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Guide to the Preparation of an Area of Distribution Manual. INSTITUTION Clemson Univ., S.C
DOCUMENT RESUME ID 087 919 CB 001 018 AUTHOR Hayes, Philip TITLE Guide to the Preparation of an Area of Distribution Manual. INSTITUTION Clemson Univ., S.C. Vocational Education Media Center.; South Carolina State Dept. of Education, Columbia. Office of Vocational Education. PUB DATE 72 NOTE 100p. EDRS PRICE MF-$0.75 HC-$4.20 DESCRIPTORS Business Education; Clothing Design; *Distributive Education; *Guides; High School Curriculum; Manuals; Student Developed Materials; *Student Projects IDENTIFIERS *Career Awareness; South Carolina ABSTRACT This semester-length guide for high school distributive education students is geared to start the student thinking about the vocation he would like to enter by exploring one area of interest in marketing and distribution and then presenting the results in a research paper known as an area of distribution manual. The first 25 pages of this document pertain to procedures to follow in writing a manual, rules for entering manuals in national Distributive Education Clubs of America competition, and some summary sheet examples of State winners that were entered at the 25th National DECA Leadership Conference. The remaining 75 pages are an example of an area of distribution manual on "How Fashion Changes Relate to Fashion Designing As a Career," which was a State winner and also a national finalist. In the example manual, the importance of fashion in the economy, the large role fashion plays in the clothing industry, the fast change as well as the repeating of fashion, qualifications for leadership and entry into the fashion world, and techniques of fabric and color selection are all included to create a comprehensive picture of past, present, and future fashion trends. -
Fashion Awards Preview
WWD A SUPPLEMENT TO WOMEN’S WEAR DAILY 2011 CFDA FASHION AWARDS PREVIEW 053111.CFDA.001.Cover.a;4.indd 1 5/23/11 12:47 PM marc jacobs stores worldwide helena bonham carter www.marcjacobs.com photographed by juergen teller marc jacobs stores worldwide helena bonham carter www.marcjacobs.com photographed by juergen teller NEW YORK LOS ANGELES BOSTON LAS VEGAS MIAMI DALLAS SAO PAULO LONDON PARIS SAINT TROPEZ BRUSSELS ANTWERPEN KNOKKE MADRID ATHENS ISTANBUL MOSCOW DUBAI HONG KONG BEIJING SHANGHAI MACAU JAKARTA KUALA LUMPUR SINGAPORE SEOUL TOKYO SYDNEY DVF.COM NEW YORK LOS ANGELES BOSTON LAS VEGAS MIAMI DALLAS SAO PAULO LONDON PARIS SAINT TROPEZ BRUSSELS ANTWERPEN KNOKKE MADRID ATHENS ISTANBUL MOSCOW DUBAI HONG KONG BEIJING SHANGHAI MACAU JAKARTA KUALA LUMPUR SINGAPORE SEOUL TOKYO SYDNEY DVF.COM IN CELEBRATION OF THE 10TH ANNIVERSARY OF SWAROVSKI’S SUPPORT OF THE CFDA FASHION AWARDS AVAILABLE EXCLUSIVELY THROUGH SWAROVSKI BOUTIQUES NEW YORK # LOS ANGELES COSTA MESA # CHICAGO # MIAMI # 1 800 426 3088 # WWW.ATELIERSWAROVSKI.COM BRAIDED BRACELET PHOTOGRAPHED BY MITCHELL FEINBERG IN CELEBRATION OF THE 10TH ANNIVERSARY OF SWAROVSKI’S SUPPORT OF THE CFDA FASHION AWARDS AVAILABLE EXCLUSIVELY THROUGH SWAROVSKI BOUTIQUES NEW YORK # LOS ANGELES COSTA MESA # CHICAGO # MIAMI # 1 800 426 3088 # WWW.ATELIERSWAROVSKI.COM BRAIDED BRACELET PHOTOGRAPHED BY MITCHELL FEINBERG WWD Published by Fairchild Fashion Group, a division of Advance Magazine Publishers Inc., 750 Third Avenue, New York, NY 10017 EDITOR IN CHIEF ADVERTISING Edward Nardoza ASSOCIATE PUBLISHER, Melissa Mattiace ADVERTISING DIRECTOR, Pamela Firestone EXECUTIVE EDITOR, BEAUTY Pete Born PUBLISHER, BEAUTY INC, Alison Adler Matz EXECUTIVE EDITOR Bridget Foley SALES DEVELOPMENT DIRECTOR, Jennifer Marder EDITOR James Fallon ASSOCIATE PUBLISHER, INNERWEAR/LEGWEAR/TEXTILE, Joel Fertel MANAGING EDITOR Peter Sadera EXECUTIVE DIRECTOR, INTERNATIONAL FASHION, Matt Rice MANAGING EDITOR, FASHION/SPECIAL REPORTS Dianne M. -
INSIDE THIS ISSUE Fashion Lion
the Albright College FAshion DepArtment neWsletter • FAll 2011 FASHION LION What’s Hot at Albright? African Textile Design INSIDE THIS ISSUE Designers and Mass Marketing Meet the Faculty: Kendra Meyer, M.F.A. Letter from the Editor EVERYTHI NG by Mary Rose Davis ’15 Dear Readers, Welcome to our first issue of the Fashion OLD Lion! Previously, the fashion newsletter was Incorporating vintage fashion into modern looks is easy. called Seventh on Thirteenth, a play on words that mimicked Seventh on Sixth where “Thanks, it’s vintage,” is possibly one of the coolest things you can say when New York City’s Fashion Week was held receiving a compliment on your outfit. for many years. With the relocation of the With fashion trends from the past becoming more popular, it’s important to fashion week events uptown to the Lincoln know how to incorporate these trends into your style without looking “dated.” Center, we held a contest this semester to come up with a new Once you do, you’ll have a whole new — or old as the case may be — look. name for the newsletter. Congratulations to fashion design and First, you can’t wear it if you don’t own it. So get your fashionable self to the merchandising major Monica Tulay ’12 for the winning entry. closest thrift store or just raid your parents’ closet and find that perfect piece for For me, this change in name serves as a symbol of my years you. One thing to keep in mind is that it’s always easier to start with smaller items at Albright. -
THE POLITICS of Fashion Throughout History, the First Lady’S Style Has Made a Statement
THE POLITICS OF Fashion Throughout history, the first lady’s style has made a statement By Johanna Neuman rom the beginning, we have obsessed new country’s more egalitarian inclinations. Martha about their clothes, reading into the Washington dressed simply, but her use of a gilded sartorial choices of America’s first la- coach to make social calls led critics to lament that dies the character of a nation and the she was acting like a queen. Abigail Adams, who had expression of our own ambitions. “We cultivated an appreciation for French fashion, was want them to reflect us but also to reflect glamour,” careful to moderate her tastes but failed to protect Fobserves author Carl Sferrazza Anthony, who has John Adams from criticism that he was a monarchist; studied fashion and the first ladies. “It is always he was defeated for re-election by Thomas Jefferson. said that Mamie Eisenhower reflected what many “These Founding Fathers had deep ancestral and in- Americans were, and Jackie Kennedy reflected what tellectual ties to countries where government lead- many American women wanted to be.” ers’ dress was explicitly understood to In a nation born in rebellion against Jackie Kennedy in Ottawa, reflect and represent their august posi- the king, the instinct among public fig- Canada, in an outfit tions,” says historian Caroline Weber, ures to dress regally clashed with the designed by Oleg Cassini author of Queen of Fashion: What PAUL SCHUTZER—TIME & LIFE PICTURES/GETTY IMAGES SPECIAL COLLECTOR’S EDITION 77 AMERICA’S FIRST LADIES Marie Antoinette Wore to the Revolution (2008). -
Vogue Magazine the Glossy Has Spawned an Industry of Imitators, Two Documentaries, a Major Hollywood Film And, Perhaps Most Enduringly, a Modern Dance Craze
Lookout By the Numbers Vogue Magazine The glossy has spawned an industry of imitators, two documentaries, a major Hollywood film and, perhaps most enduringly, a modern dance craze. Itís also gone through some serious changes over the course of its 121 years in print. In recent years, the fashion bible has traded willowy models for celebrities of all kinds, a trend that reached its apex in April when the left-leaning, Chanel-shaded Brit Anna Wintour (the magazineís seventh editor in chief) decided to put ó gasp! ó a reality star on its cover. But even with young upstarts nipping at its Manolos, the periodical that popularized tights and the L.B.D. continues to thrive under its time-tested principle. That is, while other magazines 15 teach women whatís new in fashion, Vogue teaches them whatís in vogue. Approx. age at which Anna Wintour Here, a look at the facts and figures behind fashionís foremost franchise. — JEFF OLOIZIA established her signature bob $200,000 13% Wintour’s rumoredored annual clothing allowance of covers featuring celebrities during Wintour’s first five years 916 PagesP in the Favorite cover model by editor: SeptemberSepte 2012 issue, Anna Wintour: Vogue’sVogue largest to date 93% AMBER VALLETTA Vogue’sVoVogue’gue’ longest tenuredd editors:editors: of covers featuringg celebritiesc 17x over the last five years (still on the masthead)d) Diana Vreeland: Anna Wintour – 29 years A samplingsampling BRIGITTE BAUER Phyllis Posnick – 27 years of the 19 exotic exotic & animalsanimalsimals in fashionfashi on JEAN SHRIMPTON Grace Coddington – 26 years 19x each spreadsspreads Hamish Bowles – 22 years alongsideala ongside famous famous Reigning cover queen ladies:ladies:dies: 37 CheetahC (Kim Basinger, April ‘88) Number of years the longest ElephantEle (Keira Knightley, June ‘07) 26 reigning editor in chief served (Edna Woolman Chase, 1914-1951) SkunkSk (Reese Witherspoon, June ‘03) Number of times Lauren Hutton has fronted the magazine GibbonGi (Marisa Berenson, March ‘65) 8 (Nastassja Kinski, Oct. -
Fashion Design Merchandising Strands and Standards
STRANDS AND STANDARDS FASHION DESIGN MERCHANDISING Course Description The Fashion Merchandising course is an introductory class that teaches the concepts of entry- level business and fashion fundamentals. The following list of skill strands prepares the student in fashion merchandising in the fundamentals of basic fashion concepts and marketing terminology, fashion cycles, key components of the fashion industry shuc a s fashion designers, fashion capitals and fashion week, retail merchandise categories, fashion promotion including advertising and social media, and fashion careers. Student leadership and competitive events (FCCLA and/or DECA) may be an integral part of the course. Intended Grade Level 10-12 Units of Credit .50 Core Code 34.01.00.00.145 Concurrent Enrollment Core Code NA Prerequisite Fashion Design Studio Skill Certification Test Number 405 Test Weight 0.5 License Type CTE and/or Secondary Education 6-12 Required Endorsement(s) Endorsement 1 Family & Consumer Sciences Endorsement 2 Fashion/Textiles/Apparel ADA Compliant: April 2021 FASHION DESIGN MERCHANDISING STRAND 1 Students will recognize basic fashion concepts and terminology. Standard 1 Review fashion terms. (Fashion Design Studio Standard 1) Accessories, apparel, avant-garde, classic, composite, design detail, draped, fad, fashion, fashion cycle, fit, garment type, haute couture, ready to wear, silhouette, style, tailored, trend, wardrobe. Standard 2 Identify fashion products. • Goods – tangible items that are made, manufactured, or grown. They include apparel, textiles, accessories, and other fashion products. • Services – intangible things that people do, such as tasks performed for customers. They include tailoring, cosmetology services, and stylist. STRAND 2 Students will examine the basics of fashion marketing and associated careers. -
Less Than a Decade After Launching Her Own Label, Tory Burch C'88 Is
Less than a decade after launching her own label, Tory Burch C’88 is one of the most recognizable names in fashion. Through mentoring and microloans, the Tory Burch Foundation is empowering other women entrepreneurs to follow in her footsteps. By Kathryn Levy Feldman From Brand to RoleModel a recent evening at Tory Burch LLC in downtown Manhattan, the resort collection of bright, classic, ON and preppy-chic clothing and accessories was not getting much attention from the 75 women gathered in the trademark orange-and-green showroom. In fact, the clothing racks had been pushed to the sides of the mirrored space to make way for 11 glass-topped tables, where the women—aged 20 to 60, and each the owner of her own small business—were engaged in a networking forum modeled on speed dating and organized by the Tory Burch Foundation and its micro-financing partner, Accion. The evening was one of about a dozen similar mentoring events Burch’s foundation has held in locations such as New York, Chicago, and Hawaii. Every 20 minutes, the women moved from table to table to tap the expertise of a different mentor in fields including (that evening) retail, hospitality, real estate, insurance, and marketing. Burch herself circulated among the tables, listening in on conversations and beaming. 44 NOV | DEC 2012 THE PENNSYLVANIA GAZETTE PHOTOGRAPH BY PATRICK DEMARCHELIER From Brand to “I’m lucky to have had many mentors throughout my career,” Burch says. THE PENNSYLVANIA GAZETTE NOV | DEC 2012 45 “For our mentoring events, we focus Certainly she has demonstrated hers. -
Printable Version (Pdf)
Strands & Standards FASHION DESIGN MERCHANDISING COURSE DESCRIPTION The Fashion Design Merchandising course is an introductory course that teaches the concepts of entry-level business and fashion fundamentals. The following list of skill standards prepares the student in fashion merchandising with the fundamentals of: basic fashion concepts and marketing terminology, fashion cycles, key components of the fashion industry, retail merchandise categories, fashion promotion and fashion careers. This course will strengthen comprehension of concepts and standards outlined in Sciences, Technology, Engineering and Math (STEM) education. Student leadership and competitive events (FCCLA and/or DECA) may be an integral part of the course. License Type Intended Grade Level: 10-12 CTE and/or Units of Credit: .50 Secondary Education 6-12 CIP Code: 20.0316 Required Endorsement FACS General Composite or Core Code: 34.01.00.00.145 CTE License – CE Core Code: 00.00.00.00.000 Fashion/Design/Merchandising Prerequisite: Fashion Design Studio Skill Certification: #405 Test Weight: 0.5 Revised April 2015 Page 1 of 5 Fashion Design Merchandising Strands & Standards STRAND 1 Students will recognize basic fashion concepts and terminology. Standard 1 Review fashion terms. (Fashion Design Studio Standard 1) Standard 2 Identify fashion products. STRAND 2 Students will examine the basics of fashion marketing. Standard 1 Define the following marketing terms: marketing, marketing concept, target market, market segmentation, fashion merchandising. (*STEM: Math and Technology) Standard 2 Describe the 4 Ps of marketing (product, price, place, promotion). (*STEM: Math) Standard 3 Describe the 4 methods of market segmentation (demographics, geographics, psychographics, behavioral). (*STEM: Technology) Standard 4 Describe the 6 marketing functions (pricing, promotion, product/service management, marketing information management, distribution, selling). -
Flight of Fancy When It Comes to Bridal, Romance Is Always in Style
EYE: Partying with ▲ RETAIL: Chanel, page 4. Analyzing ▲ FASHION: Wal-Mart’s Donatella China sourcing talks New initiative, NEWS: Leslie York and page 13. Wexner is “feeling politics, good” despite the ▲ page 8. economy, page 5. WWDWomen’s Wear Daily • TheTHURSDAY Retailers’ Daily Newspaper • October 23, 2008 • $2.00 Sportswear Flight of Fancy When it comes to bridal, romance is always in style. Take, for example, this Carolina Herrera gown in silk habotai with swirls cascading from the hip and over one shoulder — a look that is as effortless as it is dreamy. For more, see pages 6 and 7. Palin’s Fashion-Gate: A Big Boost for Style, But Not for the GOP By WWD Staff At least someone is shopping: the Republicans and Sarah Palin. Given the beleaguered state of American retailing in the downward spiraling economy, stores such as Neiman Marcus, Saks Fifth Avenue, Barneys New York and Macy’s no doubt welcomed the Republican National Committee’s shopping spree on behalf of Palin with open arms. In some cases, it may even have helped goose their September same-store sales. And in this day and age, anything that boosts the profile of fashion and retailing can only be a good thing. Not that one would know it from the furor Palin’s wardrobe, hair and makeup created on Wednesday — even if the result has turned her into a politician admired for her style and See Palin’s, Page9 PHOTO BY ROBERT MITRA ROBERT PHOTO BY WWD.COM WWDTHURSDAY Sportswear FASHION Designers went in several directions for spring, ™ 6 and the best gowns had special details such as A weekly update on consumer attitudes and behavior based crystal beading, fl ower corsages or prints. -
"Index." Fashion, History, Museums: Inventing the Display of Dress
Petrov, Julia. "Index." Fashion, History, Museums: Inventing the Display of Dress. London: Bloomsbury Visual Arts, 2019. 227–234. Bloomsbury Collections. Web. 24 Sep. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 24 September 2021, 22:37 UTC. Copyright © Julia Petrov 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. INDEX archival methodology 5, 10, 191 121, 127, 142, 145, 149, 152, 153, artists and fashion 10, 15, 18, 36, 40, 156, 163, 179, 180 93–9, 116, 128 Costume Museum of Canada 125 Australia (fashion exhibitions in) 5, 20, 71, Cunnington, C. Willett 78, 171–2, 189 79, 89, 142, 170, 197 authenticity 25, 114, 120, 183 deathliness 1, 18, 137, 151, 168–9 Denver Art Museum 133 Barbican Art Gallery 59, 89 Beaton, Cecil 50, 54, 55, 111, 187, 190, exhibition design 1, 8, 9, 49, 50, 54, 59, 192 113, 120, 183, 196, 198 Beaudoin-Ross, Jacqueline 79 exhibitions as visual media 6–8, 11, 194 behind the scenes 13, 125, 129–31 Biba (designer) 39, 51 fashion 3, 9, 15, 26, 29, 35–6, 37, 160, Blum, Stella 163 186, 195 Bolton, Andrew 81, 192 fashion curation as team product 1, 5, Bowes Museum 59, 132 8, 183 Brett, Katherine B. 26, 97, 153, 164 Fashion Institute of Design and British Museum 32, 33, 118, 189 Merchandising (FIDM) Museum 55, Brooklyn Museum 4, 43, 47, 55, 67, 68, 73, 81 78, 81, 88, 99, 100, 106–7, 108, 109, Fashion Museum (Bath) 4, 26, 44, 48, 55, 126, 143, 145, 149, -
Window Shopping: Commercial Inspiration for Fashion in the Museum." Fashion, History, Museums: Inventing the Display of Dress
Petrov, Julia. "Window Shopping: Commercial Inspiration for Fashion in the Museum." Fashion, History, Museums: Inventing the Display of Dress. London: Bloomsbury Visual Arts, 2019. 31–62. Bloomsbury Collections. Web. 30 Sep. 2021. <http://dx.doi.org/10.5040/9781350049024.ch-003>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 00:32 UTC. Copyright © Julia Petrov 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 WINDOW SHOPPING: COMMERCIAL INSPIRATION FOR FASHION IN THE MUSEUM In his work on the “exhibitionary complex,” Tony Bennett (1996) showed how nineteenth-century museums and galleries were intimately connected in their design and conception to the expanding commercial architecture of the same period. The technical possibilities and visual experiences of industrial exhibitions and shopping arcades found analogous applications in museum spaces. As Mackie noted, “Both the retail shop and the public repository are designed for the display of information that is predominantly visual: looking is a means for possession as well as knowledge” (1996: 325). This blurring of commercial and intellectual cultures within the museum continues to create unease and controversy, particularly in the case of fashion exhibitions (Anaya 2013; Gamerman 2014). This chapter investigates how the introduction of fashion—an increasingly important economic and social product in the industrial period—into museums created new connections and tensions between these two worlds. It was because of its position between the disciplines of economy and history that historical fashion entered and was interpreted in museums. -
New York City (2)” of the Sheila Weidenfeld Files at the Gerald R
The original documents are located in Box 23, folder “3/20/76 - New York City (2)” of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 23 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library ...;._...,' For immediate release Friday, March 19, 1976 THE WHITE HOUSE Office of Mrs. Ford's Press Secretary -----~---------------------------------------------------------------------- \ Monday evening, March 29th, Mrs. Ford will accept the 1976 Parsons Award at the annual Critics Awards Show sponsored by the Parsons School of Design at the New York Hilton Hotel in New York City. There will be a photo session with Mrs. Ford and student award winners at 6:00 p. m. in the Rendevous Trianon Room1 11 of the New York Hilton, followed by a private reception. The fashion show and awards presentation will take place betweei 7:00 and 8:00 p. m. Mrs. Ford will make brief remarks at the award presentation.