- Bridget Foley & Dennis Freedman
= Trade Editor & Creative Director
'the trademarks of both W and WWD are the well-written essay, coverage of breaking news, and concise reportage; thus the team can afford to be brazen and obsessive in the search for the utmost in scintilating images.
'one of the most meaningless words to describe fashion photography is 'edgy'. 'provocative' isn't new, either. what i look for in photographs is a quality and an honesty, not images that are provocative for the sake of being provocative,' Freedman says.
W is a laboratory for the avant-garde, and the team's missionary-like zeal has led to controversial results. in the late 1990s, W was pilloried for what appeared to be a promotion of 'heroin chic.' however, W did not intend this depiction of street chic to be cultural commentary or endorsement; it was pure, hard-edged, documentary observation.
Foley states, 'W's editors are passionate about fashion. there are so many levels on which fashion can be enjoyed and deliberated, debated and dissected. in the grand scheme, fashion provides a way of reading social history, but in the most basic sense you also have to put on clothes to leave the house. fashion is the convergence of all kinds of disparate elements - from street culture to rarefied haute couture.''
- p87
- Melodie Weir
= Outrageous Runway Makeup Artist
'considering the future of fashion, Weir speculates, 'people do not want to live in an austere, sterile environment.' she predicts a rebellion against minimalism: 'people want to surround themselves with comfort and colour.''
- p141
- Susan Forehand
= Trunk Show Impresario
'Forehand defends the sophisticaion of her souther customers. 'we get it. we aren't living in Tara without electricity. our clients are world players,' she comments. 'in fashion, there is a tendency to think of any city outside New York as very provincial. this is especially true of the perception of the South. our major women travel the world, run major corporations, and act as patrons of the arts in a thriving city.' Forehand must constantly remind designers of this fact: 'i'm an advocate for my clients. i make bringing them the world's very best my mission.''
- p148
- Zendy Rapoport, Alexandra Lapegna & Afrodita Badescu
= Shoppers Personal and Otherwise
'most of the world encounters fashion only while shopping. the shopping experience is the single indispensable fashion moment, the instant when the designer's vision must communicate itself. in the store - small boutique or enormous emporium - these messages are explicated by chicly clad sales associates.
gone are the days of minimum wages and meager commissions. talented in-store personnel now receive benefits, vacation packages, and impressive salaries. in a world where customers have less and less leisure time, the salesperon's role - preselcting and editing - is more critical than ever. professionals like Lapegna at Les Copains in New York make the buyer's life far easier.
'the day of the accidental shopper and impulse buyer is gone. you have to buy for specific customers and keep meticulous records in your client book.''
- p160
- Roberto Jorio Fili
= Exporter of Italian Style to the World
'during his tenure at Calvin Klein, Fili analysed the emerging predominance of American sportswear, which has taken centre stage from French and Italian couturiers such as Christian Lacroix and Giorgio Armani.
he notes, 'America often stays ahead of Europe not necessarily in terms of fashion but in the way it interpets lifestyle. American designers such as Ralph Lauren are more pragmatic and more free.' 'today there is a completely new type of consumer,' states Fili. these consumers have the aspiration but not the means to afford luxury. he contrasts this group to 'the consumers at the top of the pyramid'; he plans to 'transfer our expertise to design and create other products that have the same sensation of quality but at a lower price.''
- p184, Style Makers: Inside Fashion - Marcia Sherrill & Carey Adina Karmel (2002)
= Trade Editor & Creative Director
'the trademarks of both W and WWD are the well-written essay, coverage of breaking news, and concise reportage; thus the team can afford to be brazen and obsessive in the search for the utmost in scintilating images.
'one of the most meaningless words to describe fashion photography is 'edgy'. 'provocative' isn't new, either. what i look for in photographs is a quality and an honesty, not images that are provocative for the sake of being provocative,' Freedman says.
W is a laboratory for the avant-garde, and the team's missionary-like zeal has led to controversial results. in the late 1990s, W was pilloried for what appeared to be a promotion of 'heroin chic.' however, W did not intend this depiction of street chic to be cultural commentary or endorsement; it was pure, hard-edged, documentary observation.
Foley states, 'W's editors are passionate about fashion. there are so many levels on which fashion can be enjoyed and deliberated, debated and dissected. in the grand scheme, fashion provides a way of reading social history, but in the most basic sense you also have to put on clothes to leave the house. fashion is the convergence of all kinds of disparate elements - from street culture to rarefied haute couture.''
- p87
- Melodie Weir
= Outrageous Runway Makeup Artist
'considering the future of fashion, Weir speculates, 'people do not want to live in an austere, sterile environment.' she predicts a rebellion against minimalism: 'people want to surround themselves with comfort and colour.''
- p141
- Susan Forehand
= Trunk Show Impresario
'Forehand defends the sophisticaion of her souther customers. 'we get it. we aren't living in Tara without electricity. our clients are world players,' she comments. 'in fashion, there is a tendency to think of any city outside New York as very provincial. this is especially true of the perception of the South. our major women travel the world, run major corporations, and act as patrons of the arts in a thriving city.' Forehand must constantly remind designers of this fact: 'i'm an advocate for my clients. i make bringing them the world's very best my mission.''
- p148
- Zendy Rapoport, Alexandra Lapegna & Afrodita Badescu
= Shoppers Personal and Otherwise
'most of the world encounters fashion only while shopping. the shopping experience is the single indispensable fashion moment, the instant when the designer's vision must communicate itself. in the store - small boutique or enormous emporium - these messages are explicated by chicly clad sales associates.
gone are the days of minimum wages and meager commissions. talented in-store personnel now receive benefits, vacation packages, and impressive salaries. in a world where customers have less and less leisure time, the salesperon's role - preselcting and editing - is more critical than ever. professionals like Lapegna at Les Copains in New York make the buyer's life far easier.
'the day of the accidental shopper and impulse buyer is gone. you have to buy for specific customers and keep meticulous records in your client book.''
- p160
- Roberto Jorio Fili
= Exporter of Italian Style to the World
'during his tenure at Calvin Klein, Fili analysed the emerging predominance of American sportswear, which has taken centre stage from French and Italian couturiers such as Christian Lacroix and Giorgio Armani.
he notes, 'America often stays ahead of Europe not necessarily in terms of fashion but in the way it interpets lifestyle. American designers such as Ralph Lauren are more pragmatic and more free.' 'today there is a completely new type of consumer,' states Fili. these consumers have the aspiration but not the means to afford luxury. he contrasts this group to 'the consumers at the top of the pyramid'; he plans to 'transfer our expertise to design and create other products that have the same sensation of quality but at a lower price.''
- p184, Style Makers: Inside Fashion - Marcia Sherrill & Carey Adina Karmel (2002)
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