fashion

A New Look for the New Year

January 31, 2017

A sure way to start the year off right is by polishing your professional presence. For help with getting started, about 40 NYWICI members and guests took that first step when they gathered for a NYWICI Night Out on Jan. 19, 2017, at Sarabeth’s Restaurant at Lord & Taylor.

Stacey Karesh, Lord & Taylor’s Special Events Marketing Manager, encouraged the audience to take advantage of the free styling salon on the third floor of the store that is “largely under the radar and caters to every budget.” Plus, she invited everyone to stop by for “Fashion Fix Fridays,” held between 5 pm and 6 pm each week, which offer tips to spice up weekend wardrobes.  

Master Stylists Travis Hutchinson and Micah Feliciano wowed the crowd with a dynamic presentation highlighting affordable fashion trends for the year. Their recommended approach to creating a new look was very pragmatic: embellish what is already in your closet for a work-appropriate wardrobe that will project a polished image.  

The presentation, featuring outfits by such designers as Michael Kors, Karl Lagerfeld and Black Halo, was replete with words of wisdom on being fashion forward throughout the year and beyond.

Some highlights

  • Combine the right jacket, blouse and skirt to make a fashion statement. Try color blocking by choosing a dark skirt with a light-colored shirt, or the reverse approach.
  • The “go-to” style for your new skirt is the pencil skirt. 
  • The blazer jacket is amazingly versatile: Mix and match by wearing it with flair-ups or skinny pants and other items in your closet.
  • The color story for the spring season is blush and beige. You will see these business-savvy hues in everything, from pants to jackets.
  • The sleeveless “little black dress” is equally striking in red. If you don’t want to display your arms, try wearing a blazer, cashmere sweater or even a turtleneck underneath the dress.
  • Patent leather shoes can spark up any outfit. 

An enthusiastic vibe was palpable as guests chatted after the fashion presentation. Blogger Mandy Carr declared, “I thought the looks were very sophisticated and great for going from day to night!” All the talk about fashion got Mandy thinking that she would have liked to "touch even more on accessorizing. When you have solid colors, necklaces are good and can really change up the look.”

Blanche LeBeau, Estee Lauder’s Lead Makeup Artist, North America, capped off the evening with some salient skincare pointers:

  • The Estee Lauder “modern face” is all about skin that is well hydrated and protected. 
  • To scientifically identify the exact shade of foundation for your skin color, consider trying out the iMatch digital system in-store at Estee Lauder. 
  • Groom and enhance your brows for a more youthful look.

For Latina Beauty Blogger Clare Gaurin, the highlight of the evening was the iMatch. "The most interesting part was the intersection of modern technology and beauty demonstrated by that handheld device, no bigger than a cellphone.” Clare felt a professional connection with Blanche: “We share a similar philosophy when it comes to beauty: hydrated, well-protected skin is the most important step to looking your best with a look that lasts all day.”

Slideshow photos: Jan Goldstoff

 

 

Posted by: 
Wendy Maurice

Personal Stylists & Image Consultants

September 19, 2012
 
At many recent networking and professional development events, I’ve encountered women working as Personal Stylists, offering shopping services, outfit styling, closet revamping and grooming guidance. It strikes me as something akin to finishing school for your wardrobe with the added benefit of tips on self presentation, insight on how to be comfortable in your clothes and perhaps a few lessons in deportment.Kendra Porter seated in an interview
 
 
 
 
 
 
The stylists I’ve met each fill a unique niche in this trendy career space.
 
Jill McLarnon, Image Consultant/Style Therapist, trained in the Fashion Institute of Technology’s Image Consultant program, building on her legacy in fashion. Jill distinguishes her work as an Image Consultant, explaining that consultants “work with clients over long periods of time addressing their personal goals.”
 
In our email exchange, Jill explained that, “70% of communication is non-verbal, and this definitely includes your appearance. Image consultants work with people to learn about these non-verbal communicators – for example, the message different colors send subconsciously, body language, clothing, grooming, etc.”
 
And, I was curious to discover who Jill’s clients were. She told me, “There seems to be a recurring theme in the clients that I work with – transition.  Whether it is moving from one job/career to another [or] finding a job after graduation…all of my clients seem to be trying to send a new message about themselves through their clothes.”
 
***
 
Kendra PorterKendra Porter works with the Style for Hire network, a national group of stylists selected by Stacy London of the What Not to Wear TV show. According to her profile on the site, Kendra’s “an expert at working with women of all shapes and sizes, particularly those who are plus sized.”
 
 
 In my email interview with Kendra she said, “I work with all types of women, from corporate executives who either don't have the time to shop or are just looking to update their image to stay at home moms who feel like they lost their flair. What I provide is an investment in self. I feel all women are entitled to invest in themselves as much as they do for their families or in their careers.” Kendra points out that, “the old PR adage ‘perception is reality’ surely rings true in [the communications world]. Simple things like colors or patterns can say a lot about an individual.”
 
Through her work Kendra’s become an advocate for plus-size women and a liaison to retailers, helping them ensure that they’re marketing effectively to plus-size women and that those shoppers get what they expect as well.
 
***
 
Eve Cantor focuses on refreshing the clothes her clients already own. She works as a Stylist and Closet Shopper at Shop your Closet with the tagline “More in It Than You Think.”
 
When Eve’s father passed away she followed a custom for mourning that included not shopping for an entire year. While that was a challenge for Eve, it refocused the fashion skills she developed as a boutique owner and Barney’s personal shopper. Eve and I spoke briefly before she gave a lively presentation — complete with on-stage costume changes — before a group of women gathered to learn about what to wear to a job interview.
 

Get started on your own with tips from the pros!

 
Jill McLarnon advises:
  • Find a good tailor! If your clothes fit you properly they will always look more expensive. 
  • If you see someone on the street with a hairstyle, pair or shoes or pants that you love, approach them and ask about it. 
  • Be mindful of the 80/20 rule - most people wear only 20% of their clothing 80% of the time.  
Kendra Porter suggests:
  • Weed out your closet each season. What needs to be tailored, donated or simply dumped?
  • Take a fresh perspective. Challenge yourself to mix and match different colors and fabrics.
  • Extend your wardrobe by layering your seasonal pieces.
Eve Cantor recommends:
  • Sort your closet by season and then by style and then by color.
  • Flag items you’re not sure about by turning the hanger around.
  • Shoes — if they hurt, say goodbye. You will never look good in pain!
 
For more style advice, visit Professionality, Dawn Stanyon’s dashing and informative tumblr.
 
 

Kendra Porter at a closet rack
All photos courtesy of Kendra Porter.

 

Posted by: 
Deanna Utroske
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Arts & Culture - Schiaparelli & Prada: Impossible Conversations

May 28, 2012

This post marks the launch of the new Aloud. Three co-editors – Giuliana Lonigro, Rodeena Stephens and Deanna Utroske – will fill Aloud with topical posts on communications, careers and other issues women care about. We kick things off with Giuliana's first post. Giuliana is a social media strategist and writer with a background in design and a passion for organic skin care. She also conducts interviews and writes for The Melody Book, an educational music app startup.

Fashion has been described as a type of visual communication. It is the topic of Malcolm Barnard’s Fashion as Communication and Alison Lurie’s The Language of Clothes. Malcolm’s book is scholarly in nature, focusing on fashion theory, while Alison’s book describes fashion as a language with its own distinctive grammar, syntax and vocabulary. In a 1999 lecture at Cornell, Alison said fashion is “The oldest and most universal language.” Some might argue with this assertion, claiming that the languages of music and love are quintessentially universal, but fashion has a place as a means of communication. We communicate who we are by the clothes we wear and the fashions we choose to buy.

A different type of communication is on display at the Metropolitan Museum of Art exhibition “Schiaparelli & Prada: Impossible Conversations.” The exhibition, organized into seven categories, explores communications that might have happened (but didn’t) between two Italian fashion designers from different eras: Elsa Schiaparelli and Miuccia Prada. Imaginary conversations between the designers are captured on film by director Baz Lurhmann, with actress Judy Davis playing the part of Elsa.

Both Elsa and Miuccia created revolutionary, modern fashion in their times, yet much of Elsa’s fashion looks classic and timeless today, with an exquisite focus on sculptural and architectural elements, while Miuccia’s work looks unabashedly modern. It’s important to take a step back and acknowledge that Elsa was a trailblazer in her own right in the early part of the 20th century.

Throughout history, the fashion industry has provided a way for ambitious, driven and creative women to achieve a life of means on their own terms. Surprisingly, neither Elsa nor Miuccia studied fashion design nor trained to be a seamstress as a young woman. Elsa studied philosophy at the University of Rome, while Miuccia has a PhD in political science from the University of Milan. Both women were well into their thirties by the time they decided to pursue a career in fashion. Coco Chanel is not mentioned in this exhibition, but it’s interesting to note that Elsa and Coco were great rivals in early part of the 20th century. Elsa closed her fashion house in 1954, around the same time as Coco resurfaced, ready to take up the mantle.

The Waist Up/Waist Down category in the exhibition compares and contrasts Elsa’s elaborately structured jackets (designed for the mostly seated Café Society) with Miuccia’s feminine and embellished skirts.

The Classical body category features draping and pleats evocative of Greek sculpture.

While it’s easy to see how Miuccia might have been influenced by Elsa’s earlier work, the two designers differ on whether fashion is art. Elsa, who collaborated with filmmaker Jean Cocteau and artist Salvador Dalí, firmly believed that fashion is art, while Miuccia most emphatically does not agree.

The 1930s era series “Impossible Interviews” in Vanity Fair, illustrated by Mexican caricaturist Miguel Covarrubias, served as inspiration for the Met’s “Impossible Conversations.” The people juxtaposed in the Vanity Fair series might have been able to interact physically, but would have been unlikely to do so since they moved in completely different circles. Capitalist John D. Rockefeller, Sr. is paired with Communist Leader Josef Stalin while Sigmund Freud is coupled with Jean Harlow. Interestingly, a 1936 “Impossible Interview” between Elsa and Josef Stalin is also included in the Met’s exhibit.

 

Have you seen, or are you planning to see “Impossible Conversations” at the Met? Chime in below and let us know what you thought of the exhibit if you’ve seen it.
 

Posted by: 
Giuliana Lonigro

Women's History Month profile: Elizabeth Hawes

March 13, 2012

If you haven’t heard of author and fashion designer Elizabeth Hawes, it’s probably because she was blacklisted for her allegedly “Communist” work with American labor unions. J. Edgar Hoover opened up an FBI file on Hawes in 1940, years earlier than the thousands of other files that were opened during the Cold War. Although her file was closed in 1947, Hawes suffered professionally and never regained the stature and success she had achieved in the 1930s.

Elizabeth Hawes was a fashion copyist, stylist and assistant designer in Paris in the 1920s, a successful fashion designer with her own business in New York in the 1930s, and a machine operator at an aircraft war plant and union organizer for United Auto Workers in the 1940s. Through it all and beyond, she was a writer, moving from fashion critic for The New Yorker to bestselling author of nine books to columnist for the left-leaning PM newspaper and the Detroit Free Press. She was married twice, to Ralph Jester (1930-1934) and director Joseph Losey (1937-1944) with whom she had a son, Gavrik Losey. Her later years were lived in relative obscurity, as she tried to escape the black cloud of McCarthyism by decamping to St. Croix in the late 1940s. She returned to New York intermittently, trying out California in the 1950s and 1960s. A hard drinker for most of her life, she eventually died of cirrhosis of the liver in 1971 while living at the Hotel Chelsea.


The Early Years
Elizabeth Hawes was born on December 16, 1903 to John Hawes, a mild mannered assistant manager for Southern Pacific Steamship Lines, and Henrietta Houston, an accomplished Vassar graduate and progressive-minded suffragette. Growing up in Ridgewood, NJ with her two sisters and brother, Elizabeth traveled to New York City twice a year with her mother to window shop fashions, visit museums and eat at fine restaurants. Her grandmother bought her a Paris gown every year. Inspired by her Montessori schooling, Elizabeth began sewing clothes and hats for her dolls and for herself at the age of 10. When she was 12, she began sewing clothes for other children. Some of her creations were sold at a dress shop in Pennsylvania.

Following in their mother’s footsteps, Elizabeth and her sisters attended Vassar. Elizabeth’s first love was fashion design, but she discovered economics at Vassar and took every course she could on the topic. Her thesis was on Ramsay McDonald, the British leader of the Parliamentary Labour Party. While at Vassar, she debated whether she should pursue her interest in economics and vacillated for some time. Eventually her love of fashion won out, and she set sail for Paris after graduating. The connections she made at Vassar would serve her well when she started her own couture house in New York.


Paris
On arrival in Paris in 1925, Elizabeth began her quest to become a couturiere by copying Paris fashions for an American house. She later remarked: “The desire [to work] was so great I did not for one moment consider the ethics of the matter.” She also wrote witty critiques of the hype surrounding Paris fashion under the nom de plume “Parisite” for The New Yorker. She firmly believed that American women should not have to follow the dictates of the Paris fashion world. She felt American designers were best positioned to design for American women, especially with regard to the emergence of sportswear. She also believed clothes should be comfortable and championed individual style over fashion.

While in Paris, Elizabeth worked as a stylist for Macy’s, then for Lord & Taylor, eventually landing a position as an apprentice for Nicole Groult, the sister of fashion designer Paul Poiret. She wanted to design for French women, but eventually realized the Paris fashion world was all but closed to an aspiring American designer. She decided to move to New York to pursue her ambitions.


New York
Upon her return to the U.S. in 1928, Elizabeth started a fashion house with Vassar classmate Rosemary Harden. Hawes-Harden cultivated a salon atmosphere, serving tea and encouraging conversation. A year later, Harden decamped, and Hawes decided to continue on her own.

Some of her couture pieces, all irreverently titled, are in the Metropolitan Museum of Art’s Costume collection, including her bias-cut silk shantung Alimony dress and Misadventure cape.

Elizabeth Hawes holds the honor of being the first American designer to hold a fashion show in Paris in 1932. The Parisian press did not cover it. Indeed, Parisian women were not going to buy fashions from an American designer. She wrote about this fiasco in her first book, Fashion is Spinach, published in 1938.

The book was titled after a cartoon by Carl Rose printed ten years earlier in The New Yorker, depicting a mother sitting at the kitchen table telling her daughter “It’s broccoli, dear,” while the child answers, “I say it’s spinach and I say the hell with it.” Elizabeth included an account of her more successful showing of her fashions in Russia in 1935. The book is entertaining, thought provoking and well written, and includes her trademark witty critiques of the fashion industry. While she made a name for herself as a successful fashion designer during the Great Depression, the success of her first book cemented her stature as an author.

Elizabeth’s second book, Men Can Take It, reveals her humanist side: she wanted to liberate both women and men from fashion dictates and espoused the unpopular view that people should dress to please themselves. She was in favor of men wearing skirts, also.

With the onset of World War II, Elizabeth decided to close her business in 1940, re-emerging briefly to design a Red Cross uniform. She wrote a column for the radical newspaper PM, whose writers were deemed guilty of being either Communists or sympathizers. Unbeknownst to writers at PM, the FBI opened files on all of them. A decade later, when the official witch hunt began, even PM subscribers were considered suspect.

In the spring of 1943, Elizabeth decided to support the war effort by taking a job as machine operator at Wright Aeronautical in Paterson, NJ. Her experience there led her to write Why Women Cry, or Wenches with Wrenches, published later that year. Despite the completely different subject matter, the book quickly became a success, following the path of her previous books about fashion.


Detroit and the UAW
By 1944, Elizabeth’s marriage to Losey had disintegrated, and she moved to Detroit to take a position as a union organizer for the UAW. While in Detroit, she became a columnist for the Detroit Free Press. Her first column made a plea for a reduced, 30-hour workweek and daycare. Her column generated so many letters that the newspaper had to create a second column to publish the letters and Elizabeth’s responses.

In her next book, Hurry Up Please It’s Time, she wrote about red-baiting techniques such as those employed by the House Un-American Activities Committee (HUAC) and how they undermined efforts to organize unions. The book’s title was taken from T.S. Eliot’s The Wasteland, to provide a distinctly downbeat and sober tone. This book managed to simultaneously anger both the left- and right-wings by not going far enough in either direction and criticizing both sides.

During Elizabeth’s tenure at the UAW women faced many struggles, but the most significant one was the fact that they were being paid unskilled wages to perform skilled work. This struggle continued for many years in other parts of the world, including Britain, as explored in the entertaining 2010 film Made in Dagenham.

It’s not clear why Elizabeth left the UAW, but there is a good chance she was once again disillusioned after witnessing the chasm between her idealized vision of unions and what it was like to work for one.


Bohemian and Later Years
After leaving Detroit in 1946, Elizabeth returned to New York long enough to secure a contract for her next book, Anything but Love, which covered the media’s influence on women. The tone in this book has been described as biting and darkly satirical, probably the most bitter of all her books. Wanting to escape the conventions of modern society, she wrote in St. Croix, where she became enamored with Bohemian ideals like those of Jack Kerouac and the Beat generation. She completely changed her lifestyle, occasionally returning to New York, but living mostly in St. Croix until 1951. In 1948 she was in New York for a showing of Hawes fashion, old and new. Guests at the show participated in a contest to see who could differentiate between the replicas of 1930s Hawes fashions and her new designs. Not many people could pick out the differences.

Elizabeth’s next book, But Say It Politely, chronicles her experience living in St. Croix, observing first hand its rampant racism. Her final book, It’s Still Spinach, is not a rehash of her first book; it’s a courageous exploration of how and why we adorn ourselves. she was most interested in liberating women and men to be creative and comfortable.

Upon her final return to the U.S., Elizabeth enjoyed one final moment in the limelight with the Fashion Institute of Technology’s 1967 retrospective titled: Two Modern Artists of Dress: Elizabeth Hawes and Rudi Gernreich. In California she had befriended fellow fashion designer Gernreich, who famously designed 1964’s scandalous topless monokini.

Sadly, Elizabeth was not in good health when she moved to Hotel Chelsea in 1967, and she succumbed to alcoholism in 1971.

Though she lived her later years in relative obscurity, Elizabeth Hawes is well known among those who have studied fashion. As Ali Basye writes, fashion bloggers take notice when a Hawes design occasionally becomes available on e-Bay.

The Brooklyn Museum hosted a retrospective of Elizabeth Hawes designs in 1985, and several of her sketches are included in their Fashion and Costume Sketch Collection. The Metropolitan Museum of Art acquired the Brooklyn Museum’s costume collection and hosted a 2010 exhibition on American fashion, including Elizabeth and several other prominent designers.

Elizabeth was interested in mass-marketed clothing for everyone. Her avant-garde tendencies extended to her belief that consumers should be able to tell dress designers and manufacturers what they want and prefer, rather than being spoon-fed whatever materials and fashion happened to be trending. Had social media been available in her day, she might have been an ardent proponent and witty, enthusiastic supporter. I can imagine her Twitter feed as irreverent, provocative and entertaining with pithy sayings like: “A dress should last you three years, otherwise it’s a waste of money,” a comment she was fond of making — much to the consternation of the fashion industry.


Further reading
Most of this blog post was sourced from Bettina Berch’s excellent biography: Radical by Design: The Life and Styles of Elizabeth Hawes, New York, 1988.

Below is a list of the books Elizabeth Hawes wrote. All are out of print, but some are available at NYU’s Bobst and Tamiment Libraries, the NYPL and as secondhand copies and Kindle editions.

  • Fashion is Spinach, New York, 1938
  • Men Can Take It, New York, 1939
  • Why Is a Dress?, New York, 1942
  • Good Grooming, Boston, 1942
  • Why Women Cry, or Wenches with Wrenches, New York, 1943
  • Hurry Up Please, It's Time, New York, 1946
  • Anything But Love, New York, 1948
  • But Say It Politely, Boston, 1954
  • It's Still Spinach, Boston, 1954
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The Business of the Red Carpet

February 24, 2012

The 84th Annual Academy Awards will be viewed by millions of people all over the world this Sunday. Awards will be given, speeches will be made and the champagne will flow. However, winning the little gold man statue is not the only coveted trophy of the night - not by a long shot. 

Designers and jewelry houses long ago realized that putting their designs on the right celebrity is worth an enormous amount of publicity for their brand. The industry is so adept at this that many A- and B-list celebrities have endorsement teams which negotiate such deals from designers looking to dress their client. This is Cold. Hard. Cash. for just one night. Keep your eyes open for celebrities pulling out slips of paper from their clutches to recite who they are wearing when asked on the carpet. Ka-ching!

Everyone has something to gain or lose. Being on the best dressed list can be as important as winning the award, because it can propel actresses into new deals, endorsements and roles. Stylists' careers can also be made with a home run on the Oscar red carpet, and they too, are wooed by fashion houses, with various "thank you offers," with anything from luxury vacations to plastic surgery.   

Has the red carpet become too similar to the Super Bowl, with millions of dollars spent for one night, while actresses serve as the evening's main promotional tool? Has it gone too far, with so much riding on one night of glamour? Or is all fair in love and war when it comes to fashion's biggest night?  

Didn't your mother teach you to reach for the stars? While I do believe that many actresses serve as walking advertisements for fashion designers for the most glamorous award ceremony on the calendar, I can't say it's gone too far. In fact, I say more power to Hollywood's elite for being able to wear the hottest fashions of the year... for low-to-no cost. Who wouldn't take advantage of such perks? We ALL would! I'm not bothered by celebrities name dropping who has styled them for the evening because let's face it... it affects me in no way, shape or form. Most of us could never afford to buy the gowns and jewels we see on red carpet... unless of course we strike gold (or diamonds or platinum) at a sample sale. So instead of sitting in front of my television with anger and disgust on Sunday night, I will prop up with a smile (in part because I'm intrigued, and in part because I'm envious) as I look at the fashions I can only dream of wearing. 

Love it or hate it, many celebrity endorsements (even if it's just for one night), make us more excited about, and perhaps even aware of, certain brands that one day might just be attainable at stores for the masses. Who can forget Missoni's success at Target in 2011? Not to mention, I can't even hear what some of these actresses are saying to the reporters over my own loud "ooo-ing" and "ahh-ing" as these powerhouses walk across the screen.

My wardrobe might not be red-carpet-ready, but it suits me well (enough). And hey, a girl can dream, can't she? 
Lauren Gould 
Media Relations Manager, Bullfrog & Baum
New York Women in Communications Foundation Board Member 
New York Women in Communications Scholarship Recipient 

Posted by: 
Lauren Gould

At the Circus with Mediabistro: Women Visionaries & Provocateurs, Part One

June 3, 2010

Mediabistro’s Circus conference on May 20 featured “Visionaries & Provocateurs: Women in Media & Tech.” Here is part one of our two-part look at highlights from the conference.

From the Village Voice to Haute Couture: Susan Lyne, Gilt Groupe
Gilt Groupe CEO Susan Lyne has certainly had an interesting career. After starting in journalism, including a stint as managing editor of the Village Voice, she ascended to top positions at Disney/ABC and later became CEO of Martha Stewart Living. She’s now running the fast-growing Gilt Groupe, which has created a ton of buzz with its viral marketing approach to selling high fashion. (A recent New York magazine story took an inside look at Gilt, its business model and potentially significant effect on the fashion industry.)

The challenge now for Gilt, said Lyne (seen above with Mediabistro's Carmen Scheidel), is continuing to grow quickly while remaining innovative and not losing market share to the raft of competitors that have sprung up. After building its name on women’s fashion, Gilt has expanded into men’s fashion, cosmetics, home goods and now city-based services. It continues to focus heavily on mobile applications such as its new iPad app, and increasingly will use personalization to offer up specifically tailored sales based on what customers have bought before. 

NYWICI members, note  — Gilt is hiring copywriters and copy editors. Lyne offered the age-old advice: Use connections to network your way in. Channeling NYWICI’s new president, Linda Kaplan Thaler, she cited “the power of nice” in asking for help in making connections. “Everyone will help you if you ask nicely.”
 
 
The Power of the Wrap Dress: Meredith Fisher, Diane von Furstenberg
Meredith Fisher, digital media director for Diane von Furstenberg, gave a glimpse inside the iconic fashion brand and how it’s using social media to connect with its customers. 
 
Compared to many brands, DVF has some natural advantages when it comes to social media. One is Diane von Furstenberg herself, who has embraced Twitter and and tweets regularly @InsideDVF. Another is its loyal customer base, who act as ambassadors of the brand. Fisher cited as an example the DVF Experiment — a blog with the theme “one woman, one iconic dress, 30 days” — started by a customer who wore a DVF black wrap dress for 30 days straight. A third is DVF’s focus on philanthropy, which gives it a reason for consumers to connect with the brand beyond fashion.
 
Words of advice from Fisher:
  • When it comes to mobile, don’t just focus on iPad and iPhone, even though they have all the current buzz. Think about apps for all phones, especially Androids, in light of recent reports on its growing market share.
     
  • Her career advice? “Learn Photoshop.” She meant that both literally and figuratively — literally, it’s useful as a tool to be able to produce visuals for the web; figuratively, nothing beats the power of knowing how to do things yourself.
     
  • Take inspiration from many different places. Diane von Furstenberg’s granddaughter’s obsession with Polyvore, a make-your-own-collage site, prompted a DVF deal with the site. (Warning: If you have not yet visited Polyvore, you may want to stay away, lest it become your new favorite time-waster.)
 
In part two of our report — look for it Monday — we discuss remarks by Dwell President Michela O'Connor Abrams and Blurb founder and CEO Eileen Gittins.
 
Posted by: 
Gail Griffin

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