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Although commercially successful, lack of financial acumen closed the business, and Rhodes went on become a freelance designer, producing her first solo collection in 1969. She was encouraged by a successful visit to New York, where she sold work to the department store Henri Bendel, but it was difficult to convince buyers from the big British department stores to stock avant-garde designers. Marit Allen, then editor of Young Ideas in Vogue, showed Rhodes's clothes in the pages of the magazine, even though they had no retail outlet at the time. The ploy persuaded retailers that there was a market for innovative design, and Allen introduced Rhodes's clothes to the London store Fortnum and Mason.
In 1970 Armani left Cerruti, and, with the help of his new business partner, Sergio Galeotti, formed a design studio which contracted freelance clothing designers. By 1974 Armani had launched his own menswear label, Giorgio Armani. The line was an immediate success, and Armani was dubbed the King of Jackets. The collection was so successful that Armani decided to launch a women's line the following year.
To make these books as original as possible, Promostyl employs just over ten fashion illustrators. They are employed on a freelance basis, with some illustrators working three to four months every year for us, slates Lysiane. We select an illustrator because of the allure or the modernity of their sketches, as well as the legibility of the items, she explains. A Promostyl fashion illustration needs to be nice to look at but easy to understand and translate into a garment. The illustrators arc given as much information as possible to complete their work a brief, rough sketches, colours and the names of the trends. They use a range of materials including pens, pencils, markers and the computer. Very often, we ask them to scan their sketches and add fabric and colours onto them using Photoshop, says Lysiane.
At the National School of Art in Santo Domingo. After two years of studies, de la Renta returned to Spain in 1953 to study at the Academic de San Fernando in Madrid. While in school, de la Renta was exposed to fashion design, and utilized his training as a fine artist to obtain work as an illustrator. In 1955 de la Renta concluded his studies at the Academia de San Fernando, continued to work as a freelance illustrator for Cristobal Balen-ciaga, Carolina Herrera, Ollero and others until he landed a position with Antonio Castillo at Lanvin in 1961.
In 1959 Miyake enrolled as a graphic arts student at Tama Art University in Tokyo. During the early 1960s, he worked as a freelance graphic designer. Miyake left Tokyo in 1965 to study fashion design in Paris at the Ecole de la Chambre Syndicale de la Couture Parisienne, which led him to design positions at Guy Laroche (1966-1968), Givenchy (1968-1969), and Geoffrey Beene (1969-1970). Miyake returned to Tokyo in 1970 to open the Miyake Design Studio. Through his design studio, he began to research fabrics and design techniques, combining ancient Japanese techniques with modern textile technology. He began experimenting with geometric shape, body movement, and unisex clothing, and he questioned, What is fashion
Norma Kamali grew up on the upper east-side of Manhattan, New York. As a child, Kamali was interested in becoming a painter to express her inner self. Later, the rather shy Kamali found another way to express herself experimenting with unique fabric combinations in her dress. From 1961 to 1964 Kamali attended the Fashion Institute of Technology where she received her bachelor's in fashion illustration. After college, Kamali worked for one year as a freelance fashion illustrator. Because she wanted to travel to gain a broader exposure to fashion, she worked as a clerk for Northwest Orient Airlines from 1966 to 1967.
In 1948 Vivier returned to Paris to pursue freelance work until signing a contract with Christian Dior in 1953, establishing the Delman-Christian Dior label. Vivier designed the footwear counterpart to Dior's New Look, creating new heel and toe shapes which proclaimed femininity with the same voice of Dior's hourglass silhouette. The 8-cm (3 inches) stiletto high heel created by Vivier in 1954 for Dior was the first of its type. It sent a clear signal that women were out of the factory and back in the home. Vivier's contribution to fashion trends were so significant that in 1955 Dior consented to change his footwear label to read Christian Dior cree par Roger Vivier, the first time a couturier ever shared label credit with a footwear designer. Vivier's partnership with Dior lasted until Dior's death in 1963.
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.
After college, Rhodes established a dressmaking firm with Sylvia Ayton in 1964 and a textile design studio with Alexander McIntyre in 1965, and she became a partner and designer in the Fulham Clothes Shop from 1967 to 1968. Struggling to establish herself, Rhodes worked as a freelance designer from 1968 to 1975, producing her first apparel line in 1969 which was purchased by Fortnum and Mason. In 1975 Rhodes launched Zandra Rhodes UK, Ltd., and Zandra Rhodes Shops, Ltd., with partners Anne Knight and Ronnie Stirling.
Lacroix first entered the fashion realm as a freelance fashion sketcher in 1976. Two years later, in 1978, he landed an apprenticeship with Hermes, and in 1980, he became a design assistant to Guy Paulin. From this position Lacroix caught the attention of the House of Patou. The House of Patou, established in 1914, was in desperate need of new life. In 1981 Lacroix was brought in as designer and artistic director for the house, and he brought excitement and, ultimately, controversy to the stoic institution.
Klein attended the New York High School of Art and Design in the 1950s and the Fashion Institute of Technology from 1959 to 1962. Upon graduating, he worked as an assistant designer at Dan Millstein in New York, leaving to pursue freelance design in 1964. In 1967 he partnered with his school friend Barry Schwartz to form Calvin Klein Company. He
Penn studied at the Philadelphia Museum School of Industrial Art (1934-1938). Alexey Brodovitch, art director of Harper's Bazaar, whose design seminars Penn attended, introduced him to fashion magazines moreover, he hired Penn to be his assistant during two summers. Brodovitch published some of Penn's illustrations in 1937. In the same year, Penn undertook a series of street photographs of the shop signs and facades of New York, where he was laying the groundwork for a career in the fashion world by working as a freelance graphic designer and consultant art director for Saks Fifth Avenue.