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style wise A Practical Guide to Becoming a Fashion Stylist

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style wisA Practical Guide to Becoming a Fashion StShannon BurnS-Tran

InternatIonal academy of desIgn and technology, tampa, florIda

Fairchild BookSnew York

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Fairchild BooksAn imprint o Bloomsbury Publishing Inc

www.fairchildbooks.com

First published 2013

Bloomsbury Publishing Inc, 2013

All rights reserved. No part o this publication may be reproduced ortransmitted in any orm or by any means, electronic or mechanical,including photocopying, recording, or any in ormation storage or

retrieval system, without prior permission in writing rom the publishers.

No responsibility or loss caused to any individual or organizationacting on or re raining rom action as a result o the material in this

publication can be accepted by Bloomsbury Publishing Inc or the author.

Library of Congress Cataloging-in-Publication DataA catalog record or this book is available rom the Library o Congress.

2012932246

ISBN: PB: 978-1-60901-160-4

Typeset by Tom HellebergCover Design by Carly Gra stein

Cover Art Courtesy oWWD /Kyle EricksenPrinted and bound in the United States o America

50 Bed ord SquareLondon

WC1B 3DPUK

175 Fi th AvenueNew York NY 10010

USA

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Pre ace xviiAcknowledgmentsxx

Part I The Fashion Styling Pro ession1

Chapter 1 Introduction to Fashion Styling3Chapter 2 Styling or Print27Chapter 3 Styling or the Entertainment Industry57Chapter 4 Image Management 79Chapter 5 Career Diversity119

Part II Getting Established As a Fashion Stylist135

Chapter 6 Fashion Lexicon: Terms, Icons, History, and Inspiratio13Chapter 7 Port olio Building, Branding, and Networking171Chapter 8 Preparing or a Test Shoot193Chapter 9 Putting It to the Test: Per orming a Test Shoot221Chapter 10 Business 101 or Freelance Stylists239

Glossary 259Credits 269Index 271

Contents

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Pre ace xviiAcknowledgments xx

P art I: t he F ashIon s tylIng ProFessIon 1

Chapter 1: Introduction to Fashion Styling3Chapter Topics Call Sheet3What Is Fashion Styling?3

The Infuences o Stylists4Misconceptions About Styling6

What Fashion Styling Entails7Stylists Knowledge7

Key Players at a Photo Shoot 8The Three Main Specialties o Fashion Styling10

Print Styling10Entertainment Industry10Image Management12

Diversi ying into Other Areas o Styling12Runway Styling12Food Styling13Prop Styling14

Unexpected Places Where Stylists Work 16What It Means to Be Freelance vs. Salaried16

Salaried Stylists16

Freelance Stylists17Personality Traits That a Stylist Needs to Succeed18

Are You Sel -Motivated and Sel -Reliant?18

Extended Contents

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v xt t ts

Do You Have Good Verbal, Written,and Visual Communication Skills?18

Do You Have Good Personal Style? Is It Memorable?18

Do You Enjoy Teamwork?20Do You Have People Skills? Are You Easy to Talk To?20Are You Adaptable?20

Ten How-To Skills a Fashion Stylist Needs to Possess20How to Spot Trends22

Recommended Reading: Eight Magazines and Newspapers 23 Summary and Review24 Key Terms 24 Review Questions 25 Learning Activities 25

Resources 26

Chapter 2: Styling or Print27Chapter Topics Call Sheet27Print Styling 10127

Editorial Styling29Li estyle Styling31How Much Do Print Stylists Make?32

Fashion Magazine Timetables33 The Fashion Time Line 33

Preparation: A Key Responsibility35Preliminary Meetings35Establishing a Story36Pulling Clothing or an Editorial Shoot36Pulling Clothing or a Li estyle Shoot38

Fashion PR and Why It Matters to Stylists38 Fashion Public Relations Agencies 39

How the System Works39 The Fashion Calendar 40

The Day Be ore the Shoot42Cheat Sheets 42Stylist Kit Check 44Masking Shoes44

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xt t ts

Ironing/Steaming Clothing46The Day(s) o the Shoot46Dress or Function48

Call Times and When Shooting Takes Place48Shoot Etiquette48Keeping Track o the Clothing48Key Players on Set50The Day A ter the Shoot52

Well-Known Print Stylists 53 Summary and Review52 Key Terms 54 Review Questions 54 Learning Activities 55

Resources 55

Chapter 3: Styling or the Entertainment Industry57Chapter Topics Call Sheet57Wardrobe Styling or Film and Television57

Wardrobe Stylists Are Not Costume Designers58Areas in Television Where Wardrobe Stylists Work 59Major Cities Where Wardrobe Stylists Find

Employment59Mean Income or Wardrobe Stylists61

Unions and Membership Societies 62The Chain o Command63

The Phases o Production65 Industry Tools and Lingo 66

Getting the Green Light66Preproduction66Production68Postproduction68Television Commercial Production68

Anatomy o a Wardrobe Department70Duplicate Costumes71Understanding Fabric Care and Knowing How to Sew71The Green Room72

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x xt t ts

Buying vs. Renting Wardrobe72Rack Dividers72Costume Bible72

Wrap 73Continuity73The Importance o the Script74The Importance o Staying In ormed74

Summary and Review74 Key Terms 76 Review Questions 76 Learning Activities 77 Resources 78

Chapter 4: Image Management79Chapter Topics Call Sheet79Image Consulting 10179

Personal Stylists82Celebrity Stylists82

Concierge Service and the Stylist 84 A Feel for Fabric 85

Education and Certifcation86What Every Image Consultant Must Bring to the Client86

The StylistClient Relationship86 Recommended Personal Style Books 88

Line Direction in Clothing89 Basic Elements and Principles of Design90

Understanding Body Types93Understanding Personal Style96

Personal Style Self-Assessment Quiz (for Women) 103Personal Style Self-Assessment Quiz (for Men) 106Understanding Color109

Downtime: What to Do Between Jobs110 Wardrobe Essentials 112

Dos and Donts of Personal Appearance for Women 115Dos and Donts of Personal Appearance for Men 115

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xt t ts

Summary and Review115 Key Terms 116 Review Questions 116

Learning Activities 117 Resources 118

Chapter 5: Career Diversity119Chapter Topics Call Sheet119Why Fashion Stylists Diversi y119Runway Styling121O -Figure, On-Figure, and Digital Styling123Prop Styling124

Companies that Hire On- and Off-Figure Stylists 125

Food Styling126 Food Stylists Kit Checklist 127 Educational Resources for Food Stylists 127

Visual Merchandising128Fashion Styling Using Digital Media130


P art II: g ettIng e stablIshed a s a F ashIon s tylIst 135

Chapter 6: Fashion Lexicon:Terms, Icons, History, and Inspiration137Chapter Topics Call Sheet137Why It Is Important to Be Fluent in Fashion137

Keeping Up with Trends: Past, Present, and Fashion Forward138 Must-See Fashion Websites 139 Modern-Day Fashionistas and Fashionistos 140 Street-Fashion Inspiration Websites 141

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x xt t ts

Starting with the Basics: The Anatomy o Apparel140The Anatomy o Fabric142The Anatomy o Tops144

The Anatomy o Bottoms145The Anatomy o Undergarments146The Anatomy o Accessories148

Putting It All Together: Design Terms149 The ABCs of Fashion 151

The Classics: Fashion Icons and Timeless Garments152 Timeless Garments and Their Origins 152

Screen Classics and Other Cultural Inspirations154 Social Groups Who Influence (or Have Influenced) Style 154 Must-See Movies 155

A Short List o Historic Fashion Icons160Shop Talk: Terminology o the Shoot166


Chapter 7: Port olio Building, Branding, and Networking171Chapter Topics Call Sheet171Tools o the Trade171

Marketing Tools172Port olio Basics173

The Rules o the Port olio174 Portfolio and Portfolio Cover Sources 175

Digital Port olios178Experience: The Way to Build a Port olio178Assisting or Job Experience178

Places to Find Testing and Assisting Opportunities 180 The Etiquette of Assisting 181

Internships181

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xxt t ts

Websites, Business Cards, and Comp Cards181Websites 182

Do-It-Yourself Website Design Sources 184

Business Cards185 Sources for Downloadable Fonts 188Comp Cards 189


Chapter 8: Preparing or a Test Shoot193Chapter Topics Call Sheet193Testing and Assisting: How to Build a Port olio and

Gain Experience193Testing or Port olio Photos194

How to Prepare or a Test Shoot195Assembling the Test Team196Planning the Theme in Preliminary Meetings199

Inspiration and Ideas for Test Shoots 199Using a Storyboard to Communicate Visually200Sourcing Clothing201Sourcing Props203

Props to Avoid 205Prepping the Stylist Kit205

Stylist-Kit Supply Online Sources 206Writing Up Cheat Sheets216

Final Wardrobe Prep the Day Be ore the Test Shoot217 Summary and Review218 Key Terms 218 Review Questions 218 Learning Activities 219 Resources 220

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x v xt t ts

Chapter 9: Putting It to the Test: Per orming a Test Shoot 221Chapter Topics Call Sheet221Executing a Test Shoot221

Dress or Function, Not or Fashion221Call Times and When Shooting Takes Place222Proper Pro essional Etiquette223A Few Good Rules of Proper Etiquette on the Shoot 224

From Sunrise to Sunset: On the Job225Why Its Necessary to Know about More than Fashion226

Photography Basics226Fifteen Famous Fashion Photographers, Past and Present 228Composition Rules for Photography 231Hair and Makeup Basics232

Posing a Model233 Hair- and Makeup-Supply Checklist for Test Shoots 234The Day A ter a Paid Shoot235

Invoicing235Returning Pulls235Writing and Submitting Editorial Credits236Restocking Kit and Tidying Work Space236Keeping Track o the Clothing236


Chapter 10: Business 101 or Freelance Stylists239Chapter Topics Call Sheet239What Beginning Stylists Need to Know239Essential Business Documents239

Confrmation, Contract, Booking Agreement240Pull Letter242Invoice242Voucher244

Checklist of Business Documents 244

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xt t ts

Agency Representation vs. Freelance245Talent Agencies That Represent Stylists 246

Building a Freelance Business Plan246

Elements o a Stylists Business Plan246 Office-Supply Checklist 252Studio, O fce, and Financials253

Creating Pull Lists 254Insurance255IRS Rules255

Summary and Review256 Key Terms 257 Review Questions 257 Learning Activities 257

Resources 258

Glossary 259 Credits 269 Index 271

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x

StyleWise: A Practical Guide to Becoming a Fashion Stylist o ers a comprehensiveapproach to help aspiring stylists understand what it takes to establish a careerin styling. It not only answers questions that many students commonly ask aboutstyling but also goes many steps urther by addressing eedback received romashion graduates with established careers. The result is a book that presentsthe variety o career options that styling encompasses, shows how to establish

a career in styling, and lays out the base knowledge that stylists must have inorder to work in the industry.StyleWise can be used as a tool or an aspiring stylist to build an inspired

and relevant port olio. It provides sources o inspiration and prepares andtakes the aspiring stylist step-by-step through his or her frst shoot and beyond. Itincludes examples and style content that the reader can carry along throughouthis or her career.

This book also contains use ul in ormation or all ashion students, whetheror not they aspire to be stylists, including an exploration o ashion terms, icons,history, and sources o inspiration as well as port olio building, branding, and

networking. Every chapter has specifc, real-world in ormation that includespro essional resources or stylists and nonstylists alike.

O rganizatiOn Of the BOOk

StyleWise can be easily integrated into a styling-class curriculum. Theorganization o the book is based on years o teaching ashion styling toupper-level college students.

Part I: The Fashion Styling Pro essionThe frst hal o the book ocuses on the di erent areas o the styling industry.It provides an overview o print styling or magazines, wardrobe stylingor flm and television, personal styling, and other areas o styling that go

Preface

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xv p f

beyond ashion. It covers the ins and outs o each area o the industry, romunderstanding ashion season and sourcing to considering a reelance careerversus a salaried job or a publication or studio. It will also help each student

choose which area he or she might like to work in by keying in to his or herown unique interests and talents.Chapter 1, Introduction to Fashion Styling, provides the reader with an

overview o the pro ession o ashion styling, beginning with what stylists do,progressing through a survey o the main categories o ashion styling, andconcluding with an examination o the skills and personality traits that stylistsneed to succeed.

Chapter 2, Styling or Print, covers both pro essional in ormation andpersonal tips or the reelance stylist in the areas o magazines, brochures,catalogs, advertisements, and other print media. Chapter 3 takes a similar

approach toward Styling or the Entertainment Industry. Chapter 4, ImageManagement, explores styling clients on an individual basis, ocusing primarilyupon personal shopping and celebrity styling, while Chapter 5 covers CareerDiversity, which include the runway styling and visual merchandising as wellas styling or props, sets, ood, and the Internet.

Part II: Getting Established As a Fashion StylistThe second hal o the book delves into the details o exactly how to create aport olio and get started as a reelance stylist. It covers everything rom how toorganize a photo shoot or the frst time to resources or creating a personal website.

This hal o the book also provides sources o inspiration, and prepares readers bytaking them step-by-step through a stylists frst shoot and to ollow-up activities, aswell as gives them a frm oundation in the business basics necessary to fnd a joband maintain a reelance or salaried career. It includes examples and re erenceguide/style content that readers can carry with them throughout their careers.

Chapter 6, Fashion Lexicon: Terms, Icons, History, and Inspiration, laysout exactly what every ashion stylist needs to bring to the table; this includesthe basic ashion terms, awareness o design principles, knowledge o ashionicons rom cultural history, amiliarity with ashion resources (magazines andblogs), and an idea o where, how, and why it is important to locate sourceso inspiration and resources or ashion shoots.

The ollowing chapters lay out the nuts and bolts o the business o styling,providing the student with a real-world oundation o what it takes to be a

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success ul pro essional, and walking them through the preparation and step-by-step duties, responsibilities, and troubleshooting tips o an actual test shoot.Business basics are covered in Chapter 7, Port olio Building, Branding, and

Networking, and Chapter 10, Business 101 or Freelance Stylists, while thetest shoot is presented in Chapters 8 and 9, Preparing or a Test Shoot, andPutting it to the Test: Per orming a Test Shoot.

t ext Features

Tables and ChartsThe text includes many tables and charts that summarize key in ormation andresources. Each table has been care ully created or students to quickly and

easily re erence and continue to use a ter they have completed the stylingcourse. Examples o this in ormation include styling supply sources, creativedo-it-yoursel website template services, business card pointers, pro essionalassociation listings, and much more.

Photo Illustrations and Sample DocumentsThroughout all chapters, more than 150 ull-color illustrations show tools andtechniques o the trade, stylists at work in each o the areas o styling, andsample documents used by both emerging and seasoned stylists at the top otheir careers.

GlossaryComprising terms and concepts that students will encounter in real-worldpro essional settings, the glossary defnes each chapters list o Key Terms(bolded in the chapter text). Becoming amiliar with these terms will allow thestudent to hold an educated conversation and negotiate or uture jobs.

Chapter Summaries and ReviewsEach chapter ends with a summary or students to review chapter content aswell as the list o that chapters Key Terms. It also includes teacher- riendlyquestions that urther encourage students to engage with key points in thetext. Instructors can use these chapter questions as weekly assignments with aconsistent weekly grading weight or point value.

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xx p f

Learning ActivitiesLearning Activities at the end o each chapter provide numerous assignment

and project ideas as well. Notably, the Learning Activities at the end oChapters 8 and 9 o er students the opportunity to prepare or and carry outtheir very frst test shoot, an experience that will launch them into their careers.

Instructors ManualThe Instructors Manual provides more assignments, projects, and classactivities. It also provides grading rubrics or the assignments that clearlycommunicate expectations to students as well as answers to chapter-reviewquestions and tests with answer keys. The tests are photocopy-ready, as arethe grading rubrics.

a s olId FoundatIon For s uccessFul c areers

A ter reading this book and engaging in the activities thatStyleWise o ers,students who are motivated and serious about styling should be more thanadequately prepared to enter the styling industry and commence an excitingand success ul career.

I would like to thank the ollowing people or their help and support with thisbook:

Thank you to Robert Phelps, development editor, who was an amazingeditor and coach. Your hard work and positive encouragement kept me going!Another big thanks to Jaclyn Bergeron, senior associate acquisitions editor, orall o the support and help with the book, and or helping to organize so mucho the reviewer eedback. This book would not have been possible without

Olga Kontzias, executive editor, who got it all started. Olga, your help withthis project early on made it what it is . . . thank you! Thank you to LindaFeldman, production editor, and NaN Stoelzle, copy editor, or both having

Acknowledgmen

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xgm ts

such a great eye or detail and catching my mistakes. Also, thank you to SarahSilberg, associate art director; and Avital Aronowitz, photo researcher; orfnding so many great images or this book, and Carly Gra stein or creating

the wonder ul cover design.Sincere thanks, too, or my peer reviewers: Shirley Warren, Cali orniaState University, Northridge; Jan Haynes, Delta State University; MonirZandghoreishi, IADT-Seattle; Crystal Green, Art Institute o Chicago; CarolynRobertson, FIDM Los Angeles; and Michael Londrigan, LIM College.

I would also like to thank some people who made all o this possiblein the earliest stages. I owe so much to my colleagues rom the InternationalAcademy o Design and Technology: Nancy McGee, Melody Acree, and JulieStout. Your guidance and support opened so many wonder ul opportunitiesor me. Last but not least, a huge thank you to all o my students, who made it

so much un to come to work.This book also would not have been possible without the unwavering

support rom my amily. First and oremost, thank you to my husband, Tan,whose love and support make my li e as great as it is. Another huge thank

you to the women in my li e, namely my mom Rebecca, stepmom Debi, andmother-in-law, Que. I really could not have completed the book without yourhelp taking care o the kids so I could work. You are the best and I am so luckyto have you all!

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PART ONE

The FashionStyling

Professi

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1 Introduction to Fashion Styling C hapter t opiCs C all s heet

In this chapter you will learn: What ashion styling entails The three main types o ashion stylists Other types o stylists outside o ashion What it means to work reelance vs. salaried What personality traits stylists need to have What skills ashion stylists need to have

W hat I s F ashion s tyling ?

Stylingis a general term that goes beyond ashion. In the broadest sense,styling is arranging things in a visually pleasing way. It can mean working invaried areas including ashion styling, hair styling, makeup styling, ood styling,or prop styling. Within ashion styling, the three main areas are print, theentertainment industry (television and lm), and image management (personalstyling). Styling is a creative job that has business aspects. It is creative in thatthe stylist is usually artistically inclined, visually talented, and able to create astunning image. It is business in that the stylist deals with contracts, paperwork,billing, and satis ying aclient s needs. A client is the business, company, or

person who hires a stylist or his or her visual expertise.Fashion stylingis the process o orchestrating clothing and other ashion

products or photo shoots, lm shoots, ashion shows, and special events.

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4 part 1 : the fashion styling profession

It entails nding/coordinating clothing, accessories, and other ashionmerchandise, and creating out ts. Fashion merchandise is also sometimesre erred to as ashion products. Both terms encompass apparel, shoes, ashion

accessories, and small leather goods. Fashion styling doesnt involve designingclothing. It involves putting together existing pieces to make ensembles. Itcan be done or a variety o purposes including photo shoots, music videos,television commercials, lms, special events, or wardrobe makeovers.

Fashion stylists devote a lot o time and energy to studying ashion,ashion designers, and retailers. They are well versed in what designers areshowing on the runway and what retailers have in stock. In order to do theirjobs correctly they need to know what is going on in ashion at any giventime, as well as have the ability to draw upon knowledge o ashion history.They are o ten knowledgeable about trends and are able to identi y common

themesin each season. A theme occurs when multiple designers are showingthe same trend. A good example o a theme is athletic-inspired clothing. Thisincludes tracksuits, race-stripe detailing, and utilitarian embellishments suchas clips and large zippers. Sometimes in one season multiple designers willshow a theme o athletic-inspired looks on their runways. Each ashion seasonhas multiple themes rom many di erent designers. The stylist should be ableto see the big picture or each season, and draw parallels between di erentdesigners. (See Figures 1.1ac.)

The Infuences o StylistsMany people dont realize how much our lives are impacted by stylists.Stylists have a hand in every television show or lm we watch and everymagazine we read. In todays media environment a single image can reachmillions o people aster than ever be ore. Talented stylists are born, andalso made. Sometimes ashion is an innate talent, but it is also somethingthat can be studied and improved upon i one is dedicated. Even the beststylists will not evolve without outside infuences. Magazines, lm, and art areessential viewing or designers and stylists alike. O ten stylists are masters atpiecing disparate elements together and drawing parallels. They are o tenvisionaries who are highly adept at compiling various infuences rom ashion,photography, history, cinema, books, and art. All o these inspirations becomepart o a stylists vocabulary o visual infuences, as well explore more inChapter 6, Fashion Lexicon: Terms, Icons, History, and Inspiration.

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Misconceptions About StylingMany people new to styling might describe the pro ession as putting out tstogether. O ten they envision styling as a glamorous job where one canrub shoulders with models and celebrities. They might imagine stylists whoget to work with the best designer clothing and the hottest stars. However,this is not the reality or most stylists. A select ew do work with the biggestnames and have extensive budgets, but most stylists work with lesser-knownpeople and adhere to tight spending caps. O ten stylists work with everydayclothing instead o the newest looks. (See Figure 1.2.) Sometimes they work in

unexpected and decidedly unglamorous areas. This chapter outlines the insand outs o styling, and what it takes to succeed.

Figure 1.2In this behind-

the-scenes photo,the ashion stylist,

makeup artist, andphotographer are

preparing toshoot the model.

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chapter 1 : introduction to fashion styling

W hat F ashion s tyling e ntails

Fashion styling is a business that combines teamwork, creativity, people

skills, artistic collaboration, and networking. A stylists job is to provide theproper clothing or a shoot. This includessourcing( nding), preparing, andreturning garments a ter the shoot is nished. This is a time-consuming anddetailed process. Stylists are hired or their expertise and e ciency in gettingthis job done.

A client hires a stylist to work as part o a team that creates an e ectiveimage. The client can be anyone rom a ashion magazine to a oodcompany, rom an o ce-supply manu acturer to a clothing manu acturer.The rest o the creative team that a client might hire includes an art director,photographer, hair stylist, makeup artist, and, o course,talent . Talent is the

person in ront o the camera lens. This might be a model, actor, or just aneveryday person.

Stylists KnowledgeAll ashion stylists have a undamental love o ashion. O ten the best stylistsare the ones who see ashion as something un to play with. The job can beserious and stress ul at times. But the ashion itsel is un. Most stylists sharesome common pro essional practices. These practices includefashion research, trend interpretation, and professional maintenance .

Fashion ResearchStylists are constantly researching by looking at clothing in stores and onthe Internet. Some lucky stylists attend Fashion Week. Many stylists usewebsites such as style.com or nymag.com to keep abreast o the runways.Style.com also has a ree app or viewing ashion collections and newson tablets or other handheld devices. Stylists also use trend- orecastingsites to get a glimpse o the themes that might be happening in upcomingseasons. Free sites such as ashiontrendsetter.com and weconnect ashion.com show orecasts rom di erent trend services. Paid-subscription sites suchas stylesight.com, trendstop.com, and wgsn.com require users to pay ortheir in ormation. These paid subscriptions can be great resources i theyare nancially easible. Whether stylists are members o the audience at the

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The client employs everyone on the shoot.It is the client who pays the bills and mustultimately be pleased with the outcome ofthe shoot.The amount of client involvement

in the hiring process for a shoot varies.Clients are ultimately looking for good

promotional photos and they know theirtarget customer better than anyone else.

The Photographer

The Art Director

The Stylist

The Talent

The Client

Talent is usually known as the model but caninclude anyone in front of the camera lens.The talent is there to enhance the productand adjust poses according to direction

from the photographer.

This is where the stylist falls in the peckingorder of the shoot. That means all decisionsmust pass through the people above before

they can go forward. Collaboration should beenjoyable but the stylist should also know thathe or she might have to compromise on the

creative vision of the shoot.

The photographer is often responsiblefor hiring the stylists and talent for a shoot.They will sometimes also have their own

assistants. The photographers opinion holdsa lot of sway since he or she is the one

looking through the camera lens.

The art director, producer, or productionmanager is sometimes a freelancer hired bythe client. Other times this person is part ofthe clients in-house staff. It is this persons

responsibility to oversee the shoot andcommunicate the clients wishes. He or she

will hire the photographer, who in turnmight hire the stylist.

Key Players at a Photo Shoot

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chapter 1 : introduction to fashion styling

shows or viewing collections online, they are usually taking notes. They studytrends, abrics, silhouettes, and colors. (See Figure 1.3.)

Trend Interpretation

As stylists research they are interpreting by mentally putting together out tsrom a variety o sources. They are always looking or key trend themes thatde ne each season. Sites such as looklet.com and polyvore.com are greator piecing together out ts on a screen. These sites might not always show theexact pieces that are seen on runways, but they are help ul visualization toolsor creating looks based on a seasons themes.

Pro essional MaintenanceStylists are constantly striving to maintain their skills, be up on the newestdevelopments in ashion, and stay at the ore ront o their pro ession.

Maintenance also includes career networking, continually meeting peoplewho hire stylists, and keeping a studio and o ce space. They are alsoconsistently maintaining and evolving their personal appearances.

Figure 1.3It is important orashion stylists tohave an eye or coloSometimes this meputting togethersome unexpectedcombinations. Herepink, red, purple,green, and turquoiswork together tocreate an attention-getting image.

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t he t hree M ain s peCialties oF F ashion s tyling

There are many avenues to choose rom within ashion styling. Overall, styling

can be broken down into three general areas o specialty:print , entertainment industry , and image management . Each o these areas will be explored morein the next ew chapters. (See Figure 1.4.)

Print StylingPrint stylingincludes still media such as magazines, billboards, advertisements,catalogs, and other printed marketing materials. Print stylists can work inthe ashion industry or ashion magazines, department stores, and clothingcatalogs. They can also work or corporate clients such as utility companiesand medical companies to create printed marketing materials. Brochures,

pamphlets, and print ads are all types o marketing materials that a stylist mighthave a hand in. O ten the most desirable type o print styling job iseditorialstyling. Editorial styling is the high ashion styling seen in ashion magazines.O ten this is the type o styling that aspiring stylists see themselves doing. Ittends to be more creative and more cutting-edge.

Entertainment IndustryThe entertainment industry is comprised mainly o television and lm. Itinvolvescharacter stylingor television shows, movies, videos, or commercials.Character styling entails dressing talent who move and talk as opposed to

simply posing. Character styling is also called wardrobe stylingand takes

Figure 1.4Fashion styling can

be broken down intothree general areaso specialtyprint,

entertainmentindustry, and image

managementaswell as many other

types o styling thatgo beyond ashion orwhat may be typicallythought o as ashion.

Fashion Styling

Print Entertainment Industry Image

Management Other

Areas

FashionMagazines

Advertisements, Catalogues,and Stock Photography

Runway,Food Styling,Prop Styling

Personal Shopping,Image Consulting,Celebrity Styling

Character and WardrobeStyling for Television Series,Television Advertisements,

Big-Budget and IndependentFilms, Music Videos,

Television Shopping

LifestyleEditorial

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1chapter 1 : introduction to fashion styling

place within a wardrobe department. O ten this stylist might not work withthe newest or edgiest ashion; in act, most television and lm characters sportmore everyday looks. Character stylists are not to be con used with costume

designers. Unlike costume designers, they arent constructing entire garmentsrom scratch. (See Figures 1.5a and b.)

Figures 1.5abCharacter stylistssometimes work with edgy ashion,

but most televisionand lm characterssport moreeveryday looks.

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Image ManagementImage management encompasses wardrobe consulting, personal shopping,

and celebrity styling. O ten this type o stylist will help everyday peopleto either build entire wardrobes or dress or a special event. This stylist isvery conscious o body types and which silhouettes best fatter them. Theyresearch and interpret clothing with speci c clients in mind. Sometimes imageconsultants are sel -employed. Other times they work or retailers and deal withspecial customers. A good personal shopper or a high-end retailer is capableo selling millions o dollars worth o merchandise a year. This combination osales and styling makes or a very unique job.

D iversiFying into o ther a reas oF s tyling

There are many stylists who work regularly in print and the entertainmentindustries and dont touch apparel. (See Unexpected Places Where StylistsWork.) Some reelance ashion stylists who live in smaller cities diversi y intothese other areas to keep their paychecks consistent. In smaller cities, thebroader a stylist is, the more he or she might work.

Runway StylingRunway stylingis clearly quite closely related to ashion styling. It alsoinvolves consulting with a design house on how to best present its collection.

Runway stylists help re ne head-to-toe looks, and help designers coordinateaccessories with clothing be ore they hit the runway. Fashion seasons areimportant to stylists because they dictate the colors, abrics, and types oclothing that they will be styling. Fashion Weeks are de ned every year by theashion calendar. Twice a year the major our Fashion Weeks happen in thesame order starting with New York, then London, then Milan, and lastly Paris.The calendar outlines Fashion Week dates in the individual cities. Runwaystylists are especially busy in the month leading up to Fashion Week. O tena designer needs an outside eye when editing a collection or the runway. Astylist can help a designer communicate the overall vision o the season. (SeeFigure 1.6.)

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Food StylingFood stylingis a huge area o the industry. These stylists are hired to makeood look appetizing or menus, billboards, newspaper advertisements,television commercials, and magazines. There is an art to ood styling, andmany tricks o the trade. Tricks might include using clear acrylic ice cubesin a glass and glycerin water droplets on the outside o a glass to make adrink look cold. Real ice melts and real water droplets wouldnt stay in placelong enough to be photographed, especially under hot studio lights. Cookingood or a photo shoot is di erent than cooking ood or a meal. Food must

be prepared in di erent ways to make it look appetizing or the camera. For

Figure 1.6Garments aresteamed backstagebe ore hitting therunway.

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example, pasta is o ten undercooked to look better or the camera. It isnt

edible in real li e, but it photographs well. Trengrovestudios.com is a goodresource or things like aux ruit and ice. (See Figure 1.7.)

Prop StylingProp stylistsand set stylistswork with objects to help create a setting or ashoot. They might work on the sets o television shows, lms, commercials, home-catalog shoots, and magazine shoots. Items that these stylists work with includedraperies, urniture, and home accessories. (See Figure 1.8.) Their job is to makesure every item on the set is in place and in the proper condition. The backgroundsetting in a shot is as important as the oreground. Creating a believable setting

is essential or lms, commercials, and television shows alike. (See Figure 1.9.)

Figure 1.8Prop stylists work

with inanimateobjects to set a

scene. In this photothe drapes and

napkins are wrinkleree and care ully

arranged. Glassesand dishware arepolished to remove

any errant smudges.

Figure 1.7

Food stylists work withood to make it look appetizing. In this shot

tomatoes, olives,mozzarella, and basil

are art ully arranged ontop o slices o bread.The ood stylist added

olive oil and groundblack pepper to urther

enhance the image.

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Figure 1.9A stylist shouldalways be scoutingshoot locations in tback o his or hermind. An old traile

can provide a greatbackground alongwith some simpleaccessories as prop

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Unexpec ed Places Where S ylis s Work Ofce-supply or hardware catalogs: Some imes hese ca alogs employ s ylis s

o arrange heir produc s or he pho ographer. Tese s ylis s are responsibleor making sure ha here is no dir , ngerprin s, or o her debris in he sho .

Restaurant menus: O en i a res auran has a menu wi h pic ures, i hasemployed a ood s ylis o work wi h a pho ographer. Te s ylis mus presenhe ood in an appe izing way.

Cooking shows: Many people assume ha he che s hey see cooking onelevision have a eam o hair, makeup, and wardrobe s ylis s. However,many people don pay aten ion o he ki chens. Look closely a propplacemen and he se in he background. Se s ylis s have a hand in al lo his. Also, when che s explain wha is going o be cooked in he nex

segmen , hey o en show a nished version. A ood s ylis prepared henished version in Figure 1.7.

Brochures: hese are hose ree in orma ive handou s ha you mighread when youre in a wai ing area. You can ind hem everywhere romdoc ors o ices, o u il i y-company wai ing rooms, o cell phone providerloca ions.

W hat it M eans to Be FreelanCe vs . s alarieD

Some stylists are salaried while others are reelance. Salaried stylists work attheir employers o ce, whereas reelance stylists are sel -employed and areresponsible or nding their own jobs. Both types o jobs have their own prosand cons.

Salaried StylistsSalaried stylists o ten work or magazines or catalogs as part o their ull-timesta . A stylist on a magazine sta might be known as afashion editor or fashiondirector . Assistant editors on magazine sta s answer to senior editors. The pros

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o being salaried are steady paychecks, bene ts, and job longevity. Salariedstylists dont have the same lapses o time between jobs that reelance stylistsdo. The cons are that you dont get to choose your jobs and there might be

less variety in the day-to-day projects.

Freelance StylistsFreelance stylists have to work hard to nd jobs. Ultimately they choose whichjobs they want to take and which they dont, but they o ten take less interestingjobs out o nancial necessity. They network with photographers and otherindustry pro essionals to build contacts. Being a reelancer involves pros andcons, as does being salaried. Pros include scheduling fexibility, variety inthe day-to-day routine, not answering to a boss, and the constant potentialo getting hired or a great job. Cons include not having a steady paycheck,

long lapses o time between jobs, worrying about nding work, and strugglingto make a name in the industry. Freelance stylists dont get the bene ts that ull-time employers provide. They dont get the health insurance, paid vacations,and 401(k) contributions that companies might provide.

Some reelance stylists are represented by creative talent agencies.Creative talent agencies help stylists nd clients in exchange or a portion othe stylists pay. Agents also help with billing and scheduling, and ree up thestylist to ocus on ashion.

On days that a reelance stylist is not shooting, he or she might be ocusingon maintaining behind-the-scenes business tasks. This includes maintaining

a home o ce and pro essional contacts. Receipts must be organized andinvoices must be properly led. They might also simply be researching orstyling inspiration or personal wardrobe ideas.

Freelance stylists work with a variety o clients. They are sel -employed,and there ore responsible or nding their own jobs, billing or their time, andmaintaining an o ce/studio space. However, just because a stylist is reelancedoesnt mean he or she has total creative license. Freelancers are accountableto the client or art director who is overseeing the job. Most reelance stylistsmake their livings rom less glamorous jobs that pay the bills between morecreative opportunities.

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p ersonality t raits t hat a s tylist n eeDs to s uCCeeD

Styling requires certain personality traits. Above all, stylists must have proactive

personalities in order to cultivate pro essional contacts, and source/borrowclothing and accessories. All o the personal qualities discussed on the nextpage are essential or stylists to possess. I there is a weakness in one othese areas, it can be improved with some e ort. However, i working aspart o a team is a challenge, then this is a serious problem. Teamwork is theheart o any styling job, and pro essional cooperation is the key to success.An aspiring stylist should stay in this rame o mind. The ollowing questionsaddress the personality traits.

Are You Sel -Motivated and Sel -Reliant?Freelance stylists nd their own work, do their own billing, maintain a studioand/or o ce, and build their own pro essional contacts. This is time-consumingand can be all-encompassing. It is easy to procrastinate to-do lists whendeadlines arent immediate. Stylists need to have, or cultivate, the discipline touse ree time productively.

Do You Have Good Verbal,Written, and Visual Communication Skills?As stylists are out in the community meeting people, they need to put their best ootorward. Good communication skills and an extroverted personality are imperative.

This doesnt just apply to ace-to- ace social situations. Many misunderstandingshappen via e-mail as well. Just as stylists are mind ul o the messages sent bybody language and manners, they also need to understand the written meaningso CAPITAL LETTERS,italics , and punctuation. Visual communication can be verye ective because it has the least room or misinterpretation. Showing someone apicture o an out t is much more understandable than describing it. Tablets andsmartphones can be great tools or visual communication.

Do You Have Good Personal Style?Is it Memorable?Style is the rst thing that people notice. It isnt necessary to look overlytrendy, but a stylist should look neat and clean. Each ensemble shouldbe fattering, current, taste ul, and show some thought. (See Figure 1.10.)

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Apps such as Stylebook are a great tool because they allow the user tophotograph items in their closet and collage them to see how they wouldlook together. Style blogs can also be great sources o inspiration or

what to wear. The blogs What I Wore (womenswear) and Put This On(menswear) are great or classic looks. There are more ashion inspirationsources outlined in Chapter 6.

Figures 1.10Brad Goreski isa great exampleo a stylist whohas a memorablepersonal stylewithout beinggimmicky oroverly trendy.

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Do You Enjoy Teamwork?Styling is a job that involves constant collaboration and the ability to compromise.

Theclient is the person or company that hires the stylist. Ultimately the clientneeds to be pleased with the outcome. Ideally everyone involved should behappy with the nal product. However, stylists might have to use nesse toget the client to adjust his or her vision or a better image, or compromise toplease the client.

Do You Have People Skills? Are You Easy to Talk To?Being approachable is important or anyone pro essionally, especially whenreelance or sel -employed. Approachable people smile, make eye contact,and ask questions to stimulate conversation. Being able to make others see

things your way without alienating them is important.

Are You Adaptable?It is important to be open to new ideas and to other peoples creative input.In the end, stylists must please the clients who hire them. However, it is alsoimportant to know when not to adapt to someone elses idea, especiallyi the nal image or outcome is something the stylist doesnt want to beassociated with.

t en h oW -t o s kills a F ashion s tylist n eeDs to possess

At its best, ashion styling can mean working in the seemingly glamorousworld o top ashion magazines and big-budget movies. It can mean workingwith extremely talented models and actors. It can also mean working withbeauti ul designer clothes. Behind the scenes, these magazines and moviesets arent as glamorous as they seem. They require long hours o gruelingprep and collaboration. It is important or a beginning stylist to be realisticabout the amount o hard work and dedication it takes to succeed. Ontop o setting realistic expectations, stylists need to be well versed in theollowing areas.

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1. How to Flatter Di erent Body Shapes with Clothing:Fashion stylists dressa wide variety o people. Every body is shaped di erently, and it is upto the stylist to know how to fatter all o them. A fattering out t makes the

wearer eel com ortable and con dent or the camera, and is essential orgood photographs. This is addressed in more depth in Chapter 4.2. How to Properly Use Color:In addition to fattering body types, stylists

need to understand skins various colorings and which color palettesfatter them. Color palettes are covered more thoroughly in Chapter 4.

3. How Things Look Through a Camera Lens:Things look di erent whenseen through the lens o a camera. Di erent clothing and accessoriescall or di erent angles and distances with the camera. Stylists shouldunderstand how to make the clothing and accessories look their best onlm. Chapter 9 covers some basic photography tips.

4. How to E fciently Shop or Clothing:Stylists need to know whats instores and where to source clothing on short notice. This is covered inmore detail in Chapters 2 and 8.

5. How to Build Relationships with Store Owners and Managers:Havingrelationships with store owners and managers is essential to beingable to borrow clothing at short notice. Those relationships can savestylists when they are in a bind. Sel -promotional materials such as abusiness card or website are help ul when building retail contacts. Thesematerials are explained urther in Chapter 7.

6. How to Spot Trends:Clients hire stylists or their understanding o currenttrends. They trust the stylists eye and sense o what is relevant in ashion.They are relying on the stylists sense o the overall direction o ashion.As mentioned earlier in this chapter, orecasting services such as WGSNand Fashion Trendsetter are great sources or current and uture trends.

7. How to Stay In ormed:The latest collections, current events, ashion andcultural trends, the entertainment industry, art, cinema, and ashion historyare all essential knowledge or a stylist. (See Recommended Reading:Eight Magazines and Newspapers.)

8. How to Stay within a Budget:Styling usually means sticking to a clientsbudget or a shoot. Knowing how to accomplish a lot with a smallamount o money is an important skill. This is why it is help ul to know awide variety o retailers who are willing to lend clothing.

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9. How to Build a Pro essional Reputation:Networking doesnt only includephotographers and potential clients. It also includes other stylists. I astylist gets o ered a job he or she cant take, he or she might pass it on to

another stylist out o pro essional courtesy. As mentioned earlier, the sel -promotional materials covered in Chapter 7 are essential or networking.10. How to Organize an O fce:Stylists need to stay on top o billing and

paperwork. I an invoicing and billing system isnt organized, it can costtime and money. Also, it is essential to keep an organized calendar opast and upcoming jobs. Stylists need to keep track o when they getpaid or past jobs, and when they will be working in the uture. A stylistsaves all job-related receipts. They are either billed to a client or takenas a business deduction with the IRS.

h oW to s pot t renDs

Trend reports and runway reviews are easily ound on the Internet and areimportant or stylists to read. It is also help ul to be able to identi y trends. Pickingout trends involves looking at runways, retail, and street ashion. Runwaysinfuence street ashion, and street ashion infuences runways. Retailers areable to refect trends almost immediately because o e cient production. Thisis why looking at all three areas gives a complete picture o current trends.

Note-taking and sketching are great ways to pick out trends. Observationscan be typed into a memo app or photographed on a smartphone or tablet.

Some people might pre er to jot down notes or sketches in a notebook. Keythings to look or in the note-taking process are new themes. Themes includesilhouettes, colors, abrics, and patterns. I a theme has been around ormore than one season it can still be relevant but not as resh as it once was.Older themes arent ound on the pages o ashion magazines, but theymight be seen in midprice clothing catalogs and in advertisements.

Knowing how to wear trends is equally as important as spotting them. I abare midri is in style one season, how it is worn can make or break the look.I fannel shirts infuenced by the 1990s are trendy, it is important to know howto wear them so that they look current. Todays versions might be more tailoredthan the ones worn in the past. In the nineties it might have been ne to wear abaggy fannel with baggy ripped jeans and combat boots. Todays men andwomen might pair a tted fannel with straight-leg jeans and sleek ankle boots.

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Recommended Reading: Eigh Magazines and NewspapersTe ollowing magazines and newspapers have been selec ed based on how

in uen ial hey are wi hin heir arge marke s. I is impor an or a s ylis o beacquain ed wi h diverse audiences and o unders and how s yling migh difer oreach one.

Details:A mens magazine ha covers ashion, cul ure, design,li es yle, and en er ainmen .

Harpers Bazaar:One o Americas leading womens ashionmagazines.

Elle:Tis magazine covers grea cuting-edge ashion and many up-and-coming designers.

GQ: A mens magazine ha showcases ashion, en er ainmen , design,spor s, and li es yle.

Nylonand Nylon Guys:Tese magazines are arge ed oward youngashion- orward readers.

Te New Yorker:A magazine ha provides grea coverage andcommen ary o Fashion Week. I also repor s on cuting-edge rendsha can in orm s yle decisions. (See Chap er 6.)

Te New York imes: Te Tursday S yles sec ion o his daily newspaper is especially impor an . Te weekly mul imediaslideshows available online provide grea insigh in o he newes

happenings on he runway, in re ail, and on he s ree .: Te NewYork imes Style Magazineis a supplemen o he Sunday edi ion. I ispublished een imes per year and covers ashion, design, ravel, andli es yle. Bo h publica ions cover mens and womens ashion.

Vogue:Considered by many o be Americas leading ashionmagazine.

W:An ofshoo o WWD , his magazine ea ures grea edi orials. WWD(Womens Wear Daily): Tis daily rade newspaper, available in

bo h prin and online subscrip ions, is a mus -have or anyone workingin he ashion indus ry. I covers all o he la es news in ashion, re ail,

business, and beau y.

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r evieW Q uestions

1. Who is the client?

2. What does the term talent mean?3. What is sourcing?

4. List the three main types o ashion styling.

5. What is character styling?

6. Name two other areas o styling outside o ashion.

7. Where might a salaried ashion stylist work?

8. What are two drawbacks to being a reelance stylist?

9. List two personality traits that a stylist needs in order to succeed.

10. Name ve how-to skills that a ashion stylist should possess.

l earning a CtivitiesLearning Activity 1.1:Search both magazines and websites or pictures ocurrent ashion. Find one common theme among this seasons looks and Copy/Paste or cut out and attach ve examples o it to a piece o paper. The examplescan be either runway or street ashion. Be sure to include the designers namesnext to runway pictures. Include a short paragraph describing the theme.

Learning Activity 1.2:Conduct an Internet search or a ashion stylist port olio.Try to nd a stylist who has at least two di erent types o port olios on his orher website. Write a short paragraph about what type(s) o port olios the stylistis showing and describe them in one typed, double-spaced page.

Learning Activity 1.3:Go to a supermarket and look at what is or sale. Look at the packaging on di erent items. Jot down ve unexpected examples ostyling on packaging. This might include anything rom a person on the ronto a cereal box to a picture o dishes on a bottle o dish soap. List the speci cbrand, briefy describe the package, and state what you think was styled.

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ResouRcesCox, Susan Linnet.Photo Styling: How to Build Your Career and Succeed.New York: Allworth

Press, 2006.Fashion Trendsetter. http://www.fashiontrendsetter.com.Food Photography Blog.Food Styling Tips, Tricks, and TechniquesFood Styling Tips for Food

Photographers. http://www.foodportfolio.com/blog/food_photography/tricks_of_the_trade.html.

left brain / right brain, LLC. Stylebook. Computer software. Version 5.0. Apple App Store.2009. http://itunes.apple.com/us/app/stylebook/id335709058.

Looklet. http://www.looklet.com.Media Match. Art Director: What Do Art Directors Do? http://www.media-match.com.NYMag.com. Fashion Calendar. http://nymag.com/fashion.Polyvore. Create a Style Collage. http://www.polyvore.com/cgi/app.Put This On.http://www putthison.com.

Style.com. http://www.style.com.Stylesight. What Is Style Sight? http://www.stylesight.com.Trendstop. What We Offer Overview. http://www.trendstop.com/en/fashion_trend_

analysis/womenswear/trend-forecasts-w-10.html.Trengrove Studios. Acrylic Ice. http://www.trengovestudios.com/acrylicice.htm.WeConnectFashion. http://www.weconnectfashion.com.WGSN. http://www.wgsn.com.What I Wore.http://www.whatiwore.tumblr.com.Wright, Crystal.The Hair, Makeup & Styling Career Guide.Los Angeles: Motivational Media

Productions, 2007.