Benjamin Green-Field was born in Chicago, Illinois. The death of GreenField's father, when Benjamin was three, necessitated his mother, Ida Helen Green-Field, to open a hat shop to support her four children. Green-Field dropped out of high school to apprentice in the millinery trade, and soon after he opened his own business, Bes-Ben, a partnership with his sister, Bessie Green-Field, in the late 1920s.
Chanel was not the first designer to sniff the potential of scents, however. Credit must be given to Paul Poiret, whose exotic designs were inspired by the mysteries of the Far East and who achieved recognition and applause for his art deco costumes for theater and ballet. Fascinated by the imaginative and ephemeral, he adored fragrance and became a perfume entrepreneur in the early 1900s. He established his own laboratory and facilities for blowing glass and packaging his small wonders. His company, Parfumes Rosine, was named for one of his daughters. Of the more than fifty perfumes (floral, spicy, and oriental types dominated) introduced between 1911 and 1924, several carried his daughter's name. La Rose de Rosine was presented to the public in the mid-twenties as was La Chemise de Rosine and Mon Choix de Rosine. In 1927, inspired by the flight of Charles Lindbergh, Poiret
Haute couture and later became attention to detail the first fashion entrepreneur haute couture and later became attention to detail the first fashion entrepreneur Worth, also recognizing his worth to his employers, requested a job promotion, possible partnership with the company, better working condition for his then pregnant wife Marie-Augustine, and the opportunity to rent one of the spare rooms at the store premises. He was refused all his requests. He realized that his time was Gagelin was over and he decided to leave the company to start his own business. As the political climate stabilized towards the end of the nineteenth century, Worth's business grew once more. He regained his authority in fashion and ultimately became a fashion entrepreneur and somewhat the fashion world's ruler. He was the first couturier to set seasonal trends and impose his tastes on his customers. The fashion society revered him and the rich and famous sought his attention. At the height of his fame, La...
Several luxury brand managers accede that the luxury goods sector doesn't require market segmentation like other categories of goods. While this viewpoint is credible in some areas, the luxury market environment has changed dramatically and consumer groups need to be monitored. Luxury brands need to understand who their customers are, where to find them and the key factors that drive their behaviour. This is an aspect of market segmentation. For example, trend-watchers from London-based company The Future Laboratory have identified two groups of young and wealthy consumers that make up the luxury consumer population. They are Young Urban Professionals (YUPs for short) and New Entrepreneurial Nomads (NENs for short). These consumer groups exhibit characteristics that make them appropriate targets by luxury brands. In addition, there is a consumer group that is found neither among the extremely wealthy consumers nor the newly wealthy youth, and which also makes up an important market...
Halston wasted no time in developing his own business venture. In 1968 he created a corporation, Halston, Ltd., to sell hats. It capitalized on different markets by offering lower-priced, mass-market hats sold through better department stores as well as more expensive, made-to-order hats sold at Bonwit Teller and Neiman Marcus. By the end of the year, he had introduced a ready-to-wear collection. The garments featured simple construction and few closures. The pajama skirt and wrap dress were the most popular pieces.
When the Bolsheviks finally won over their external and internal enemies in 1921, they had no resources left to implement their avant-garde social and cultural programs. In 1921, with the approval of Lenin, the New Economic Policy (the NEP) was established. By recognizing private ownership and entrepreneurship, the NEP signaled the return of capitalistic practices and a bourgeois way of life. In the NEP circles of newly-rich Russian capitalists, Western fashion experienced a true revival. The designer Alexandra Exter was instrumental in starting the Atelier of Fashion (Atel'e Mod) in Moscow, founded in 1923 by the Moskvochvey textile company. It was supposed to fulfill two tasks supplying prototypes for mass production and catering to individual customers. In reality, Exter and her colleagues dressed the new NEP bourgeoisie in highly decorated, luxurious clothes. The aesthetics of the Atelier of Fashion was laid out in a fashion magazine Atelier, of which only one issue was published,...
Choose a sexy stereotype that feels natural to you. Choose something you're interested in. If you're an entrepreneur, do the wall street suit look. If you're a fan of hip hop music, do the hip hop look. You don't have to be a rapper or stock broker to dress as cool as one, you just need to be interested in the lifestyle that goes with the stereotype.
The fastest-growing form of nonstore retailing is electronic retailing (e-tailing). Electronic retailers interact with customers and provide products or services for sale using the Internet. During the last five years of the 1990s, electronic retailing had a rapid growth with the creation of more than 10,000 entrepreneurial electronic retailing ventures. However, a large number of electronic retailers, especially electronic retailers that
With the success of Brian G for Jovi I felt fairly confident that my education was complete and I decided not to finish my degree at the Royal College of Art, but I did return to London and in 1967 I became head of the coat and suit design room at Wallis. Jeffrey Wallis was the great high-street entrepreneur of the late 1960s and it was a privilege to work with him. One of Wallis's greatest successes was the Pick of Paris range, which featured inexpensive couture copies and it fell upon me to go to Paris to select coats from the Autumn 1969 collections. This was a widespread and quite legitimate design practice we attended the shows as buyers and developed the garments we chose back in London, modifying the cut, fit and finish to suit our market and price. This we had to achieve in three or four weeks in order to get the garments in store for the release date and to secure newspaper coverage. Most of the 1969 coat collections were short. Every other manufacturer dutifully complied...
Finally, efforts are underway to conserve some of these traditions. Her Majesty, Queen Sirikit of Thailand, through her royally sponsored Support Foundation (the French acronym for Foundation for the Promotion of Supplementary Occupations and Related Techniques), has, for many years, supported local craftspeople who are expert in modes of production and design. For her pioneering and continuing efforts, Queen Sirikit won an ATA (Aid to Artisans) 2004 Award for Preservation of Craft. In Laos, the Lao Women's Union and private entrepreneur Carol Cassidy are engaged in preserving and expanding the repertoire of Lao weaving and bringing it international recognition. Similarly, in the early 1990s in devastated Cambodia, UNESCO began a massive effort not only to reestablish textile production, but also to reinstitute the cultivation of mulberry trees and silk yarn production to support it. In the early 2000s, some of the glory of Khmer silk weaving is returning. All of these efforts depend...
The nineteenth century marked the beginning of the modern luxury goods sector and the launch of many of the highly valuable luxury brands that we know today. The rapid development of the fashion industry during this period was made possible by the bolstering of social and economic conditions and rising prosperity. The demand for luxury goods remained high and extremely talented and entrepreneurial designers emerged and grasped business opportunities made possible by their predecessors.
Jan Hamon, MA (Fashion and Textile Design, De Montfort), is a Principal Lecturer at Auckland University of Technology. She has a background in the apparel industry, in costume design for television and theatre, and operated her own business in both fields for several years. She has been involved in curriculum development for fashion programmes and lecturing in costume design and costume history for twelve years. Jan Hamon, MA (Fashion and Textile Design, De Montfort), is a Principal Lecturer at Auckland University of Technology. She has a background in the apparel industry, in costume design for television and theatre, and operated her own business in both fields for several years. She has been involved in curriculum development for fashion programmes and lecturing in costume design and costume history for twelve years.
Cassini's entree to the fashion arena finally came through the movie industry. Cassini signed a seven-year contract with Paramount and worked for other studios, and he designed wardrobes for some of the most glamorous stars including Veronica Lake, Grace Kelly, Marilyn Monroe, Gene Tierney, and Natalie Wood. In 1942 Cassini, now a U.S. citizen, postponed his design career to serve his newly adopted country in World War II. After the war, Cassini found investors to provide him with the finances to found his own business in 1950. His first collection was so popular with U.S. buyers that he wrote enough orders to pay back his investors and become sole owner of Oleg Cassini, Inc.
Pears on more than 800 different products in over 100 countries. He has accomplished this not just with his ingenious brand licensing, but also by being a fashion innovator and entrepreneur. Early in his career he recognized both the financial and marketing benefits of incorporating ready-to-wear and licensed products into the offerings of his couture house. He is one of the few couture designers ever to finance solely his own couture operation. His acute business sense and design abilities have allowed his couture line to retain its cachet, despite the widespread distribution of his licensed products to moderate retailers. See also Paquin Elsa Schiaparelli Christian Dior. Website http www.pierrecardin.com
Elio Fiorucci was the very first designer entrepreneur to recognize and implement what is today the driving force behind so many of the fashion world's greatest successes the total retail concept. In the late 1960s, however, his ideas were considered outrageous and even subversive by many adults, who cringed at the very mention of his name. For teenagers, however, he was pure inspiration.
His mother adored and amassed fine clothing, and his father was a children's wear manufacturer. Young Isaac started sewing at an early age, creating clothing for friends and even selling to a few boutiques when he was just a teenager. He also studied dancing and acting, enjoying his years at the High School of the Performing Arts in New York City. After graduating from Parsons School of Design, he became an assistant to Perry Ellis, Jeffrey Banks, and ultimately Calvin Klein. By the time he reached the age of twenty-five, he was ready for fame and began his own business in 1987 with the money left to him by his father.
After working with Halston until 1981, when Akira established his own business, he has become a designer of two identities, with businesses in two countries and a single design philosophy, a synthesis of East and West. In Akira's custom business in New York, he creates out of the distilled, almost astringent principles of design he has maintained since working for Halston, with stress on bias cut, quality materials, color, and timeless elegance. His American custom clients come to him for a sense of personal comfort and self-assured dignity. While some of his American dresses, often bridal gowns, are adorned with beadwork and other decoration, their principle is in the cut. His is the abiding modernist conviction of truth to material and essential geometries of cut that animated Halston. An external simplicity, like that of a composed Japanese interior or a modern Western painting, is achieved through decisive reductivism and the primacy of the fabric.
In 1933 Trigere began her career as a freelance designer in Paris and later moved, with her sons Jean-Pierre and Philippe, to Chile. En route to Chile, the family was detained in New York, where Trigere decided to remain. Trigere's uncle, Adele Simpson, referred her for a position with designer Ben Bershel. After her four years with Bershel, Trigere left to take a position with Hattie Carnegie where she was employed as Travis Banton's design assistant. Due to the bombing of Pearl Harbor, Trigere's job at Hattie Carnegie ended in 1942 when business slowed during the war. Anxious to start her own business, she branched off and founded the House of Trigere with her brother in 1942. She designed the clothes while he traveled the country selling her fabulous dresses. Just three years later, Trigere acquired her own New York label.
Cardin's own business was first located on the rue Richepanse (renamed rue du Chevalier de Saint-George), but later moved to the famed rue du Faubourg Saint-Honore, where the designer launched his first couture collection in 1953. In 1954 Cardin opened a boutique called Eve, followed by Adam for men in 1957.
Madame Demorest's entrepreneurial success can be attributed to her astute understanding of the American fashion business as a combination of creativity, marketing, distribution, and brand identity. She claimed a number of innovative products, including a line of comfortable corsets, an affordable hoopskirt, the Imperial Dress-elevators (loop fasteners enabling skirts to be raised), and a sewing machine that could sew backwards moreover, she developed the Excelsior Dress Model drafting system, a tool for making dress patterns. However, her mass-produced and marketed paper dress patterns remain her most important contribution. Madame Demorest's foray into paper patterns came at a time of great social change, when a growing middle class was clamoring for access to affordable fashions and technical advances like the sewing machine were becoming increasingly common in the home, making these fashion ambitions possible. Madame Demorest's paper patterns reached women across America and...
In 1962 she established her own business and expanded into misses sizes and separates. Her design work during the 1960s emphasized a new style which combined an empire waistline with a scooped neckline, small puffed sleeves, and a long, narrow skirt. Some of her lines included A.F. Boutique, Clothes Circuit, and Collector's Items. In the 1970s she stopped designing.
Clothing for women and children, and some simple items for men such as shirts, were made in many homes across the social spectrum in modern times for private consumption. This has been concurrent with clothing made at home in poorer homes for wages in a regular or irregular way as self-employment or outwork. Both practices have existed alongside the increasing consumption of factory ready-mades, a situation that prevails in the early 2000s, although unwaged home dressmaking has substantially declined. Not all domestic production has been prompted by thrift or economic necessity women have also sewn clothes for pleasure and as a creative act and in this same period skill with the needle has been prized for its association with leisure and femininity. In the eighteenth and nineteenth centuries, the domestic production of clothes also embraced the efforts of literate, middle-class women to teach their peers to make clothes for the deserving poor or to teach poor women to sew for...
Gerson Leiber in 1945 and left Budapest for Brooklyn, her husband's hometown. In New York, the young bride worked in a succession of handbag companies and eventually secured a job with a firm which rewarded her talents with successive promotions. After fourteen years with the company, in 1963, she and her husband opened their own business, and the rest is handbag history.
D 03 Child Day Care Management D 24 Dental Assistant D 405 Early Childhood Education* D 94 Fitness and Nutrition D 409 Health Information Technology D 381 Medical Coding and Billing D 23 Medical Office Assistant D 39 Medical Transcriptionist D 84 Pharmacy Technician D 146 Physical Therapy Aide D 88 Veterinary Assistant D 396 Veterinary Technician** FINANCE & BUSINESS D 61 Accounting* D 390Bookkeeping D 60 Business Management* D 406Criminal Justice* D 15 Home Inspector D 08 Paralegal D 401 Paralegal Studies* D 70 Small Business Owner
If you have liability insurance (see the next section), it's definitely going to help you convince a landowner or business owner to allow you on his property. If you have insurance and someone is injured, the owner doesn't have to worry about having insurance to cover the damages.
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