There are, on average, 152 fashion weeks that take place throughout the world every year according to a recent New York Times report.  Showing at each of the fashion weeks are anywhere between twenty to one hundred twenty designers.  It doesn’t take complicated math to calculate that these statistics make the average number of individual fashion shows around the world per year a well over 9,000.  To blow your mind even more, that number doesn’t include any fringe or independent shows that are produced but not associated with an organized “Fashion Week”.

Gabrielle Chanel: working with a private client, at her fashion show, celebrating with her models

There is no doubt that fashion shows are big business.  Customers spend their hard-earned money on clothing and accessories to the tune of $300 billion dollars a year, and designers are constantly competing for their share of the market.  it is a contentious and cutthroat environment that feeds a designer’s fears of being overlooked in a sea of supply that inherently demands for fashion shows to become bigger, better and more memorable with every passing season.  But, it wasn’t always this way.

Designer presentations have been going on in some form since the first designer had a garment to sell.  In the beginning, it was a more proper yet casual affair.  The designer would invite her clients and other friends in the trade to her atelier to view their newest creations. The presentation could consist of just a handful of looks or it could be a wardrobe full of options.  The number of looks wouldn’t really matter.  What mattered was the quality of the garments, not the quality of the show.

Models would casually float around the salon in the specially made frocks while the client admired the designer’s careful craftsmanship and romanticized about the adventures she would have while wearing the garments.  If a client saw something that she fancied, she bought it.  From inception, clothing was designed with an intimate knowledge of the customer, their wants and needs.  The system was elegant, straightforward and it worked.

Those were the couture days.  As ready to wear clothing became more popular in the 1920’s and the majority of people bought their frocks off the rack from retailers, more and more designers were born, all with the goal of fulfilling their own niche within the public’s ever expanding catalog of preferences and tastes.  To make a name for themselves a designer has to stand out from their competition and capture the consumer’s attention, so, naturally, collection presentations became extravagant productions with a touch of healthy narcissism.  Bigger was better.

Today we’ve gone beyond the “show” and have begun presenting full runway spectacles.  Complete with actors slash models, directors, producers, publicists, marketing and sales people, stylists, set designers a sound track and of course – costumes.  Fashion has borrowed from the theater and shares most everything in common.  All but the box office, at least for now.

Until recently, the seats in the Tents were occupied exclusively by buyers from large retailers, magazine editors from the top fashion publications, private clients, celebrity stylists and other industry critics.  The shows were given by the Trade for the Trade.  A runway show was the pinnacle of business in that at a single fashion show a designer could potentially gain several editorial features, sell the collection to major retailers, communicate with their customers through the media, sell one-of-a-kind pieces directly to A-list celebrities, nurture their private clients, and present their brand in their own vision thereby strengthening its chance of lasting success.

This year, Bryant Park will put up its tents for the last time before fashion week moves to Lincoln Center, and it is already being reported that in the once coveted and exclusive seats will be seated child bloggers, today’s hot pop singers, the new generation of young Holywood, and don’t let us forget our favorite reality “stars” including the cast of The Jersey Shore.  The runway is looking more and more like the cover of a tabloid magazine than a respectful showing of an artist’s work.  In fact, the people who will be profiting from all the media attention is no longer the designer but rather the pop-culture icon.

It just leaves me thinking that Seventh on Sixth made a fundamental mistake and they should move fashion week to Broadway or the Kodak Theater in Hollywood instead of Lincoln Center.  After all, in the name of the show the clothing presented on the runway is a dramatized version of their saleable realities anyways which actually makes them costumes.

Modern Chanel Fashion Show: recreating Coco's salon on a stage using huge accessories as the set

I had the most wonderful and unexpected afternoon.  On a whim, we decided to stop by the iconic Jack Taylor of Beverly Hills shop in hopes of simply catching a glimpse of the great tailor himself.  Not having an appointment and not being in the market for a bespoke suit myself, what came of our visit was truly awesome.

As with any quality brand that has lasted six decades under the direction of the label’s namesake designer, I expected to fawn over the stunning hand-woven Harris Tweed fabrics that were being brought to life as made-to-measure suits by skilled, hands.  I expected to be transported into a world dedicated to the brand and its lifestyle and, thanks to the recent documentary Jack Taylor of Beverly Hills, on this special occasion, I expected to take a brief journey into Hollywood history as I perused through a plenitude of signed photos from famous clients and friends.  What I did not fully expect was the outpouring of generosity and the incredibly warm welcome we received from the Taylors themselves.

In their classically authentic style, Mr. and Mrs. Taylor were impeccably dressed.  As we entered the shop, we found them sitting in iconic leather Club chairs behind a classic oak desk – working side by side as they have done for over sixty years.  Within seconds my cheek was getting a kiss from Mr. Taylor and a round of diet sodas were being poured.  Mrs. Taylor opted for hot chocolate.

Both in their nineties (Mr. Taylor is celebrating his 94^th birthday next week), time has been kind.  Though they each admit to having shrunk in height, they remain sharp, bright and energetic with a profound wisdom that can only come from life experience.  The passion for their business is palpable.  Still working full days, they clearly love what they do.

Though they have outlasted (and outlived) most of their friends and clients, business is good.  And, while they are quick to quip about the unsightly jeans and sloppy ball caps worn by the group of tourists piling onto a double-decker tour bus outside their shop, they are equally optimistic that the next generation will mature to have a genuine appreciation for well-made, classic clothing that lasts for generations.

It is documented that the Jack Taylor shop used to be the place where all the Hollywood gentlemen would casually convene over a game of billiards and a glass of scotch. Though we weren’t in the company of Frank Sinatra, Jack Lemmon, Elvis Presley and Cary Grant during our visit, the consummate hosts generously entertained us with some of their favorite old time stories.  Mrs. Taylor even offered some profound words on life and love.

As a designer and as a human, I respect all that Jack and Bonnie Taylor have accomplished and now know first-hand that their success and longevity is no doubt related to their natural ability to cultivate sincere relationships.

I have a lot to learn from these inspiring folks and I am grateful to have been welcomed into their fascinating world for an afternoon.  And now, as Mrs. Taylor did, I will leave you with some words of wisdom.

“You make sure your day is a happy one, aint no one else gonna do that for you.”
– Bonnie Taylor

Sonia Kashuk tools

I met the fabulous Vanessa Heshima Sims during a Showtime TV promo shoot.  She and her big personality swept in and worked her magic making me look perfectly fresh and natural for the interview.  A sweet, bright and professional girl who knows what she wants and goes after it with positive energy, we became fast friends.

Vanessa has worked in almost every capacity of the industry and she takes on each job with a fierceness that makes her work memorable.  Whether she’s working as a celebrity’s private makeup artist, helping to bring characters to life on a hit television show or painting the face of a fashion model, Vanessa is always on the go.  Lucky for us, she stopped for a moment to answer a few questions.

THE PATH

Dahlight:  What prompted you to get into make-up?

Vanessa: Make-up was a way of life for me. I have three sisters and I was always the one asking them, “Are you going to go out looking like that?” Don’t get me wrong, each and every one of them have their own sense of style, but I always added that extra punch. Whether it be red lipstick with lashes and nothing else. my sisters and I were always doing something with our make-up and hair. My mother is one of those real Southern women and we were groomed to always have our hair and make-up done. No hanging around in rollers and pajamas. Almost every woman in my family wears red lipstick if nothing else. It always gives you that pop! Every woman should have a red lipstick that goes with their skin tone. It is a no fail when you forget your makeup or just don’t have much time. The trend is back and I’m glad. It means the return of the true lady. I love it!

When did you realize that this career was more than a dream and could be a reality?

Wow. It finally happened overnight, after nine years of heavy toil and networking. It was a rough ride and I wanted to quit and give up at times, but it kept calling me back. I would get that great job and that great celebrity connection and things worked out in the long run. If something is meant for you, it’s meant for you. I am happiest when I am working on feature films and Emmy award winning shows. It was always my dream. I admit, sometimes I am on set laughing and joking around with an actor and I cannot believe I am actually doing what I said I would. It’s amazing to me because I remember those times when I wanted to give up and now they seem to be so few and far between.

What was your first make-up job?  How did you get it?

My first make-up job was Showtime at The Apollo. I was assigned to be Steve Harvey’s “powder girl.” Lol. I was so excited, confident and nervous at the same time. It felt great! I loved the excitement and the tension of shooting a live television show. The energy is so vibrant and awesome! It was a bit of a disaster though. On my first powder, I dropped some on his suit and he was like, “Watch the suit now, baby.” I almost fainted. He was forgiving and very nice. I ate many a fried fish sandwich on his behalf. That was a great job…

THE WORK

Dahlight:  How do you get your jobs?  Through an agent, self promotion, word of mouth, etc.?

Vanessa:  I get jobs in ALL of those ways. I am still a freelancer. Being in the union, has just put me in a better area to hustle my craft. Now, I can bargain with the major films and connect with the right people. I just signed with an agent, but I still get calls for work through recommendation. Though I’ve been a bit lackadaisical in the social media world, this year I’m resolved to get on board.  It’s just such a great way to connect with clients and peers and to help keep the jobs coming in.

Do you prefer working freelance or do you like being a member of a full-time team?

This year, I am seriously asking myself this very question. I have been on both sides and finding the balance sometimes is difficult. When I am working on an episodic, the money is great and you know you will be working weekly for at least six to nine months. The only problem is, sometimes you lose your creativity with make-up and hair. You are stuck in that character’s look. Unless, you are on a fabulous show like Mad Men or Gossip Girl, which is heavy hair and make-up that you can have fun with.  Grey’s Anatomy make-up and hair will leave you wealthy, but bored. Freelance is riskier, but sometimes a bit more fun. Working on feature films requires more waiting at times, but is more fun and great money. I am seriously thinking of taking my career in that direction.

Could you do your job from a city other than NYC?

I would like to think I could, but I have more work to do here. Movies shoot all over the world, but the right connections have to be made and those are often in the City. I love working on projects outside of New York and always appreciate my time away but I’m always excited to get back.  New York keeps me alive and energetic and inspired, but as you know, we pay to play and sometimes I think we all need to slow it down. More vacation…More vacation…

What is the toughest part of your job?

The early call times. The 5:12 AM and seventeen hour days. It’s like a drug though. The minute I’m not working those hours, I am bored.

Where do you find your inspiration and stay current?

I find my inspiration from everything around me. Fashion is definitely number one. I look at all kinds of fashion. Not just the American designers. I watch foreign films, historic films, go to art museums, people watch. I am always looking at hair and makeup in movies. The other day I was watching A Star is Born and I was fascinated with the set design, the wardrobe, everything in that film was vibrant and exciting!  I think every makeup artist and hairstylist should go to fashion shows or watch them online – and take copious notes. And practice, practice, practice! Make up your friends and relatives and always know how to do the every day individual. Every actor is not an Adonis or Venus, so learn how to do everyone and anyone that sits in your chair.

THE WISDOM

Dahlight:  What does it take to be successful in your career?

Vanessa: Faith.  I knew I wanted to be a makeup artist and so I am. I believed it and I learn from my errors. You have to be a professional at all times. Always be on time. Tardiness will lose you a job and multiple connections. Trust me, an employer ALWAYS asks about your respect of time. Time is money in this industry and it is not to be wasted. Always dress nice and have a sense of style and fashion. No low-cut blouses and mini-skirts. Keep it classy.  Let the actors, models, clients initiate the conversation after your “Good Mornings”. They may want to read the script, take notes or just be quiet. Respect that. Read your script and know what is going on. Know your character. Do research. Always stay on top of what is in and out, while maintaining your own makeup ‘look’. Know your room and act accordingly. But always have fun and most of all WHAT HAPPENS IN HAIR AND MAKEUP, STAYS IN HAIR AND MAKEUP.

Has the recession affected your business?  How?

Definitely.  Shows are getting canceled and moved to different states giving larger tax breaks to productions. New York recently did away with our tax break and we fought to bring it back by petition. Production houses are only investing money in ’sure things’ which means less films are being made and if ratings for television shows are low, a cancellation is sure to ensue. Also, during Fashion Week, many designers chose not to do a show. After all, who had thirty or forty thousand extra dollars for a show? There were many online campaigns that used fewer models and even mannequins which meant less work for makeup and hair artists. I understand businesses have to do what they have to do to weather the storm, but ultimately it’s a creative process and when that’s taken away because of finances, it’s a bummer.

Will the closure of so many fashion magazines affect the long-term outlook of your career?

I am hoping things will get better. I am a magazine girl at heart.  I love looking through fashion magazines, gossip magazines, EVERYTHING and tearing out ideas for outfits, color schemes, hair and makeup. I really get into it. However, people these days want information NOW so they turn to the web.  You can even find out what designer a celebrity is wearing just by their twitter feed.  It’s a sign of the times.  If I forgot to pick up the latest Harper’s Bazaar I can see most of what is in the magazine online without having to go back out to the news stand.

Your overall impression of the “fashion industry”?

Ambivalence. I love it. I need it. I cannot function without it. It pays the bills and I thrive in it.  Sure there are: politics, politics, politics. There is so much talent out in the world now and it is more difficult than ever for new designers and all others involved.  It’s the “who and what you know” industry. I do believe that the internet and, I hate to say it, reality shows are making it easier for a lot of up-and-coming designers and beauty professionals to get their name out there. Fashion designers from Project Runway would not have advanced so quickly in their careers without the show.

The biggest misconception you think people have about the industry?

Is that it is ALL GLAMOR. Don’t get me wrong, it is a glamorous life, but it is a LOT of work. I thought the more advanced in my career I became, the less work I would have to do. Not the case. I work very hard and I have to be very responsible. People tend to see the industry as a place where everyone is out having fun.  We definitely do get out and play, but sometimes I work seventy to eighty hours. I cannot be a hot mess working those hours. I have fun, but trust me, I pay to play.

THE GOODS

Dahlight:  Your career has the stereotype of catering to “Diva” clients.  Do you find this to be the case?  Any specifics you’d like to share?

Vanessa:  I struggle with the word “Diva.” Different clients have different preferences during the makeup application process. I don’t mind that at all. I try to keep everything as positive as possible with open communication. It gets difficult at times when communication is not enough and there is just almost no pleasing a client. When it comes to the true professional clients, I never encounter any “Diva-ism.” A professional trusts that I was hired to do the job because I’m qualified to do whatever is needed for the production. I have had those clients extremely new to the business who’s own insecurities lead them to believe that for them to be better they need to belittle. But the classy clients? NEVER.

What is the “look” that you’re known for?  How did you become known for it?

Wow. I don’t know if I am know for a “look” yet. But, many of my clients are impressed with my ability to make them look “natural.” I like to experiment with makeup, but my favorite look is skin that glows with makeup. Nicely moisturized skin, a creme blush that is not too pink or too red and a sheer pink gloss. That never looks over done and it works on all skin tones.

What are your most favorite products that you’re never found without?

I especially love, BeautiControl Lip Apeel® It has an exfoliator for lips on the bottom and a lip balm on top. Amazing! My lips are so full I cannot have them cracking and dry. MAC Powerpoint Eye Pencil Eye Liners and a Maybelline mascara. I keep a tube of MAC Lipstick Retro Matte Ruby Woo lipstick because I can pop it on my lips and even take some and make a creme blush. A set of travel makeup brushes, NARS Duo Concealer in Praline/Toffee, and a pack of Kleenex. Done!

Have the cosmetic companies provided/developed all the tools and products you need?  Do you have any needs that haven’t been met?

There is so much out there now it is craaazy. My kit is ridiculous! A lot of the products and tools are great and help, but at the end of the day, I always come back to the basics. Especially in a crunch when that particular color is not working and I have to mix up a gloss or creme blush on the fly. I moved to New York with four makeup brushes, a drug store makeup kit and I could make up a ‘mean’ face. Thousands of dollars later, I still only need about that many brushes and five percent of my kit! I definitely go through phases of using different new products and loving them, but I always go back to my basics.

THE LOOK

Dahlight:  What is your favorite make-up tip that can be used by all women?

Vanessa:  Always, always, always take care of your skin. Makeup looks horrible on skin that is neglected. That is first. Second, invest in a good set of makeup brushes. One for the vanity and another for your purse. You don’t have to break the bank. Sonya Kashuk is available at Target and they are great. I have had some of mine for over five years now without incident. Now ladies, that said – most importantly, discard, powders, mascara, shampoo, old dirty sponges and brushes regularly. Sponges should not be used over and over. It is unsanitary and can ruin not only your skin, but contaminate your makeup. Take care of yourselves.

How do you maximize an individual’s facial characteristics?  Is there a way to bring out one’s personality through make-up?

I definitely pay attention to a person’s best feature. Not every look is for everyone. Small eyes need to shy away from a “smoky” eye, it makes them smaller, so I focus on that person’s cheeks or lips. Lashes would make their eyes pop and using gold on the inner corners of the eyes brightens everything up. Makeup should always reflect individual personality. I am obsessed with elderly women who wear lots of blush and a red lipstick. And I mean LOTS. Some may think it is horrific, but I think it’s great. It makes them feel beautiful and it looks fabulous most of the time. I am in no way encouraging clown makeup, but find what works and what makes you feel confident – and accentuate the positive!

How do you have fun with your make-up while remaining appropriate and not looking like a clown?

Find your best feature and focus, focus, focus! Each person is different, so really find your best feature. Ask your friends, your Mom, your husband. Children are the best! They will not lie to you. If you have great eyes and not so great lips; why wear lipstick ALL of the time and never a great eye shadow color or lashes? A lot of people go with what their friends are doing, and what’s “in.” What is “in” is what looks good on YOU. What YOU can wear.  I always tell people that their best feature is usually what someone in the past told them was too big or too distracting.

For instance, I was in the church choir as a teen and I loved Revlon’s Cherries in the Snow red lipstick. My sisters and I wore it all of the time. One Sunday, a woman in the congregation told me I shouldn’t wear red lipstick because my lips were so full and it was distracting. It made me insecure about my lips at the time. Now, women are paying for lips like mine and I have come to realize that they are one of my best features!  So now I play with, not only red lips, but hot pink and peach as well!  So, pop up your best feature.  Distract and SMILE!

What is the classiest make-up look that will always stand the test of time?

I think the classiest makeup look is mascara, concealer, blush and a sheer pink gloss.

If you wanted to make someone more youthful, what would you do?

I would definitely make sure I use a great concealer. Not too much mauve, or deep colors on the lids. A gold shadow that matches the skin tone just slightly brushed over the lid with lots of mascara on the corner lashes; will bring the eyes up and out. Creme everything! Blush, shadow in the right shades and sheer pink/peach gloss like MAC LipGlass in Lust make a youthful face. The dewier the skin, the better!

Where can we find your work and contact you?

You can find me on IMDB and I am currently working on my website, VanessaHeshima.com

I just opened a Twitter account @VanessaHeshima so tweet me!  I’m excited to hear from all of you.

It seemed a fitting farewell for fashion’s most exciting modern day designer.  Instead of canceling the show as rumors had us believe, the last sixteen garments that Alexander McQueen conceived from his genius mind were presented to an intimate group of key industry members in a private Paris salon.  In contrast to McQueen’s usual runway shows there was no large production, no lighting effects, no pomp and circumstance, and no distractions.

I can not think of a better way to respectfully celebrate the inimitable designer than to juxtapose his exquisite and theatrical collection with the simplicity of an atelier presentation allowing his work, garments deserving of the highest praise, to stand alone and be the show.

Chanel's Runway Monsters

Thanks to Karl Lagerfeld’s obsession with the Abominable Snowman, we have the perfect example of how modern day fashion is becoming a show.  Don’t get me wrong, I love Disneyland’s Matterhorn ride and I visited the scary monster living inside the iconic mountain every summer of my childhood, but I never dreamed that we would find his furry suit floating down a Paris runway while enveloping a model.

Luke Skywalker with his trusty Tauntaun

Even if someone wanted to buy a couture body suit made of fur for a lot of freezing cold cash they couldn’t, as I think it’s fair to assume that Chanel will not be producing the monster costumes and I doubt that Bergdorf Goodman could find room enough to hang them on their couture floor.

I don’t want to overlook the fact that there are some instances that make it practical to dress oneself in head-to-toe fur.  Eskimos for example have been making their own garments from indigenous animals for thousands of years in order to survive the elements.

And, Luke Skywalker fashioned his own version of Lagerfeld’s vision by stuffing himself into his Tauntaun to weather a bone-chilling storm.  But I venture to say that – not in their wildest nightmares – would the little French ladies shopping the Champs Elysee ever venture into the natural conditions that would require they look like a Yetty.

I recently caught Douglas Keeve’s 2005 documentary, Seamless, on the Sundance Channel and I can’t stop thinking about it.  Not because the movie is extremely well made, or because it’s pretty, or even because it’s inspiring.  Actually the contrary.  It haunts me because of the rare insight it brings to the true life of America’s next top designers. And I’m not talking about the ones from Project Runway.  I’m talking about the ones you can buy at Barneys right now.

I would bet that everyone has heard of Ralph Lauren and Donna Karan, but which young designers will take their spots at the top once they retire?  Seamless follows fashion’s prestigious CFDA (Council of Fashion Designers of America) as they vet America’s next big stars and ultimately declare one hopeful the winner of fashion’s most coveted award.  I don’t think its too much of a spoiler to say that throughout the designers’ journey, we learn that the fashion business is less glamor and more grit.

As an independent designer, I’m no stranger to this sordid reality, and I don’t zip up my lips when given the opportunity to divulge the struggles that are at the core of a designer’s craft.  Straight up, fashion is a business of smoke and mirrors.  As the documentary points out, it’s the one business where “success” is based purely on press and the invention of an aspirational brand.  Not on profits.  In fashion, the very same designer who lands a well deserved feature in Vogue Magazine due to their incomparable work, who is celebrated by all the taste-makers in the business, is – in reality – quite possibly – broke.

That’s not to say that these designers can’t boast decent sales.  For most small businesses, annual sales of over $1m would translate into a hefty salary for the principals.  Or, at least it would mean they got a salary in some form.  In fashion, the fuzzy and prideful feeling you get when your favorite editor acknowledges your talent and when celebrities properly pronounce your name on the red carpet, is your compensation.  Literally.  You get paid in accolades, not in cash.  Any profits are better put back into the business for the sake of the brand if you’re to eventually reach the improbable status of wealthy figurehead of a designer empire (which, on average, will take 20 years to achieve).

In order to be successful in fashion you must look successful.  You need an impressive showroom.  You need to produce extravagant runway shows and hire notable models.  You need to shoot innovative and memorable campaigns – season, after season, after season.  With all the jobs an independent designer does, it’s a miracle they ever find time to work on a garment, but somehow they do.  Call it devotion, call it a hunger for fame.  Whatever it is, you can be sure that hard work, long hours, tempered ambition and effortless talent are behind it. Designers are high stakes gamblers betting everything they have that one day their unique abilities will afford them the very same lifestyle around which they’ve invented their brand.

So, the next time you stroll down Madison Avenue, think about the designers who have drawn you there, living in humble means with meager income.  Think about the passion that drives them and the talent that makes their dream possible.   Realize that the simple shift dress hanging on the rack at Bergdorf was likely boxed and shipped by the designer herself so it could be received by the fancy store on time and as per their shipping demands – after many tedious months were spent:  designing, sourcing, producing, inspecting, selling and marketing it.

Perspective is everything in fashion and, being that I’ve experienced the industry from the rough and tumble designer’s point of view, it was fascinating to see the business from the extraordinary perspective of the CFDA.  It’s simply stupefying to watch as Anna Wintour and her fellow powerhouses determine for the world – how we will dress, what we will look like and who will achieve the success of their dreams.  It leaves a girl to wonder, how do I score one of those coveted spots on the board?

Unbelievably, New York Fashion Week is here again and that means the haute topic for the upcoming weeks will be the grand shows, the celebrity sightings and the upcoming fads.  As far as carry-over trends go, you wouldn’t be mistaken if you confidently declared leggings, layers, chunky booties and drapey tunics to be the ultimate surviving trend.  But, you would be overlooking an even more important trend that has the Garment District struggling to hold onto.  Survival.  How does a designer keep creativity alive and put out a press-worthy collection that people will actually buy during an extended shopping slow-down.

Beginning tomorrow, designers will be flooding the tents to reveal the formula for success they’ve chosen during this recession and I thought I would offer up some of my own predictions.

Prediction no. ONE – Acute Arithmetic
Being that designers have had some time now to adjust their businesses to the depressed economy, I forecast that smart designers will send their lanky models down the runway in highly edited, thoughtful collections comprised of rich accent pieces.  I also expect that those pieces will be given a friendlier price-point.  Business math is simple, either make less profit per piece and sell lots of units or, make large margins per piece and sell fewer units.  Rather than taint their designer name with pedestrian prices, some brands will opt to launch a lower-end line in hopes of capturing a broad clientele and, if managed correctly, that business model may add up to huge profits once the economy rebounds and the more expensive label is, once again, attainable.

Prediction no. TWO – Evolved Chatter
Like clock-work, at the start of every season, fashion circles begin waxing poetic about all the same – ever so important – stuff.  Silhouettes are scrutinized, the season’s color is ordained, artistic inspiration is exposed and the evolution of trends and themes are explored.  I know I’m going out on a limb with this prediction, but here it goes.  I forecast that this year, fashion’s conventional chatter will evolve to include a deeper and more educated discussion of brand positioning, marketing, costing and quality.  Of course, girlfriends will still discuss how shoes can make an outfit and how to update your look with the proper accessories, but knowing that they have to edit their purchases more than ever, a brand’s quality, vision and creative use of social media outlets will become an important part of the conversation.

Prediction no. THREE – Genuine Style
I forecast that mere financial survival instincts will accidentally encourage those people who are accustomed to purchasing a brand new seasonal wardrobe to re-assess their current closets and do with what they already own.  And in doing so, this simple act of “suffering” might just help them to finally identify their genuine personal style.  It simply isn’t reality today to adopt a designer’s avant-garde definition of what today’s style is.  As we know, that vision will last a whole three months before seeming entirely ridiculous (and a pure waste of money).  Just watch an old episode of Sex and the City and you’ll see how following trends has an uncanny ability to date you to no end.  Dressing like “you” is always on trend.

Prediction no. FOUR – Responsive Renewal
It may sound silly, but the excitement created when store windows are transformed from season to season communicates that change, everywhere, is in the air.  It’s time to re-new and evolve.  The mere predictability of this metamorphosis stimulates a sense of comfort.  We know that life is moving forward, just as it should.  Everything is on track, and everything is fine.  This season, during a time when it seems there are too many unknowns to manage gracefully, empowering a sense of the status quo is more important than ever.  With the introduction of new frocks hanging on racks that have been cut into the latest silhouettes from seasonally appropriate colors, comes revitalized enthusiasm, a fresh source of inspiration and a feeling of optimism.  Regeneration becomes tangible and our spirits are lifted.  Even if we do more window shopping than actual shopping, we know that our world is on track and we’re moving forward.

Tom Ford, designer slash director

The television commercial actor from Texas who studied interior architecture in New York and eventually turned into a fashion designer is now dabbling in directing.

Tom Ford is hanging up his muslins and turning to film.  The designer who made a success of himself at the House of Gucci is now focusing his creative vision on the big screen with his directorial debut of the movie A Single Man.  I wish I could share a trailer, some clips, or even a few stills from the movie but it seems this film is being kept well under wraps, so a casual photo of the designer (slash director) draped in silk and sipping a single malt scotch will have to do.

Pardon me as I digress…

I suspect that Ford’s reluctance to reveal his cinematic creation in advance comes from his years in the fashion industry where condescending superiority is the norm.  And, where every-one’s work gets locked in a proverbial vault in fear that their cut-throat competition might steal their inspired ideas.  As someone who has worked and played in fashion for a while now, I can say with regrettable disappointment that arrogance, attitude, and a deity complex are widely believed to be the recipe for “success” in the fashion world.

I find it absolutely ridiculous that in order to be a mega star in luxury one must be an elusive and untouchable figurehead who’s duty it is to dictate to the pathetic, plebeians what to wear.  Or more specifically, what we should aspire to wear  (being that most people can’t afford their frocks which are falsely priced to create an illusion of brand value rather than priced for the value of the materials and construction).

After all, these design houses are obliged to create an image of exclusivity so they can price their goods at a profit of 4oo% else they can’t afford the beautifully styled ad campaigns, expensive storefronts, and impressive lifestyles that are a requisite in order to make them desirable in the first place.  It’s really a deceptive circle and we consumers are partly to blame for instigating the industry’s sickness.  After all we’re the ones believing that gilded ostentation equals success and status.

Don’t get me wrong, I certainly own my fair share of luxury goods and, most of the time, you can really feel and see the quality difference that fine materials and couture stitching make.  I’m just putting it out there that many independent designers can deliver equal quality for an honest price.  Leading to my final thought – shop with discriminating taste and choose uniquely special items that suit your individual style.  Don’t let brand names weaken your discretion and empty your wallet.

Aaaah…back to Tom Ford the director…

As a business person, I’ve always admired Tom Ford for his balls-out ambition and his talent for executing a clear vision.  He plays the fashion game well and has created a believable and intriguing designer character of himself.  I’m rooting the for him and hope he can translate his creative prowess to film and his movie is actually good.  Not just good looking.

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If you’re lucky enough to be in Venice for the Film Festival on September 11th you can catch the designer’s film and then leak all the gossip and goodies straight to me

For the curious, here are some basic details about the movie that couldn’t avoid being revealed before the release.

Cast
Collin Firth, and his sweetly charming smile
Julianne Moore, my fellow red headed NYC neighbor
Nicholas Hoult, the adorable “Marcus” from About a Boy
Giniffer Goodwin, the third wife of my favorite HBO drama series Big Love
Matthew Goode, the dapper English bloke from Matchpoint and Chasing Liberty

Synopsis
A gay man who, after the sudden death of his partner, is determined to persist in his usual routine, which is seen in the span of a single, ordinary day in Southern California.

Firth is the gay man, an Englishman and professor who feels like an outsider in Los Angeles. Goode is the boyfriend who dies in a car accident and appears in flashbacks. Moore plays a friend of the professor.

For the considerably curious, listen to the interview with Goode and Firth courtesy of Hollywood Outbreak where they talk about Ford as a director.