Multi-Taskers Series

Multi-Taskers Series: Imran Amed

Imran Amed is a fashion business adviser, writer and entrepreneur, and is Founder and Editor of The Business of Fashion.

Known as “The Thinking Man’s Fashionista,” Imran brings a unique understanding of the creative and commercial sides of fashion, acting as a bridge between the industry’s most gifted creative and business talent. His writing reflects the day-to-day insights gleaned from his consulting work for international luxury brands, private equity firms and independent investors. His ideas have been published in the Financial Times, Vogue India and JC Report.

Imran spends a great deal of time mentoring and meeting emerging fashion talent. He is an Associate Lecturer at Central St Martin’s College of Art & Design and leads a bespoke mentoring program for promising young designers at Fashion East, London’s premier fashion incubator. He has also been invited to sit on juries at international fashion competitions and art colleges including The Royal Academy of Fine Arts in Antwerp and the Austrian Fashion Awards in Vienna.

Imran’s expertise is regularly called upon by the international fashion and business media, including the BBC, The New York Times, The Wall Street Journal, Luxury Briefing, Dow Jones, The South China Morning Post, and Women’s Wear Daily.

In 2009, London’s Independent newspaper named Imran amongst the most “inspirational, interesting, and influential people” in the online fashion industry.

Previously, Imran was a management consultant at McKinsey & Co. He has an MBA from Harvard Business School and a B.Com from McGill University.

The contemporary professional fashion identity involves many roles. In fact, having a single title is now an obsolete concept—today, a fashion designer is also a product developer, charity entrepreneur, editor and consultant, while a hairstylist moonlights as a TV commentator, author and even art enthusiast. To better understand the trend and the motivation behind these multi-titled professionals, we interviewed a network of multi-taskers to weigh in on their seemingly insatiable professional appetites. Next in our series is Imran Amed, the founder and editor of The Business of Fashion.

JC Report: Tell us about all the projects you're currently working on and the titles you attach to them.

Imran Amed: As a business advisor and entrepreneur I advise private investors and fashion companies and collaborate with entrepreneurs on their business, investment and marketing strategies. Much of my work is focused on cutting edge fashion business issues including sustainability, social media and emerging talent. Being a talent Scout and ambassador, I seek out and build relationships with top creative talent and champion their work and creative potential with my clients. I am also an editor and writer; writing is an outlet for making sense of the ideas bouncing around in my head. I am editor of The Business of Fashion and Luxury Society and contribute regularly to other publications such as The Financial Times. As an associate lecturer and mentor, I teach a course in business and marketing to undergraduate fashion design students at Central St Martins College of Art & Design in London and mentor young designers in London's highly-successful Fashion East initiative, spearheaded by Lulu Kennedy.

JCR: Is each role independent of the other or do they overlap at points?

IA: The real beauty of my work is that it all fits together in one interconnected, virtuous cycle. My work with fashion brands often inspire ideas for my writing. My writing often helps me to share my ideas with potential clients and connects me with emerging talent. All of this work enriches the lessons I can share with my students. And, new ideas are born everywhere. Doing multiple things makes me more effective in all facets of my work and enables me to draw insights from across different elements of the fashion business.

JCR: Do you think modern day culture promotes seeking success in multiple fields?

IA: Not necessarily, but things are changing. There are certainly more and more of us like this and the internet has enabled people to do multiple things, which was almost impossible before. I have a short attention span so I like the idea of moving from one flower to the next, pollinating and sharing ideas. I have found that people value the experience and learning that I bring from other facets of my career.

JCR: What's the role of collaboration in your current work profile?

IA: I feel fortunate to do the work I do and it feels very natural, but I don't do it alone. In all of my work, I collaborate with talented people whose expertise and support make my multitasking possible and understand my desire to do many things. I couldn't do it without them.

JCR: In the future, do you envision experimenting with even more roles?

IA: There is certainly no shortage of ideas and I would never rule out trying more things, but I also believe that to have a real impact you need to have some focus. There are only so many things that one person can do well, at the same time. The reason it works for me is that everything, while different, is connected to the business of fashion, which is the complementary thread that links my work together.

JCR: Define your professional bliss?

IA: I'm lucky to be living it now!

Multi-Taskers Series: Malcolm Harris

The contemporary professional fashion identity involves many roles. In fact, having a single title is now an obsolete concept—today, a fashion designer is also a product developer, charity entrepreneur, editor and consultant, while a hairstylist moonlights as a TV commentator, author and art enthusiast. To better understand the trend and the motivation behind these multi-titled professionals, we interviewed a network of multi-taskers to weigh in on their seemingly insatiable professional appetites. Second in our series is Malcolm Harris, a New York-based multi-tasker who works all over the creative map.

JC Report: Tell us about all the projects you're currently working on and the titles you attach to them.

Malcolm Harris: To be quite honest, I don't think it would be possible to give formal titles to all the different hats I wear every single day, but I will give it the old college try anyway:

1) The Captain's Hat - Artist Management: I am currently managing the careers of three emerging artists: singer Atarah Valentine, actress Victory Brito and fine artist Vincent Castiglia. I have dubbed them "The Trilogy." I find myself very excited about assisting these creatives in building strong professional foundations as well as a creative safe haven from which they can launch their respective careers.

2) The French Beret - Curator: I have been asked by the estate of the late Nina Simone to curate a touring exhibition of the legend's iconic costumes, lost music and photos. I will be working closely with Simone's daughter as well as a community of philanthropists, historians and entertainment industry elite.

3) The Military Fatigue Cap - Fashion Designer/Humanitarian: I recently launched my One-Dress collection/initiative, which benefits the organization Womankind Worldwide. This project is based on my brand's mantra "Changing the World—One Dress at Time." It has taken me several years to finally strike a concise and strategic balance between my creative and professional ambitions and my humanitarian obligations—this combination is truly my idea of success.

4) The Turban - Cultural Ambassador: I am the founder of the Made In: MENA project which is a cultural exchange project between the United States and the MENA (Middle Eastern Northern Africa) region. The project will focus on fashion, music, art and film as we bridge the gaps between the continents. While this is perhaps the most daunting of all the projects, I truly believe Made In: MENA will be the crowning glory of my contribution to the humanitarian and creative worlds.

JCR: Is each role independent of the other, or do they overlap at points?

MH: I am still not sure if the co-dependency of these individual projects was consciously and strategically woven into their existence, or if their intertwining is present by sheer divine-intervention. But from a sort of aerial view of the master plan, not only do these projects overlap, they are also tightly strung together on the same red thread.

JCR: Do you think modern day culture promotes seeking success in multiple fields?

MH: I don't think we do enough to promote seeking success in multiple fields, but I do believe this is changing. I also believe that for too long we have used ridiculous expressions like "Jack of all trades—master of none" to pigeonhole individuals into living inside the proverbial box. Personally, I have simply chosen to rewrite the narrative as "Jack of all trades—master of destiny."

JCR: Do you work in your current capacity to stay master of your own destiny or do you work out of necessity?

MH: Very rarely do I take on a project out of necessity. However, I know I am very fortunate. The universe has seen fit to allow me to become the master of my own destiny. In today's climate, I feel it is only through this sort of manning the helm of one's own ship can we realize that even shipwrecks can turn into lucrative treasure hunts and discovery.

JCR: What's the role of collaboration in your current work profile?

MH: I don't think I would be able to perform any of these various roles without the ability to successfully collaborate with other creatives and sometimes "suits" [laughs]. I think we only grow as creatives when we join together to expand our current goals and missions.

JCR: In the future, do you envision experimenting with even more roles?

MH: At this point I couldn't imagine not constantly being on the alert for the next creative challenge or professional role. Just today, I received an offer to design a boutique hotel here in New York City. I'm already toying with the concept of a hotel with a voyeuristic experience.

JCR: Define your professional bliss?

MH: Professional bliss for me is waking up every morning and having no idea what to expect, but knowing I always have a hat to fit the role of each magical day.

Multi-Taskers Series: Dominic Sio

The contemporary professional fashion identity involves many roles. In fact, having a single title is now an obsolete concept—today, a fashion designer is also a product developer, charity entrepreneur, editor and consultant, while a hairstylist moonlights as a TV commentator, author and even art enthusiast. To better understand the trend and the motivation behind these multi-titled professionals, we interviewed a network of multi-taskers to weigh in on their seemingly insatiable professional appetites. Next in our series is Dominic Sio, a London-based multi-tasker with roots in myriad media and fashion projects.

JC Report: Tell us about all the projects you're currently working on and the titles you attach to them.

Dominic Sio: I'm the co-founder, editor and creative director of Stimuli magazine and art director of Art of Consumerism, a design and PR consulting firm. Currently I'm working on new logo design for Gazelle, an electro-pop, funk-disco musician from South Africa, and designing a logo and website for London-based Korean designer Eudon Choi, who is showing his first collection at the next London Fashion Week. I've just shot the jewelry campaign for Belmacz, while dreaming up a new concept for a design conference, among other things. I love to keep busy busy busy!

JCR: Is each role independent of the other or do they overlap at points?

DS: They tend to overlap because everything I do is intertwined. The world is like some sort of an experiment right now—more and more things collide in a cross-/multi-genre way, more than say, 10 years ago—especially when you work in the creative field, you can really see that transition. Multitudes of people tend to multitask these days; everyone's a little multi-disciplinarian.

JCR: Do you think modern day culture promotes seeking success in multiple fields?

DS: Certainly it does, especially for the "I-CAN" generation and those who are working in it and want to be a part of it.

JCR: Do you work in your current capacity to stay master of your own destiny or do you work out of necessity?

DS: I'm happy to be able to multitask, and do what I do so that I can get things done a certain way, having learned never to rely on others. Moreover, it's a great feeling when you know you've achieved something.

JCR: What's the role of collaboration in your current work profile?

DS: I think collaboration plays a huge role today. Companies have harnessed them to stretch their brand values further. It injects freshness into a project, and it is also responsible for the multi-disciplinary cross-genre approach to many things today.

JCR: In the future, do you envision experimenting with even more roles?

DS: Actually I've done a lot more before—from creative direction and visual merchandising for cutting-edge shopping malls to curating a special fashion event for brands like Nokia, etc., and people have been calling me "Multi" on the internet. But right now nothing is planned! The future is uncertain and if I were to do something, it's only because it's creative and fun!

JCR: Define your professional bliss?

DS: I hope I'm able to work in the creative industry for as long as I can since there's never a dull moment. With the magazine we are able to reach out to more creative people and that means more interesting collaborations in the very near future.

Fashion's Multi-Taskers Part I: Ninette Murk

The modern day fashion professional identity is a gray area involving many roles. Having a single title has become a departed concept—today, a fashion designer is also a product developer, charity entrepreneur, editor and consultant, while a hairstylist moonlights as a TV commentator, author and art enthusiast. To better understand the trend and the motivation behind these multi-titled professionals, we interviewed a network of multi-taskers to weigh in on their seemingly insatiable professional appetites. First in our series is Ninette Murk, a Belgian-based expert, who works on a number of important fashion-related social causes.

JC Report: Tell us about all the projects you're currently working on and the titles you attach to them.

Ninette Murk: I'm the founder and director of Designers Against AIDS, creative director for Be Carbon Neutral (BCN), director of International HIV/AIDS Awareness Education Center Antwerp IHAEC, the PR director for Stimuli Magazine, plus a consultant for various brands/designers and a relentless networker.

JCR: Is each role independent of the other, or do they overlap at points?

NM: They overlap as they all have a lot to do with my personality, which is communicative, creative, visionary, stubborn, idealistic, passionate, enthusiastic and naïve.

JCR: Do you think modern day culture promotes seeking success in multiple fields?

NM: For me, a low boredom threshold does more than anything else. Plus, I get enthusiastic very fast about almost everything and everyone.

JCR: Do you work in your current capacity to stay master of your own destiny or do you work out of necessity?

NM: I work because I can and I want to. I feel blessed to be able to work in the way I do right now and to get so much recognition for it. Also, the fact that our work helps to make the world a better place is very important to me. I never had that feeling when I was still a fashion journalist, although promoting young designers and seeing them succeed gave me a lot of satisfaction too.

JCR: What's the role of collaboration in your current work profile?

NM: It's immense. Without collaboration, the resulting synergies and the power of the internet, we wouldn't be anywhere close to where we are now.

JCR: In the future do you envision experimenting with even more roles?

NM: I never plan much, things happen for a reason and if I like to do something, I'll just do it.

JCR: Define your professional bliss?

NM: If HIV/AIDS would be eradicated I'd be pretty happy—and without my most important job. When I look at the rising rate of HIV infections in the industrialized world, this regretfully isn't going to happen any day soon though.

Tomado de: jcreport.com

High Fashion

Models on stilts present "High Fashion" on the famous "Jungfernstieg" boulevard in Hamburg, northern Germany, on Saturday, Nov. 7, 2009. The so called "Haute Couture Stilters" are part of a sales campaign by Hamburg traders and shop owners called the "Hamburg Shopping Days". (AP Photo/Fabian Bimmer)

Niemeyer recibe la Orden de las Artes por su influencia en la arquitectura

El Consejo de Ministros concedió ayer la Orden de las Artes y las Letras de España al arquitecto brasileño Oscar Niemeyer. Esta condecoración reconoce "su trayectoria profesional y su contribución a la difusión internacional de la cultura española, y en concreto por la relevante influencia de su obra en la configuración de la arquitectura contemporánea".
La Orden de las Artes y las Letras es una distinción de carácter honorífico, creada por el Ministerio de Cultura en julio de 2008, con la que pretende reconocer la labor de personas o instituciones que contribuyan a la difusión internacional de nuestra cultura.
Nacido en Río de Janeiro en 1907, con más de setenta años de reconocida trayectoria, Óscar Niemeyer, el gran autor de la arquitectura de Brasilia, es uno de los personajes más influyentes en la arquitectura moderna.
Niemeyer manifestó ayer que está "muy contento" con la Orden, distinción que, según dijo, merecen más otros. "Estoy muy contento. España es un país tan importante en las artes", expresó el centenario arquitecto.
"Lo agradezco mucho. Me pareció hasta una exageración, porque hay mucha gente importante que lo merece. Es algo muy bueno", agregó con modestia.
Su mayor proyecto en Europa está en España, donde diseñó el Museo de los Premios Príncipe de Asturias, que se inaugurará el año próximo en Avilés.

Tomado de: http://www.levante-emv.com/cultura/2009/11/07/niemeyer-recibe-orden-artes-influencia-arquitectura/649053.html

Lady Gaga, ¿olvida su ropa?

Como una virgen o como Hello Kitty, con poca ropa y siempre enseñando mucha piel, los atuendos de Lady Gaga no dejan de llamar la atención.
Durante su más reciente aparición pública más bien pareció que la intérprete de Poker Face olvidó sus prendas.

Y es que según puede verse en fotografías del sitio thesun.co.uk, Gaga acudió al barrio de Soho, en Londres, con un vestido de encaje.

La prenda, que iba del cuello a sus rodillas, dejaba ver la ropa interior de la cantante, compuesta por sostén negro y tanga del mismo color.

A la cantante de 23 años no le importó ser fotografiada desde diversos ángulos, pues incluso se puede ver cómo abordó un automóvil.



Tomado de: http://www.eluniversal.com.mx/notas/638145.html

Copycat fashion

Natalia Gutiérrez
El Universal
Jueves 05 de noviembre de 2009
natalia.gutierrez@eluniversal.com.mx

Si Kate Moss ha duplicado su propio estilo a través de la exitosa colaboración que ha tenido con la marca inglesa Topshop, no habría por qué extrañarse si firmas como Steve Madden lanzan un calzado idéntico al creado por Christian Louboutin.

La modelo inglesa declaró a Vogue que “había tomado varias piezas de su propio clóset para reinterpretarlas”; pero lo cierto es que más allá de “reinterpretarse” consiguió autoplagiarse.

Desde entonces, surgió un nuevo término dentro de la industria de lo chic, el copycat fashion (moda de imitación). El objetivo de este concepto es ofrecer diseños “similares” a los creados por firmas como Gucci, Chanel, Christian Dior y Prada, por mencionar algunas, pero a un precio mucho menor.

Esta idea no se limita únicamente a la réplica de prendas, sino también de estilismos. Dicha situación se ha vuelto muy popular dentro de los blogs de moda y ahora las jóvenes fashionistas emulan a sus iconos favoritos -modelos, actrices, cantantes y hasta editoras de revistas- a través de looks elaborados con piezas no originales, pero idénticas.

Pareciera que estamos frente a una opción que busca generar alternativas contra la situación financiera mundial; sin embargo, la copycat fashion se ha convertido en un tema polémico que invade los derechos de autor y que, de no ser por la distribución que le dan las grandes cadenas de tiendas como Zara, H&M, Mango y Topshop, podría colocarse en el sector de la piratería.



Grandes beneficios

Una de las principales razones por las que el grupo Inditex incrementó sus ventas un 9% en la primera mitad del año fue la reproducción de ropa de pasarela; incluso, ejecutivos de Zara afirmaron que “sólo les lleva un par de semanas recrearlos y ponerlos en el piso de venta”.

De hecho, un analista del grupo de inversión más grande del mundo, Goldman Sachs, señaló que “Zara vende Armani a precios razonables”.

Durante la temporada pasada algunos de los artículos más solicitados de la tienda fueron el minivestido strapless negro y los jeans deslavados “inspirados” en la colección de Balmain.

Otro exitoso caso es el de la tienda online llamada Asos, conocida por rehacer atuendos lucidos por celebridades como Kylie Minogue y Victoria Beckham. Tal característica le ha valido más de un millón de clientes en línea y, en tan sólo ocho semanas, el sitio web aumentó sus ganancias en un 62%.

Unos de los secretos de esta compañía está la fabricación de la réplica de un vestido de Burberry utilizado por Sienna Miller, el cual está valuado en más de mil dólares (unos 13 mil pesos), por la cantidad de 65 libras (mil 400 pesos).

Sin duda, estas empresas reconocen la influencia que los diseñadores de renombre y las marcas legendarias ejercen sobre los y las amantes de la moda, quienes parecen olvidar el valor que tiene la elaboración de una chaqueta de tweed firmada por Karl Lagerfeld -por citar un arquetipo-, siempre y cuando puedan lucir la prenda it en el momento preciso.



Opiniones encontradas

Mientras que algunos representantes del diseño están a favor de la copycat fashion como el director creativo de Balenciaga, Nicolas Ghesquière, quien señaló que “no tiene nada en contra de ella, pues finalmente se trata de un ciclo”, existen firmas que están dispuestas a llegar hasta las últimas consecuencias con tal de hacer respetar sus derechos de autor.

En 2007, Lacoste demandó a la cadena de tiendas Next por copiar un modelo de calzado. Asimismo, este año firmas como Jimmy Choo y Chloé ejercieron acción legal en contra de compañías productoras, con quienes llegaron a acuerdos confidenciales.

Sin embargo, los derechos de autor no pueden aplicarse a todos los casos, ya que se trata de artículos funcionales que pocas veces se convierten en iconos, según informó Susan Scafidi, profesora de leyes de la Fordham University y autora del popular blog Counterfeit Chic (Chic Falsificado), el cual se encuentra muy al tanto de la tendencia del “original y copia”.

Finalmente, el diseño de pocos productos puede alcanzar una patente, por lo que el mayor número de demandas debe terminar en un acuerdo entre ambas partes.

Tal es el caso de la conocida modista Diane Von Furstenberg, quien se vio involucrada en un caso similar, aunque en esta ocasión la demandada fue ella. La diseñadora de origen belga fue acusada de plagiar una chaqueta de la marca canadiense Mercy, con quien tuvo que iniciar un convenio inmediatamente.

Diane dijo sentirse “devastada” y añadió que “haría lo necesario para remediar el malentendido y que esperaba que su situación sirviera de ejemplo para aquellos que se encontraran en una situación similar”.

El diario The Star señaló que la presidenta del Council of Fashion Designers of America ha sido víctima en diversas ocasiones de reproducciones apócrifas y que tan sólo hace dos años había tenido que demandar a la cadena Forever 21 por copiar uno de sus vestidos, factor que no justificaba su proceder.



La realidad

Hoy en día, la moda de imitación está a la orden del día y su fama es resultado de la creciente crítica que el mundo del lujo está recibiendo por sus altos costos y poca funcionalidad.

Sin embargo, la originalidad debe permanecer intacta, reconociendo que el verdadero mérito de las grandes firmas no reside en la fabricación de objetos de deseo, sino en la exposición de ideas que influyen en el medio que nos rodea.


Tomado de: http://www.eluniversal.com.mx/estilos/64791.html

Embajadoras de estilo

El país os necesita! Es la patriótica llamada del presidente Barack Obama a Sarah Jessica Parker y Anna Wintour. La protagonista de Sex and the City y la directora de Vogue América formarán parte de un comité de gurús formado por 25 miembros -entre ellos, personajes del teatro, el cine y la danza- para aportar con su experiencia consejos sobre arte.

Michelle Obama ostenta el cargo de presidenta de esta organización cuyo objetivo es promocionar el arte, la cultura y la educación. Consiste en aprovechar la popularidad de estos personajes para llamar la atención y potenciar las distintas áreas como objeto de negocio: "El arte no es algo que se pueda tomar a la ligera y prestarle atención cuando uno tiene tiempo libre. Se trata de algo muy serio", explicaba la primera dama de los Estados Unidos.

Según informa la publicación The Daily Telegraph, el comité para el desarrollo del arte fue establecido en 1982 durante la presidencia de Ronald Reagan.
Por Pedro Zozaya
Tomado de: http://www.vogue.es/index.php/mod.noticias/mem.detalle/idmenu.11/idnoticia.71335/relcategoria.2023/chk.67c95ebe725730692625d16495ae3dd2.html

Georgia Jagger, una futura 'Top Model'

La hija de Mick Jagger y Jerry Hall protagoniza la portada del número de noviembre de edición estadounidense de la revista 'Vogue'. Famosa por sus genes y sus vaqueros (es imagen de los Hudson Jeans), la pequeña de las Jagger se ha convertido a sus apenas 17 años en una de las modelos preferidas de la moda británica.

Georgia Jagger sigue muy de cerca los pasos de las mujeres del clan de los Jagger, Jerry, Bianca y Jade, quienes ya han prestado su imagen a la revista Vogue posando para su portada. Ahora le toca el turno a la más joven de la familia, Georgia, quien tiene muy claro que su sitio también está en el mundo de la moda.

La hija pequeña del líder de los Rolling Stones se dio a conocer hace unos meses cuando protagonizó la campaña de la marca de vaqueros Hudson en topless a la temprana edad de 17 años.

Ahora, pocos meses después de su aparición estelar, las marcas de ropa y cosméticos se rifan a esta belleza a la que muchos han comparado ya con el mito erótico Brigitte Bardot. Y es que razones no le faltan: Su larga cabellera rubia ondulada, sus carnosos labios y esa característica separación entre las paletas hacen de esta joven un auténtico 'sex symbol'.

Luciendo un vestido de Asos en estampado de cebra, así como unas gafas en forma de estrella y un maquillaje muy marcado (los labios de rojo pasión y los ojos en tonos verdes), Georgia May Jagger puede presumir de que, tanto físico como tablas, le sobran.

A parte de en la portada de Vogue, podremos ver a esta nueva promesa del mundo de la moda en la nueva campaña de cosméticos de la marca Rimmel London, donde compartirá protagonismo con la modelo canadiense Coco Rocha.

Si hacemos caso a los rumores, Georgia May podría ser también la imagen Versace como guinda a una muy prometedora carrera como modelo.

Sea como fuere, su sensualidad a lo Brigitte Bardot, su toque afrancesado a lo Vanessa Paradis y esos inconfundibles labios, herencia de su famoso padre, han creado una combinación perfecta para hacer de esta joven aspirante a 'Top Model' una de las chicas con más expectativas de futuro dentro del difícil mundo de la moda.
Tomado de: http://www.europapress.es/chance/moda/noticia-georgia-jagger-futura-top-model-20091105131729.html