Style Institute

the latest WWD issue

TeresaMorisco — Wed, 25 Aug 2010 07:00:53 +0000

Download the daily issue of WWD! Updated daily.

lesson 8.1 video, 3-step shop

TeresaMorisco — Sat, 21 Aug 2010 22:50:49 +0000

Play Video

lesson 10.1: transform your style

TeresaMorisco — Sat, 21 Aug 2010 18:55:42 +0000

to write

lesson 9.3: hair + grooming

TeresaMorisco — Sat, 21 Aug 2010 18:54:00 +0000

lesson 9.2: skincare + makeup essentials

TeresaMorisco — Sat, 21 Aug 2010 18:52:18 +0000

In this lesson, written by Kelsey Tome makeup artist, we’ll discuss the key tools and products that you should have.

General Skin Care Advice + Tips for All Skin Types

Alternating Products
Just like swapping sweaters for shorts at the end of the summer, many skin types will benefit from changing up their beauty products. Advise your clients to take note of their skin as the weather changes. Someone who is an oily skin type might change to a combination skin type during winter months.

Eye Creams
The delicate skin around the eyes are prone to wrinkles and sagging. You should have a specific eye cream in your skin care regimen, and more importantly one that contains SPF for daily use. Apply product with your ring finger for a gentle touch that doesnʼt pull or stretch the delicate skin.

Neck
Donʼt forget to treat your neck! There are creams and treatments available that are specifically targeted for the neck area, but if you just incorporate your facial regimen down to your neck you should be fine.

Sunscreen
Daily use of sunscreen is very important for all ages and skin types. Many companies now include SPF in various product forms; powders, foundations, primers, and creams, so there is a product match for everyone!

Exfoliation
Exfoliate your skin 2-3 times per week depending on your skin type with chemical exfoliants instead of beaded scrubs. AHAʼs (alpha hydroxy acid) and retinol products are available as creams or serums, and donʼt scratch the skinʼs surface as they exfoliate.

General Makeup Advice + Tips for All Skin Types

Foundation
If your client is having a tough time finding the “perfect” foundation shade, suggest buying 2 shades (one shade lighter and one shade darker) and mixing them. This is also a great idea for clients who tan in the summer.

With two shades on hand, they have the luxury of adjusting the foundation to their skin tone as their tan deepens, or fades. I would also suggest this to clients who have varying pigments throughout their face.

Dark and/or ethnic skin tones tend to be darker around their hairline, and lighter in their cheeks. If the foundation shade is matches the lighter pigment of their cheeks, then it may appear ashy along their hairline. If the foundation shade matches a dark hairline, then it will appear blotchy on fair cheeks. Having a darker and lighter foundation shade allows the foundation to blend seamlessly.

Primers
Just like painting your living room walls, your skin needs to be prepped and primed for a makeup application. Primers act as a barrier between your skin care regimen and makeup application. It ensures your skin is protected, and smoothed of large pores, dry patches and oily t-zones to create a flawless surface for your makeup.

There are foundation primers which are applied all over the face where foundation would be applied, and specific eye and eye shadow primers. Eyeshadow primers eliminate that eyeshadow crease caused by oil, and allow for a smooth blend-able surface.

If you or your client has always wondered why “nothing stays on my face” or why “my makeup always moves”, priming is your answer.

Shimmer versus Matte

When it comes to eyes and face makeup, use matte shades during the day, and shimmer during the evening. A subtle shimmer when you blink your eyes are okay, and often help with appearing more awake, but sparkling cheeks in daylight is usually too much. Keep in mind that shimmer can accentuate wrinkles. If matte shadows are too dry looking for your client, suggest a semi-matte color, or mixing one shimmer shadow with a matte shadow.

Use shimmer or a product with a light sheen for the day, as a highlight.

Top of your cheekbones, brow bone, inner corners of your eyes

Please do not use glitter anywhere on your face day or night.

Setting Your Makeup
All cream or liquid makeup should be finished with a powder. This is especially important for areas that have wrinkles or see a lot of movement from talking and facial expressions.

under your eyes
smile lines
forehead creases

I would suggest finishing your makeup application with an all over dusting of loose powder.

The Best Eye Shadows

According to Robert Jones, the best eye shadows either mirror or complement the eye color. Pull out your Color Wheel to see color harmony principles at work.

Hazel Eyes: If you have blue/green hazel eyes, you can choose from the Blue and Green columns. If you have green/brown hazel eyes, you can choose shades from the Green column.

Beauty Resources

Teresa suggests the following beauty lines and tips:

Skinceuticals Hydrating B5 Gel: For mature, dry skin, this has been touted by professional makeup artists as the go-to fix for binding moisture to the skin. Vitamin B5 is known to help with tissue repair and the moisture-enhancing gel also contains hyaluronic acid, the body’s natural hydrator.

Laura Mercier Lip Balm SPF 15: This is a slightly tinted lip balm that glides on, is soothing, and adds just the right amount of natural color. Robert Jones also makes a non-sticky tinted lip gloss that is amazing.

Shu Uemura eyeliner: Named a “drawing pencil” this eyeliner doesn’t smudge and lasts all day long – great application, smooth and smudge-proof. Use eyeliner for going out and apply on the top lid to open eyes up.

Cover Girl LashExact: The mascara wand is thermal-injected which allows a better transfer of the formula from wand to your lashes. No more clumping – simply fabulous!

For the winter time, add your favorite SPF 15 moisturizer to your foundation or use a moisturizing foundation such as Chanel’s Moisturizing Foundation.

Cetaphil Cleanser: Rated very highly by dermatologists time and time again. This mild cleanser is great for sensitive skin and is very moisturizing. Available at your local drug store.

For mature skin, lines, mild rosacea and other skin problems: Visit a dermatologist to receive a personalized skin care regimen.

Varicose Veins: If you have prominent, large varicose veins on your legs, wearing high-dernier hosiery can help reduce their visibility. For permanent removal, try a reputable vein clinic in your area.

Frizzy Hair: To maintain your hair from frizzing out on high humidity days, I recommend Moisture Block. Only use a small dollop (less than a quarter-sized drop) and comb through your wet hair before blow drying.

lesson 9.1 interaction

TeresaMorisco — Sat, 21 Aug 2010 18:50:51 +0000

lesson 9.1: face shapes

TeresaMorisco — Sat, 21 Aug 2010 18:49:47 +0000

Be able to identify your face shape and creating balance to your face.

Definitions

Oval: An oval face shape has a length equal to one and a half times the width. It is broader at the cheeks and tapers in slightly at the forehead and chin. Because of the symmetry, an oval face shape can wear a variety of hair styles and can also experiment with all types of makeup application.

Round: A round face is as wide as it is long. This may vary a little but generally the measurement is close. A round face shape is shorter, fairly wide with full cheeks and a rounded chin. Your face also appears more youthful than the other face shapes. To enhance your face shape, follow the tips on the following page for hair and makeup.

Heart-Shape (Inverted Triangle): A heart-shaped face is narrow at the jaw line and wide at the cheekbones/and or forehead. The heart-shaped face looks like an inverted triangle because it is wide at the forehead and narrows down to a pointed or narrow chin .

Pear (Triangle): A pear (!!) shaped face is narrow at the temples and forehead and wider at the cheeks and jawline. Most pear-shaped faces can be mistaken for square so double-check the forehead and hairline.

Square: The square face is about as wide as it is long — it has the same width at the forehead, the cheeks and the jaw. The square face has a strong, square jaw line and usually an equally square hairline.

Oblong: An oblong face is longer than it is wide. Long and slender, the face is about the same width at forehead and just below cheekbones. The long face has high cheekbones, a high, deep forehead, and a strong, sharp jawline.

Makeup Application Tips

Per Robert Jones, the trick to applying makeup for each individual face shape is to envision the oval face silhouette over your clients. For the areas of your client’s face that don’t match the oval shape, you want to contour or highlight.

Contour (using a darker foundation or bronzer) the overlaps to visually diminish an area.

Highlight (using a lighter foundation or concealor) the gaps to visually expand an area.

Pictures of each application area and tips for the face shapes are featured in Robert’s book, Looking Younger. Here are some quick tips to share for each face shape.

Oval

For makeup, no contouring or highlighting is necessary.

Round

For round faces, the goal for makeup application is to minimize the round cheeks and highlight the center of the face.

Highlight at the center of the forehead, underneath the eyes, and the center of the chin to draw attention to the middle of the face.

Contour from the temples down the side of the cheeks and jawline.

Heart-Shape

For heart-shaped faces, the goal for makeup application is to balance the chin with the forehead.

Highlight at the center of the forehead, underneath the eyes, and the center of the chin to draw attention to the middle of the face.

Contour at the top of the temples and upper side of cheeks.

Pear (Triangle)

For pear faces, the goal for makeup application is to trick the eye into widening your forehead.

Highlight at the center of the forehead, under eyes, and the tip of the chin to draw attention to the middle of the face.

Contour at the jawline and the cheeks.

Square

For square faces, the goal is to minimize the cheeks a bit to create slimness.

Highlight at the center of the forehead and the tip of the chin to draw attention to the middle of the face.

Contour at each corner of the forehead’s hairline, at the temples and to each corner at the jaw line.

Oblong

For long faces, the goal for makeup application is to minimize the length. Never use highlighting on the face.

Brush bronzer across the chin to help shorten its length.

Apply blush on the apples of the cheeks only. Be generous with the color. This will help widen and shorten the face.

Exercise

Go through the Interaction to see the different face shapes. Then take the quiz to apply what you’ve learned.

lesson 8.1: how to shop

TeresaMorisco — Sat, 21 Aug 2010 18:48:19 +0000

to be written

lesson 7.2 interaction

TeresaMorisco — Sat, 21 Aug 2010 18:46:42 +0000

lesson 7.2: from concept to store

TeresaMorisco — Sat, 21 Aug 2010 18:45:17 +0000

Although Project Runway may show us what may happen in the design process, there is much more happening in the background than we realize. Take a tour of seeing how a collection goes from concept to production to in the retail store environment. You’ll learn what market weeks and shows to pay attention to.

Design

Many designers begin work on a collection by coming up with a concept that is inspired by their current experiences or observations. They can be influenced by many exterior forces such as music, film, places, environments and even muses. As we learned in the previous lesson about Fashion Cycles, a designer can also go into the archives of past designs for inspiration and then reinterpret them by changing various details and/or fabrics. All designers have different approaches.

For example, Karl Lagerfeld is known to just breathe everything new in and then spit it out. “The most important piece of furniture in a house is the garbage can! I keep no archives of my own, no sketches, no photos, no clothes—nothing!”

Bags upon bags of iPods and magazines and books are placed in a special room for him with with new music loaded on to a different iPod for him to review. When he’s done listening, he ‘throws it away.’ When he reads a book, he tears out the page after he’s done reading. I know his approach sounds extreme, but he is the most prolific fashion designer of our time, creating several collections a year – over 20. That is a lot of work so we’ll allow him his extravagances.

Most designers will create mood boards to share their ideas with the team. These mood boards are essentially collages of fabric swatches, sketches, magazine clippings and photos that capture the overall theme. Women’s Wear Daily (WWD) will feature these snippets of inspiration with the trade each buying season. It’s a wonderful way to understand what inspires a collection and to see a bit of the behind-the-scenes work that goes into the concept development.

Once a concept is approved, the designers develop a collection, or line, which is divided into groups of garments to be delivered on a set schedule throughout the season. Each group has a specific theme based on fabric and color.

For example, the Spring 2007 MaxMara collection used pink and lavenders for February deliveries, pink and chocolate for March deliveries and pink and beige for April deliveries. Everything worked together but new patterns and elements were added each month to create an overall cohesive collection.

Sampling + Sourcing

Once the collections are designed, the hard part begins with building a prototype of the designs and sourcing the colors and fabrics.

The design team must first make a prototype to determine if its designs are successful. This prototype is called a sample. This is where sizing issues come into play because the sample size created by one designer is going to be different than another designer. Each will be designing for his/her ideal customer. Every line has its variances in sampling. If they are a Contemporary Misses line, then the sample can range from 2 to 6. Typically, the sample size is a 4. If it’s a Designer line, the sample is typically a 0 or 2.

All runway shows just show the samples that are created from this phase. And as you may know, finding models over 18 that can wear a size 0 and fit these samples is difficult. The CFDA (Council for Fashion Designers) recently hosted a panel that focused on the sample sizes and ages of the models used for the shows. It’s posted in the Resources sections so make sure to read it!

As for sourcing fabrics and colors, the investigative work is done on an ongoing basis so the design team has a pretty good idea of what textiles and colors are ‘on trend’ (e.g. safest path to full sell-through.) No one likes to lose money in this business – and it’s really easy to do – so they rely on trend prediction companies to provide them research that they pay for about what colors are going to be popular for the season.

Trend Forecasting

A big mysterious cloud seems to hang over this part of the fashion world, so let’s get it out in the open so you can provide your clients with some sound advice.

Two years before a season, predictive books come out from trend forecasting companies such as WGSN (www.wgsn.com) which show what silhouettes are coming out in the next two years and the colors. This information is gathered the old-fashioned way. They travel around the world to every corner of the earth and observe what new things are happening in architecture, design, colors, etc. And then they take these reports and combine them into a quarterly report and sell them (at a very high price) to the industry. Every quarter, they refine the colors for an upcoming season. The designers that have the resources to pay for these services do so because they have to plan 2 years out due to the size of their collections. A smaller company doesn’t typically use the services but just takes cues from the larger companies on what they’re using. A smaller designer is much more nimble and can move faster on designing since their collection is typically much smaller.

Because the larger designers pay for this information due to their ability to tap into a larger resource pool, they typically will create their own colors and textiles and dye their fabrics. That is why they are more expensive. A lot of the smaller designers and textile designers will attend the trend shows such as Premier Vision and the International Textiles show . These shows help them source fabrics, notions and see what trends are popular for an upcoming season.

Along with WGSN that provides information for the fashion industry, the Color Marketing Group (CMG) will provide color trend reports as well. Pantone is a member of CMG. Many big companies from the automobile industry to the paint industry and housewares industry are part of CMG. Each year, the members are sent a survey to ask what colors they are using in their designs. This information is then collected and summarized with an annual meeting of members to determine what the top colors are going to be for the coming years. They sell this report for thousands of dollars to non-members. The bottom line is that color TRENDS are decided by the big companies to help THEIR bottom line.

Please remember this. And now let me add some opinionated commentary:

I hate trends. Especially the color trends. The reason being is they don’t take the individual into consideration. It is only a way to help a large company deflect losing money by making a bad choice. They are so removed from the individual consumer that they have to rely on these reports to help them. You don’t. You will be looking at what colors and styles are best for your client. The reason why you need to know what trends are happening is to provide guidance to your clients in what to avoid and what to embrace based on THEIR style.

It’s certainly eye-opening to learn that the trends are created by an elite few. That’s why I love street fashion and going against the establishment. It’s really about personal style but most people don’t know where to begin to uncover their style. Luckily we can help them. Okay, off my soapbox.

To sum up, the sourcing for fabrics, notions, labor costs and everything needed to produce the collection is done in this phase with guidance from shows and trend reports (or cues from bigger design houses) to lead the way.

Fitting + Refinement

Once the sample has been made by a samplemaker, the designer must test the sample for look and fit. The garment must be fitted on a model, known as a fit model, to ensure ease of movement.
The fit model is the ideal body type that the designer is catering to. The type of model they use is based on the type of customer they are trying to attract. So, she could have round hips and an hourglass figure or she could be more straight up and down. Generally speaking, more contemporary companies go for a leaner thinner fit model for their standard and companies are who targeting an older more classic customer choose a fit model with a rounder curvier figure.

That’s why it is so important to understand that size doesn’t matter when you’re looking at the label. It is best to try on garments of several designers to find ones that fit you perfectly because more than likely, the fit model has your same body type. Not every designer works for every BODY. My favorite thing to do is to walk the floors of trade shows and chat with the designers because I get the scoop on what body type they use for their fit models. And, I share that information with you in the next Module about Body Types.

Once the prototype is approved, it goes into production where a patternmaker takes it and begins “grading.” Grading of a pattern means adding or decreasing inches to size up and down. These measurements are called grade rules and they vary from company to company. And that’s how more sizing errors can happen and why looking at the number of a tag isn’t always a great idea.

Market + Sales

Once the line’s samples have been finalized and produced, the sales team must go out and market their product.

Fashion shows are held to introduce the collection but the real buying happens in the designer’s showroom and during market weeks. Market weeks are held in the industry where retailers come to view the collections and make a buy. At the showrooms, appointments are made to view the line, view the delivery groups and place orders. I prefer heading to the showroom because you get more individual attention as a buyer and can learn the little details about their choices of design – stories you can take to your customers. But the market weeks are great because you are in a large convention space rubbing elbows with other buyers and you get to chat and learn what’s selling and what isn’t.

At the showroom (or trade shows), the buyers view the line and are presented with linesheets (line drawings with fabric content details and pricing.) They take pictures of the items they like, make notes on their linesheets, and quickly move to view the next line. All the while the designer is hustling her wares trying to make the sale.

Large retailers will either have their own buying office or contract with a buying office and or inventory management company to manage the Open-to-Buy (OTB – inventory budget for each delivery month) for them. Smaller retailers do it themselves.

As a stylist, you can go to the market shows to see what’s coming out for the upcoming season. But because you’re not buying, they are not going to pay much attention to you because they need to book sales or their line suffers. Market weeks are long and arduous and hard work.

The main shows for women are run by ENK Shows which does Coterie twice a year (all contemporary lines such as Theory, DvF, Vince, premium denim) and many others. The biggest show of course is MAGIC. It started out for men and has grown to include all shows for women and children. It’s held in Vegas every February and August and all I can say is it’s GI-normous. In addition to the market trade shows, there are regional fashion markets where the designer showrooms are located such as the California Mart, Dallas Mart, Chicago, and Atlanta. Most designers will contract with a showroom to represent their line. For example, 10-Twenty is a showroom that shows Vince, Catherine Malandrino and Theory, among others.

It’s an expensive proposition to produce a line and that’s why when it comes to production, designers need to play it safe.

Orders + Production

Most designers use the safest route of production and do cut-to-order. This means that they wait until all orders are in from the retailers and buying offices and then work quickly to cut, sew and deliver.

Retailers have to look at past sales the prior year to determine what inventory they need to have as well as look at seasonality. They put together an open-to-buy budget so they don’t fall into the trap of overspending. They also have to strategize and make sure they put together a good mix of pieces that work together. Because of this, they typically don’t place orders at the show, but send them in later once they’ve had a chance to review the linesheets and pictures they took. A retailer friend of mine made the mistake of placing orders at the first show she attended – she ended up buying three black dresses from three different designers – two too many. When it comes to markups, retailers will either employ the keystone (50% markup or 2x) or do a simple 2.3 times the wholesale which is about 60%. For example if a pant wholesales at $100, then the keystone markup is $200 (it’s a weird math formula so trust me on this.) With the 60% it’s $230. You may think they make bank but the profit margins are only about 2-8% — it is Top Ramen living and a tough, tough business. Compare that to the 80% profit margin you make as a personal stylist! Since retail margins are thin, know that when you purchase something for 60-80% off, you are getting it for less than the retailer paid.

Many people wonder why Market Weeks (Feb for Fall and Sept for Spring) are held 6-8 months out of the actual season. The reason is simple: to avoid financial ruin. Although fabric must be purchased ahead of time, the cutting and sewing can be saved until after orders are in so they know how much to produce.

That is also why if you see something in a magazine and can’t find it, it’s because they only produced what was ordered. Very few designers, especially the new ones, will produce an overrun, or extras. Although MaxMara has a nice overrun program.

Shipping + Delivery

Once the garments are sewn and placed on hangers or folded, they are shipped to the retailers.

The larger retailers have sophisticated distribution systems to get the merchandise out to their various stores. Deliveries are typically made once a month by the smaller lines and shipped for mid-month arrival. This is where the smaller boutiques can suffer since they are at the bottom of the list. The larger retailers will often gain exclusives or work with the designers to receive their merchandise one week before the competition. Saks Fifth Avenue does this with Theory.

Deliveries can wreak havoc on a merchandising plan if a designer doesn’t ship in time. It’s where most problems happen and where things such as RTV’s rear their ugly heads. RTV stands for Return To Vendor. The vendor is the designer in the retail world. When a vendor sends a subpar item (perhaps it’s falling apart or something weird happened in production), the retailer will request an RTV from the vendor to ship the item back and get something different or receive a credit.

Some of the bigger retailers such as Saks (they were sued over this), would send back merchandise to the vendor under the guise of an RTV to manage their inventory. Can you imagine being a small designer and having to come up with a credit for merch the big retailer didn’t want just because? The designers will do anything to get into the big stores but at a cost.

Merchandising + Sales

Once the garments are delivered, it’s up to the retailer to merchandise it for full sell-through. Full sell-through means that the item is purchased at full price.

The store environment is set up to appeal to the customer and showcase the clothing. Most people need to see outfit combinations put together so this is where visual merchandisers come in and do their magic. From creating interesting displays to holding trunk shows, retailers will use a variety of methods to showcase and merchandise the clothing. Lots of studies have been done on what creates a ‘selling environment’ and you’ll see them employed at the bigger retailers such as Bloomingdale’s.

For example, music is said to put people in the buying mood. That is why Bloomingdale’s plays loud music. The louder the better. According to their CEO, loud music helps drive sales.

You’ll also notice that the newer merchandise is placed on the right side of the door of a retail establishment. Studies have shown that most shoppers move to the right, so the newer items are placed there. Spacing of racks is critical as it’s been proven that the ‘butt-brush’ affect diminishes sales. People hate looking at a rack and being bumped into – they’ll walk away to avoid it. So the smarter retailers know to keep a good distance between racks to avoid this.

There are many ways that consumers are manipulated in the retail environment. By doing the shopping for them, you are helping them to make better decisions just by helping them avoid these distractions.
As you can see, it is a long, hard and fun process to see a design go from concept to store. Make sure to walk through the interaction to gain further understanding.