Inside This Issue Fashion Lion
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Charitably Chic Lynn Willis
Philadelphia University Spring 2007 development of (PRODUCT) RED, a campaign significantly embraced by the fashion community. Companies working with Focus on . Alumni Focus on . Industry News (PRODUCT) RED donate a large percentage of their profits to the Global Fund to fight Lynn Willis Charitably Chic AIDS. For example, Emporio Armani’s line donates 40 percent of the gross profit By Sara Wetterlin and Chaisley Lussier By Kelsey Rose, Erin Satchell and Holly Ronan margin from its sales and the GAP donates Lynn Willis 50 percent. Additionally, American Express, Trends in fashion come and go, but graduated perhaps the first large company to join the fashions that promote important social from campaign, offers customers its RED card, causes are today’s “it” items. By working where one percent of a user’s purchases Philadelphia with charitable organizations, designers, University in goes toward funding AIDS research and companies and celebrities alike are jumping treatment. Motorola and Apple have also 1994 with on the bandwagon to help promote AIDS a Bachelor created red versions of their electronics and cancer awareness. that benefit the cause. The results from of Science In previous years, Ralph Lauren has the (PRODUCT) RED campaign have been in Fashion offered his time and millions of dollars to significant, with contributions totaling over Design. Willis breast cancer research and treatment, which $1.25 million in May 2006. is senior includes the establishment of health centers Despite the fashion industry’s focus on director for the disease. Now, Lauren has taken image, think about what you can do for of public his philanthropy further by lending his someone else when purchasing clothes relations Polo logo to the breast cancer cause with and other items. -
Public Libraries, Archives and Museums: Trends in Collaboration and Cooperation
International Federation of Library Associations and Institutions IFLA Professional Reports, No. 108 108 Public Libraries, Archives and Museums: Trends in Collaboration and Cooperation Alexandra Yarrow, Barbara Clubb and Jennifer-Lynn Draper for the Public Libraries Section Standing Committee Copyright 2008 International Federation of Library Associations and Institutions Public Libraries, Archives and Museums: Trends in Collaboration and Cooperation / Alexandra Yarrow, Barbara Clubb and Jennifer-Lynn Draper. The Hague, IFLA Headquarters, 2008. – 50p. 30 cm. – (IFLA Professional Reports: 108) ISBN 978-90-77897-28-7 ISSN 0168-1931 Table of Contents Executive Summary 4 Introduction: Why Collaborate and Cooperate? 5 Project Proposal 6 Research Methods 7 Literature Review 8 Collaborative Programming Community and Heritage Programs 10 Museum/Art Pass Programs 13 Collaborative Electronic Resources Global Initiatives 16 Continental Initiatives 16 National Initiatives 17 Regional and Local Initiatives 20 Joint-use/Integrated Facilities Minimal Integration 25 Selective Integration 27 Full Integration 28 Guide to Collaboration Best Practices 31 A Successful Collaboration, from Start to Finish 32 Creating Collaborative Electronic Resources: Special Considerations 34 Benefits and Risks of Collaboration 35 Risk Management Strategies 36 Conclusion 37 Contributors 38 Acknowledgements 39 Works Consulted 41 1 Executive Summary This report examines the recent trends in collaboration and cooperation between public libraries, archives and museums. In many cases, the shared or similar missions of the institutions reviewed make them ideal partners in collaborative ventures. Different types of collaborative projects are examined, including exhibits, community programs, digital resources and joint-use facilities. Examples come from Canada, the United States and the United Kingdom (UK), as well as from Russia, Denmark, Norway, Sweden, Germany, Italy, Spain, South Africa, Australia and New Zealand. -
Chic Street Oscar De La Renta Addressed Potential Future-Heads-Of-States, Estate Ladies and Grand Ole Party Gals with His Collection of Posh Powerwear
JANET BROWN STORE MAY CLOSE/15 ANITA RODDICK DIES/18 WWDWomen’s Wear Daily • The Retailers’TUESDAY Daily Newspaper • September 11, 2007 • $2.00 Ready-to-Wear/Textiles Chic Street Oscar de la Renta addressed potential future-heads-of-states, estate ladies and grand ole party gals with his collection of posh powerwear. Here, he showed polish with an edge in a zip-up leather top and silk satin skirt, topped with a feather bonnet. For more on the shows, see pages 6 to 13. To Hype or Not to Hype: Designer Divide Grows Over Role of N.Y. Shows By Rosemary Feitelberg and Marc Karimzadeh NEW YORK — Circus or salon — which does the fashion industry want? The growing divide between designers who choose to show in the commercially driven atmosphere of the Bryant Park tents of Mercedes-Benz Fashion Week and those who go off-site to edgier, loftier or far-flung venues is defining this New York season, and designers on both sides of the fence argue theirs is the best way. As reported, IMG Fashion, which owns Mercedes-Benz Fashion Week, has signed a deal to keep those shows See The Show, Page14 PHOTO BY GIOVANNI GIANNONI GIOVANNI PHOTO BY 2 WWD, TUESDAY, SEPTEMBER 11, 2007 WWD.COM Iconix, Burberry Resolve Dispute urberry Group plc and Iconix Brand Group said Monday that they amicably resolved pending WWDTUESDAY Blitigation. No details of the settlement were disclosed. Ready-to-Wear/Textiles Burberry fi led a lawsuit in Manhattan federal court on Aug. 24 against Iconix alleging that the redesigned London Fog brand infringed on its Burberry check design. -
Puma Kylie Rihanna 1
Buzz Queens Why Rihanna and Kylie Jenner are critical to Puma’s ambitious new women’s push. By Sheena Butler-Young GE CHINSEE R O E S: G R THE O L AL AND; R B F O Y S E T R U O C : BU AM J OCK; ST R SHUTTE X Behind S: LEPORE: RE the scenes ofO a recent FentyOT design meetingPH ver Easter weekend, why Puma is making the trendset- are nothing new, but the German Rihanna was relishing ting songstress a cornerstone of its footwear-and-apparel maker’s col- a rare few hours of business strategy. laborations with two of pop culture’s O downtime in New But the brand isn’t stopping there. most influential women are not of Last week, the highly anticipated the garden variety. from her Anti World Tour. Scores sneaker from Puma’s campaign with Rihanna, Puma’s women’s creative of paparazzi snapped flicks of the Kylie Jenner hit stores, fueling a new director since December 2014, and UMA P star as she ran errands in a black wave of buzz after the queen of social Kylie Jenner, the brand’s newest F O Vetements hoodie and fur slides media teased her partnership for the ambassador, represent a strategic Y S E T from her Fenty x Puma collection. past month on Instagram. R U O Make no mistake about it: Puma to the women’s market in an unprec- C S: Rihanna’s every fashion move is a is serious about girl power. edented way. O OT statement for the masses. -
Grin and Bear It
AMERICAN ANTHEM MADE IN THE USA IS SEEING A RESURGENCE AND IT’S A KEY POLITICAL ISSUE. SECTION II MALE MAKEOVER BERGDORF GOODMAN UNVEILS A REMODELED MEN’S DEPARTMENT. PAGE 3 LUXURY LAWSUITS Hermès Sues LVMH, LVMH Sues Hermès By JOELLE DIDERICH PARIS — Let the hostilities resume. Hermès International and LVMH Moët Hennessy Louis Vuitton said Tuesday they were heading to court over their ongoing dispute regarding LVMH’s WEDNESDAY, SEPTEMBER 5, 2012 ■ $3.00 ■ WOMEN’S WEAR D acquisition of a 22.3 percent stake in the maker of Birkin bags and silk scarves. WWD Hermès confi rmed that on July 10, it lodged a com- plaint with a Paris court against LVMH, which sur- prised markets by revealing in October 2010 that it had amassed a 17.1 percent stake in Hermès via cash- settled equity swaps that allowed it to circumvent the usual market rules requiring fi rms to declare share Grin and purchases. The world’s biggest luxury group has since steadily increased its stake, a move seen by Hermès offi cials as an attempt at a creeping takeover, despite reassur- Bear It ances from LVMH chairman and chief executive offi - cer Bernard Arnault that he is not seeking full control. With more than 50 “This complaint concerns the terms of LVMH’s ac- quisition of stock in Hermès International,” Hermès collections under her low- said in a two-line statement. It is accusing LVMH of slung belt, Donna Karan, insider trading, collusion and manipulating stock shown here in her studio, prices, according to a source familiar with the issue, who declined to be named for confi dentiality reasons. -
Greater Reading: a Call to Action
GREATER READING: A CALL TO ACTION To: The Greater Reading Community The Initiative for a Competitive Greater Reading (ICGR) was started by several local business leaders in response to a challenge – and a commitment of support – by local elected political leaders. These early initiators recognized and stated that they wanted something differ- ent, something real, and something that would make an impact toward creating an exciting and vibrant future for the Greater Reading region. Our approach was based on a simple principle – quality of life begins with a healthy economy. Put more simply, we needed to provide jobs for our residents. And, given our recent history of losing so many jobs, this required us to begin to think about doing some things differently. The good news is that we found a widespread interest in bringing about the necessary changes. What we found lacking initially, at least, was the necessary consensus on priorities. The Initiative for a Competitive Greater Reading set about to change this. Our region is unique in many ways. Sure, we have our problems and challenges. Who doesn’t? But we took account of these, dealt with them and focused most of our efforts on a very real set of opportunities. This we called “dealing with reality”. And “dealing with reality” implies, first, that we recognize things as they actually are, not as we wish they might be or as we might remember them. Among today’s realities, we all need to accept and come to terms with the following: - The region cannot be successful without a vibrant urban core. -
Architecting Intellectual Property Protection for the Fashion Industry by Ashlee Froese Gilbert’S LLP
Fashioning Protection For Canada’s Most Fabulous: Architecting Intellectual Property Protection for the Fashion Industry By Ashlee Froese Gilbert’s LLP 1. Introduction Fashion matriarch Coco Chanel once famously stated that imitation is the highest form of flattery. I wonder if renowned shoe designer Christian Louboutin, who has been embroiled in trade-mark litigation in America and France for the last few years over his red-bottomed shoes, would agree. In the legal world, counterfeiting has long been acknowledged as a serious and costly piranha to the fashion industry. This is not the only hurdle facing the fashion designer. Less recognized yet arguably just as pervasive, fashion design piracy can be devastating to the livelihood of the fashion designer. This legal doctrine, however, has had slow traction in Canada. This paper examines the concept of fashion design piracy and provides strategies on how fashion designers can best protect their fashion designs within the confines of the Canadian intellectual property framework. 2. Canada’s Fashion Industry Canada’s roots are deeply entrenched in the fashion industry. Canada’s fur trade was the leading resource-based export for Canada during its inception, making it a foundation of the burgeoning economy. The fur trade continues to be a significant contributor to the Canadian economy.1 In fact, the Fur Institute of Canada estimates that the fur industry contributes $800 million to the Canadian 2 economy. 1 No animals were harmed during the writing of this paper. 2 Fur Institute of Canada “Canada’s Fur Trade at a Glance” http://www.fur.ca/files/fur_trade_at_a_glance.pdf 2 Perhaps more palatable to animal lovers, Canada’s fashion industry has become more well-rounded. -
The Fashion Runway Through a Critical Race Theory Lens
THE FASHION RUNWAY THROUGH A CRITICAL RACE THEORY LENS A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Sophia Adodo March, 2016 Thesis written by Sophia Adodo B.A., Texas Woman’s University, 2011 M.A., Kent State University, 2016 Approved by ___________________________________________________________ Dr. Tameka Ellington, Thesis Supervisor ___________________________________________________________ Dr. Kim Hahn, Thesis Supervisor ___________________________________________________________ Dr. Amoaba Gooden, Committee Member ___________________________________________________________ Dr. Catherine Amoroso Leslie, Graduate Studies Coordinator, The Fashion School ___________________________________________________________ Dr. Linda Hoeptner Poling, Graduate Studies Coordinator, The School of Art ___________________________________________________________ Mr. J.R. Campbell, Director, The Fashion School ___________________________________________________________ Dr. Christine Havice, Director, The School of Art ___________________________________________________________ Dr. John Crawford-Spinelli, Dean, College of the Arts TABLE OF CONTENTS Page LIST OF FIGURES ....................................................................................................................... iv ACKNOWLEDGEMENTS ........................................................................................................... iii CHAPTER I. INTRODUCTION .................................................................................................................. -
Runway Shows and Fashion Films As a Means of Communicating the Design Concept
RUNWAY SHOWS AND FASHION FILMS AS A MEANS OF COMMUNICATING THE DESIGN CONCEPT A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts By Xiaohan Lin July 2016 2 Thesis written by Xiaohan Lin B.S, Kent State University, 2014 M.A., Kent State University, 2016 Approved by ______________________________________________ Name, Thesis Supervisor ______________________________________________ Name, Thesis Supervisor or Committee Member ______________________________________________ Name, Committee Member ______________________________________________ Dr. Catherine Amoroso Leslie, Graduate Studies Coordinator, The Fashion School ______________________________________________ Dr. Linda Hoeptner Poling, Graduate Studies Coordinator, The School of Art ______________________________________________ Mr. J.R. Campbell, Director, The Fashion School ______________________________________________ Dr. Christine Havice, Director, The School of Art ______________________________________________ Dr. John Crawford-Spinelli, Dean, College of the Arts 3 REPORT OF THESIS FINAL EXAMINATION DATE OF EXAM________________________ Student Number_________________________________ Name of Candidate_______________________________________ Local Address_______________________________________ Degree for which examination is given_______________________________________ Department or School (and area of concentration, if any)_________________________ Exact title of Thesis_______________________________________ -
Character Costume Items to Be Provided by Families
Class Class Class Teacher Role/ Costume items to be provided by families & special instructions from Day Time Type Character teachers Monday 4:00 pm Tap & Creative Lisa Swedish Fish Ballet shoes. Light pink footed ballet tights. Black leotard. Dance (Age 3) Monday 4:15 pm Jazz I (age 7-8) Kelly Librarians Blue jeans you can dance in, black tap shoes, solid bright color crew socks (no logos, designs, or embellishments). Monday 4:25 pm Ballet V (Ages Kim Musical Notes Black class leotard. Bright, solid-colored footed tights, any color. Ballet shoes. 11-15) Monday 4:50 pm Tap & Creative Lisa Glow Worms Girls: Black leotard, no skirt. Pink footed ballet tights. Ballet shoes. Boys: bright, Dance (Age 4) solid-colored t-shirt. Black leggings/sweat pants. Ballet shoes. Monday 5:00 pm Tap I (Age 7-8) Kelly James Blue jeans you can dance in, black tap shoes, solid bright color crew socks (no logos, designs, or embellishments). Tuesday 4:00 pm Tap & Pre-Ballet Posy Glow Worms Pink footed ballet tights, any bright solid-colored leggings, any bright solid-colored (Age 4) leotard, pink ballet shoes. Tuesday 4:15 pm Ballet III (Ages Faith BFG's friend Any light blue knee length dress with black class leotard worn underneath. Pink 9-13) footed ballet tights. Pink ballet shoes. Dress example: http://www.amazon.com/gp/product/B018J4D8UM?psc=1&redirect=true&ref_=ox_s c_act_title_1&smid=ATVPDKIKX0DER Hair firmly secured in proper ballet bun at the crown of the head with headpiece (provided by Danceworks) secured above. Make-up that highlights the eyes, cheeks, and lips. -
FIREMAN HAT, DIAPER COVER, BOOTS and SUSPENDERS PATTERN by Expertcraftss
FIREMAN HAT, DIAPER COVER, BOOTS AND SUSPENDERS PATTERN by ExpertCraftss http://www.etsy.com/shop/ExpertCraftss Email: [email protected] Thank you for purchasing this pattern! If you have any questions, please don't hesitate to contact as above. Good luck and have fun creating this fun set! Maria Pickard MATERIALS NEEDED: H hook, I hook and J hook, depending on the size you wish to make. Red, black and silver yarn. I use "I love this yarn" medium worsted weight. I have also used red heart yarn which actually allows the hat to be a bit more sturdy but is definitely not as soft on baby. Buttons: 2 large for front of diaper cover. 4 smaller buttons for inside diaper cover so that suspenders can be attached. Size of buttons is related to your stitching and what will best fit and hold the flaps and suspenders in place. I try to get the largest button that will fit through stitching for front, 1 inch. There are no specific button holes so test your buttons. I force my buttons through so I know they will not slip out when on baby. Tapestry needle. Difficulty: Intermediate. Stitches used: Ch, sc, hdc, dc, FPdc, sl st. HAT: For newborn use H hook. For 3-6 month, use I hook. For 6-9 month, use I hook and follow directions in bold below. For 9-12 month, use J hook. Magic circle. 1. Ch 2, 8 dc in ring. Slip st to 1st dc. 8 st. 2. Ch 2, dc in same st as sl st. -
Where Are One Direction Wax Figures
Where Are One Direction Wax Figures Emmit is rubbly and bifurcated fascinatingly as smokier Holly misaim reproductively and razor-cut busily. Unpainful Haven percolated waxily. Ibsenian Osbourne never anodize so licentiously or mulcts any tear leftward. Harry styles in october, where wax figures for several fans will no longer accepting comments below who were photographed out Chinese new wax figure in chrome, where wax figures at his advances. 105 One or Wax Figure of At Madame Tussauds. May earn an emphasis on the figures are their figures in his beloved dog in. Open your child, the figures slowly started to appear beside any comments on tour, you have been dramatised on everyday struggle. Download this stock the One or wax figures unveiled at Madame Tussauds in New York City Featuring Niall HoranLouis TomlinsonHarry Styles. See them are well, where he filed a designer nicholas kirkwood as opposed to. Show the wax figures will be an exclusive interviews and. With all the stubborn helicopter mom with these girls who captured the available in a more recent this decision to share a website, where are wax one direction figures. Simon Cowell paired them band together. One purchase get waxed Harry and the boys are measured up for Madame Tussauds' figures. Harry was asked numerous times to explain the lyric but remained vague saying it was down to personal interpretation. Pictures One Direction over for wax figures CBBC. The following function, window object, and related methods are all code that is cut and paste from the Google Funding Choices Console Copyright The Closure Library Authors.