Fashionjournal by Teresa Evans

Introduction to Fashion Business Fashion Journal Teresa Evans 5/14/14

Table of Contents Entry #1: Women’s Wear Daily Pages 3-5 Entry #2: Wall Street Journal Pages 6-11 Entry #3: Vogue Pages 12-13 Entry #4: Spring ’14 Trend Observation Page 14 Entry #5: Macy’s- Crossover Trends Pages 15-17 Entry #6: WGSN Trend Review Pages 18-19 Entry #7: Fabric & Color Trend Pages 20-21 Entry #8: WGSN Review for Global Trends Pages 22-26 Entry #10: Trend Inspiration Via Film Page 27 Entry #11: Style.com Designer Collection- Alice + Olivia Page 28 Entry #12: Career Descriptions Pages 29-30 Entry #13: Fashion Don’ts Pages 31-32 Entry #14: Possible Career Opportunities Page 33

Entry #1 Women’s Wear Daily- October 18, 2013

Estée Lauder to Launch Derek Lam Collection By JULIE NAUGHTON

In January, Estée Lauder will launch a limited edition Derek Lam collection, a makeup lineup that allows the designer to stick his toe into the color cosmetics pool. While it’s unlikely that the collection will garner massive sales — industry sources estimated that the offering would generate roughly $1 million at retail in a tight lineup of about 100 specialty stores in North America and 80 overseas — the partnership moves the style needle forward for Lauder, which has been ramping up its designer game lately (case in point: new in-store employee uniforms by Opening Ceremony.) It’s the first major cosmetics fashion statement from Lauder since Tom Ford did a limited collection in 2005. The collection will be sold as an $85 set of five products — Kajal Crayon in Near Night, a navy blue; The Mascara in Black Black; The EyeShadow in Smoked Gold; The LipColor in Smoked Blush, and The Gloss in Barely Gold — tucked inside a navy Derek Lam clutch. The satin hard-case clutch includes Lam’s signature

dumbbell clasp. Products from Derek Lam’s collaboration with Tom Pecheux for Estée Lauder.

Lam cooked up the collection with Tom Pecheux, creative makeup director of Estée Lauder and Lam’s longtime friend. The two have collaborated on runway looks since Lam’s first show, and Pecheux used this collection backstage at the

designer’s spring runway show. Pecheux took the looks from daytime to full-on evening by adding layers of makeup as the show progressed. “It fit into a woman’s life — that’s what most women do,” said Pecheux. “Nobody has time to go back home to shower, to clean and rebuild the makeup. Girls like to add a bit of makeup to start their second part of the day and then the evening.” “I’ve been working with Tom since my very first show and Estée Lauder for the last eight seasons,” the designer told WWD. “That longtime involvement is invaluable — we’re really working hand in hand.” “I’m known for having a quiet palette, being a minimalist, all those kinds of words,” said Lam of his runway shows. “But working with Tom, we both wanted to go beyond that and present a real look for each show. We didn’t just want to go for the classics. Having said that, I do love the idea women could use my makeup like my ready-to-wear collection — as part of the wardrobe that creates a personality and a style. I wanted that functionality in the makeup line. I also wanted to translate what I’m seeing in fabrics and textures into the cosmetics.” Lam could head into fragrance next. “I did a one-off fragrance in spring 2006,” he said. “We only offered it to the audience at the show — and I still get requests for it. I’ve always tried to incorporate beauty and fragrance — I see that as very intrinsic to what I do, which is not about one particular look or way of dressing, but trying to express personal style. This is another expression of style that is curated by me and Tom. We wanted it to be an elevated experience, but accessible.” “Derek Lam and Estée Lauder share a sophisticated, aspirational aesthetic,” said Jane Hertzmark Hudis, global brand president of Estée Lauder, adding that the brand is celebrating “eight seasons of backstage beauty with a collection created by Derek and Tom that speaks to their partnership in connecting fashion, style and beauty.” The collection’s retail distribution includes Saks Fifth Avenue, Neiman Marcus, Bergdorf Goodman and esteelauder.com in North America and Harrods, Galeries Lafayette and El Corte Inglés in Europe. Support includes in-store and online promotion as well as marketing through Estée Lauder’s social-media channels.

Entry #1 Summary This past January, Derek Lam and Estee Lauder combined forces to launch a collaborative make up line inspired by everyday women, much like his own fashion collections do. This limited time cosmetics collection is a five piece set of eye shadow, mascara, kajal crayon, lipstick, and lip gloss that come in a navy clutch designed by Lam. Makeup artist, Tom Pecheux, and long time friend/fashion collaborator of Derek Lam, helped him design the collection from its wearability, to it’s colors. Lauder has been providing the designer with makeup for his shows for years, so the three put together was not a new challenge. Pecheux also used the makeup collection on the models for Lam’s Spring ’14 show this past fall. Cosmetics collaborations with designers and franchise themed collections have been very popular and good selling points for the industry. Estee Lauder also did a limited edition collection with Tom Ford back in 2005, and about two years ago I purchased a True Blood limited edition eye palette. This particular collection was collaborated with make up brand, Tarte, and came in a leather bound magnetic case that included many colors with True Blood names. The box also had a mini pullout drawer that included a sample of the brand’s newest mascara and eye primer. This is a very smart marketing technique for cosmetics brands to use, because if you’re like me, you don’t buy expensive make up for everyday use. However, since I am a fan of the HBO show I, of course had to buy the collection. Which then introduced me to the great quality of the brands products, making me want to keep buying it.

Entry #2 Wall Street JournalNovember 6, 2013

Magazine's Fashion Innovator of 2013 is a makeup artist that sets the trends season after season--and singlehandedly changes the face of beauty By: Derek Blasberg MANY OF TODAY'S leading makeup trends come from a woman who wears very little of it herself. In fact, Pat McGrath, one of the fashion and beauty world's most sought-after artists, wears very little color at all, preferring all-black ensembles whether she's backstage at a runway show or holding court at a fashion event. Which isn't to say she isn't colorful. Within the multibillion-dollar cosmetics industry, McGrath, the global creative-design director for Procter & Gamble, is something of a legend--creating new looks on the runway and then distilling them into innovative products that find their way into cosmetics aisles and beauty counters around the world. Just how in demand is she? Supermodel Linda Evangelista puts it like this: McGrath is the only makeup artist who can cause a job to fall apart if she's unavailable. Most of the time a shoot is canceled because they can't get a date on the photographer. "Sometimes, it's the model," she says. "But I've seen things get canceled because they can't get Pat. That's how important she is." Photographer Steven Meisel rarely, if ever, works without her, and top fashion houses--including Prada, Dolce & Gabbana, Christian Dior, Louis Vuitton and Gucci--all count on her for runway shows and campaigns. Self-trained and charismatic, McGrath has become a muse to photographers, a mother figure to models and one of the fashion world's most inventive talents. "We go on these incredible journeys," McGrath says of her creative process. "It's always something different. It might be Blade Runner or a Fellini movie or Bette Davis--I could lose it over Bette Davis's lashes. Whether it's the Byzantine cathedral for Dolce & Gabbana or the modern film noir look we did for Prada, with the wet hair and undone makeup, it's always an incredible journey." McGrath's energy is renowned in the industry. Evangelista recalls visiting Meisel at Pier 59 Studios one day while he was shooting a fashion spread featuring an exotic dancer. McGrath was in the center of the action, throwing dollar bills at the dancer and egging her on. "She's directing, she's correcting, she's collaborating," says Evangelista. "She's part of the whole process. A lot of what she does is not in the makeup chair." McGrath, who is in her forties, grew up in Northampton, a small town north of Â

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London, with her "fashion obsessed" mother, Jean McGrath, a Jamaican immigrant. Together, they would watch classic films (everything from Blonde Venus to Taxi Driver) and scour the local thrift shops. On Friday nights they trolled makeup counters for new products. For Pat--the youngest of three children--these mother-daughter trips were mandatory. "I was hothoused into the industry without even realizing it. Every Friday night, she would take me to the store. We would look for pigments that worked on black skin. There might be one color a month. She'd say, 'That's it! There's a blue that works on us, it's not ashy.' " McGrath's mother mixed her own colors and creams, which is how McGrath still works today. "And I'd be standing behind her weeping, because I didn't want to be there. Then it ended up being my career." After completing her A-levels, she moved to London in the early 1980s, just as the city was experiencing an explosion of colorful club kids. "I was obsessed with the New Romantics, such as the Blitz Kids, Boy George, Spandau Ballet: My friends and I would stalk them down along the King's Road," she says. Once, when she was loitering outside the Radio 1 studios, a DJ from the station noticed her unusual makeup: She'd used a red lipstick on her eyes and cheeks to create a dewy, rosy glow. "She said, 'Why don't you do my makeup like that?' " McGrath recalls. "And I said, 'That's a real job?' " McGrath never went to beauty school or trained professionally--the DJ suggested a makeup course, but it turned out to be too expensive. Instead, she learned by trial and error, often experimenting on her own face. (The trick of applying lipstick to eyes and cheeks, which she popularized in the '90s, was something she stumbled upon as a young girl, she says, "because stealing eye shadows from my mother's drawer was difficult, but I could snatch a couple of lipsticks and she wouldn't notice they were missing." This technique later became the basis for her liquid eyeliners.) Some of her earliest jobs were as an assistant to British editor Kim Bowen on underground fashion shoots around London for magazines like Blitz and i-D, where she later became beauty director. "I did whatever they told me to: sweep up, get coffee, hold a light. I was just so happy to be on those shoots and participating in the creative process." It was model Amber Valletta who, in the early '90s, told Meisel about a new makeup artist she thought he'd love. Valletta said McGrath was talented and had a wicked sense of humor. Sure enough, when Meisel met McGrath in 1996, the two hit it off. His first impression? "She needed a new wig. And I knew I had found a soul mate." The duo went on to create a series of iconic images for American and Italian Vogue, introducing bold new colors to what was then a conservative cosmetics market in the late '90s and dreaming up radical new beauty regimens into the new millennium. Meisel says their experiences together on set could inspire a miniseries. "Every day is complete insanity," he says. "From strippers during breakfast, to wheelchairs during lunch, to screaming and fighting all day long, we are constantly tripping and falling over each other."

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McGrath is notorious for traveling with an entourage--her team can climb to 50 during the busiest days of the fashion season--and for carrying a vast library wherever she goes: 75 bags filled with reference materials (books on film and art history, Polaroids of head shots, vintage magazines) and products (creams, mascaras, lashes, foundations, gloss, pigments, fabrics, sequins). She requires two vans, one car and four motorbikes. McGrath will leave a fashion show when the models have barely left the runway to speed ahead to the next on a chauffeured motorbike, weaving through traffic. And there's no cutting back on the baggage because she knows she has to be prepared for whatever a designer might throw at her. Last year's Louis Vuitton show required 48 models to wear 10 pairs of false eyelashes each, all procured from McGrath's kits. "I've never seen someone travel with so much in my life," says model Naomi Campbell, sighing. "And that says something, coming from me." Despite her formidable array of gear, McGrath uses brushes only sparingly, preferring to warm up the makeup and pigments with her hands, blend colors on the back of her palms, and apply them with her fingertips. "She uses her fingers to paint the way Van Gogh used a brush," says Givenchy designer Riccardo Tisci. McGrath's contribution as a makeup artist goes well beyond cosmetics. "I think in another life Pat could have been a comedic actress," Campbell says. Whether backstage or on set, she cracks jokes, does impressions and keeps the energy up and everyone on their toes. Stefano Gabbana of Dolce & Gabbana says she is "absolutely hilarious." Tisci calls her "funny, joyful, insane and addicted to connection." On set, she always pushes her team beyond its limits. "She doesn't just do her job and hang up the brushes. She gets the big picture, and that's a true professional," adds Campbell. An undeniably influential chunk of her career was spent collaborating with John Galliano on runway looks for Christian Dior and the designer's eponymous line. (Galliano was fired from Dior in 2011, after an anti-Semitic rant. Raf Simons replaced him at Dior and Bill Gaytten now designs John Galliano; McGrath still does makeup for both houses.) Runway moments from Galliano, with McGrath's use of neons, gold foil and ridiculously long lashes, are credited with reintroducing colorful pops to the modern makeup palette. Lady Gaga specifically acknowledges Galliano's fall/winter 2009 collection--inspired by Ukrainian brides, at the height of McGrath and Galliano's collaborations--as the inspiration for her "Applause" music video. McGrath has fond memories of working with Galliano. She laughs as she describes how he and the late Steven Robinson, Galliano's head of studio at the time, would invent the most outlandish, ridiculous story as the official "brief" for a runway show. "But at the time, I didn't know that most of it was fake!" McGrath says. References could be as varied as Queen Tut, Joan Crawford or a female matador. "They'd make up these wild tales, and I would sit there furiously writing everything down. Then I'd come back seven hours later with a concept." That's Â

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how many of their most provocative looks--such as the haute-couture female Egyptian pharaohs with royal-blue faces and gilded eyebrows in 2004--came to pass. "He would be like, 'Is she going to get it?' And I always did. Half of the things they said to me weren't real, but I took every single word completely seriously, and we'd push the look as far as it could go." She says her years collaborating with the designer were some of the most inspiring of her career. Galliano's dismissal was an emotionally difficult time for many people in the fashion industry, including McGrath. That's because she forges tight, intimate relationships with her peers. Nearly everyone contacted for this story--from models Campbell and Evangelista, to the new faces Meisel routinely plucks from obscurity, to stylists and designers--uses the same nickname for McGrath: "mother." In a field where the relentless pursuit of perfection and beauty is often more valued than having a sense of humor, McGrath's lighthearted maternal instincts stand out. She often feels like a mother hen to the entire industry. "But not only to the young girls," she says. "I work with girls who are 16 and women who are 60. That's what is so brilliant about our industry now." Off the runway, McGrath is responsible for many of the last two decades' worth of makeup trends, including the dewy, plump skin that was so popular during the late '90s and the use of crystals on eyes and lips, fashionable in the 2000s. At Procter & Gamble Beauty--where she was hired in 2004 and now oversees CoverGirl, Max Factor and Dolce & Gabbana: The Makeup--McGrath helps translate the trends she sets on the runway into affordable, accessible products. The 10-pair-thick eyelashes that she whipped up for Louis Vuitton in 2012--those led to CoverGirl's two-step Bombshell mascara. More recently, she created a foundation in response to today's "selfie culture," so there wouldn't be a need to retouch--a response to more and more women taking pictures of themselves with cell phones and instantly posting them on the Internet. "Women are not going for that super-glowing, supershiny skin because you don't look that good when you're doing a selfie," notes McGrath. Thus, she introduced Perfect Matte Liquid Foundation for Dolce & Gabbana: The Makeup, which is more forgiving when captured by today's high-definition cameras. "Pat has a gift for pioneering new trends and techniques, season after season, that women around the world take inspiration from," explains Esi Eggleston Bracey, vice president and general manager of Procter & Gamble Beauty. "She's a terrific business partner. Our success is her success, and vice versa." McGrath's creativity has touched other industries, too. In what has become one of her more widely seen looks, in 2011, she worked with director David Fincher to transform Rooney Mara from a fresh-faced American girl to the pale-skinned Goth icon in The Girl With the Dragon Tattoo. "I went to Stockholm and spent two solid days on her, 22 different makeups, just pushing all the boundaries and having fun," she says. "I would love to do more film." She has books in the pipeline, and other makeup-based products, though she says she's too Â

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superstitious to discuss them now. Despite the buzz about whether she will launch her own line of makeup products, she smiles at the prospect but remains mum about a time line. The majority of people she works with now are her friends, or "her children," as she calls them. ("I'm sad when it's the last shot, because I don't want to leave her," Campbell says.) Even so, she admits that she sometimes still gets nervous around the talent. Two names spring to mind: Oprah and Madonna. The queen of daytime TV had McGrath on her show several times to talk about makeup, and she did Oprah's makeup on her 1998 Vogue cover. With Madonna, McGrath is often requested for editorial work, and she was responsible for her makeup in the influential Louis Vuitton campaign in fall 2009. What's it like to work on these women? "Your throat is closing. Your brow is sweating," she says. "But, in a way, I'm always a little nervous on any job, which is a good thing. I don't want to let people down. When you walk into a room and there are racks and racks of beautiful clothes, do you really want to ruin it all with a bad lipstick?" She says an anxious desire to constantly create is what still fuels her work. "Every day is the beginning of your career. So it doesn't matter if it's a new model, or Madonna, you have to be nervous." She lets out a laugh and winks. "Obviously extra nervous with Madonna." Highlights from McGrath's career, chosen by the makeup artist herself, include her work for fashion magazines, runway shows and advertising campaigns. "Every day is complete insanity," says photographer Steven Meisel, a frequent collaborator who shot nearly all the magazine covers and features on the photos below. "From strippers during breakfast, to wheelchairs during lunch, we are constantly tripping and falling over each other." Entry #2 Summary Pat McGrath, also known as “mother” to the fashion industry, is one of the most talented, and well sought out for make up artist in the business. She has done make up for fashion shows, movies, and photoshoots for decades now, and as models like Naomi Campbell and Linda Evangelista can tell you, when directors can’t book her, events get canceled. McGrath never went to beauty school, but she worked her way to the top working for many different people who quickly recognized her amazing talent, eventually making it to the head make up artist for all Prada, Dolce & Gabbana, Christian Dior, Louis Vuitton and Gucci runway

shows. In 2004, she was hired at Procter & Gamble as an overseer of CoverGirl, Max Factor and Dolce & Gabbana. From the pop culture that surrounds her and the work she collaborates on with designers, stylists, and other directors, she also invents new makeup products. For example, she helped create a line of matte foundation because all women take so many selfies now, and technology’s new high definition cameras don’t flatter shiny complexions. I am honestly upset that I don’t already know about such an influential icon in the fashion industry. Any body who wants to work in fashion design, runway shows, and photo shoots should know who this woman is, study her work ethic and use her work as inspiration. She is an important, and demanded figure within the industry, in which shows don’t go on without her, and she works with a company to both design new products, and direct whole brands’ collections. It is always good to be in high demand, especially when models, designers and photographers around the world know and love her as a funny and delightful “mother”.

Entry #3 Vogue- October 19, 2013 Summer's Latest Style Trend: Souvenir Dressing by Lynn Yaeger My handbag is wishing you aloha. That sentiment, along with the words lanvin ete 2009, is scrolled across its plasticized surface, underneath a cartoon of two ladies clad in Lanvin frocks sitting on what I thought was an egg (though the saleswoman swears it’s a pearl). But OK, I admit it—I haven’t been to Hawaii anytime lately. My bag is a talisman, a symbol of all those cool fashion items you pick up on vacation, a way of saying, “Look what fabulous me brought back from Bora-Bora!” even if the only trip you’ve taken lately is from Barneys to Balthazar. It’s wonderful to be able to integrate souvenir items into your wardrobe, but it can be slightly tricky. You can’t go to work in a grass skirt or a Moroccan cone hat festooned with pom-poms. You want to be like the woman we know, effortlessly chic in a Costa Rican T-shirt topped by a Stella McCartney jacket. Or our friend who craved a classic striped French sailor’s shirt but ended up skipping the authentic polo in favor of Marni’s riff on this item from their Avenue Montaigne boutique. But let’s repeat: You don’t actually have to go anywhere to make this work. Like the vintage concert tee from the AC-DC show in Cleveland you never attended, there are plenty of items for sale right here at home that fairly shout good times abroad. What is that Junya Watanabe denim and African print skirt but a sexy invitation to fantasize about going on safari? What are those stretchy Gaultier ruffled halter dresses, printed with fish and flora, but a nod to the notion that you’re off to Positano any minute? Then again, it’s important to remember that you’re still in town. The key is to don one item that reeks of somewhere farflung, and mix it with a slick white pencil skirt or dark, tailored, skinny pants or a serious sandal. You want to give your audience the merest suggestion of the sun and sand, not look like you’re flip-flopping your way to the hot-dog stand. Seeking more clarity on this delicious subject, I phone up Lanvin’s Alber Elbaz, the guy responsible for my aloha tote. Turns out he’s built his entire 2010 resort collection on the notion of the subtle souvenir, by which he means printed tees and bags, slouchy pool party–worthy dresses, ridiculously jaunty straw chapeaux, and funny watermelon-festooned pendants. (And all priced far lower than previous collections—who says there isn’t a silver lining to a recession?) “The things you buy when you are vacation are emotional pieces,” he tells me. “They’re souvenirs you never throw away, no matter how many times you move houses.” Elbaz incorporates these magical memories with a liberal application of sarong silhouettes, straw totes, ankle-grazing frocks, always with pockets (“So you can hide your hands when you’re bored,” he says mischievously), and a huge flopping fabric flower pinned over one ear. You might not want to sport a blossom on your head as you sit in your cubicle next spring, but who can resist a watermelon necklace?

Entry #3 Summary: The latest trend that has emerged for Summer ’14 has to do with an inspiration from vacation souvenirs. Designers like Lanvin and YSL have incorporated things like fruit button and jewelry, sarong-like silhouettes, and tropical souvenir shirts into their collections and runway shows. They like to mix these quirky features in with their more everyday summer collection pieces. Much like the way that street style is working its way into designer collections via the band t-shirt, vacation souvenirs are working their way into designer collections as a must have statement piece. Alber Elbaz from Lanvin says that souvenir are emotional things we buy on vacation, and things we never throw away. This is how he sees such things like his Aloha tote and watermelon necklace. It’s more chic than running around town in flip flops and a floppy hat, and it combines style and quirkiness to bring you a more streetstyle-casual-resort wear. Obviously summer is the season to popularize this trend, but the way designers are incorporating it into their collections keeps them away from being too much like a resort collection. This is an easy trend for the public to follow and is also relative where every individual creates their own unique style from what the souvenirs they have bought from all over the globe over the years.

Entry #4: Spring ’14 Fashion Observation Leading up to our current S/S ’14 season, I noticed a reoccurance of the bright neons that were trending for S/S last year. In S/S ’13 neon colors were paired with Aztec and floral prints for a new twist on a tropical, vacation inspired ready to wear. This season, the neons reappeared in sportswear, as well as the sportswear inspired casual wear that was a trending style for this season as well. The “sports luxe” style that has become more and more popular is really using the neon color trend as an accent to make this style unique in a fun, California lifestyle kind of way. This style combination helps make neons, as well as athletic styles more approachable, and wearable to this every day customer who may not go to the gym three times a week. This look is best described by the collaboration by Topshop and Adidas for their collection, Topshop X adidas Originals. The collection aims to bring some femininity to adidas Originals and is designed to be worn as a fashion range. Last Years Neon Tribal Trend:

This year’s Topshop/Adidas collaboration:

Entry #5: Macy’s-Crossover Trends Shopping around in Macy’s I noticed a few subtle design details that were present in three different departments; bedding, women’s impulse contemporary, and accessories. Similarities in color palettes were pretty obvious. It is the spring season, and after a long winter, the merchandisers probably figure, people want to see bright, crisp colors. However, I did notice an abundance of oranges and blues (especially navy) throughout the three departments.

Like I said, Spring is in the air, so floral prints and patterns were everywhere. Modern, graphically designed floral prints were all over the bedding, scarves, and dresses to be specific. Floral print may be a trend every spring and summer, but the other trends (like color & motifs) are other details that might influence how the florals will be different from last year. This season, they are very tropical or simple graphically designed prints.

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Another trend I noticed all over the department store was a motif. Specifically it was an Americana/Nautical motif. I guess this is also a common spring/summer trend, but they are being mixed together instead of one motif preferred over another. Nautical stripes were very much present, but sometimes they were red and accompanied by stars. The color trend for navy that was mentioned earlier also reinforces with this motif.

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Entry #6: WGSN Trend Review

“All hues of blues” were seen in the collections for this season. The color is mainly seen on tailoring and statement dresses in traditional silks and cottons. Although orange was not mentioned on WGSN, they did say that cool yellows and deep reds were trending colors, which are both the closest colors to orange. Plus it may not be a trending color right now according to WGSN, but the Macy’s buyers definitely thought it was a color made for this season’s best clothing, and home goods.

Last September, WGSN wrote a report where they predicted trends for this spring’s trends based on what they saw in the front rows ant LFW, one of them included sheer floral prints

According to WGSN, “Americana influences were seen across the board, spanning Wild West staging to cinematic suburbia”. Also, with so many brands like Ralph Lauren, Nike, and The North Face designing and providing their sports wear and ceremony clothing, were bound to see some American pride come up from other American brands through their runway collections.

Entry #7: Fabric & Color Trend Inspiring knit, textile and material swatches in collaboration with the University of Brighton forecast project for autumn/winter 2014/15

Woollen dobby cloth w/ tassel detail. Monofilament/mohair/cotton. Designer: Kaley Doleman of University of Brighton

Tweed with striped cotton warp & chunky boucle extra-weft. Wool/cotton. Designer: Juliet Craziano of Brighton University.

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Interrupted satin placement stripe. Cotton/Lurex/Silk. Designer: Georgina Sury of University of Brighton.

The Key Colors for S/S ’14 in the US are:

Entry #8: Global Trends During the Autumn/Winter 14/15 fashion weeks, many trends were dominating three big fashion capitals; London, Milan, & Paris. As for tops and sweaters, the key trends for this coming fall are: The Faux Fur Sweatshirt I haven’t seen this trend hit the US yet, but its very quirky and I can see it selling here easily maybe at Urban Outfitters or Topshop.

The All-over Graphic Sweatshirt This trend is already here in the US, I have seen this trend mostly through the online retailer, Fresh-tops, but I have also seen this at h&m and Pacsun.

Placement Graphic Sweatshirt This trend is almost the same as the previous trend. It is not only seen on sweatshirts but on sweaters too. Many retailers like Forever 21 and Macy’s.

The Turtleneck I did not see this trend very much in the US this past winter, I seem to see trendy turtlenecks on the catwalks, but they never seem to stick or look as good in the US.

Intarsia I did see a lot of graphic intarsia this past winter, like the picture of the fox sweater in the middle left. I did see a lot of that at many stores like A’GACI and Pacsun, but not Intarsia like the other examples below.

The Layered Shirt To me this is a classic, yet difficult look. Not all button up shirts look as good underneath a sweater, and not all sweaters look good over a blouse. However, I did notice many fashionistas in the US took advantage of this trend using their denim and chiffon blouses.

The Crop Top This trend has definitely made it to the US, ranging from loose cropped tees, to tight turtleneck crop tops. I’ve seen these everywhere since last spring.

The Oxford Shirt In the US, this trend has been translated mostly into sheer button up blouses that are selling everywere. I haven’t seen just the plain white one here.

The Denim Shirt This was a very popular trend last fall, and continues to be a great closet staple this spring, like I said before, it is a great layering piece. This staple can be found in many price points from different retailers.

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Entry #10: Trend Inspiration Via Film Recently I have seen the movie, Divergent. It was a great film, and I particularly had a great appreciation for the costume design done by Carlo Poggioli. He really did a great job styling and designing for the different factions in this future society to visually allow the audience to easily differentiate which character belonged to which faction. The main character’s “Dauntless” style of edgy sportswear is really attractive, and wearable, and I can see this becoming an inspiration of future trends for athletic wear, pants with leather panels, etc. Edgy styles like this are already trending for this spring so it would be interesting to see how it could be translated into the autumn/winter ‘14/’15 collections.

Entry #11: Designer Collection The designer I chose is Alice + Olivia, and I picked their S/S ’14 RTW collection, because I had never heard of them before, so I wanted to see their most current collection. I found that I really loved this designer’s aesthetic, all of the looks throughout the collection are very different but some how are all cohesive by the way preppy and pretty are mixed. My favorite look consists of a tailored black and white draped blazer, an embellished crop top, and a sheer, black maxi skirt.

I just love the elegance of the skirt and crop top, but they throw this simple, sophisticated jacket over to allow customers to envision the look as more than just evening wear. The collection is described as a sporty twist on “prom-y” styles, that are made to be “preppy but pretty” and often even their teal, tea-length skirts can be paired with either vans slipons or silver silver heels. I can see this collection being sold in stores like Zara, or Saks 5th Ave, because it’s mix of two different classic styles is what makes it unique.

Entry #12: Career Descriptions A fashion designer designs clothes, accessories, and shoes. Some brands have whole design teams to do create and produce designs in a specific product category. Responsibilities usually include: -creating collection concepts -sketching possible garments by hand or on the computer -drafting pattern pieces -overseeing production -analyzing fabric, color, and shape trends

A Retail Buyer plans and selects a range of merchandise or products to be sold in retail. A buyer has to know and be trained to consider certain factors before making purchases: -market trends -customer demand (price, quality, & availability) -store policy -financial budgets This position requires buyers to source new products and review current merchandise to guarantee products remain competitive. They need to full understand customersâ&#x20AC;&#x2122; needs and keep up to date with key market trends and how they change.

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The Product Development Manager is responsible for conducting the development and redevelopment of products to strengthen the brand and grow clients’ business. The PDM also works with the Brand & Product Creative Director to oversee and analyze product lifecycle and product strategy. Other responsibilities also include: -generating new product ideas -staying ahead of competitive activity by researching and attending tradeshows -conducting feasibility studies and appropriate market research -Acting as the Marketing Division’s key point of contact regarding newly developed product -Managing entire development process

Entry #13: Fashion Do’s & Don’ts

Tights or leggings should never be worn as pants! Regardless of your body type, it is an awkward style, and looks too much like a naked silhouette. It is not very wearable either, if you don’t want anyone seeing your underwear, you pretty much have to stand straight all day.

What’s the point of wearing pants if they’re not even covering your underwear? This is one trend I will never understand because it is not even wearable. Guys who wear their pants like this are constantly holding their pants up; which makes me wonder why they even bother with belts. Pants are made to fit around the waist or hips, not your thighs.

Too much skin shown in an unconventional way portrays nothing but bad taste. There is a right time and place for this level of sexiness, and the public eye is not that time or place.

On the other hand, too many layers, patterns, colors and textures can create chaos. Like this picture shows, the result of too much, can make someone look hap-hazardly dressed or like they don’t know what they’re doing. If you’re not sure if it goes together, don’t risk it, but usually clashing patterns and styles don’t work.

Entry #14: Possible Career Opportunities Alterations Coordinator: This job entails administrative work with handling customers’ alteration needs. The position works along side the alterations manager in overseeing all store alteration services. This job would be a great fit for me, especially to start off in the fashion industry. Especially if it is for a company like Ralph Lauren, where company standards are cherished and expected in all areas of the store. Marketing Coordinator: This is a position that requires marketing initiatives through messaging, emails, online/mobile campaigns, and social media. This is a day to day requirement to fulfill ongoing development and execution of site-wide promotional initiatives. This would be a good job for me because I have the knowledge of product development when it comes to clothing, and I have been educated on how to merchandise clothing as well. Also, e-commerce and web-based shopping has become so prominent that every brand should have a team of people that know what they’re doing to keep the brand in touch with current technology and social networking. Fashion Designer: My dream job is to become a fashion designer, or to work on a famous fashion brand’s design team. Everything about this job is so exciting to me. It is really an honor to be able to reach a goal like this, and it is a very important job. Many people look to you for answers, such as marketing coordinators, merchandise buyers, and consumers. I would love to make it to this position one day because I have such a passion for this kind of work, and I would love even more to be a part of a design team with a number of creative professionals.