Move over salesgirls or salesmen, in today’s ‘branded’ era, the malls are chockfull with fashion consultants, beauty advisors, key customer representatives, and coming close to the old tag, sales executives.
The mall culture in Chandigarh has made big brands setting up their shops, creating a host of job opportunities. Being part of the sales staff is no mean task — long hours (anything between 6-9 to more) of standing, dealing with quirks of customers to meet the intended sales targets — yet, there is bunch of people who wouldn’t opt for anything else.
Vimal is a sales executive at one of the hi-end jewellery brands in one of the glitzy malls in the city. A fancy hairdo, sparkling badge on his well-ironed shirt, he approaches his customers with a friendly smile and mannerism that makes them shell out more from their wallets than originally intended. All in tune with the latest cuts, colours, trends, he softly strikes a conversation that starts with the client’s requirements and suggests accordingly.
This bachelor in business administration graduate hails from a small village Dhalara in Himachal Pradesh and none in his family can even pronounce the name of the brand he works for, but this job has been his lifeline. “The salary is good, there are incentives and I am on my own,” shares Vimal. “While women take forever to make up their mind, men are quick and decisive,” admits this guy adding that their store policy to exchange in seven days is a huge plus. Did we warn you he is pretty persuasive?
Shapinder is only few months old in the city but regulars at Elante know this girl with zest for life. A fashion consultant at Superdry before; she is currently the store manager with Kiehl’s and she sure loves her job, well, at least a major part of it.
“My work brings me face-to-face with people from different walks of life and apart from knowing all about skin, I am keen on human behaviour,” says the girl from Bhatinda. Armed with a degree in sales management, Shapinder worked in stores like Oroton in Sydney before she returned to her country. Working in Australia was way hassle-free than in India, she points out.
“Here, people work extra hours without being paid for it, back there I would get 1.5 times the sum if I put in extra hours,” says the girl, who except for taxing job of emailing reports, is cool with it.
Farah works for a leading cosmetic brand and she loves the start of the shift as she gets to doll up for the day. A beauty advisor, she has a diploma in basics of cosmetology from ITI, she loves sparkling Elante as an escape from her home in Bidi Colony near Sabji Mandi where her father works as a vendor.
“I know my products like the back of the hand and it gives me a big high helping someone look and feel better,” says this girl, super confident of attending to her high profile clients, which she credits to her product training.
Herself a shopaholic, Saliha, with masters’ degree in English, got into sales by chance and is enjoying every moment of it. “I am in love with clothes and bags and my work ensure that I am the first one to know what’s being rolled out from the brands like Armani,” says this happy, bubbly girl, an associate at Collective. Daughter of a bank manager, Saliha had to do her bit of convincing-the-parents-routine, and grudgingly they agreed. Product training takes her to Delhi every few months and for you all wanting to step in her shoes, she says that you need to be hardworking, passionate and…pretty, she giggles correcting herself to ‘well groomed’ to be in the field!Read more at:white formal dresses
Behind the scenes at New York Fashion Week, makeup artists and stylists have been working overtime to get models ready for their closeup.
Yes, these makeup mavens are the keepers of the cosmetic secrets for how models maintain their camera-ready glow. Here are a few things we learned this week:
-A pucker that pops: Skip the fancy brushes and applicators. Backstage at the Salinas runway show, makeup artists perfected models' burgundy pouts with just their fingers. For best results, use the ring finger. Why? The ring finger typically is weaker than the others, meaning it provides just the right amount of pressure for dabbing on colors and blending.
-A twist on the classic French manicure: Here's a nail art trick seen backstage at Alice + Olivia that truly is D-I-Y. Take French manicure strips (you know, those disposable stickers that serve as a guide for the traditional French manicure white tip) and apply them diagonally across the nail, starting from the base. Polish around the strip with the desired hue, and wait a couple of minutes to dry. Then, carefully remove the strips, and voila -- a cool, easy negative-space manicure.
-Just a touch of Vaseline: If opting for a bold lip, skip the eye shadow to prevent makeup from appearing too heavy. Instead, give eyes a little lift and sheen with a simple sweep of Vaseline across the lids.
-Perfecting the bold brow: The strong eyebrow trend doesn't appear to be going anywhere in 2016. Get it right by not going too heavy-handed with the eyebrow pencil. Look for one with a feathered tip (Stila Cosmetics has some options), and then fill in the brow by stroking upward stroke by stroke.Read more at:formal dresses
HOW GYPSY SPORT'S RIO URIBE WENT FROM THE STOCKROOM AT BALENCIAGA TO CFDA/'VOGUE' FASHION FUND WINNER
In a partitioned corner of the basement of one of the Garment District's last remaining factories, Rio Uribe, the 30-year-old founder of Gypsy Sport and recent winner of the prestigious CFDA/Vogue Fashion Fund, is busy reworking his fall 2016 collection. A few days earlier, he had shown a selection of looks on male models at New York Fashion Week: Men's, and would be re-showing them, alongside 10 new looks, at the women's collections — a way of demonstrating that Gypsy Sport's clothes can work for both sexes.
Uribe, who grew up in Los Angeles's Koreatown neighborhood, is not your typical up-and-coming designer. He does not come from a wealthy background, nor is he the graduate of a prestigious design school. Which may help explain why his designs don't look like anyone else's. Though officially dubbed unisex, his clothes — even the skirts and the dresses — have a distinct masculine tone, fusing streetwear silhouettes and motifs with unexpected and luxurious elements: a flat patchwork coat with 3-D shearling squares and striped trim, an oversized cargo jacket rendered in velvet stripes, a shrunken navy ribbed cardigan with extra-long sleeves worn over a long, denim, zip-front skirt. Color, print, texture proportion — it's all there. Jaden Smith and A$AP Ferg are fans.
We spoke to the designer about his design journey ahead of his NYFW show at Milk Studios, scheduled for 2 p.m. Tuesday
Why did you move to New York City in 2006?
After working in janitorial and then in retail jobs all through high school, I realized I wasn't going to get in the fashion industry [there]. Also had a really bad breakup with my boyfriend, who was my first love. The day I landed, I had printed like 30 resumes, and went out to a bunch of showrooms and boutiques and handed them out.
How did you land a job at Balenciaga?
After about six months of living here, I was still looking for work, and working three [side] jobs. A friend said he had just interviewed for a cool job at Balenciaga. I wished him luck, but also applied myself. They called and I got the job that day. I was doing stock, inventory, picking up the jobs no one else was doing, shoveling snow, organizing the stockrooms, kind of crappy work. I don't even know what the job title was. Within a year, the company was growing so fast, I was bumped up to inventory manager.
Eventually I shared I was interested in merchandising and they didn't have someone in that position, so they trained me and I went to Paris for the first time ever, met designer [Nicolas Ghesquière] and his team, and they schooled me on what the aesthetic was for merchandising. I took over the merchandising for the showrooms, the shop-in-shops at Barneys, Holt Renfrew in Canada, a couple of stores in California. I was traveling.
What did you take away from that role?
I definitely took away the importance of the aesthetics that you present to your customers. Within the first couple of months doing merchandising, we had a presentation with Anna Wintour. That's when I learned we have to be super buttoned-up, coffee has to be super piping hot, everything has to be draped to perfection.
And I would study and dissect the runway pieces; every one was a piece of art. There was one coat called the cocoon jacket, hand-painted and hand-embroidered, which was designed by Cristóbal [Balenciaga] and reinvented by Nicolas. The cut of it was incredible, felt very couture. That was my favorite piece. I've never tried to recreate it, but someday, when I'm ready, I will.
How did Gypsy Sport get started?
In 2012, I left Balenciaga. I had actually been designing some hats hoping Nicolas would put them on the Balenciaga runway, but they weren't into them, a little too scrappy I guess. As soon as I left that job, they fell into the hands of a stylist name Alastair McKimm, who was styling spring/summer 2013 for DKNY, and he asked if I could make those hats for him. That was the first official product I sold. That immediately got the interest of Opening Ceremony, which placed an order for 60 of the hats, and I came up with the name Gypsy Sport two days before they premiered on the Opening Ceremony website. It took about three weeks to get that order done, me and my friends working together in my apartment.
I came up with the name Gypsy Sport because I knew I wanted to have the word "sport" in it, I thought it was a cool, generic word that felt very '90s to me, and "gypsy" because I wanted a global word that represented subculture, an outsider for outsiders. The logo is two baseball hats floating on top of each other, which looks like Saturn. We call it a "haturn."
How did you go from designing hats to designing runway collections?
[VFiles founder] Julie [Anne Quay] called me in for a meeting and said, 'We're doing a runway show and we need young brands from New York, will you put your collection out?' I said, 'I don't make a collection, I make hats.' Well, she said, 'We're about to put you on the Fashion Week calendar.' I had two weeks at that point to make my collection, I banged it out with some friends. I'm glad that happened; I always wanted to make clothes but never had the courage to design and put something out there.
What was the most important thing you learned from the CFDA/Vogue Fashion Fund?
I would say being myself. I was very scared to [enter the competition], that I wasn't educated enough, not connected enough, wasn't in with any Voguejournalists, wasn't buddies with any CFDA members, I was a total outsider with an underground brand. I was just expecting to be ousted immediately. The very first meeting all the contestants had with Anna Wintour, she said to be authentic and be yourself, because I'll see right through everything else. I thought, ok, I'll be myself and they can either like it or hate it.
What have you done with the prize money?
We've spaced it out, it's give us cushion for business for the next three years. Immediately what we've done is hired a third person onto our team. We have an official PR team now, and we're able to put snaps, zippers and buttons on all of our samples, whereas we used to cut corners before; now everything is functional.
Your clothes are unisex. How did you decide not to do gender-specific collections?
I always wanted to wear girls' clothes as a kid; girls always have all the cool stuff, and guys have the very basic cuts of shirts and pants. So when I was able to design clothing, I didn't want it to be designed for boys or for girls, that would make you feel limited in what you could wear. Whatever your gender, you can wear it as long as it fits how you want it to fit. We've been working really hard to get our fits so men and women can both buy from XS to XL size range.
You've had some wonderful celebrity placements. Who would you like to see wearing your clothes?
I always like what the Smith kids [Jaden and Willow] wear. I think they have very authentic personal style. Jaden was at the spring/summer '16 show; he's a friend, he comes to hang here sometimes. I actually asked him to walk in this show, but he said he needed to lay low. Kids like him are changing things, more than me and designers. He's in the world wearing gender-less pieces; I don't as often as I should. Not to say that a hoodie and jeans isn't genderless, but I'm not wearing skirts so often.
I would like to see Anna [Wintour] wear my clothes. I'm not even saying that facetiously; I think she could. I have to think about designing for a broader age range; I want to cater to anyone from ages 15 to 50.
You said at your show last week that you wanted this collection to be as commercial as possible. Why is that now a focus?
Because of the [CFDA/Vogue Fashion] Fund. I could easily spend the prize money in like one season on a collection if I wanted to. But I think what they did was give me that award so we could be a more profitable company. Stores we used to reach out to before, who would never reach out, are now approaching us. It's really because of the Fund.
Do you consider your clothes to be streetwear or fashion? Is there a meaningful distinction?
It's hard. I didn't even like being called a unisex brand before. Yes, I think it's important that we are considered streetwear, but I don't want it to only be streetwear. I see my friends and even people I don't know wearing Gypsy Sport now, which I think is cool, but I also have the pleasure of seeing Vogueeditors wearing it to work, and so it's not necessarily streetwear anymore.Read more at:plus size formal dresses