissement that once had been owned by the early 20th-century French architect Auguste Perret, and which now is being restored. Then he ferried them upstairs in an elevator staffed by bellhops and took them on a whistle-stop tour of classic haute tropes such as the Trapeze, the New Look and the Caban, built on 1950s corsetry and filmed on a variety of iPhone 16s set up around the space. It had an illusory feel, if not too much originality. And perhaps that's why, at Christian Dior, Maria Grazia Chiuri took a trip down the rabbit hole to a wonderland of her own imagination (and, she said in a preview, childhood memories) made of hoop skirts and frilly pantaloons, Edwardian tailcoats and little black dresses. Since she arrived at Dior in 2016, Ms. Chiuri has often resolutely focused on clothes so subtly accessible they can verge on the banal. But though there were pieces like that in the show, including a great little sleeveless black trapeze shift with ruffles for straps, it was the skirts, built on a carapace of bamboo, covered in trailing vines of flowers made from raffia, feathers and lace, and resembling the love child of an octopus and a parasol, that dominated. Also the playsuits and bloomers (items of clothing that normally have no place in a grown-up woman's wardrobe) made from tulle covered in appliqués that seemed to swirl around the body like mist, popping out from under buttoned-up Jane Eyre jackets as though impossible to restrain. Imagine Queen Titania's minions had escaped from her Midsummer Night's Dream and ended up in a bordello in New Orleans' French Quarter, and you'll get the idea. That none of it made any sense juxtaposed against the surreal embroideries designed by the Indian artist Rithika Merchant, which decorated the walls of the Dior tent in the gardens of the Musée Rodin and had their origins in an entirely different mythical tradition, simply added to the unreality of the experience. Just as, at Schiaparelli, the extreme construction of the clothes — sculpted jackets that circled the shoulders like bejeweled orbital rings before cinching in waists so tiny they suggested ribs might have been removed; trompe l'oeil hip bones built out to dangerous points beneath bullet breasts — underscored the sense that the garments themselves were practically decorative objects. The ability to sit down (or maybe even breathe) had been subjugated to the sheer Dadaist pleasure of wondering whether what you were seeing was a goddess or a vase. Either way, it seemed like a dream.
