Podcast appearances and mentions of Bill Blass

The Stories – “The first dress that I ever draped was the dress that got on the cover of Women's Wear Daily, for my first collection. That was life changing. It was a dress that Zoe Saldaña wore. It was also the version of a dress that I made for Oprah for her magazine cover. The dress that Michelle Obama wore to a White House Correspondents' Dinner changed my trajectory.”The Backstory – "It was at Bill Blass that I did my Phd; my Masters." “I grew up in a household where we could talk about fashion, love, music, dance – everything – at the dinner table. Nothing was off limits. And when I came to America, especially in the fashion world, when I would ask questions, people would say, ‘No, I don't want to talk about that.' I was shocked.” “You have to figure out what is happening around you, and survive it. In order for me to survive and really live my dreams, I had to be my own cheerleader. I allowed myself to feel things, but then also to move on.”Wisdom Rains –  “'Too much' and 'too little' are words that have been hurled at me ever since I was little and I've learned to brush it off.” “I've learned that you can't please everyone, all of the time.” “If you're living your life as part of a marginalized group, you're in constant fight-or-flight mode and you don't even realize it. Then that gets amplified with what's happening politically, culturally.” “In watching my mother I realized that elegance isn't a posture; it's a practice.” “Early on, I learned that I was never going to get any validation, I was seen as a ‘cautionary tale'; and what that did was, it freed me from ever needing any.” “I think it's very important for all of us to live in the world exploring what we want to do in life, and having that encompass joy, purpose, and impact.”On Inspo – “My mother is my blueprint for strength.”On Writing His Memoir – “Editing down was really challenging. I made sure that it was done with grace. This is not a salacious, take-down book. That's not my being. I wanted to tell a story. While writing, it was really challenging to relive things. But it was also cathartic.”On The Fashion Industry – "What I love about the fashion industry, which often doesn't get shared, is the camaraderie that we have. There's a genuine sense of support and understanding amongst all the creatives and entrepreneurs. It's not easy. It might look fabulous and wonderful, but the hard work is real hard work. I always say five percent of it is glamour, the rest is sheer hard work.”On Anna Wintour – “I know she can be polarizing, but the industry is better because of her.”On Cynthia Rowley – “She had an independent brand and she worked really hard. What I really loved about her, and I'm inspired by her constantly, is that even in the hardest times she was always joyful. She was always optimistic.”What Else – “Towards that time, we started the foundation and that's where I would say everything shifted for me. We started with twelve girls, and we've gone to more than three hundred children. These are streetworker's children; inmates' children; these are children who have no access to education and a livelihood”Obsixed – A collection of Prabal's current lifestyle obsessions.Discover more + Shop The Podcast:parabalgurung.comWalk Like A Girl by Prabal GurungPrabal Gurung Polka Dot Brocade Flounce MinidressProem Eau de Parfum by U BeautyTracie Martyn SpaPrabal Gurung: Style and Beauty with a BitePride and Prejudice by Jane AustenDiscover the episode and more on storyandrain.comfollow @storyandraintalks and @storyandrain on Instagram follow @storyandraintalks and @storyandrain on Threadsall about the host

Den 28 november 1973 möttes fem framstående franska couturiers och fem relativt okända amerikanska designers i en historisk modeduell på slottet Versailles. I veckans avsnitt berättar vi om kampen som kom att kallas The Battle of Versailles och blev ett av modevärldens mest legendariska ögonblick, en show som i ett slag förändrade modets riktning.   På den franska sidan: Yves Saint Laurent, Hubert de Givenchy, Pierre Cardin, Emanuel Ungaro och Marc Bohan för Christian Dior – flankerade av Josephine Baker, Rudolf Nureyev, Jane Birkin, tio dansare från Crazy Horse, ett rymdskepp, en Rolls-Royce, en magisk vagn dragen av en noshörning och en 40-manna stråkorkester. På den amerikanska sidan: Halston, Stephen Burrows, Anne Klein, Bill Blass och Oscar de la Renta, ett kassettband och en backdrop målad med en sopkvast. Det är en berättelse om att utmana överklassmodets rigida traditioner och om modellerna som banade väg för en ny era på catwalken. Följ oss på @modegalaxen_podcast!

This podcast episode explores the case of "Asian Doe," a potential new victim in the Gilgo Beach serial killings. In 2011, remains were found near Gilgo Beach on Long Island, New York, close to where at least 10 other bodies had been discovered. This victim, known as "Asian Doe," remains unidentified. Who was "Asian Doe"? "Asian Doe" was a biological male of Southern Chinese descent, likely aged 17-23 years old at the time of death. The victim was found wearing women's clothing, including items from brands like Bill Blass, Rafaella, and Chrysantheme. It is unclear whether "Asian Doe" identified as female. Investigators believe "Asian Doe" may have been a sex worker and had likely spent time in New York City. The Investigation: "Asian Doe's" death was ruled a homicide caused by blunt force trauma. The remains were present along Ocean Parkway for at least five years before their discovery in 2011. While the case shares similarities with the Gilgo Beach murders, including the location of the remains being found near victims Megan Waterman and Jessica Taylor, it's unclear if there's a connection to Rex Heuermann, the prime suspect in the Gilgo Four killings. Heuermann is currently charged with six murders, including those of the Gilgo Four (Melissa Barthelemy, Megan Waterman, Amber Lynn Costello, and Maureen Brainard-Barnes), Sandra Costilla, and Jessica Taylor. Call to Action: Authorities are seeking the public's help in identifying "Asian Doe." They have released forensic sketches depicting potential appearances and urge anyone with information to contact Crime Stoppers. A $2,500 reward is being offered for information leading to the victim's identification. This podcast episode will explore the details of this unsolved case, the ongoing investigation, and the search for answers in the mysterious Gilgo Beach murders. Want to listen to ALL of our podcasts AD-FREE? Subscribe through APPLE PODCASTS, and try it for three days free: https://tinyurl.com/ycw626tj Follow Our Other Cases: https://www.truecrimetodaypod.com The latest on The Downfall of Diddy, The Trial of Karen Read, The Murder Of Maddie Soto, Catching the Long Island Serial Killer, Awaiting Admission: BTK's Unconfessed Crimes, Delphi Murders: Inside the Crime, Chad & Lori Daybell, The Murder of Ana Walshe, Alex Murdaugh, Bryan Kohberger, Lucy Letby, Kouri Richins, Malevolent Mormon Mommys, Justice for Harmony Montgomery, The Murder of Stephen Smith, The Murder of Madeline Kingsbury, The Murder Of Sandra Birchmore, and much more! Listen at https://www.truecrimetodaypod.com

Lauren takes a minute to catch up with Nancy MacDonell, author of "Empresses of Seventh Avenue: World War II, New York City, and the Birth of American Fashion," to discuss designers Claire McCardell and Elizabeth Hawes, and why Yves Saint Laurent is still bigger than Halston and Bill Blass. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

In the summer of 1944, a handpicked group of young GIs—including such future luminaries such as Bill Blass, Ellsworth Kelly, Arthur Singer, Victor Dowd, Art Kane, and Jack Masey—landed in France to conduct a secret mission. From Normandy to the Rhine, the 1,100 men of the 23rd Headquarters Special Troops, known as the Ghost Army, conjured up phony convoys, phantom divisions, and make-believe headquarters to fool the enemy about the strength and location of American units. Every move they made was top secret and their story was hushed up for decades after the war's end.The unit's official US Army history noted that “its complement was more theatri¬cal than military,” and “It was like a traveling road show that went up and down the front lines imperson¬ating the real fighting outfits.” They pulled off twenty-one differ¬ent deceptions and are credited with saving thousands of lives through stagecraft and sleight of hand. They threw themselves into their impersonations, sometimes setting up phony command posts and masquerading as generals. They frequently put themselves in danger, suffering casualties as a consequence. After holding Patton's line along the Moselle, they barely escaped capture by the Germans in the Battle of the Bulge, and in March 1945 they performed their most dazzling deception, misleading the Germans about where two American divi¬sions would cross the Rhine River.To explore the story of this forgotten subterfuge is today's guest, Rick Beyer, author of “The Ghost Army of World War II: How One Top-Secret Unit Deceived the Enemy with Inflatable Tanks, Sound Effects, and Other Audacious Fakery.” We look at how a traveling road show of artists wielding imagination, paint, and bravado saved thousands of American lives.

In this episode, I discuss author Rick Beyer his book "The Ghost Army of World War II". In the summer of 1944, a handpicked group of young GIs—artists, designers, architects, and sound engineers, including such future luminaries as Bill Blass, Ellsworth Kelly, Arthur Singer, Victor Dowd, Art Kane, and Jack Masey—landed in France to conduct a secret mission. From Normandy to the Rhine, the 1,100 men of the 23rd Headquarters Special Troops, known as the Ghost Army, conjured up phony convoys, phantom divisions, and make-believe headquarters to fool the enemy about the strength and location of American units. Every move they made was top secret, and their story was hushed up for decades after the war's end.Princeton Architectual Press

This week, Hope Thompson joins us on the blog with her review of a game about the fashion show held in 1973 in Versailles, France that pitted newcomer American designers such as Anne Klein, Halston, Oscar de la Renta, Stephen Burrows and Bill Blass against the stalwart French designers such as Yves Saint Laurent, Hubert de Givenchy, Emanuel Ungaro, Pierre Cardin and Christian Dior. In this article, Hope's father, David Thompson, talks to her about her experience of playing The Battle of Versailles by Eloi Pujadas and Ferran Renalias from Salt & Pepper Games. Read the full review here: https://tabletopgamesblog.com/2023/12/16/the-battle-of-versailles-saturday-review/ Useful Links The Battle of Versailles: https://gamefound.com/en/projects/saltandpepper/the-battle-of-versailles Rulebook: https://drive.google.com/file/d/1rCV0xtHX4kjo6v97m-9a_ATOTlCGxj8v/view?usp=sharing Salt & Pepper Games: https://www.facebook.com/SaltandPepperBoardGames/ BGG listing: https://boardgamegeek.com/boardgame/379959/battle-versailles Intro Music: Bomber (Sting) by Riot (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/audiolibrary/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) If you want to support this podcast financially, please check out the links below: Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/tabletopgamesblog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Ko-Fi: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/TabletopGamesBlog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tabletopgamesblog.com/⁠⁠⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/tabletopgamesblog/message

In the summer of 1944, a group of artists, visual designers and sound engineers--all of them GIs--began a series of secret operations in occupied France. Their mission: to deceive German forces about the location and size of U.S. military units, using a combination of inflatable vehicles, sound recordings, and “actors” posing as officers. The ranks of the “Ghost Army” included future stars of the worlds of art and design, including Ellsworth Kelly, Bill Blass, Arthur Singer, Victor Dowd, Art Kane, and Jack Masey. Journalist Rick Beyer has chronicled their ingenious exploits in a book and a documentary. December marks the 80th anniversary of the order that created the unit, which remained secret for decades. Shane Harris talked with Beyer about its creation, its success, and the ghost army's role in the storied history of intelligence deceptions. Among the works mentioned in this episode:The Ghost Army bookhttps://www.chroniclebooks.com/products/ghost-army-of-world-war-ii The Ghost Army documentary https://shop.pbs.org/WC3752.html The Ghost Army Legacy Project https://ghostarmy.org/ Smithsonian magazine feature https://www.smithsonianmag.com/history/how-the-ghost-army-of-wwii-used-art-to-deceive-the-nazis-180980336/ The National WWII Museum https://www.nationalww2museum.org/visit/exhibits/traveling-exhibits/ghost-army-combat-con-artists-world-war-ii Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.

In the summer of 1944, a group of artists, visual designers and sound engineers--all of them GIs--began a series of secret operations in occupied France. Their mission: to deceive German forces about the location and size of U.S. military units, using a combination of inflatable vehicles, sound recordings, and “actors” posing as officers. The ranks of the “Ghost Army” included future stars of the worlds of art and design, including Ellsworth Kelly, Bill Blass, Arthur Singer, Victor Dowd, Art Kane, and Jack Masey. Journalist Rick Beyer has chronicled their ingenious exploits in a book and a documentary. December marks the 80th anniversary of the order that created the unit, which remained secret for decades. Shane Harris talked with Beyer about its creation, its success, and the ghost army's role in the storied history of intelligence deceptions. Among the works mentioned in this episode:The Ghost Army bookhttps://www.chroniclebooks.com/products/ghost-army-of-world-war-ii The Ghost Army documentary https://shop.pbs.org/WC3752.html The Ghost Army Legacy Project https://ghostarmy.org/ Smithsonian magazine feature https://www.smithsonianmag.com/history/how-the-ghost-army-of-wwii-used-art-to-deceive-the-nazis-180980336/ The National WWII Museum https://www.nationalww2museum.org/visit/exhibits/traveling-exhibits/ghost-army-combat-con-artists-world-war-ii Hosted on Acast. See acast.com/privacy for more information.

In the summer of 1944, a handpicked group of young GIs—including such future luminaries as Bill Blass, Ellsworth Kelly, Arthur Singer, Victor Dowd, Art Kane, and Jack Masey—landed in France to conduct a secret mission. Armed with truckloads of inflatable tanks, a massive collection of sound-effects records, and more than a few tricks up their sleeves, their job was to create a traveling road show of deception on the battlefields of Europe. The Ghost Army of World War II describes a perfect example of a little-known, highly imaginative, and daring maneuver that helped open the way for the final drive to Nazi Germany. It is a riveting tale told through personal accounts and sketches along the way—ultimately, a story of success against great odds. Learn more during the TRAVEL ITCH RADIO Veterans Day special, Thursday Nov. 9 at 8p EST, when author Richard Beyer visits the show. Listen live on iTunes or BlogTalkRadio.com as Dan Schlossberg, a veteran himself, and co-host Maryellen Nugent Lee interview him live. You can also check out the archived show on the TRAVEL ITCH RADIO Facebook page. This will be show #529 in our 12th season.  

From beauty in our last throwback pick episode to fashion in this one, I have another of my heroes, Robin Givhan, on the program today. Robin is a fashion critic at The Washington Post and is a Pulitzer Prize winner, having won the Pulitzer Prize for Criticism in 2006—the first time that award was given to a fashion writer. Just as she herself has made history, her 2015 book The Battle of Versailles: The Night American Fashion Stumbled into the Spotlight and Made History talks about a night that was so culturally impactful it forever changed the history of fashion, specifically American fashion. The Battle of Versailles took place 50 years ago this month, and saw five French designers (Yves Saint Laurent, Pierre Cardin, Emanuel Ungaro, Marc Bohan, and Hubert de Givenchy) pitted against five American designers (Oscar de la Renta, Stephen Burrows, Halston, Bill Blass, and Anne Klein) in a competition concocted to raise money for the restoration of the Palace of Versailles. The deck was more than stacked against the American fashion designers—it was all but assured that victory would go to the French. But then, lo and behold, the Americans stole the show, and not just the American fashion industry but the global fashion industry changed forever. It is a fantastic conversation about a game-changing moment in history with one of the most respected journalists in the fashion stratosphere. I can't wait for you to listen.   The Battle of Versailles: The Night American Fashion Stumbled Into the Spotlight and Made History by Robin Givhan

The Nevada Museum of Art is currently showing an exhibition created by the World War 2 Museum in New Orleans called "Ghost Army: The Combat Con Artists of World War 2." The exhibit tells of the special unit in the war that was tasked with deception. Using inflatable fake tanks, pre-recorded radio chatter, and other illusions, they misled the German army about where troops were stationed. Several members of the unit went on to careers in art, including the painter Ellsworth Kelly and the fashion designer Bill Blass. To tell us about the exhibit and other current works at the Nevada Museum of Art, we welcomed NMA's Marketing and Communication Director Rebecca Eckland to the show. This episode of Renoites is the first in a series of shorter episodes, designed so that you can listen and learn without having to dedicate a full hour to the topic. Most "Renoites Shorts" episodes will only be 10-20 minutes long. If you have suggestions for episodes or topics, please let us know! Email conor@renoites.com and be sure to follow on Instagram at http://instagram.com/renoites as well! Renoites is a community focused and listener-funded project. Please consider supporting the show on Patreon. You can learn more at http://patreon.com/renoites Thanks for listening!

Eugene is fine-tuning his passions and Candy is lost in space. The agents read a listener's email, get their cards read, and prepare for a literary conference. What do Bill Blass, Star Wars, spy novels and fiddles have in common? Who knows but this podcast brings them all together! We would love to hear what you are reading and watching and hope you will email us at: theagency.podcast@gmail.com

Basic Black by Bill Blass (1991) + Ingmar Bergman's Scenes from a Marriage (1973) + David Jacobs's Knots Landing season 3 (1981-82) with The Eternal Dillards of Ghost Jail  To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon.  06/30/22 S04.167

Vanessa is the founder and spokesperson for a new movement and Christian clothing line called be*YOU*tiful.  It is her love and passion for fashion that earned her a degree in Fashion Design from the Fashion Institute of Technology, in New York City. She quickly moved up the ranks and designed for several brands, to include: Kikomo, Ltd, Gloria Vanderbilt, and became Design Director for Blassport, a division of Bill Blass.   Her career has taken her all over the world, giving her the opportunity to stay at some of the most exotic locations, to include: Hong Kong, Rome, Paris, Bali, to name a few. I had so much fun chatting with her about the different cultures, locales, and of course, the food!    She just launched her company, be*YOU*tiful, a line of exclusive, fashionable, Christian women's t-shirts,  featuring her own inspirational quotes. She plans to soon expand her line, to include contemporary sportswear. She has since become a #1 International Best-Selling Author in a project she co-authored called, Thriving Beyond Crises: Conversations with Resilient Entrepreneurs. She plans to continue to write, and to create a membership site to help nurture women after the trauma of divorce through Inspiration/Fashion/Faith.   I had such a great time chatting with Vanessa, and I'm so glad she stopped by at A Juicy Pear Podcast. To learn more about Vanessa and where you can shop her clothing line:  VanessasaracinoIf your feeling lead, you can Buy Me A Coffee on http://www.ajuicypearpodcast.comSupport the show (https://www.buymeacoffee.com/ajuicypear)

Dealing with post-Christmas Blues and January BlahsThe Insomnia Project Holiday Episodes are back! Every day in December we will feature a different holiday themed episode with a festive feel. Some will be from Holidays past and some will be from Holiday present and if you give us your idea for an episode they will be featured in a Holiday future episode. Regardless sit back with a warm cup of cider, tea, cocoa, vin brulé, latte with pumpkin spice and enjoy the cheer we share with you. We cosy up in the library of Amanda's parents house in Florida and try to get away from the post-Christmas noise to record today's episode. Where we talk about ways we deal with the post holiday blues. We also share some laughs regarding watching films with Amanda and her folks. Also we mention a few great authors Zoe Whittall, Sunny Hostin, Nicholas Sparks and of course designer Bill Blass.A Sneak-Peek:[1:15] Amanda tells her first travel dentist story.[2:11] Amanda tells her second travel dentist story.[6:53] How to walk off the January blahs.[8:23] Marco tells how he gets out of the post-holiday doldrums.[9:20] Amanda discusses her Goodreads challenge.[10:17] Amanda discuss the works of one of her favourite author Zoe Whittal.[12:40] Best reads to fight the January Blahs.[17:03] Amanda gushes over Sunny Hostin and her latest book.[17:48] Nicholas Sparks is the next author Amanda mentions.[20:48] Watching a movie with Amanda and her parents.[21:16] Shout out to Linda Lavin who we love.However you celebrate the holidays we wish you a calm and peaceful season and we are here for you and if you wanting to share the joy please tell people about The Insomnia Project.Follow us: Instagram: @theinsomniaproject Twitter: @listenandsleepWeb: theinsomniaproject.comPatreon: patreon.com/theinsomniaproject See acast.com/privacy for privacy and opt-out information.

What you'll learn in this episode: What it was like to design jewelry for high-fashion runways in the 70s and 80s How the right piece of jewelry can transform the wearer  Why creative problem solving is the best skill you can have as a goldsmith How Tess' work wound up in the Metropolitan Museum of Art, the Smithsonian Institution and other museums How the jewelry field has changed with the popularization of social media Additional Resources: Website Instagram Facebook Photos: Blue Sky Chalcedony Byzantium Earrings Byzantium Necklace Circes Circle Necklace Illusion Necklace  Ionian Necklace  Its A Wrap Necklace Naiad Necklace About Tess Sholom Warm and malleable but also strong and enduring, gold shines with the spirit of life itself. For designer and jeweler Tess Sholom, gold is both medium and muse. Tess Sholom began her jewelry career in fashion jewelry in 1976, designing pieces that appeared on the runways of Karl Lagerfeld, Oscar de la Renta and James Galanos, and the pages of Vogue and Harper's Bazaar. Her fashion work is included in the collections of the Metropolitan Museum of Art, the Smithsonian Institution, Museum of the City of New York, the Racine Museum of Art, the Museum of Fine Arts in Houston, the Fashion Institute of Technology, and other museums. After two successful decades in fashion jewelry, she trained as a goldsmith and fell under the spell of high-karat gold. She decided to stop designing high-volume fashion jewelry and begin again as a hands-on studio artist, creating one-of-a-kind 22k gold jewelry in the workshop. Tess Sholom always had an eye for accessorizing, but she didn't realize it would lead her to a long and fruitful career as a jewelry designer. While working as a cancer researcher, a long-shot pitch to Vogue opened the door to a 30-year career as a jewelry designer for fashion runways. Her latest career move was opening Tess Sholom Designs, where she creates one-of-a-kind, high-karat gold pieces. She joined the Jewelry Journey Podcast to talk about how she designed jewelry for Oscar de la Renta, Bill Blass and Karl Lagerfeld; why problem solving is the thread that runs through all her careers; and how she plays on gold's timeless, mystical quality in her work. Read the episode transcript here. Sharon: Yes, when I see kids on their phones, I'm like, “Oh my god!” When you see kids who speak a language you're trying to learn, it's amazing. Do you find that you get a response from Instagram and other social media?   Tess: I do, yeah. It's amazing. Especially the past year, when everyone was pretty much isolated, it made a big difference. People are now getting accustomed to Amazon; everybody buys things through Amazon. When you want to find something, people say, “Oh, why don't you look on Amazon?” We have become this very immediate culture. We want things immediately so you don't have to go out of your house. You just click the computer and get what you want.   Sharon: Very true. The Metropolitan Museum has what looks like a large collection of your designs for the runway and fashion jewelry. How did that come about?   Tess: I'm trying to remember. It was after the curator had taken my work for the Museum of the City of New York. I don't remember, but I do remember spending an entire summer with my assistant giving everything a provenance. It took a long time to document everything because it had to be very specific. I think part of the reason why they have such a large collection is when the Brooklyn Museum of Art was renovating, they transferred some of their collection to the Met, I believe, and they just kept it in their archives.   Sharon: If you're researching online, there's a lot there. It's interesting to see the designers that the pieces were done for. As I was surfing and trying to get some background, how do you feel when you come across a piece of yours on eBay that you made in the 80s? How do you feel about that?   Tess: I love the fact that it still there. It's wonderful. I'm very pleased, and of course I'm amazed to see how much it's increased in value. On eBay, it goes for a lot more than I sold it 30 years ago. To go back and see that something that I made 30, 40 years ago is still relevant means so much. One of the worries of becoming an older person is if I am going to stay relevant, and it's very gratifying to see people are still purchasing something I made many years ago. It's interesting because it makes it timeless, even though it was made for a particular season; it was made either for a fall collection or a spring collection. 40 years later, somebody still wants it and it's still relevant. It's in a way timeless, and that's very gratifying to me.   Sharon: I can see how that would be validating.   Tess: It's excellent.    Sharon: Is that something you think about when you're making your current pieces, about whether somebody's going to be looking?   Tess: That's interesting. No, it never occurred to me because jewelry is problem solving. It's like a meditation because you must think about what you're doing, especially if you're using an acetylene torch. One second of inattention and it's gone. You have a lump of gold, which is very beautiful in itself, but not quite what you wanted. I'm thinking about what problems are presenting themselves while I'm making the piece, and they do. It's your vision coming to light. That's one thing, but it's a lot of overcoming obstacles. I'm working with a metal; I'm working with a flame, and they each have their own characteristics and their own minds, and I have to cooperate with all that. So, that's very interesting. I don't think about that. I just think about the piece I'm making and how I'm going to do the best I can. I have a lot of reverence for the material I'm using and I want to do it justice, so my focus is on trying to do the best I can while I'm working. I never thought about that before.   Sharon: Do you design your pieces? I think of a pencil and paper. Do you sketch out a design before you start?   Tess: Often I do that, but sometimes if I'm sculpting with gold, I have an idea of what I want and I just try to coax the metal to melt in the way I want it to. That's a lot of fun because you never know what's going to happen. Sometimes it's just that lucky accident that happens.    My inspirations have come from everywhere. I remember once Bill Blass called me into his office and said, “I'm going to do roses for my spring collection and I'd like you to do something to go along with that.” I thought, “Roses, oh my, I don't want to do anything representational.” I was leaving for a ski trip with husband. While I was skiing and I was on the slopes, this Greek song came to mind about roses. The word in Greek for rose is “30 petals” and I thought, “Oh, that's what I'll do. I'll do a distillation of the rose. I'll do three petals,” and I did. I did a bracelet that had three petals that were fanned out but connected at the base, and a necklace and earrings that way. I showed it to Bill who said, “Well, it doesn't look a rose, but I love it,” and he ordered 60 pieces of it in brass, nickel, copper and also in Lucite.    Often my inspiration is from nature. I never walk through the park—I walk through the park a lot—without seeing something that I want to translate into gold. The idea is flowers and leaves are ephemeral. That's it. They give us lots of joy when they're here, but then to capture them in gold is wonderful because that makes them last longer. So, my inspiration comes from nature as well, but it can be a thought; it can be a song; it can be the way a banister curves. I don't know.   Sharon: As you're working, is the vision in your head? Are you saying, “That's not the way I drew it out or did it on the computer”?   Tess: Yes, that happens a lot. It happens a lot that it doesn't translate. Paper and pencil are very different from three-dimensional things. So, it happens a lot, and if I don't like it then I start again. But often I do like it.   Sharon: Are people ordering commissions from you, or are they ordering straight from your website or Instagram? How is that working?   Tess: They do both. They either buy what they see or—and this is very gratifying—people will bring me their old pieces that have sentimental value. They don't want to get rid of them, but they are not their style; they're not attractive. I usually remake them. I redesign them. I like that because there's something about the energy of someone else having worn this. It becomes a legacy, but it's still my expression.   Sharon: That must be a lot of fun.   Tess: It is. I had an aunt when I was a young child who would send me jewelry from Greece. She would say to me, “I wore it before giving it to you because I want my energy to go with it,” and I've never forgotten that.   Sharon: There is that energy. It's also a testament to you because you walk down the street and so many jewelry stores say, “Bring us your old pieces and remake them.” They're looking for something they know only you can deliver on that remake.   Tess: Yes, they want me to do it in my expression. The jewelry stores do very beautiful work, obviously, but they're not always very customized or individual or taking you into consideration.   Sharon: And that was exactly the question I was going to ask. Are you working side-by-side in a sense with the person who asks you for something?   Tess: Absolutely. Of course it's my expression because that's why they came to me, but I never impose something. It has to be something we mutually agree on and is going to work.   Sharon: Have you ever made something that somebody said, “Oh, that's not what I had in mind at all”?   Tess: No.   Sharon: Well, that's a pretty good track record. When you were working on the runway, like you were talking about the rose theme, did each model on the runway have a Lucite rose and one had a silver rose?   Tess: Yeah, it was like that. The trick also was that I was working with a number of designers for the same season. I had to be very careful not to have one look like the other, which wasn't difficult because they were all different looks. When I was doing Galanos and Bill Blass and Oscar de la Renta and Giorgio di Sant'Angelo all in the same season, that all had to look different, and it did because they had different personalities and their clothes were different.   Sharon: Did you ever have anybody say—no names, but “If you're doing work for John Smith, then I really—"   Tess: No, no one ever said that to me.   Sharon: Are you selling now to stores? Tell us about your business today, Tess Sholom Designs.   Tess: I have been approached by a former buyer at Bergdorf's who would like to introduce me to the buyer now. So, we'll see. I haven't tried to do retail yet because it's different, but they're willing to do one-of-a-kind. As long as someone is willing to do one-of-a-kind, it's different. In the past, retail wanted the whole story; they wanted multiples, but retail has changed. That's one thing, but the other thing is I mostly do private sales like events.   Sharon: Is it mostly word of mouth? Besides social media, let's say if you're doing a private event in New York, how are they hearing about you?   Tess: Right. I have a salesperson and a media person who scouts out these things for me.   Sharon: Wow! That's great. That must be very gratifying to meet people and talk to them about your pieces, give them your take on them.   Tess: That's one of the best parts of this, aside from the joy of making the jewelry: dealing with a customer who loves the jewelry and who loves how it makes them feel. Jewelry can really be transformative. It enhances your essence. It's beautiful so it reflects your beauty. People respond to that, and that's extremely gratifying. I had a customer once who said to me that normally when she goes to a restaurant, she gets up to go the powder room and she walks through the space with her head down. One night she was wearing my necklace, and she said she put her head up and walked to the bathroom, the walkway she had to go through, and she felt wonderful. That made me feel good because it did something for her. It's not superficial. Jewelry is not superficial. As I said before, it can be transformative. It can be commemorative. It can make you happy; it can enhance you, make you feel good about yourself.   Sharon: Yes, it can definitely make you happy.   Tess: I remember once I was selling to a banker and his wife in Luxembourg. He's looking at me and he's looking at his wife wearing her earrings, looking back and forth, and I said to him, “I understand your dilemma. You know a lot about finance. You don't know anything about pearls. What you need to know at this point is does your wife feel beautiful wearing the pearls?”    Sharon: And that was a sale.   Tess: That was a sale because that was all it needed to be. He wasn't buying an estate, and he wasn't putting down his mortgage for the earrings. Obviously, they were good quality; that's not the issue, but I gave him permission to look at what the reality is. The reality is does jewelry make you feel good? It did, and it was reasonable. His wife liked it, and he was happy that he could make his wife happy.   Sharon: That's a great way to look at it. Does your wife feel beautiful or does the person feel good in it?   Tess: Right.   Sharon: At one of these trunk shows, did you ever have a prospect or somebody looking at your jewelry and as they put it on, you just said, “No, that doesn't work”?   Tess: Yes, because part of my job is to pair the right piece of jewelry with the customer. That's more important. Even if they walk away with nothing, it's more important to get something that's right for them than not. I do remember an instance when I was at a trunk show years ago in Texas. A woman walked in with her daughter, a long, beautiful, slim girl, and her mother said, “Do you have anything for this strange, long body?” And I said, “Half of the world wants to look like this. Yes.” I saw the girl looking at these thin belts, and I said, “Why don't you try this on?” It was a big, bold brass belt. I watched her as she put it on and looked at herself in the mirror, and you could see the changeover. She was so surprised. She was amazed, but it was the right thing for her. It was totally different from anything she had worn or chosen before. It was right for her and it made me feel good.   Sharon: It sounds like you have a natural eye for that. I have interior designer friends who can walk into a room and say, “If you remove that table over there,” whereas I would never think about it.   Tess: Right, I guess it helps to have that eye. I love what I do, so I want it to be shown off to its best. The person and the jewelry enhance each other. It's the right thing.   Sharon: Well, it sounds like the buyer has the right person, the right advice, the right eye with you looking at them.   Tess: We share an interest. Obviously, we both love jewelry. The customer comes in because she loves jewelry and I love it, so we've already got a good meeting ground.   Sharon: I'm curious; this is an off-the-wall question perhaps, but do you see any similarities between what you were doing with cancer research early on, or botany and biology, and what you do now? Does any of this reflect in terms of your personality?    Tess: I'm trying to think about your question. It always comes down to problem solving. There's always something; it's either a puzzle that needs to be fitted or an obstacle that needs to be overcome. Those are skills that are transferrable from one line of work to another, being able to find the answer. There's always a question. There's an obstacle, sometimes, for the aura of gold to be achieved. So, the ability to think around something and to think out of the box, that's the thread that runs through all of my careers.   Sharon: That was the key word I was thinking of, the thread. That was exactly the word that came to mind. Tess, thank you very much. This is very interesting, and you have an interesting journey. Thank you for sharing with us. We really appreciate it.   Tess: My pleasure.   Sharon: So glad to have you.   We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time, when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.    

What you'll learn in this episode: What it was like to design jewelry for high-fashion runways in the 70s and 80s How the right piece of jewelry can transform the wearer  Why creative problem solving is the best skill you can have as a goldsmith How Tess' work wound up in the Metropolitan Museum of Art, the Smithsonian Institution and other museums How the jewelry field has changed with the popularization of social media Additional Resources: Website Instagram Facebook Photos: Blue Sky Chalcedony Byzantium Earrings Byzantium Necklace Circes Circle Necklace Illusion Necklace  Ionian Necklace  Its A Wrap Necklace Naiad Necklace About Tess Sholom Warm and malleable but also strong and enduring, gold shines with the spirit of life itself. For designer and jeweler Tess Sholom, gold is both medium and muse. Tess Sholom began her jewelry career in fashion jewelry in 1976, designing pieces that appeared on the runways of Karl Lagerfeld, Oscar de la Renta and James Galanos, and the pages of Vogue and Harper's Bazaar. Her fashion work is included in the collections of the Metropolitan Museum of Art, the Smithsonian Institution, Museum of the City of New York, the Racine Museum of Art, the Museum of Fine Arts in Houston, the Fashion Institute of Technology, and other museums. After two successful decades in fashion jewelry, she trained as a goldsmith and fell under the spell of high-karat gold. She decided to stop designing high-volume fashion jewelry and begin again as a hands-on studio artist, creating one-of-a-kind 22k gold jewelry in the workshop. Tess Sholom always had an eye for accessorizing, but she didn't realize it would lead her to a long and fruitful career as a jewelry designer. While working as a cancer researcher, a long-shot pitch to Vogue opened the door to a 30-year career as a jewelry designer for fashion runways. Her latest career move was opening Tess Sholom Designs, where she creates one-of-a-kind, high-karat gold pieces. She joined the Jewelry Journey Podcast to talk about how she designed jewelry for Oscar de la Renta, Bill Blass and Karl Lagerfeld; why problem solving is the thread that runs through all her careers; and how she plays on gold's timeless, mystical quality in her work. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Tess Sholom. Many of you may have been aware of her fabulous statement pieces she designed for the runway, or you may have drooled over the pieces without knowing who the designer was. Today, she has taken a different path and is now both a designer and a jeweler in high-karat gold. She operates Tess Sholom Designs. We'll hear all about that today, her whole jewelry journey and about what she's doing. Tess, welcome to the program.   Tess: Thank you. It's good to be here.   Sharon: So glad to have you. Tell us about your jewelry journey. It must be an interesting one, because you've covered a lot of different areas.   Tess: It has covered a lot of different areas, and it's been on for a long time. When I graduated college, I actually went into cancer research. I was working in a laboratory and found that I didn't like the isolation, so I went to Physicians and Surgeons Medical Center for a year to become a physical therapist. That I liked; solving problems, helping people.    Then, the year I married my husband in 1976, we were invited to a wedding in the woods. We were told to wear jeans because we were going to be in the woods and rolling around in the woods, and I thought, “This is awful. A wedding? This is when I try to get all dressed up in my best, and I'm wearing jeans?” But I complied. I bought a pretty gauze top; they were in style in the 70s. I made a necklace of beads and seeds and ribbons, and I made a belt to go with it. At the wedding, people kept saying, “That's beautiful. Where did you get it?” Every time I said I made it, they would say, “Well, you should be doing this professionally.” It's crazy. It put a bug in my ear, and I've always been like that. When a path presents itself, I say, “O.K., let's try this. Let's try it. Let's see what'll happen.”   Sharon: I love that.   Tess: And so, I did. I started walking around looking in stores to see how necklaces were finished. What were the clasps like? Within a month, I took a couple of things to Vogue Magazine. They gave me an instant credit; they gave me an editorial credit right away. Saks Fifth Avenue bought that necklace, and it was featured as an editorial credit in the magazine. That's how I started. Within a very short time, Vogue Magazine called me and said, “Oscar de la Renta is looking for a jeweler to make jewelry for his runway.” After that, it just kept growing and growing. One designer, Bill Blass, saw my work in Women's Wear Daily and he got in touch with me; Giorgio di Sant'Angelo and on and on. Karl Lagerfeld sent his secretary to meet me in New York, and then I went to Paris and collaborated with him on one of his shows. I designed jewelry for that show.   Sharon: Did you turn around and go, “Oh my god! Look what I'm doing now”?   Tess: It was like having the tiger by the tail, seriously. I hadn't planned it. Adornment is old. It's probably the first attempt at art that man ever made, to separate his body with berry dyes, with beads, with leaves. It's a very old idea, adornment, and I've always felt the picture was not quite finished unless you were accessorizing. It ultimately was natural for me to think about making jewelry to complement a look, an action look, a closing look.   Sharon: I can imagine the peasant blouse you had in that era, but you actually said, “Oh, I need something,” and you made it yourself. I would have just said, “Oh, it needs something,” and gone through my closet or gone without anything.   Tess: That's interesting. I guess what makes me a maker—from the time I was little, my mother brought me up with the housewifely arts. One of them was embroidery. I learned to use my hands early, and I was always changing things around.  If I had a garment and I didn't like the way it looked, I just changed it. I would put a stitch here, a stitch there. I broke apart some costume jewelry beads of pearls at Claire's and sewed them on a sweater because I wanted that look. I've always done that. I've always done things with my hands making things.   Sharon: Would you say you were artistic from a young age? Besides knowing how to do this, were you creative? It sounds like you were.   Tess: I was creative, but my family was focused on medicine, lawyers, doctors, that kind of thing. They did not think I was artistic. They thought I was a little fussy because I wanted things to look the way I wanted them to look. They didn't really think of me as an artist.    Sharon: You studied what, biology in college?   Tess: I went to Barnard and I had a bachelor's degree. My major was in science. It was botany, but I had just as many credits in fine arts, actually. That should have given me a hint, but I was focused on science. That's where I wanted to be, but it turned out no, I did not like the isolation of a lab.   Sharon: I can understand that. Were you going full time? It seems like there was quite a swath of your career where you were doing jewelry for the runway. Did you do that full time for different designers for a while?   Tess: While I was doing that, I was also supplying boutiques and department stores. I started this in 1976 and very soon, I realized once again that I was alone. I looked in Vogue Magazine to see who else was doing this kind of jewelry, because it was different. High-fashion costume jewelry was very different from the prestigious houses, Monet, Coraux, Trifari. They made beautiful costume jewelry that to this day lasts, but our expression was quite different.    I found a number of other designers in the city who were doing the same thing more or less that I was. We got together and formed an association called the Fashion Accessories Designers Association, called FADA. My husband used to tease me and say, “You're the mada of FADA,” but we were all entrepreneurs from some other place. One was a court stenographer; one was a potter; one was a knitter, but we all made accessories. So, we formed this organization and sold to the same places, so that we had an ability to protect ourselves a little. Sometimes the big stores would try to take advantage, and because we were all selling to the same people, we were able to defend ourselves.   Sharon: That's very smart. How did you ferret the people out? How did you find these other people?   Tess: I looked in the back of Vogue Magazine. Wherever I saw a credit that looked more or less like the expression that I was doing, I would look them up and get in touch with them.    Sharon: I want to talk to you more about this, but I want to hear how you got into—now you make things in high-karat gold and precious, not diamonds and stuff, but nice gems, colorful gems. How did you get into making and goldsmithing?   Tess: I had a desire. I always had this desire to have my collection in a museum and to be recognized by a museum. It was a goal of mine somehow, but I never knew what to do about it. However, quite accidentally, the business began to change. The designers were not using accessories so much, so I began to shift my focus towards making sterling silver tea sets and boxes, because I was trying to make sure that if in fact the jewelry did begin to lessen, I would have some other outlet. At that time, someone came to my house for tea and saw a silver tea set. She was a curator from the Museum of the City of New York, and it was fascinating to see her expression. If you remember the scene in Julius Caesar where he's offered the crown, he wants it; he refuses it, but he's reaching for it. I saw that same kind of reaction from this lady who was looking at my tea set. Finally, she asked me for it for the museum. It was their first sterling silver acquisition of the 20th century.   Sharon: Did you make it or did you design it?   Tess: I designed it and it was made in my factory by my head metalworker. By this point, I had 20 employees. I literally had a tiger by the tail, because as an entrepreneur, I started out on my tabletop and eventually had to keep moving because I kept increasing. So, that was the first acquisition. I don't quite remember how the Metropolitan Museum of Art got to me, but they came to me. The Brooklyn Museum of Art came to me, the Museum at FIT. There were a couple of museums in the Midwest that some clients donated to.    That got me thinking about my jewelry as art. I took a couple of courses at Jewelry Arts Institute, and I was fascinated by working with gold. There's nothing like 22-karat gold. It is beautiful. It's very malleable; you can do so much with it. There's something a little mysterious, a little mystical about 22-karat gold, because gold is eternal; nothing can happen to it. It doesn't rust; it doesn't turn to ash. The only thing that happens is that you can melt it down and reuse it. So, any piece you have, it could have been a nose ring for a peasant girl; it could have been part of a tiara of queen or a pope. It could be anything, and because it doesn't really disappear, it has this timelessness, this eternal quality about it. So, that's how I got into fine jewelry. The gold is the main piece. The main thing about jewelry for me is the gold and the stones. I love color, so of course I'm drawn to stones, but the gold is a means of showing the stones off.    Sharon: Interesting. We will have to link to your website when we post this, and I'm encouraging everybody to look at your website and see the color in the jewelry. It's just amazing. It's really striking. It's beautiful. Were these curators at the museums interested in your things because they thought, “Oh, that's the most fantastic design?” I think of a museum as saying, “If Paul Revere made that, I'd like to put in a museum.”   Tess: It's also a history because they wanted a provenance. They wanted to know for whom it was made, who wore it, what season. It was also a means of collecting and annotating history.   Sharon: The same thing with the tea pots?    Tess: No, the tea pot, she just loved the design. That was a different story. That wasn't jewelry. That was something else and she just loved it. I wasn't going to argue.    Sharon: I can think of, “Oh, I love it. I want it for my living room,” as opposed to “Oh, I love it. I want to put it in a museum.” I'm not sure I understand the connection between putting these in museums. It's fabulous to do.   Tess: Why do we collect things in museums then? Museums have changed a lot, but museums essentially are treasure houses. They house treasures; they house things that are deemed to be beautiful. Also, they may spark your imagination or make you think about something differently. So no, I'm not surprised. I was thrilled and surprised that the museums wanted my work, but I'm not surprised that when they think something is beautiful, they want it for the museum.    Sharon: I have to say, I think my whole concept of what a museum is has been changing. I used to think that museums were all history. As I looked at museums in the west, anything over 50 years old is old. I used to think that when I went to a museum, “That's not ancient,” or “It's not 500 years old. It's just from a decade or two ago.” Because I see so many things that are current in museums, or current within the last 25 years, I'm realizing that my concept of what a museum is is outdated.    Tess: Museums are having a difficult time also. In order to survive, they are switching gears. They're trying many different things so they don't only look to the past. They're trying to stay current and be relevant to what's going on in the world, which is part of what fashion does. Fashion does indicate, mirror and explain an era, always.   Sharon: You fell in love with metalsmithing and silver and gold. Your accessory business where you were designing for the runway, was that still going on?   Tess: No, that began to change, and I decided to stop doing that kind of work. As I said, I foresaw that it was going to begin to change, so I stopped that. I devoted myself more to learning the ancient goldsmithing techniques so I could make everything myself, and then I started selling. First, I stared with semiprecious and silver, and then I moved on to gold. Now I work exclusively in gold and precious and semiprecious stones.   Sharon: And you're making everything yourself too.   Tess: I'm making everything myself.   Sharon: Wow!    Tess: I'm still learning things, and I still also use the jewelry arts as a studio. It's fascinating. We all feel so privileged to be able to work in gold. It's such a wonderful medium. We all have that same attitude of awe about this wonderful metal.   Sharon: It's really true. I was at a conference several years ago, and someone pointed out that once you take the gold out of the ground, that's it. It never goes back in, and I thought, “Yeah, that's really true.” What are the differences you find, besides the fact that everything is a one-off, in terms of what you're doing? How are you finding the audiences you're doing this for compared to what you were doing before?   Tess: I started the costume jewelry business in 1976 and for a while, I essentially retired. Now, I find that social media is a very, very different world. I need a lot of help with that. I need help with social media. The younger people understand social media and are good at it, so I need help in that area to perfect everything. I have found that it has been very successful, especially Instagram. Instagram and my website, all of that, has been helpful. Before, I went to an editor, she liked my work and then the rest just fell in step, but now it's different. For example, in October I'm going to California to do a luxury event. My work is gold; it's heavy; it's expensive. That is not something that is sold easily all the time. So, I go to these targeted events where people who are willing to spend the money attend.    Sharon: It is such a different world with social media. I entered the digital world in the mid-90s and the changes since then—it's a different world. It's amazing, and it keeps changing every two days.    Tess: I was in a restaurant the other day and this little, two-year-old girl was using her phone. I thought about how it took me many, many years to start using my phone.   Sharon: Yes, when I see kids on their phones, I'm like, “Oh my god!” When you see kids who speak a language you're trying to learn, it's amazing. Do you find that you get a response from Instagram and other social media?

A deep conversation with Ronald van der Kemp (RVDK) a very creative soul who speaks about how staying true to himself and his own beliefs made him achieve his lifelong dream of becoming a globally celebrated sustainable Fashion Designer.    Guest Introduction:    I hope you are ready for a wild ride into the ever-moving world of high fashion, gorgeous supermodels, extremely talented fashion designers and flashy movie stars dressed up in the most exquisite creations - because my next guest is in the very midst of all of this.   His own demi-couture fashion house is responsible for the most wonderful garments worn by Royalty like Her Royal Highness Sheikha Mozha Bint Nasser, supermodels such as Kate Moss, Adriana Lima and Karlie Kloss singers like Justin Bieber, Lady Gaga, Celine Dion and Kate Perry and actresses such as Pryanka Chopra Jonas, Emma Watson, Lily Collins and Dakota Johnson - and this list goes on and on.    Ronald van der Kemp worked for over 25 years as a designer and creative director for high-end international luxury brands such as Bill Blass, Celine/Michael Kors, Guy Laroche and Barneys New York before starting ‘RVDK' a label under his own name in August 2014.    ‘RVDK' is on a mission to show the world that ethical fashion can be glamorous and exciting and profoundly believes that a form of art can change behaviour which leads to a bigger change in the industry. “The world is full of beautiful things and we can't see it anymore. Because we are too busy to consider them or too rookie to appreciate them.” is an RVDK observation prominently featured on the label's website.    The vision and mission of RVDK is not just a hollow slogan as this designer ensures that 95% of the material used for his designs already exists. With that RVDK is the very first sustainable couture brand in the world and Ronald the very first green pioneer haute couture designer on the globe.    In an interview with the French ‘Federation de la Haute Couture et de la Mode' Ronald states that RVDK is trying to reinvent the notion of couture.    “We are not really a Couture House but more a movement that is trying to change things in the world.” says Ronald.    “We want to work with companies and customers who want to be different, who have a point of view and a strength that wants to exude what they are about. We all need to think differently, this is what I am looking for.”   So much to talk about with this world famous sustainable designer who is on a mission to design clothes with a soul!    Ronald a very warm welcome to you! * You can find more of Ronald's amazing designs on his website: https://www.ronaldvanderkemp.com

Would you ever think Thomas Edison, George Easton, Ian Fleming and Bill Blass all took part in deception? In the World's Greatest Con?  It's the story of James Bond, Inflatable Tanks, Celluloid Film and a WW2 Ghost Army. Sit back and be amazed at this story of America's most respected names.

Would you ever think Thomas Edison, George Easton, Ian Fleming and Bill Blass all took part in deception? In the World's Greatest Con?  It's the story of James Bond, Inflatable Tanks, Celluloid Film and a WW2 Ghost Army. Sit back and be amazed at this story of America's most respected names.

So what does it really take to host a fashion show in Times Square? Is it worth it for designers to invest in their own fashion shows? Christina Neault has all the answers. Christina always knew from her early days she wanted to immerse herself in the world of fashion. From consulting to runway shows and stage design, Christina's calling towards fashion has taken her to every side of the industry -- from early days in retail to an education at the Fashion Institute of Technology (FIT) in New York to the production of large-scale shows for nearly every major fashion house in the nation.  In this week's episode, Kirsten Holtz Naim and Christina Neault sit down to discuss what it takes to break through as a designer, the new norm of fashion sponsorships, and what fashion shows still move Christina to tears.  Connect with Us! Spotify | Apple Shop + Support Instagram: @afashionmoment Twitter: @A_FashionMoment Email: AFashionMomentPodcast@gmail.com Website: A Fashion Moment Show Notes: Fashion Week Daily Announcement of Christina's current role at Pier59 Studios: https://fashionweekdaily.com/pier59-studios-welcomes-christina-neault-as-its-fashion-programming-consultant/ Fashion Events at Pier59 Studios: https://www.pier59studios.com/pier59studios-fashion-events  Bob Mackie Barbie® Dolls: https://barbie.mattel.com/shop/en-us/ba/bob-mackie-barbie-dolls#facet:&productBeginIndex:0&orderBy:&pageView:grid&minPrice:&maxPrice:&pageSize:&contentPageSize:& Fashion Institute of Technology Production Management Program: http://www.fitnyc.edu/production-management/index.php Genart: https://www.genart.com/  Christina on a NY DOC live panel discussing “Calendar Girl,” a documentary about the legendary Ruth Finley: https://www.facebook.com/109991655687940/videos/791715424939917 “Calendar Girl” Trailer: https://youtu.be/6b23boctplM CFDA Fashion Calendar: https://cfda.com/fashion-calendar/ Christina featured on The Fashion List: http://thefashionlist.com/inperson-christina-neault/  New York Times review of Bill Blass' last show: https://www.nytimes.com/1999/09/17/style/review-fashion-blass-as-blass-even-damp.html  Vogue coverage of Bill Blass' last show: https://www.vogue.com/fashion-shows/spring-2000-ready-to-wear/bill-blass  Learn lessons from Christina via the Event Leadership Institute: https://eventleadershipinstitute.com/course/christina-neault-on-producing-fashion-week/ High School of Fashion Industries advisory board: https://www.hsfi.nyc/advisory-board  About IMG: https://img.com/expertise/ About theCURVYcon: http://www.thecurvycon.com/about  Dia & Co: https://www.dia.com/ (YouTube): https://www.youtube.com/channel/UCdSOv66BSGhu-MQgSMhHi3A  Raggedy Ann dolls: https://www.raggedy-ann.com/apragannanda.html

Episode 53 and Wendi and Dfernando's guest interview is fashion illustrator and artist Richard Haines.  Richard Haines moved to Manhattan in the 1970s and proceeded to rack up the La Ronde of résumés. He dreamed of becoming a fashion illustrator, but after discovering that was a dead career, he became a successful clothing designer for the likes of Calvin Klein, Perry Ellis, Bill Blass to J.Crew. In 2008, he lost his job and Fifth Avenue apartment in the financial crash, then reinstalled himself in Brooklyn as a fashion illustrator.Haine's career has now come full circle allowing him to emerge as one of today's most sought after fashion illustrators. His illustrations document the clothes and attitudes of New York's every day trendsetters and fashion icons of all ages. Haines is commonly seen seated front row at Fashion Week's most desirable shows busily drawing on his sketchpad or iPad for clients who hire him to record the nuances that cannot be captured on film.It is his fascination with the people behind the styles that informs his every stroke. Propelling his work beyond mere sketches and into the world where art and fashion intersect. Haines balances a busy stream of clients while drawing everything he sees from high couture fashion in Europe to the youths in his Bushwick, Brooklyn neighborhood.Today his illustrations are blown up in store windows, splashed over Criterion Collection covers, used in collaborations with Dries Van Noten and collected in gallery shows like “The History of Beauty,” which presents 25 new pieces alongside work from the masters that inspired Haines, including Jean Cocteau and Paul Cadmus, plus collages and an outsize wall hanging that nods to Christian Bérard, the Parisian set designer who influenced Dior.Richard Haines' work is on display at Daniel Cooney Fine Art in New York's Chelsea district and check out his Instagram for his upcoming Illustration Master Classes. Also on Episode 53, Wendi and Dfernando chat about Wendi's recent first-time visit to New Orleans and her touring the famous haunted Bourbon Orleans Hotel, the Andrew Jackson Hotel and the LaLaurie Mansion, a night-time vampire tour and those gators.   They also chat about their recent appearance on Season 7 of ABC TV's iconic game show CELEBRITY FAMILY FEUD.  On the RIPE & ROTTEN REPORT, Wendi and Dfernando rave about the fantastic Canadian comedy series JANN (now on Hulu), starring award winning singer-songwriter, best-selling author and actress Jann Arden, the return of the nightly random fireworks, and when you want to take your bike for a ride and the tires are flat.  Watch Wendi and Dfernando and their Team GENERATION RIPE: Greg Covey, Shelley McLendon and Ponciana Badia on Season 7 Episode 2 of CELEBRITY FAMILY FEUD - now on ABC OnDemand and Hulu.    Follow us on our Instagram:Wendi McLendon-CoveyDfernando ZarembaGENERATION RIPE... and our guest Richard Haines and his Twitter Remember to subscribe, rate & leave a review for GENERATION RIPEVisit Dfernando Zaremba's website: dfernandozaremba.com

So, back in the glamorous times of 1973 5 top American fashion designers Anne Klein. Stephen Borrows, Oscar De La Renta, Bill Blass and Hulston participated in a very history making fashion show at the palace of Versailles. Their competition were the top French designers: Dior, Givenchy, Ungaro and Pierre Cardin. Who won? The Americans of course... the rest is history. xxxSusanna

Have you seen Netflix's biopic miniseries 'Halston'? This episode is a timely conversation with London based fashion historian and curator Scott Schiavone, who you may know from his YouTube channel Fashion &, about the 1973 fashion show (with Halston) that transformed fashion history--known as 'The Battle of Versailles'.   This monumental fashion competition is a story between the French, who were considered the giants of Haute Couture, and the Americans, who were the underdogs of Ready-to-wear. The French team was a roster of fashion kings including designers Hubert de Givenchy, Pierre Cardin, Yves Saint Laurent,  Marc Bohan for Christian Dior, and Emanuel Ungaro. The American team was a diversified roster of designers including Anne Klein, Stephen Burrows, Bill Blass, Halston and Oscar de la Renta.   The gala fundraiser is described by Robin Givhan (2015) in the prologue of her book The Battle of Versailles as follows,  "On November 28, 1973, the world's social elite--men in dashing tuxedos and women dripping with diamonds--gathered in the majestic Theatre Gabriel at the Palace of Versailles.  Originally conceived as a publicity stunt and fund-raiser for the dilapidated French landmark, the Grand Divertissement a Versailles had become an international fashion extravaganza, bloated with pomp and passion.  Style writers and society columnists; royalty, tycoons, diplomats, and politicians; the creme de la creme of the jet set; stagehands, set designers, burlesque dancers, ballet starts, drag queens, glamorous models, famous choreographers, and one Academy Award-winning triple threat all watched in eager anticipation as five kings of French fashion faced off against five unsung American designers.  By the time the spotlight dimmed and the curtain came down on the evening's spectacle, fashion history had been made and the industry had been forever transformed." Please join Scott and myself as we talk about this historical event that changed the global landscape of fashion by cementing the switch from the era of Haute Couture to the global explosion of Ready-to-wear fashion. If you love an underdog story woven with threads of beauty rooted in diversity, then this conversation is for you.   Enjoy and please do share your thoughts! --- Send in a voice message: https://anchor.fm/zara-korutz/message

SUBSKRYBUJ FREAKERY ➡ https://www.thefreakery.com/subskrybuj Niczym dziwnym jest używanie militarnych sformułowań w odniesieniu do mody – dyktatorzy, działa, sekretne plany. Niczym dziwnym jest również chęć posiadania władzy nad modowym światem. Jednak faktem nieco zapomnianym jest wydarzenie bezprecedensowe, które miało miejsce w 1973 roku – doszło wówczas do bitwy pomiędzy Francją (o ugruntowanej pozycji z YSL, Diorem,… Czytaj więcej »Wojna Francja-USA 1973, czyli modowa bitwa o Wersal – szyk, splendor, skandal.

So what does it really take to host a fashion show in Times Square? Is it worth it for designers to invest in their own fashion shows? Christina Neault has all the answers. Christina always knew from her early days she wanted to immerse herself in the world of fashion. From consulting to runway shows and stage design, Christina's calling towards fashion has taken her to every side of the industry -- from early days in retail to an education at the Fashion Institute of Technology (FIT) in New York to the production of large-scale shows for nearly every major fashion house in the nation.  In this week's episode, Kirsten Holtz Naim and Christina Neault sit down to discuss what it takes to break through as a designer, the new norm of fashion sponsorships, and what fashion shows still move Christina to tears.  Contact us at AFashionMomentPodcast@gmail.com Show Notes: Fashion Week Daily Announcement of Christina's current role at Pier59 Studios: https://fashionweekdaily.com/pier59-studios-welcomes-christina-neault-as-its-fashion-programming-consultant/ Fashion Events at Pier59 Studios: https://www.pier59studios.com/pier59studios-fashion-events  Bob Mackie Barbie® Dolls: https://barbie.mattel.com/shop/en-us/ba/bob-mackie-barbie-dolls#facet:&productBeginIndex:0&orderBy:&pageView:grid&minPrice:&maxPrice:&pageSize:&contentPageSize:& Fashion Institute of Technology Production Management Program: http://www.fitnyc.edu/production-management/index.php Genart: https://www.genart.com/  Christina on a NY DOC live panel discussing “Calendar Girl,” a documentary about the legendary Ruth Finley: https://www.facebook.com/109991655687940/videos/791715424939917 “Calendar Girl” Trailer: https://youtu.be/6b23boctplM CFDA Fashion Calendar: https://cfda.com/fashion-calendar/ Christina featured on The Fashion List: http://thefashionlist.com/inperson-christina-neault/  New York Times review of Bill Blass' last show: https://www.nytimes.com/1999/09/17/style/review-fashion-blass-as-blass-even-damp.html  Vogue coverage of Bill Blass' last show: https://www.vogue.com/fashion-shows/spring-2000-ready-to-wear/bill-blass  Learn lessons from Christina via the Event Leadership Institute: https://eventleadershipinstitute.com/course/christina-neault-on-producing-fashion-week/ High School of Fashion Industries advisory board: https://www.hsfi.nyc/advisory-board  About IMG: https://img.com/expertise/ About theCURVYcon: http://www.thecurvycon.com/about  Dia & Co: https://www.dia.com/ (YouTube): https://www.youtube.com/channel/UCdSOv66BSGhu-MQgSMhHi3A  Raggedy Ann dolls: https://www.raggedy-ann.com/apragannanda.html

Anthony Lilore is the CEO of Throw NYC. He is a renowned sustainability expert with over 30 years of experience in design, production and building networks that help the fashion industry clean up its supply chains and design mindful solutions to re-source consumption. He has worked for Bill Blass, Perry Ellis, and Club Monaco.

Anthony Lilore is the CEO of Throw NYC. He is a renowned sustainability expert with over 30 years of experience in design, production and building networks that help the fashion industry clean up its supply chains and design mindful solutions to re-source consumption. He has worked for Bill Blass, Perry Ellis, and Club Monaco.

  Lloyd Brown (aka Divine) was born in Harlem, New York in the St. Nicholas Housing Projects. His mother is Margaret Brown. He attended Martin Luther King High School along with Tito (Fearless 4), Pee Brothers, etc. An influential uncle of the Pee Brothers attended IS 136. At the age of 10, he started rapping (1976) and entered his first party in the year 1977 at the age 11. Lloyd's family lived next door to the Pee Brothers and their uncle introduced him to them officially. From that point forward, Lloyd's (Devine's) relationship with the Pee Brothers developed. During this time he started doing battles in the neighborhood against other hot Emcees. His ability to crush his competition got him attention from people in the community (St. Nicholas Houses). It was these intriguing battles that got the attention of Mike N Dave who visited St. Nic from their Lincoln Projects home offices. Eventually, Mike N Dave introduced him to DJ Darryl C, the Crash Crew, and many other entertainers. Although Lloyd was the youngest of the Emcees, he did get his opportunity to rock the mic and the rest is history.He has worked on various endeavors with directors, producers, and artists including: Treacherous 3, Boogie Boys, Fearless 4, DJ Breakout and Baron, Ski Jump and the Gangster 5, Rayvon & Johnny Wa, DJ Love Bug Starski, Hollywood, Eddie Cheba, Kool Kyle the Starchild, Super 3, The G Brothers, Master Don & The Death Committee, Jeckyll & Hyde, Kurtis Blow, Kool Moe Dee, Teddy Riley, DJ Darryl C and the Crash Crew, Dae Bennet (Tony Bennet's son), Dave Kawaski, Barry B, Doug E Fresh and the Get Fresh Crew, DJ Spivey, M7,DJ Easy Lee, DJ Kev Nice, Kool Moe Dee, King Peanut, Bill Blass, DJ Ronnie Green, and others. Live performances occurred at the world famus Apollo Theater, Harlem World,  

Show Notes This week, we recap, review, and analyze Mobile Suit Zeta Gundam (機動戦士Ζガンダム) episode 28 - The Jupitris Infiltration (ジュピトリス潜入), discuss our first impressions, and provide commentary and research on physical deception and women spies. We are joined by guest-voice Adam Black, who asked us to link to One Earth Sanga, and organization he works with that "expresses a Buddhist response to ecological crises." - Wikipedia page for Operation Bodyguard, comprised of Operations Fortitude and Quicksilver.- Wikipedia page for the 23rd Headquarters Special Troops (aka the "Ghost Army"), American deception specialists operating in Europe after D-Day.- A collection of historical materials about the 23rd Headquarters. - The 23rd Headquarter's most famous alumnus, fashion designer extraordinaire Bill Blass.- An overview on dummy tanks. - New York Times article about modern Russian inflatable dummies:Andrew E. Kramer, A New Weapon in Russia’s Arsenal, and It’s Inflatable. New York Times article, Oct. 12, 2016. Available at https://nyti.ms/2dWBU8A- Some modern inflatable dummy manufacturers, so you can see pictures of just how real they look (and in case you want your own). - Books about the Second Battle of El Alamein:John Latimer, Alamein. Harvard UP (2002).James Lucas, War in the Desert: the Eighth Army at El Alamein. Beaufort (New York 1982). - Wikipedia page for Operation Bertram.- Articles and books on Operation Bertram:Rickard, J (21 April 2017), Operation Bertram, http://www.historyofwar.org/articles/operation_bertram.htmlPeter Forbes, Dazzled and Deceived: Mimicry and Camouflage. Yale UP (2011).Rick Stroud, The Phantom Army of Alamein: The Men Who Hoodwinked Rommel. A&C Black (2013)- US Naval War College page on women in espionage, with lots of great links to books, articles, and websites with additional information.- Wikipedia category page for “female wartime spies.”- Wikipedia page for “sexpionage” with definition and famous examples.- Article from The Washington Post about sexpionage in the Cold War:Dobbs, Michael. “SEXPIONAGE WHY WE CAN'T RESIST THOSE KGB SIRENS.” The Washington Post, 12 Apr. 1987.- Journal article:Martin, Amy J. “America’s Evolution of Women and Their Roles in the Intelligence Community.” Journal of Strategic Security, vol. 8, no. 3, 2015, pp. 99–109. JSTOR, www.jstor.org/stable/26465249. Accessed 8 Jan. 2020.- More recent articles from Forbes and The Guardian about perceived strengths and advantages of women as spies.- Brief discussion of the history of women in the CIA, culminating with the appointment of Gina Haspel as Director of the CIA in 2018.- Article from The Atlantic, reviewing several books about women in espionage. Includes good excerpts with anecdotes about famous women spies and some of the thought process behind using women for espionage work:Mundy, Liza. “Female Spies and Their Secrets.” The Atlantic, June 2019. Accessed at https://www.theatlantic.com/magazine/archive/2019/06/female-spies-world-war-ii/588058/.- Article with stories of specific women spies:Jarvis, Erika. “Five Badass Female Spies Who Deserve Their Own World War II Movie.” Vanity Fair, 26 Nov. 2016. Accessed at https://www.vanityfair.com/hollywood/2016/11/allied-world-war-2-female-spy-movies- And more stories of amazing women spies.- Defense Intelligence Agency short bios of women in espionage, page 1 and page 2.- The music in the ABC (AEUG Broadcasting Channel) is:Gemini (Instrumental Version) by Josh Woodward, licensed under a Creative Commons Attribution License. You can subscribe to the Mobile Suit Breakdown for free! on fine Podcast services everywhere and on YouTube, follow us on twitter @gundampodcast, check us out at gundampodcast.com, email your questions, comments, and complaints to gundampodcast@gmail.com.Mobile Suit Breakdown wouldn't exist without the support of our fans and Patrons! You can join our Patreon to support the podcast and enjoy bonus episodes, extra out-takes, behind-the-scenes photo and video, MSB gear, and much more!The intro music is WASP by Misha Dioxin, and the outro is Long Way Home by Spinning Ratio, both licensed under Creative Commons CC BY 4.0 license. Both have been edited for length. Mobile Suit Breakdown provides critical commentary and is protected by the Fair Use clause of the United States Copyright law. Gundam content is copyright and/or trademark of Sunrise Inc., Bandai, Sotsu Agency, or its original creator. Mobile Suit Breakdown is in no way affiliated with or endorsed by Sunrise, Bandai, Sotsu, or any of their subsidiaries, employees, or associates and makes no claim to own Gundam or any of the copyrights or trademarks related to it. Copyrighted content used in Mobile Suit Breakdown is used in accordance with the Fair Use clause of the United States Copyright law. Any queries should be directed to gundampodcast@gmail.comFind out more at http://gundampodcast.com

In episode 87 UNP founder and curator Grant Scott is in his shed reflecting on working with Richard Avedon, getting books signed by him, remembering stories about Avedon told to him by photographer Jean Loup Sieff and long-time Avedon assistant Gideon Lewin takes on the UNP Photo Proust Questionnaire in which he speaks about fellow Avedon assistant and photographer Hiro. Gideon Lewin was born in Jerusalem, Israel and graduated from the Art Center College of Design, in Los Angeles, majoring in advertising and photography. He was the studio manager and 'right-hand man' to legendary photographer Richard Avedon for 16 years during which time he collaborated with Avedon on many projects, including exhibitions, books, whilst traveling with him extensively for editorial assignments. Lewin also continued to create his own work during this period and established his own independent studio in 1980 collaborating with American and European designers on advertising, promotions and books, including Bill Blass, Avon, Revlon, Clairol, and Saks Fifth Avenue. Lewin has photographed and produced two books and his editorial work has been published in Harpers Bazaar, Vogue and Elle, and many other magazines. He has photographed personalities including Clint Eastwood, Lauren Bacall, Ariel Sharon, Rupert Murdoch, Donna Karen, and of course Richard Avedon. A retrospective exhibition of his work was held at the museum of Photography in Mougins, France, and his work has been featured in solo exhibitions in the US and Europe. Gideon Lewin, the Avedon Years, 1964-1980, was published in 2019. If you have enjoyed this podcast why not check out our A Photographic Life Podcast Plus. Created as a learning resource that places the power of learning into the hands of the learner. To suggest where you can go, what you can read, who you can discover and what you can question to further your own knowledge, experience and enjoyment of photography. It will be inspiring, informative and enjoyable! You can find out here: www.patreon.com/aphotographiclifepodcast You can also access and subscribe to these podcasts at SoundCloud https://soundcloud.com/unofphoto on iTunes https://itunes.apple.com/gb/podcast/a-photographic-life/id1380344701 on Player FM https://player.fm/series/a-photographic-life and Podbean www.podbean.com/podcast-detail/i6uqx-6d9ad/A-Photographic-Life-Podcast Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His next book New Ways of Seeing: The Democratic Language of Photography will be published by Bloomsbury Academic in 2019. His documentary film, Do Not Bend: The Photographic Life of Bill Jay can now be seen at www.youtube.com/watch?v=wd47549knOU&t=3915s. © Grant Scott 2019

Robin Givhan, Pulitzer Prize-winning fashion critic for the Washington Post, presents her first book, The Battle of Versailles. Givhan, in conversation with Patricia Mears, deputy director of The Museum at FIT, shares the story of a 1973 face-off at the Palace of Versailles between five American designers (Anne Klein, Stephen Burrows, Bill Blass, Halston, and Oscar de la Renta) and five French designers (Yves Saint Laurent and Pierre Cardin among them).  Watch the full video with captions on YouTube. The Museum at FIT (MFIT) is the only museum dedicated exclusively to the art of fashion in New York City. https://www.fitnyc.edu/museum

Ingen annan svensk modeskapare har nått lika stora internationella framgångar som Lars Nilsson. På hans meritlista står namn som Chanel, Dior, Christian LaCroix, Bill Blass och Nina Ricci. Att ta sig in i den franska modevärldens innersta krets och kärna genom att behärska dess hantverk eller haute couture är inte lätt och få förunnat, i synnerhet om man kommer från Sverige. Men Lars Nilsson knäckte koden. Han studerade hårt, antogs till modets elitskola École de la Chambre Syndicale de la Couture Parisienne och kom att bli högt respekterad av de största i branschen i både Paris och New York som insåg att här var en kille som verkligen kunde sina saker, och inte bara ville skapa sig ett namn. I veckans Stil reser vi till Rättvik i Dalarna för att träffa Lars Nilsson. Det är nämligen där som han tillbringar sina somrar. Det kommer bli ett samtal om hans tid på de stora franska och amerikanska modehusen och hans erfarenheter från en modevärld i förändring.

Para presentar éste podcast Dr Insermini lleva puesto un traje de lino de Canali Milano, una camisa de algodón de Ike Behard y una corbata de seda de Bill Blass. Bullet Park lleva traje ligero con pantalones de pinzas y camisa, todo ello de Valentino Couture, y zapatos perforados de Allen Edmonds. Ambos beben café en tazas Ceralene y conversan sobre el personaje creado por Bret Easton Ellis en American Psycho y una serie de películas conectadas con todo ese universo de éxito, negocios y psicopatía.

VOGUE once called him a “high-end scavenger”. Meet Dutch designer Ronald Van Der Kemp - the "sustainable couturier" behind RVDK. Fans include Lady Gaga and Kate Moss, Emma Watson and Lena Dunham. While he was still in college, Ronald wrote a thesis on fashion and nature, and designed a collection using vintage materials. He then spent two decades working in luxury fashion for the likes of Barney's, Bill Blass, Guy Laroche and Celine. Now he's come full circle. Today, brand RVDK - which shows at Paris couture week - focuses on sustainability, and uses reclaimed, vintage and archival fabric.  Ronald describes his approach to couture as: “Dressing ageless strong personalities that expect exclusivity, originality and high quality.'' In this interview, recorded in his Amsterdam atelier ahead of his Spring ‘19 couture show, Clare and Ronald discuss the balancing ethics and integrity with glamour and fun. Yes, that is possible. Check out our shownotes. Links, pics and further reading here. Don't forget to subscribe to this podcast in iTunes, and join the conversation on social media. You can find Clare on Instagram and Twitter.  

My guest is Joseph Cicio. Lauren Bacall, Bill Blass, Rose Marie Bravo, Carol Channing, Prince Charles, Brooke Hayward Duchin, Erté, Princess Grace, Audrey Hepburn, Lady Nancy “Slim” Keith, The Kissingers, Kenneth J. Lane, Eleanor Lambert, Dawn Mello, Robert Mondavi, Josie Natori, and Joan Rivers, are just a few of the great friends of Joseph Cicio. His first book, Friends* *Bearing Gifts (https://www.amazon.com/Friends-Bearing-Gifts-Joseph-Cicio/dp/1938461967) is about these relationships and his memories through the beautiful objects they gave him. Featuring stunning photography of Cicio’s Connecticut home, with essays on these friends and their gifts, the book emphasizes the importance of relationships. It is a reflection on a life filled with warmth, beauty, and ultimately exceptional memories. As Nancy Kissingers says in her elegant foreword, “No one understands and articulates the value of friendship more sincerely than Joe.” Special Guest: Joseph Cicio .

  Sarah Shaw is a normal woman — Colorado single mom of two — who has spent her career dressing, collaborating and selling fabulous handbags to the most famous people in the world. Her secret? "I never take no for an answer."  Career highlights, that you'll hear about in this Like a Mother episode: Worked in the film biz after college for 11 years as a costume supervisor. Started two costume companies, that did huge manufacturing jobs for the movies like "Wind Talkers," "Matrix 2&3," "Out of Sight," "The Postman."  In 1997 started handbag company Sarah Shaw Handbags, available in Nordstrom, Sak’s 5th Ave, Barney’s NY, Bergdorf Goodman, Anthropologie, Fred Segal and 1200 other boutiques across the United States, that grew to a multiple 8 figure business thanks to press in magazines like ELLE, INStyle, “O” List, Marie Claire, and being on Access Hollywood, and getting products to celebs like Jennifer Aniston, Oprah, Cameron Diaz, Julia Roberts, Sarah Jessica Parker, Hallee Berry and 70 others, and getting her bags in the movies Oceans' 11, Legally Blonde, & America’s Sweethearts, and on TV shows Friends & Will and Grace.  2003 I patented a closet organizer for handbags. Had an online company selling it and other brands that didn't have online stores. Got into People magazine 2 years in a row by getting products to Jennifer Aniston and sold 2000 units each time. Made lots of money.  2006 I launched my own company "Simply Sarah" (alone at last) and in 2 years did $500K from my garage with my one patented product in 12 colors. I finally had it down! Today, with Sarah Shaw Consulting, she teaches women how to grow brands quickly and make millions. Her new Podcast, Get a Street Smart MBA, has featured Venus Williams, Daymond John, Barbara Corcoran, Marcus Lemonis, Rebecca Minkoff, Authors Ryan Blair and James Alutcher, Bill Blass designer Chris Benz, Erin Flett and Sarah Buscho...and many more (including me!).     

Chris has had a mind for fashion ever since he was a little kid. Drawing was his favorite pastime. After graduating from Parsons and starting his own line, Chris was tapped to be the creative director for Bill Blass. Join us as we chat about the freedom he experiences at the helm of an iconic brand. Chris brings fresh humor, whimsical designs and a classic with a twist feel to the Bill Blass line. Even their FAQ has some quirky tips like cocktails! Be sure to check it out. See acast.com/privacy for privacy and opt-out information.

For nearly two decades Mark Zelonis served as the Ruth Lilly Deputy Director of Environmental and Historic Preservation for the Indianapolis Museum of Art. Mark has recently retired from that position, and Sharon Gamble invited him in to learn what he's most proud of and what his next chapter is. Travis DiNicola spoke with filmmaker Hanna Myers Lindgren about the new feature documentary "Food First", that looks at how the nationwide food movement is impacting Indianapolis. 19 Stars of Indiana Art is the Indianapolis Museum of Art's tribute to our Bicentennial. The exhibit will take visitors through 200 years of our state's visual art and present the accomplishments of 19 artists who were born in Indiana, such as T.C. Steele, Robert Indiana, Michael Graves and Bill Blass, along with many other artists who were raised or worked in Indiana.

19 Stars of Indiana Art is the Indianapolis Museum of Art's tribute to our Bicentennial. The exhibit will take visitors through 200 years of our state's visual art and present the accomplishments of 19 artists who were born in Indiana, such as T.C. Steele, Robert Indiana, Michael Graves and Bill Blass. The largest group of artists under one roof in the Midwest will open their studios and present their work to visitors during the Raymond James Stutz Artists Open House. The Open House is set to take place April 29 and 30 at the historic Stutz Business and Arts Center. Like the IMA, the Indiana Historical Society is celebrating our Bicentennial in multiple ways. Sharon Gamble invited Guest Curator Rachel Berenson Perry and Exhibitions Director Eloise Batic to tell us about Indiana Impressions: The Art of T.C. Steele.

Special guest Chris Benz joins to talk about his new Bill Blass collection, plus living in NYC and the obligatory Apple Watch segment.

READ MY LIPS' akaRadioRed goes beyond the typical blah-blah-yada-yada canned interview, engaging multiple guests in spontaneous conversations.] The youngest of 10 children, May McCarthy had to compete for attention. So, at age 6, she started a concession business and got her first lesson in “food inventory shrinkage” when her brothers ate her profits. Fast-forward: Since 1982, May has grown 6 profitable companies to as large as $100 million in annual revenues, and has worked for Fortune 500s such as Johnson & Johnson and Boeing. An angel investor and advisor to dozens of small and medium sized companies, May serves on the boards of business, philanthropic, arts, and educational organizations. Hear May's successful business development strategies that make work more profitable and fun. The Path to Wealth: Seven Spiritual Steps for Financial Abundance.   “Everyone wants to look and feel young, and these tools can help you achieve that naturally without negative side effects," says Lea London, creator of the Remain Ageless book and “Face and Neck Aerobics” DVD. She has worked in the health and beauty industry for over 30 years, starting out as a model for designers including Bill Blass, Oscar de la Renta, Calvin Klein, Ralph Lauren and Halston. Later, as the owner of the John Robert Powers School and Talent Agency, she taught modeling and self-improvement to men and women of all ages. Lea has also worked as a teacher and facilitator for loved ones of the mentally ill and currently handles the help line for National Alliance for the Mentally Ill. 

Find out how to copy the make-up look from the Bill Blass fall fashion show with step-by-step instructions from lead make-up artist Romy Solimani.

Find out how to copy the hair style from the Bill Blass fall fashion show with step-by-step instructions from lead stylist Jimmy Paul.