Podcasts about head designer

Play Episode Listen Later Apr 15, 2025 5:35

'The Reality of Being First on Set for The Handmaid's Tale' with Burton LeBlanc – 3X Emmy | 4X Guild | MET Fashion Award Nominated Makeup Artist | Dept Head | Designer for The Handmaid's Tale

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'Looking Back on the Early Days of The Handmaid's Tale' with Burton LeBlanc – Makeup Artist | Dept Head | Designer for The Handmaid's Tale

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Play Episode Listen Later Apr 15, 2025 9:18

'Looking Back on the Early Days of The Handmaid's Tale' with Burton LeBlanc – Makeup Artist | Dept Head | Designer for The Handmaid's Tale

#43 – Das "White Cube"-Hausboot in Berlin - mit Susann Meise

OUR HOUSE - Der SALON Podcast

Play Episode Listen Later Mar 27, 2025 34:13

Leben am und auf dem Wasser: Mit dem White Cube Hausboot, dass in Berlin direkt an der Havel liegt, hat sich Susann Meise einen Kindheitstraum erfüllt. Ihre Großeltern waren Binnenschiffer und Susann ist als Kind bereits im Laufstall mit ihnen durch Deutschland geschippert. Baby on boat, im wahrsten Sinne des Wortes. Heute führt Susann Meise als Co-CEO die Lampenfirma Occhio, die ihr Mann Axel Meise 1999 in München gegründet ist und deren Head-Designer er bis heute ist. Susann Meise erzählt, wie sie zu ihrer ungewöhnlichen Immobilien gekommen ist, warum das Boot nicht bewegt wird, wie sie mit den Berlinern warm geworden ist und welche Leuchte von Occhio wie ein Bullaugen anmutet und deshalb (neben einigen anderen Modellen) perfekt auf das Boot passt.Das White Cube ist übrigens für alle da: Wenn Susann oder ihre Familie nicht gerade selber auf dem Boot sind, kann es für Events gemietet werden. Der Anleger heißt übrigens Alte Liebe und ist genauso charmant, wie er klingt. Wer sich einen ersten Eindruck verschaffen will: Ganz in der Nähe des White Cube liegt das Restaurantschiff Alte Liebe — früher als Lastenschute im Einsatz, ist der Kahn heute ein Restaurant, serviert wird Berliner Hausmannskost. https://www.whitecubecharter.com/https://alte-liebe-berlin.de/Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

Return to Office (Hallmark Channel - 2025)

Deck The Hallmark

Play Episode Listen Later Feb 18, 2025 42:20

Watch on Philo! - Philo.tv/DTHLiv is thriving working from home. She just wakes up, makes her matcha, throws on a top for a video call while keeping the pajama pants on. It's the good life.Tom works for the same company—Artist Access—and he's thriving a little less. He's always showing up to video calls late. Lucky for him, he's going to continue being Head Designer with this new CEO, Waler, coming on board.The CEO has big dreams, including a return-to-office plan. It's a hybrid schedule—some will be in the office on Monday & Wednesday, others on Tuesday & Thursday.She's immediately off to a rocky start—she's late due to traffic and gets a desk that's not by the window. She's supposed to put all of her belongings away when she's done for the day, but she wants to leave her succulent out, so she leaves a note and signs it Ms. Monday.He sees this as an opportunity to leave some of his stuff out on the desk, which she does not love. At first, she isn't happy about that, but then he sends her a pastry, and all bets are off. They get real flirty, real fast.They end up meeting in person at a work event but still don't know that they're pen pals.They compete together in a work team-building event and they win!!! They win some sort of romantic prize, and they confirm to each other that they are talking to someone, obviously thinking of each other without knowing that they're the each other they're thinking of.After weeks and weeks of talking anonymously, they agree to meet.But she finds out who he is beforehand while she's at a retirement community that Tom's grandma is also at, and she talks about how her grandson is head over heels for someone named Ms. Monday.She goes to talk to him before they go and make a pitch to Walter, and he's just gushing about someone named Ms. Monday. She tries to get him to see that she's Ms. Monday, but he's clueless.The pitch does not go well, which bums him out, but at least he's meeting Ms. Monday tonight!She shows up for the date but decides not to immediately tell him that she's Ms. Monday. She goes to the bathroom and messages him that she's not going to make it. When she comes out, he's like, "Well, my date bailed, wanna sit with me?" They talk, and he ends up saying that he felt like she didn't have his back in the presentation, and then he ends up leaving. She's sad.But they end up having part 2 of their date/work prize, and the sparks are flying. Dummy Tom is like, "You have so many similarities to Ms. Monday!"The next day, Walter shows a logo he had AI made and he wants to go with it. Tom quits. After hearing that Walter wants to get rid of all the designers in favor of AI, Liv quits too…via sticky note.She finally decides to come clean and asks him to meet up again as Ms. Monday. He's so glad that it's her. They kiss and decide they're going to start a business together.

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Commando - How Commando Redefined Intimate Apparel

The Story of a Brand

Play Episode Listen Later Aug 13, 2024 60:34

In this episode of The Story of a Brand Show, I interview Kerry O'Brien, CEO, Founder, Head Designer, and the visionary behind Commando. Kerry shared her journey from working in corporate communications to revolutionizing the intimate apparel industry with her innovative approach to fabrics and design. We discussed how her Vermont roots and entrepreneurial spirit shaped her path, leading her to create a brand that prioritizes comfort, confidence, and quality above all. In this interview, she opens up about the challenges she faced in bringing Commando to life, including the early struggles of introducing her ideas to the market and the bold decisions that helped the brand grow into a beloved name in fashion. Key Moments in the Podcast: - Kerry shares how her Vermont upbringing and corporate background influenced the creation of Commando. - The pivotal moment when she decided to leave her corporate job after September 11th to pursue her passion for fashion. - The innovative approach to fabrics that sets Commando apart in the intimate apparel industry. - The challenges of launching a brand in a highly competitive market and how she overcame them. - Kerry's advice for entrepreneurs: the importance of asking for help and staying true to your vision. Join me, Ramon Vela, and Kerry O'Brien as she shares her entrepreneurial journey, offering lessons and inspiration to anyone looking to turn their passion into a successful business. Don't miss out on this fascinating conversation! For more on Commando, visit: https://www.wearcommando.com/ If you enjoyed this episode, please leave The Story of a Brand Show a rating and review. Plus, don't forget to follow us on Apple and Spotify. Your support helps us bring you more content like this! * Today's Sponsors: Compass Rose Ventures - Advisor for CPG Brands: https://compassroseventures.com/contact/ Compass Rose Ventures can help your CPG brand increase customer lifetime value, Expand into the US market, Create an omnipresent omnichannel footprint, Optimize customer journeys, Build brand communities, and more. Visit the link above. SARAL - The Influencer OS for Brands: https://storybrandoffer.com/ SARAL is the all-in-one influencer platform that finds brand-aligned creators, automates outreach, and manages everything in one place. Try it risk-free with an extended 14-day trial, exclusively for The Story of a Brand Podcast listeners. Start today! Visit the link above.

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Getting to know AER. Talking to founder and head designer of AER

The Ismono Podcast

Play Episode Listen Later Jun 5, 2024 57:01

My very first episode talking to a brand's designer. I pick AER's founder and head designer's brain. If you want to check out my Youtube videos or my Instagram you can find me here. YOUTUBE main channel YOUTUBE 2nd channel INSTAGRAM And if you like early access to the podcasts + their video versions or you want to support my content, check out my Patreon

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Inspired By Paolo Sebastian

Auscast Inspiration

Play Episode Listen Later May 28, 2024 26:49

Isabella interviews Paul Vasileff - Founder & Head Designer of Paolo Sebastian, an internationally renowned Atelier based right here in Adelaide, South Australia. Paolo Sebastian has created exquisite gowns for celebrities including Kim Kardashian, Katy Perry, Heidi Klum and Carrie Bickmore. Paul's journey thus far has been exceptional, inspirational, strong minded and very powerful, including the challenges he overcame to launch Paolo Sebastian to the world. Paul stood out as one of the youngest luminaries to have encouraged young people to follow their dreams. Paul received the 2017 South Australia Young Australian of the Year Award and in the same year won the Young Australian of the Year award for his work. If it really is your dream, it will seem like a beautiful fairytale.See omnystudio.com/listener for privacy information.

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Inspired By Paolo Sebastian

Auscast Entertainment

Play Episode Listen Later May 28, 2024 26:49

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Q&A with Mark Rosewater

Good Luck High Five

Play Episode Listen Later May 2, 2024 47:56

Have you ever wondered what rodent would be best represented by blue in the color pie? How about what Magic the Gathering mechanic would be least missed if it were to suddenly disappear? Wonder no more, friends! Meghan and Maria welcome Head Designer of Magic the Gathering Mark Rosewater back to the show! They'll ask him all about the vision behind the newest set, Outlaws of Thunder Junction, plus throw a bunch of listener questions right at his face! BONUS: Mark sits in on a rousing game of Flavor Text Theatre: Movie Pitches! Subscribe to our NEW Commander Channel! Become a GLH5 Patron Today! Buy Some Sweet GLHF Merch Look! It's our GLHF YouTube Channel Follow us on Twitter Peep Our Insta Everything GLHF is on our Website Visit our sponsor Card Kingdom

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11028 Jill Nicolini Interviews Samantha Crowley Head Designer & Co-Owner at SC Custom Interiors

Play Episode Listen Later May 2, 2024 21:36

https://sccustominteriors.com/ Listen to us live on mytuner-radio, onlineradiobox, fmradiofree.com and streema.com (the simpleradio app)https://onlineradiobox.com/search?cs=us.pbnnetwork1&q=podcast%20business%20news%20network&c=ushttps://mytuner-radio.com/search/?q=business+news+networkhttps://www.fmradiofree.com/search?q=professional+podcast+networkhttps://streema.com/radios/search/?q=podcast+business+news+network

10946 Jill Nicolini Interviews Samantha Crowley Head Designer & Co-Owner at SC Custom Interiors

Play Episode Listen Later Apr 25, 2024 25:41

10880 Jill Nicolini Interviews Samantha Crowley Head Designer & Co-Owner at SC Custom Interiors

Play Episode Listen Later Apr 18, 2024 29:41

'Looking Back on the Early Days of The Handmaid's Tale' with Burton LeBlanc – Makeup Artist | Dept Head | Designer for The Handmaid's Tale

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Play Episode Listen Later Apr 18, 2024 9:18

'Looking Back on the Early Days of The Handmaid's Tale' with Burton LeBlanc – Makeup Artist | Dept Head | Designer for The Handmaid's Tale

CSB secrets revealed! Hear from CSB's Head Designer!

The BBR Podcast

Play Episode Listen Later Apr 16, 2024 44:39

Rach sits down with CSB's Head Designer, Rita! You'll hear Rita's journey, how she got to where she is today, life at CSB, the design process, staying on top of trends, and the evolution of CSB's designs. And you'll hear some sneak peeks of what's to come!You can find Rachel on Instagram here.You can find CSB on Instagram here.Follow our socials:InstagramTikTok

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10816 Jill Nicolini Interviews Samantha Crowley Head Designer & Co-Owner at SC Custom Interiors

Play Episode Listen Later Apr 11, 2024 28:42

Magic: The Gathering Drive to Work Podcast

#1095: How I Became Head Designer

Play Episode Listen Later Dec 15, 2023 32:11

December 3 marked my 20th anniversary as Magic head designer, and this podcast tells the story of how that came to be. It's also filled with a lot of tips about how someone can work toward their own dream job.

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Clue Goes There - Murders at Karlov Manor Previews, B&R Update, New Timeless Format & Much More!

Magic Mics Podcast

Play Episode Listen Later Dec 7, 2023 44:55

Support the show! http://patreon.com/magicmics Visit our sponsor: http://www.coolstuffinc.com/ Check out the twitch channel: http://twitch.tv/magicmics Visit our subreddit: http://www.reddit.com/r/magicmics Follow us on Twitter: http://twitter.com/magicmicscast Like us on Facebook: http://facebook.com/magicmics Co-Sponsors: http://www.cardhoarder.com/ http://www.alteredsleeves.com/ (use code MAGICMICS ) http://www.cubeks.com/ https://www.manatraders.com/ (use code MAGICMICS ) AirDate - 12/6/23 First Pick Murders at Karlov Manor Roundup A First Look: https://magic.wizards.com/en/news/announcements/a-first-look-at-murders-at-karlov-manor Set Symbol Hearkens Back to RTR: https://vxtwitter.com/imdanielholt/status/1732140813923299770?s=20 Finger a Murderer: https://vxtwitter.com/joindicebreaker/status/1732439145677570331 Banned and Restricted Announcement: https://cdn.discordapp.com/attachments/410942703623208960/1181264219245654177/IMG_0712.png https://magic.wizards.com/en/news/announcements/december-4-2023-banned-and-restricted-announcement https://magic.wizards.com/en/news/announcements/explanation-of-pauper-bans-for-december-4-2023 From the Archives: Old Redemption Program for Banned Cards: https://vxtwitter.com/RhysticStudies/status/1731784388059210097 Arena Timeless Format: https://magic.wizards.com/en/news/mtg-arena/introducing-timeless-a-new-mtg-arena-format Maro Celebrates 20 Years as Head Designer: https://vxtwitter.com/maro254/status/1731784071901069617 Legacy Championship Reaches Cap: https://vxtwitter.com/volrathxp/status/1730694591576199261 Larger Prize Pool: https://vxtwitter.com/Card_Titan/status/1731069778335334911 Looking to Raise Cap: https://vxtwitter.com/Card_Titan/status/1731824751608217929 Card Kingdom Ends 60-Card Content: https://vxtwitter.com/masoneclark/status/1730487410503426422 Nexus of Fate and Tournament Proxies: https://twitter.com/raff_sputin/status/1732149454210273458 Black Lotus Coin: https://iconmint.com/products/2023-magic-the-gathering-alpha-black-lotus-2-oz-silver-coin GIVEAWAY & THANKS https://streamlabs.com/dashboard#/subscribers

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Sharon Sever - Galia Lahav: Designing Your Perfect Dress

The Loverly Wedding Podcast

Play Episode Listen Later Sep 13, 2023 49:30

This week, we sit down with Sharon Sever, Head Designer at Galia Lahav. A BFA Graduate and Fashion Diploma holder from the Paris American Academy, Sharon also apprenticed at Christian Lacroix, Pierre Balmain, CARVEN, Balenciaga, and other leading Parisian fashion houses. Hear the secrets to Galia's success, how dresses have changed over the decades, the most expensive gown Sharon's ever designed, his work with Beyoncé and other celebrities, and his advice for brides searching for the perfect dress. Learn more about Sharon: GaliaLahav.com Instagram & Pinterest @GaliaLahav Planning a wedding? It's time to plan smarter with Loverly's free wedding planning platform. From a comprehensive wedding checklists to guest list management and vendor manager, we've got everything you need to make your special day unforgettable. Need a wedding website? We got a special promotion with our friends at Minted! Get a free upgrade with promo code: LOVERLYPREMWW Let's be friends follow us on IG --> @Loverly We're on TikTok --> @Loverly

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Profits and Purpose with Jennifer St. John - Toronto - Canada's Podcast

Canada's Podcast

Play Episode Listen Later Jul 12, 2023 25:52

Founder and Head Designer at MARNIE & MICHAEL, Jennifer St. John, has been involved in art and design since her earliest days. In 2020, Jennifer launched her business, along with a mission to start a mental health initiative and began a retail shop during the peak of the pandemic, taking a risk that has paid off. With an online shop and six retail locations, Jennifer creates and hand sews her own line of high end leather bags and accessories and devotes up to 15% of all profits to mental health initiatives. She just completed her first successful mental health annual fundraiser and fashion show, with proceeds donated to RVH hospital Foundation. Jennifer's mom was untreated and undiagnosed with mental illness for her first fifty-two years of life. Growing up in this very unstable environment with her sisters, no one talked about mental health and everyone around her was distracted by her mom's unhealthy coping strategies. The only constant in her life was instability and shame. The name, Marnie & Michael, is in honour of her parents and her mother's journey – now she is determined to be a part of the conversation and space that is changing the stigma! Entrepreneurs are the backbone of Canada's economy. To support Canada's businesses, subscribe to our YouTube channel and follow us on Facebook, Instagram, LinkedIn and Twitter. Want to stay up-to-date on the latest #entrepreneur podcasts and news? Subscribe to our bi-weekly newsletter

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Mompreneurship

CanvasRebel Podcast

Play Episode Listen Later Jun 15, 2023 44:41

We're so lucky to have some great guests with us today to discuss mompreneurship and so much more. The panelists are also content partners. Content partners help Voyage in so many ways from sponsoring our mission, spreading the word about the work we do and collaborating with us on content like this.Eleonora Balducchi | Tattoo ArtistIntro: More challenging than I anticipated and at the same time a constant source of motivation to do better.Shooutout Story: https://shoutoutla.com/meet-eleonora-balducchi-tattoo-artist/Instagram: @balducchitattooOther: TikTok: @balducchitattooClaudia Lisotta | Founder, Owner & Head Designer of a Shoe BrandIntro: Founder, owner and head designer of a shoe brand.Voyage Story: http://voyagedallas.com/interview/conversations-with-claudia-lisotta/Website: https://claudialisotta.com/Instagram: https://www.instagram.com/claudialisottabrand/?hl=enAmanda Vlastas | Founder of West University Moms, resource website for moms and families in HoustonIntro: I run West University Moms, a resource website that connects parents to the community and also highlights local businesses. Prior to having kids, I was in journalism and I was an avid traveler; I have been to over 50 countries.CanvasRebel Story: https://canvasrebel.com/meet-amanda-vlastas/Website: https://westuniversitymoms.com/Instagram: https://www.instagram.com/westuniversitymoms/Alaceia Prince | Author & EntrepreneurIntro: AuthorVoyage Story: http://voyageatl.com/interview/meet-alaceia-prince-author-alaceia-prince-statesboro-based/Website: www.Alaceiaprince.comInstagram: Aprince_ 3Nanekia Ansari | Parenting CoachIntro: Mommy Coach connecting moms to the tools they need to have the luxury in motherhood.CanvasRebel Story: https://canvasrebel.com/meet-nanekia-ansari/Website: https://nanekia.com/Youtube: https://www.youtube.com/channel/UCQpR3DKExE9Sifs5qaptsQwInstagram: https://www.instagram.com/justonehotmom/

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Handbag and Accessories Designer Angel Neal Head Designer of Anice by Angel

Atelier 1121

Play Episode Listen Later Jun 5, 2023 17:40

Angel Neal the Head Designer of Anice by Angel joins us to open season 7 with style and grace. Chit chat about the new designs and the great things to come.

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Best of MTC: Burton LeBlanc – 3X Emmy | 4X Guild | MET Fashion Award Nominated Makeup Artist | Dept Head | Designer for The Handmaid's Tale

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Play Episode Listen Later May 31, 2023 28:54

Best of MTC: Burton LeBlanc – 3X Emmy | 4X Guild | MET Fashion Award Nominated Makeup Artist | Dept Head | Designer for The Handmaid's Talewww.MeettheCreatives.org

Episode 191 Part 2: Pearls, Remixed: How Melanie Georgacopoulos Is Changing How We Think About the Classic Gem

Jewelry Journey Podcast

Play Episode Listen Later Apr 21, 2023 24:52

What you'll learn in this episode: How Melanie discovered that classic pearls could be seen in a new light. Why younger people, especially men, are embracing pearl jewelry in a new way. How Melanie's collaboration with Tasaki broke barriers for Japanese customers. The difference between types of pearls, and what it's like to work with them. How launching her brand right after art school gave Melanie a crash course in the jewelry business. About Melanie Georgacopoulos With a background in sculpture, jewellery designer Melanie Georgacopoulos works with materials in new ways to release their potential and stimulate new interpretations. She began her exploration of the pearl during her Master's degree at the RCA in 2007, after which she worked as a freelance designer under Antoine Sandoz for major international brands, before establishing her eponymous label in 2010. In Melanie's work the paradoxical, intriguing nature of pearls and mother of pearl is at the core of every piece, whilst the aesthetic remains simple, structured and timeless. She continually strives to challenge the existing preconceptions of these organic materials and that of traditional jewellery design itself. It is this unique approach which has given her the opportunity to showcase her pieces regularly at fairs, exhibitions and galleries worldwide. Melanie became well known internationally for her work with pearls, leading to her collaboration with TASAKI, which began in 2013. Directional line M/G TASAKI was born, marring Melanie's flair to cross design boundaries with the Japanese jewellery company's world renowned craftsmanship. Following the huge success of the seasonal collections Melanie was appointed Head Designer for M/G TASAKI in 2015. She has been a visiting lecturer at Central Saint Martins for the last four years whilst she continues to create her own collections and one-off pieces for special projects. Additional Resources: Website Instagram Photos available on TheJewelryJourney.com Transcript: Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, we're talking with Melanie Georgacopoulos. Melanie occupies some unusual niches. She's a specialist in designing with pearls, which is very unusual. For those of you who are listening who think that pearls are too old-fashioned or too formal, she has really changed the way pearls are viewed. She lives in Hamburg but has her office in London. She's also the Chief Designer for a collaboration with a Japanese company, Tasaki. Welcome back. Do you work with pearls in all colors? Melanie: Absolutely. This journey over the last few years has also been a journey for myself. I also started with this idea that there are only white, round pearls out there, and that's not true. There are Tahitian pearls, South Sea pearls, Akoya pearls. There's a whole world of natural pearls. There are different shapes, different sizes. Some are extremely rare, like conch pearls or melo pearls. Some are very common, like freshwater pearls. During this journey of discovery for myself, I've tried to launch some collections which focus on a certain kind of pearl to highlight it. For one of the collections I did, the Nacre Collection, I paired a pink pearl with a pink mother of pearl in way that's like the return of the pearl to its oyster, or a golden South Sea to the golden sea mother of pearl shell. Sometimes I'm sent messages through Instagram by suppliers or pearl farmers who say, “Hey, have you seen this? Do you want to work with what I make?” I'm like “Wow! This is new to me.” I've been working with pearls for 10 years and it keeps on giving. I find that fantastic. Sharon: Do you have a favorite pearl? Do you think one is better than another? Is a South Sea pearl better or easier to work with than an Akoya? Melanie: I don't think there's a better one. In terms of value, of course the more expensive the pearl, probably the better it is for investment. Another common thing I've heard said is that at the end of the day, you just have to like what it is you're buying. You want to wear it. You don't want to necessarily buy it and put it in the safe because you're too scared to wear it or use it because it's something too valuable. I really enjoy working with South Seas because they are so large. I've almost finished a bracelet which has a mix of Tahitians and Akoyas, and it's black and white. So, I'm mixing different kinds. The challenge with pearls is that they don't all come in all the sizes and the colors you want. So, depending on the size or the color you want for a design, you have to get it from a specific place. A lot of times, people don't mix a Tahitian pearl with a freshwater pearl because it's not considered to be right. You just have to use Tahitians or you just have to use freshwater. Because I'm very design-led, I will say, “No, if I want to have a pearl graduation from a two-millimeter pearl to a three-millimeter pearl, then I'm going to mix the pearls.” But color-wise, they're going to look exactly the same and they're going to match together. So right now, it's definitely South Seas, but ask me next year. I might have a different answer. Sharon: I want to know where you find a three-millimeter pearl. That's a big pearl. Melanie: You wonder if it's hiding something inside. Sharon: Do people come to you and say, “Here are my grandmother's pearls or my mother's pearls. I want something different made out of them”? Melanie: I have that too. They're probably the most challenging pearls to work with because first of all, they're very sentimental to their owners. It's the one thing you can't throw away, but you also don't want to wear it and you don't know what to do with it. A lot of those poor pearl necklaces stay in boxes, and it's challenging to say to someone, “Can I drill that necklace? Can I change it quite a bit? Are you sure, or do you want to keep it original the way you inherited it?” But I have some great clients that text me photos and are like, “Oh, I have this necklace and I don't know what to do with it. Maybe you have an idea.” Then I say, “O.K., but then you have to tell me who you are,” because it's designed for them. It's not even a piece they chose to buy themselves. It's something they inherited. They never decided, “This is the pearl size I like or that suits me.” A lot of times, I need to add or change it quite dramatically so they can incorporate it into their daily life and feel that it's part of them. But I love those challenges, I have to say. I invite those challenges. I learn a lot from them. Sharon: Do you look at a necklace and see what it could be? Melanie: I have to get the measurements. This is the age of digital now, which means photos. I ask them to take a photo of the necklace next to a ruler so I understand how big it is, how long the necklace is or how big the pearls are, because you're not going to ask a person you've never met to send you their pearl necklace. We have a lot of conversations before anything actually happens. I need to understand what their budget is—that's also important—and what their expectation is. Sometimes they want a bracelet; sometimes they want earrings. So, we need to discuss that. Then see what I can actually do with the piece they have, because sometimes they have unrealistic expectations. I have to rein them in a little bit. Sharon: When you say unrealistic expectations, do they expect you to make the pearl larger when it's really small? Melanie: Yeah, I think sometimes they have an idea of a pearl necklace or a piece of jewelry, a bracelet, and that's not possible with the pearls from the necklace they have. So, we either need to add pearls, or we need to start fresh and use the existing pearl necklace for something else. Sharon: You also mix gold and other things with your pearls. You had a couple of necklaces with gold woven in. Melanie: Yeah, I use gold, 18 carats. I also use diamonds. I've worked with sapphires before, anything really. I used silver chains at the beginning. A few years ago, I was doing larger pieces, so it made more sense to use silver. I used palladium at some point. You can't do everything with everything. The best thing is to figure out what you want to make and then the best way to make it. Sometimes it's a question of cost. Sometimes it's a question of what the client wants. Sometimes it's what I want the design to be and how much I'm willing to compromise, but at the end of the day, it needs to be a piece of jewelry that can be worn and enjoyed. That's when the piece of jewelry really becomes alive. Sharon: So, you have your own brand and your Tasaki collection. That's a lot of designing. Melanie: Yeah, I love it. I'm really lucky. It's exactly what I wanted. Sharon: Have you ever been approached by other places who see what you do with the pearls? Do they say, “Hey, that's really different. Why don't you come do it for us?” Melanie: Yes, but so far, my relationship with Tasaki is working so well that I don't need to look anywhere else. I'm also not greedy. I'm very loyal. I want this to run its course, until whenever it's meant to go, and see what happens. Obviously, there are elements I can control, and that is how much I love to work for them and how good the designs are. There are a lot of cultural, social, political elements I can't control. There's no way to know when this is going to end or slow down, but for now I haven't found another partnership that has offered me the degree of freedom I have and the satisfaction I get from seeing the M/G Tasaki pieces on demanding Japanese clients. Sharon: Has anybody ever brought you a whole bunch of conch pearls or melo pearls or natural pearls and not realized what they had? Melanie: Not yet. I think that's part of my wish list, that someone comes with a suitcase full of conch or melo pearls and says, “How much are these strange-looking pearls?” I would send them straight to the bank or to an auction house. I think it's the age where more people know what they have because they're able to find a lot of information on the internet. I think more and more it's the sentimental aspect of what you have. Of course, if you are a millionaire, then it's different, but I'm not. I think a lot of times, we cherish things that have no monetary value, but they're highly, highly sentimental. So, we'll see. Maybe someone does have one. Sharon: Do they bring natural pearls to you? Melanie: Some do, yes. They have natural pearl strands, but the pearls tend to be quite small. They were made at a different time. A hundred years ago, you didn't have access to cultured pearls. That trend had just started. So, there are still people who have inherited a small, thin strand of natural pearls. Sharon: You won a prize for the Diamond Fishbone Bangle, which I thought was gorgeous. Tell us about the prize and how you heard about it. Can you wear this bracelet with the mother of pearl? It looks very fragile. That's what it looks like. Melanie: It's not as fragile as it looks. No one really goes around banging their hands when they're wearing jewelry. I think you're a bit conscious when you wear something. Even when you're wearing a nice pullover, you're not going run your arm on the wall. You're a bit more self-conscious. The prize was great because it's a wonderful group, the Cultured Pearl Association of America, if I'm not mistaken, and Jennifer Heebner is the executive director. We've been in touch with her. It's a great recognition. It's always nice when your peers recognize something good you've done. Recently I got another award in London from the Goldsmiths, which is a very old institution. They awarded my lapidary work. I submitted a bangle made of mother of pearl which was carved. I had two old mine-cut diamonds inserted and set with gold prongs. I think they recognized the audacity and the search to present something new. This is how I took the award, and it gives me energy to carry on what I do. But I get the award and then the next day, I still wake up and take my kids to school. Life goes on very quickly after the awards, but it's still a nice recognition. Sharon: Why did you name it the Diamond Fishbone? Melanie: Because I'm not very good with names of jewelry. I always try to stay quite close to reality. Because the sheets of mother of pearl are layered in a fishbone pattern, I thought I would name it the Fishbone. Sharon: I see, O.K. Originally, I thought, “Why is it a fishbone?” Did the prize make any difference in what you do? Melanie: If it had been accompanied with a check of $500,000 U.S. dollars, it could have made a big difference. I could have bought some conch or some melos. No, it doesn't really, but it's a nice recognition. Unfortunately, they don't come with monetary prizes, which would be nice, to be honest, because it's nice to get that kind of support. But it's already a really nice accolade. That's why I entered last year also, and that's why I try and present work to these awards. I think it is important that other people become aware of the work I do. I think it's quite inspiring to students to see that these pieces are possible to make and that someone is doing them. Sharon: Some people feel like they entered and didn't win, so why are they going to all this trouble? Do you feel that way at all? Melanie: No. I entered the Susan Beech Award recently over Christmas. I spent a big chunk of my Christmas writing that proposal. I didn't get shortlisted, and that's O.K., but that was quite a difficult entry for a competition. You have to write down the budget, and it was a lot of work. It wasn't just, “Oh, I'm submitting a photo and the dimensions of the piece.” Sometimes someone comes a few years later and says, “Hey, I was part of the award panel, the judging panel. You didn't get it, but I still remember that piece you did. Maybe you want to do something now.” So, even if the result is not immediate in that I might have expected to win the award, other things are happening in the background that I'm not necessarily aware of and which might surface a few months or a few years later. So, it's a process. It's not really about winning. It's more about making steps, connecting to people, being active and not expecting things to come to me. I really see it like this. Sharon: I have questions about several things you said. I read this on your website or Tasaki's website; I don't remember where. Actually, I remember a couple of things. You talked about a statement piece. I happen to like statement pieces, but every time I look at statement, they're not my kind of statement. But you had really different statement pieces, so I thought, “Well, that's interesting.” You described pearls as gems. Do you consider them a gem of sorts? Melanie: They are officially gemstones. Sharon: Are they? Melanie: Yeah, they are classified as gemstones. There are other organic gemstones such as coral, but there was a time when pearls were considered the only organic gemstones. That's why I also call them gems. I think the way they're made is fascinating, because even if they're cultured—most pearls are cultured these days—you still need a little oyster to do the work for a couple of years to get one. Of course, the oyster is inseminated, but you still need that little animal to do this. For me, this is magical. It feels like a gem anyway because it is precious, but I think officially we call them gemstones. Sharon: I don't think of them as gemstones, but that's interesting. What I was surprised at was that you developed cufflinks for men. Not many people design jewelry for men. What does that do for you? Melanie: I think this is a sector which is going to grow. I think more and more men are interested in their appearance. You see the cosmetic industry growing. Fashion, of course, is growing. If you look at red carpets, the Oscars, you see more and more men wearing not only jewelry, but pearl necklaces. That has happened in the last year, year-and-a-half. It's always the classic white pearl necklace, because I think this is the contrast they're looking for in terms of cultural significance. I don't know if it's going to progress into different kinds of pearl jewelry, but there is a lot of interest from men now to extend their style into jewelry, and cufflinks are quite a big part of how they dress formally, although not in their everyday lives necessarily. Sharon: I have been told that men collect cufflinks. My husband doesn't wear them, but I have been told that men do collect cufflinks. You're very international. Is it that your dad is Greek and your mom is Greek and French? Melanie: My dad is Greek. My mother is French. Now I am married to a German, hence living in Hamburg, and my brother lives in Switzerland. We're still European, so I guess not that international, but it's interesting to grow up with two languages. It's the same as my kids now, growing up with two languages and just being open to the world. Sharon: So, you learned French before, and then you learned English just by going to school and learning? Melanie: Yeah, English is the first international language taught in Greece. From the age of seven, I learned Greek at school. Then when I was able to study in Edinburgh, that's where I really learned English in the sense of everyday life. Now I've learned German, so I speak my fourth language. Sharon: Wow! How does it happen that you have a London office? You live in Hamburg, but you have a London office. How did that come about? Melanie: That is because after I finished my studies at the Royal College of Art, I stayed there. I had my office and my business, and when we moved to Hamburg seven years ago, I decided to keep that. Moving to Hamburg was for personal reasons, and it made sense to keep all my contacts and my clients and my business where it started. Of course, there was Covid in between, but now what I'm trying to do is grow the German part. The business in London is still there. I have someone working for me there. I'm able to fly quite often now after Covid, and now I'm in the process of looking at what kind of fairs I can do here in Hamburg. Of course, in Munich, there is a very big jewelry scene. I was at Munich Jewelry Week last week. I think there's a lot to do in Germany because there's a lot of jewelry manufacturing, and there are a lot of jewelry artists and practitioners. I haven't had the opportunity to connect with this part of my life here in Hamburg yet, but I'm in the process of doing that now. It's exciting. Sharon: Were you unusual in that you opened your business right after school, right after the Royal College of Art? Melanie: I don't think so. That's a positive and a negative, but if you finish a college like Central Saint Martins or the Royal College of Art, you are expected to be a designer or to start your own practice. I say it's a negative because a lot of times you're not encouraged or not given the possibility to work for other people so you really learn more about how a business is run with all the steps. You're supposed to start everything from scratch by yourself. Obviously, this has its own challenges, but I think lots of us started our own brands straight after. Of course, over time, some people do end up working for others, and some people continue to do their own practice like I have. Sharon: That's very hard. Did you have business classes in school? Melanie: No. Sharon: No, nothing. Melanie: After all the possible mistakes—and I'm going to make more—I've come to a conclusion that I've learned a lot from all the mistakes, and I've figured out how to do things my way. If I could go back, I think I would work longer for someone else, simply because it's an invaluable experience. Once you've started your own company, it's hard to then work for someone else, but it is what it is. I feel like I can stand on my own two feet now. Sharon: Well, 10 years is a long time. It's a short time and it's a long time. Melanie: Hopefully it's a short time for me. Sharon: Thank you so much for being with us today. We really appreciate it. Melanie: It's been a pleasure talking with you Sharon. Thank you. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Episode 191 Part 1: Pearls, Remixed: How Melanie Georgacopoulos Is Changing How We Think About the Classic Gem

Jewelry Journey Podcast

Play Episode Listen Later Apr 19, 2023 24:00

What you'll learn in this episode: How Melanie discovered that classic pearls could be seen in a new light. Why younger people, especially men, are embracing pearl jewelry in a new way. How Melanie's collaboration with Tasaki broke barriers for Japanese customers. The difference between types of pearls, and what it's like to work with them. How launching her brand right after art school gave Melanie a crash course in the jewelry business. About Melanie Georgacopoulos With a background in sculpture, jewellery designer Melanie Georgacopoulos works with materials in new ways to release their potential and stimulate new interpretations. She began her exploration of the pearl during her Master's degree at the RCA in 2007, after which she worked as a freelance designer under Antoine Sandoz for major international brands, before establishing her eponymous label in 2010. In Melanie's work the paradoxical, intriguing nature of pearls and mother of pearl is at the core of every piece, whilst the aesthetic remains simple, structured and timeless. She continually strives to challenge the existing preconceptions of these organic materials and that of traditional jewellery design itself. It is this unique approach which has given her the opportunity to showcase her pieces regularly at fairs, exhibitions and galleries worldwide. Melanie became well known internationally for her work with pearls, leading to her collaboration with TASAKI, which began in 2013. Directional line M/G TASAKI was born, marring Melanie's flair to cross design boundaries with the Japanese jewellery company's world renowned craftsmanship. Following the huge success of the seasonal collections Melanie was appointed Head Designer for M/G TASAKI in 2015. She has been a visiting lecturer at Central Saint Martins for the last four years whilst she continues to create her own collections and one-off pieces for special projects. Additional Resources: Website Instagram Photos available on TheJewelryJourney.com Transcript: Melanie Georgacopoulos has done a few things to pearls that would make an old-school pearl lover gasp. She's cut them, drilled them and combined them in taboo ways, but the result is elegant, modern jewelry for a new generation. She joined the Jewelry Journey Podcast to talk about her collaboration with Japanese pearl brand Tasaki; which types of pearls she loves to work with; and why she didn't appreciate pearls until she saw what was inside. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, we're talking with Melanie Georgacopoulos. Melanie occupies some unusual niches. She's a specialist in designing with pearls, which is very unusual. For those of you who are listening who think that pearls are too old-fashioned or too formal, she has really changed the way pearls are viewed. She lives in Hamburg but has her office in London. She's also the Chief Designer for a collaboration with a Japanese company, Tasaki. We will hear all about her jewelry journey today. Melanie, welcome to the program. Melanie: Thank you for inviting me, Sharon. I'm delighted to be here. Sharon: Melanie and I went through a lot of iterations with the time, so I'm glad we did connect. Tell us about your jewelry journey and how you started working with pearls. Melanie: I have to say I am very lucky, because I've known from quite a young age that I wanted to be creative, and more specifically that I wanted to work in the field of jewelry. I must have been around 12 or 13 years old when I started making things with my hands. I didn't quite know what to do with them, so my brother suggested I use them as jewelry somehow. That gave me a purpose to create objects that related to the body somehow. By the time I finished school, I was 100% focused on the idea that I wanted to involve myself in jewelry. I grew up in Greece, by the way, so my first step was to study in Athens. I found a private vocational school where I learned about traditional Greek jewelry techniques, handmaking and production. It was more focused on technique rather than design. After those three years, I decided to broaden my horizons, so I went to Edinburgh College of Art and studied sculpture. I went from something quite small to something very large. I did a BA there. After that, I felt that I still needed help to figure out exactly what my voice was. I was very lucky; I applied for the Royal College of Art and got a place in the jewelry department, which is a master's of two years. I had a fantastic time there. It was during those two years that I discovered pearls. At the time, I was working with a lot of different materials, and I was designing a lot, but I hadn't really found my voice yet. By chance I started working with pearls. My first thought was, “What's inside them? They look intriguing.” I cut one up and saw those broad circles, and I was fascinated; I was surprised; I was intrigued, and I started learning about pearls. I graduated from the RCA, the Royal College of Art, with a collection of deconstructing the pearl necklace. After graduating, I decided to stay in London. I worked as a jewelry designer for a brand. We designed for other companies. A few years later, I decided to start my own brand because there was still a lot of interest in what I was doing, and I felt there was a niche to be explored. That was 10 years ago already. There was a niche to be explored about contemporary pearl jewelry. There wasn't really anything exciting being done in the field, I felt. This is how my journey started into pearl jewelry. Sharon: Did you have the emotional support of your family in this? Melanie: I was very lucky. My parents encouraged me from a young age to find what I was interested in and pursue it. I was very passionate from a young age, and they recognized and encouraged that. They supported me for my studies, which in hindsight I'm also very grateful for because I was completely free to focus on my studies without any financial constraints. They said to me, “We just want you to find what you're really interested in and the rest will follow,” and it has, actually. Sharon: Did you come from an artistic family? Were they creative? Were they sculptors? Melanie: In a way. My dad is a lawyer, but he always liked to build things with his hands and work in the garden. He really enjoyed that. My mom is an interior decorator. We always credit her for the artistic name in the family, but I think my dad secretly was also quite artistic, just not for his work. My brother ended up becoming an industrial designer. We were both encouraged to be quite creative. There were no constraints. At the time in Greece, there was a lot of focus on either becoming a doctor or a lawyer. Thankfully they kept us away from that career path. Sharon: I'm very surprised that English schools would accept somebody who hadn't already gone through their system. Melanie: I think I was lucky. Going to the Royal College of Art was easier because I had graduated from Edinburgh. In order to get into Edinburgh, I needed to pass an English exam for the language and submit a portfolio which I had worked on. It wasn't just, “O.K., if I show up, I'm going to get a place.” I had to compete for that. I have to say it was quite a shock culturally to move from Greece to Scotland, but at the same time, it was an excellent training for my English. It was a place where you have to figure things out by yourself. There is no one there to hold your hand, so it made me quite resilient from the beginning. Also, I think it might be the English or British mentality that you have to work hard for what you get. No one is going to be there to hold your hand and provide things to you. You have to find your own way to make things happen, which is what I have continued up until today. Sharon: When you went from Edinburgh to the Royal College of Art, was it a big change then, or was it just a continuation? Melanie: It was a big change because I basically had no understanding of the impact it was going to have on me. I was moving to an extremely creative environment, very competitive, but also the people who are chosen to go to the Royal College of Art are extremely talented, extremely focused, extremely passionate. You come in thinking, “Oh, I'm going thrive here. I'm going to be the best,” and you realize that the other 20 people in your class are exactly the same as you, if not better. But it was a very nice context. It wasn't competitive in a bad way; it was actually competitive in a good way. It was very international. I still have contacts all over the world because I studied there. It was also a change because London is still a very international city in comparison to a place like Edinburgh. In hindsight, I'm so grateful to have come to Edinburgh because I did get a taste of Britain, whereas in London, you get a taste of the world, but not necessarily that much of England. Sharon: So, you were studying, and you saw a hole in the marketplace? Tell us about that. Melanie: When you do a master's, you obviously try to do a lot of things at the same time. You're trying to figure out who you are relatively, what is your own point of view in whatever you study, but let's say it's jewelry. I was trying to find my voice because there are all different kinds of jewelry, as you know. There's high jewelry, artistic jewelry, fashion jewelry, and I was trying to figure that out. At the same time, you study a lot of things. You have to write essays. You have to do projects with market research. You have to do specific projects with companies during your studies, like a weeklong project, for example. Part of those projects is to understand not only the context you're thinking of going into in terms of jewelry, but understanding the general context of what is out there. I think it helps you to find your place if you find certain niches or areas that you feel are potentially unexplored. When I came across pearls, at the beginning, I had absolutely no prior relationship to them the way some cultures do. I didn't really understand the impact of pearls or their cultural significance. I also had no fear because after all these years, I realized people have a lot of connotations about pearls. Wit the more valuable pearls, you are to treat them with respect—I put that in brackets. You're not supposed to cut them, and you're not supposed to do things to them. But because of my sculptural context, I actually saw them as a material, not necessarily as a precious gemstone. That made me free to explore them as a material, but also culturally and design-wise in my subsequent designs. I think that was a very good start for me, to be in this comfort zone of studying where I could be very experimental and put down some solid foundations, which then I was able to grow and expand after my studies as a young professional and as someone who has to make a living out of what they do. Sharon: When you first looked at the pearls, did you just see, like most people do, strands you put around your neck? Melanie: Absolutely, yes. The context was really the single pearl strands, the little earrings. There was hardly any pearl jewelry—and by that I include fashion jewelry—on the high streets. Slowly but surely I started seeing fashion jewelry on the catwalks, with brands like Alexander McQueen. Later there was Christopher Kane. Now, for example, there is Simone Rocha, who started putting pearl embellishments on her clothes. All this has the effect that it trickles onto the high streets. Then, the 14, 15, 16, 17-year-olds start wearing plastic pearls, and they slowly understand that it's not that old-fashioned. Then by the time they're 30, they can pay a bit more. They want to wear more expensive jewelry because they can afford it. They start to invest in fine jewelry and keep progressing. Over the years, I realized I have two sorts of clients. One is the older client who has the classic necklace and earrings, probably the white ones or the darker ones depending on where she's from. She's looking for something different, because I think now is the time that people look for individual jewelry that expresses their style rather than copying something they see in a magazine. The second type of client is a younger customer who is not particularly interested in pearls but likes the design. They might also happen to have pearls. I think it gives me a nice challenge to try and create pieces that attract both of those clients, because clearly, they look for different things, different scales. Also, they have different budgets. Sharon: Besides the one in Japan, do you design for companies? Do people come to you and say, “I want my pearls different”? How does it work? Melanie: I have been in touch with Tasaki since 2012. By that time, I had already started my brand. I was wholesaling in a few stores, and I decided to focus on pearls. When Tasaki approached me, they wanted to take the sliced idea I was known for and turn it into M/G Tasaki Jewelry. They wanted to slowly build an M/G Tasaki brand with me. Unfortunately, my last name, as you know, is very long, so we decided to do M/G Tasaki rather than Melanie Gerogacopoulos, which would be far too long. So, I design exclusively for them. Then on the side, I have my own brand where I'm able to be creative completely without any boundaries. This is also where I have expanded the last two years on working with mother of pearl, as you may have seen. So, I have clients who approach me because they've seen my work for Tasaki and they want to buy Tasaki pieces, which they can also do through the Tasaki website or in the Tasaki shops. I also have clients who approach me because they want a special piece, a commission, something else I have done for my own brand. Sharon: When I look at mother of pearl, it looks very fragile or like you have to be very careful with it. Am I wrong with that? Melanie: You have to be careful, but it's not as fragile as people think. Actually, mother of pearl has been used quite a lot in watches and dials. It's been used in fine watches for a long, long time. We've seen it more and more in fine jewelry in the last few years, but you have to treat it differently than pearl. This is one aspect of it that I find fascinating. It's so close to a pearl. It's the actual oyster that makes the pearl, but you buy it in flat sheets. It's translucent. It's also got the same colors as pearls. You can do different things with it. Even though it's like the first cousin of the pearl, it allows you to do other things that you wouldn't be able to do with pearls. It's a similar material. It's in the same family, yet it's a completely different thing altogether. Sharon: Do you buy your pearls one by one, or do you say, “Send me a batch and I'll pick the ones I like”? Melanie: It depends on whether I'm designing a collection. In that case, I have suppliers, for example in Hong Kong, for freshwater pearls. I ask for different sizes and strands that they have in different colors. They send me photos and price lists, and then I decide. I always try to buy more than I need because I think there's no point getting something sent from Hong Kong if it's just for one pearl. So, I'm trying to buy a bit more to have more stock in the office. Then I have suppliers in London. If I have a special commission, there's a system where they can lend you a few pearls or strands on approval, which means you can borrow them for three weeks, I think, to show them to the client. They can keep them for a few days, and then they return them to you when they've made a decision. It's part of the experience when you work with a private client; they get that extra service so you can customize something for them. You give them the luxury to look at the gemstones, in this case the pearls, before they are mounted on a piece of jewelry. They can look at the pearls against their skin color, for example, and decide before having the finished piece of jewelry in their hands. So, how I source the materials depends on what I intend to do with them. Because I make collections as well as individual pieces, I have suppliers who can give me access to pearls or other gemstones, depending on what I'm going to be using them for. Sharon: Did Tasaki approach you because—if you think of Japan, you think of pearls. Well, I do at least. Melanie: I think we all do, yes. I think it was just extremely good timing. They saw my pieces in the High Street Market in London, which is a big shop and a very conceptual store. They found the products interesting because I was cutting them and joining them and making necklaces, and they were selling very well. They thought, “O.K., someone's doing something interesting. We've never seen this before. It's different than what exists out there, what other competitors are doing.” I'm sure you've heard of Mikimoto as being a Japanese pearl brand, and they were looking to offer a different perspective on pearl jewelry at the time. So, I was lucky that they saw my pieces when they were searching for new ideas. They suggested we do this joint brand. Every time I think about this, I'm so grateful they placed so much trust in me, a young 30-year-old, Greek/French sculpture jewelry graduate with a young brand, a creative person. A year after we met, we launched the first collection. Luckily it went well, but it could have equally been rejected by the very discerning Japanese customers. Sharon: You're saying you did the collection a year later. Do they have their own stores, or would they put it in department stores? Melanie: Yeah, they are a pretty big company, but they're not very well known in the west. They're working on that, but they have a lot of stores in Japan, Korea, China and Taiwan. They're actually quite well-known there, and they were able to place the collection straightaway in their stores and some of the biggest department stores there. Since then, we've made on average one or two collections a year. We launch between 20 to 30 different pieces a year. I've designed over 30 or 40 collections and we're still working together, which is a huge compliment for myself to be designing for a Japanese company for so long. Sharon: If they're so well-known, is it like if your boyfriend brings you into Tiffany? Your boyfriend brings you to Tasaki? Melanie: I guess, yeah. I have to say, I really admire that they are Japanese. The stereotype of Japanese people making things extremely well, that's totally true. Being appreciative of tradition and craftsmanship is totally true, but at the same time, they're really wanting and looking for something extremely avant garde. You can see that in the fashion and the fashion companies. I find it very brave of a company to go in that direction in pearl jewelry, because pearls are very culturally significant in Japan. They have a completely different relationship to them than we do. To propose sliced pearls as a first collection, I think that was very daring, and it worked. Sharon: How did you introduce it? Let's say somebody is 50 and has their pearl necklace they've had for 30 years. You were slicing pearls and doing different things. How did you move them to a younger vibe? Melanie: I think people always look for something they don't have. There's no point in making another classic pearl necklace if someone already has it, and you're not going to persuade a young person to buy one if they are associated with their grandmother, or the one that stayed in the safe for the last 30, 40 years. I am particularly interested in design more than as a jeweler, more than the value of stones. I feel that my strong point is to create designed pieces which are hopefully innovative and stand through time, but represent the time we're in. They do stand the test of time, and I hope this is what attracts younger people to the jewelry. It's something they haven't seen before, something they feel represents the time we're in now. The way to do that is by introducing good design. This is my hope for the jewelry that I present. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

Episode 123 Easter Egger Chickens / Chicken Lady Jewelry with Madeline McGlaughlin of Lenora Dame / Shrimp and Asparagus Clafoutis / Vintage Egg Cups

Coffee with the Chicken Ladies

Play Episode Listen Later Apr 4, 2023 64:58

In this week's episode, we spotlight the Easter Egger! We have a fun interview with Madeline McGlaughlin, Chicken Lady, Owner, and Head Designer of Lenora Dame Jewelry. We share our recipe for delicious savory Shrimp and Asparagus Clafoutis, and provide some retail therapy with Vintage Egg Cups.Our sponsor, Grubbly Farms, is offering our listeners 30% off your purchase for first time buyers! That's a fantastic value! This offer does not apply to subscriptions and cannot be used with any other discounts. Click here for our affiliate link and use our code CWTCL30 to get your discount.Chicken Luv Box - use CWTCL50 for 50% off your first box of any multi-month subscription!https://www.chickenluv.com/Strong Animals Chicken Essentialshttps://www.getstronganimals.com/Breed Spotlight is sponsored by Murray McMurray Hatcheryhttps://www.mcmurrayhatchery.com/Nestera UShttps://nestera.us/cwtclUse our affiliate link above for 5% off your purchase!Roosty'shttps://amzn.to/3yMDJLenora Dame Jewelryhttp://lenoradame.com/Lenore Dame Jewelry on Etsyhttp://etsy.com/shop/LenoraDameStudioLenora Dame on Instagramhttps://www.instagram.com/lenoradame/?hl=enAsparagus and Shrimp Clafoutishttps://coffeewiththechickenladies.com/farm-fresh-egg-recipes/shrimp-and-asparagus-clafoutis/CWTCL Websitehttps://coffeewiththechickenladies.com/CWTCL Etsy Shophttps://www.etsy.com/shop/CoffeeWChickenLadiesCWTCL Amazon Recommendationshttps://www.amazon.com/shop/coffeewiththechickenladiesSupport the show

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23. Building a Golf Apparel Business from the Ground Up with Founder of Golftini, Susan Hess

T-Time with Tori Totlis

Play Episode Listen Later Mar 20, 2023 61:56

Tori sits down with Susan Hess, Founder and Head Designer at Golftini, a luxury brand of fashionable and functional women's golf apparel. Listen in as Susan looks back on starting Golftini in 2004, motivated by her own annoyance that women's golf wear at the time was either functional or fashionable, but never both! The first skort she ever designed, for herself, instantly caught the attention of the other women at her club, and for the next year she made and sold product to her peers with no intention to make a “real” business out of it. That was until she was invited to set up a booth at a PGA Tour a year later in 2005. She went home with a $70,000 check, and she never looked back. Susan shares how she learned the ropes of business ownership, gaining almost all of it from practical experience in the trenches day by day as the brand grew. And the name “Golftini”? She says it came to her almost on a whim amid the martini craze in mid-2000s New York. She wrote the name, along with the martini logo, down on a napkin, and it stuck! Key Moments ● (32:03) Susan talks about her Spring and Fall lines and what to expect in upcoming seasons. ● (39:13) Learn which skort lengths Golfini offers and what length to expect based on your size. ● (41:44) What does Golftini offer tennis and pickleball players? ● (44:14) Susan explains what makes Golftini products so high-quality and long-lasting. ● (46:48) Why is women's golf apparel so expensive, and why aren't there larger sizes? ● (54:07) Susan shares why there are currently no plans to go exclusively ecommerce. ● (56:10) What would Susan tell her 2004 self, and to other moms? Connect with Our Guests: Golftini: Instagram | Website | TikTok | LinkedIn 25% Off Code for First Time Customers, Use Code TTGOLF Subscribe to our FREE Female Golfer Facebook Group: First T Crew [Behind the Scenes of Women's Golf] Get in touch! Instagram: @tori_totlis TikTok: @tori_totlis YouTube: @tori.totlis Website: CompeteConfidenceGolf.com Be sure you are subscribed to our podcast to automatically receive the NEW episodes weekly!!!

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Take the Leap!

The Empowerment Zone

Play Episode Listen Later Nov 28, 2022 30:51

Donna King: Do what makes you happy — In today's episode, Ramona talks to entrepreneur Donna King, Chief Visionary Officer and Head Designer of P. Sherrod & Co., an Atlanta-based leather lifestyle brand founded in 2009. Donna shares her story of how she “took the leap” and persevered through the challenges of entrepreneurship to build her company. If you are temporarily paralyzed by fear, this episode will inspire you. For all others, you may also be inspired to support the brand. The holidays are here and it is time to purchase your gifts for the special ladies in your life, and the place to begin is P. Sherrod and Co. P. Sherrod and Co. offers an amazing collection of fine Colombian leather handbags, accessories and small leather goods. The brand has been featured in FORBES, UPSCALE and ATLANTA magazines. Beginning in the Spring of 2017, the collection became available in major department stores, BELK and Macy's. Most recently the Fall collection was spotted by a CBS costume designer and has been a staple for some of the major characters on “The Young & the Restless” on CBS. A native of Jersey City, New Jersey, Donna now lives in Atlanta. To learn more about Donna King and P. Sherrod and Co., visit https://www.psherrod.com.

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Mark Rosewater Answers YOUR Questions!

Good Luck High Five

Play Episode Listen Later Oct 18, 2022 58:00

On this episode, Maria and Meghan welcome back very special guest (and Head Designer of Magic the Gathering) Mark Rosewater to answer YOUR burning questions! Find out what it's like to design a set of Magic, what's the best part about game design and what's the worst -- what it's really like to work in "The Pit" and more! Special shout-out to our patrons who supplied us with these amazing questions. Mark also joins in for a game of Flavor Text Theatre: Movie Pitches: Unfinity edition! Become a GLH5 Patron Today! Listen to Weekly Magic News with The Upkeep Buy Some Sweet GLHF Merch Check out our Board Games YouTube Channel Look! It's our Magic YouTube Channel Follow us on Twitter Peep Our Insta Be our Facebook Friend Watch us play on Twitch Everything GLHF is on our Website Get the Best MTG Gear with UltraPRO Visit our sponsor Card Kingdom

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Unfinity w/ Mark Rosewater

Good Luck High Five

Play Episode Listen Later Oct 4, 2022 64:38

On this episode, Maria and Meghan welcome extra, super, mega special guest: Head Designer for Magic the Gathering: Mark Rosewater! Mark joins our two hosts to chat about the brand new and extremely fun un-set Unfinity. Learn about the format's draft archetypes before you throw down with your friends, hear stories from behind-the-scenes of the set's development, and laugh along with the man, the myth, the Mark -- the person who just might love this game more than anyone else. Become a GLH5 Patron Today! Listen to Weekly Magic News with The Upkeep Buy Some Sweet GLHF Merch Check out our Board Games YouTube Channel Look! It's our Magic YouTube Channel Follow us on Twitter Peep Our Insta Be our Facebook Friend Watch us play on Twitch Everything GLHF is on our Website Get the Best MTG Gear with UltraPRO Visit our sponsor Card Kingdom

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#970: Joel Mick

Magic: The Gathering Drive to Work Podcast

Play Episode Listen Later Sep 23, 2022 31:59

Only one person has been an Alpha playtester, Head Designer and Brand Manager for Magic Joel Mick. I sit down with Joel in this podcast to talk about his time with the game.

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'The Reality of Being First on Set for The Handmaid's Tale' with Burton LeBlanc – Makeup Artist | Dept Head | Designer for The Handmaid's Tale

Play Episode Listen Later Sep 16, 2022 5:35

'The Reality of Being First on Set for The Handmaid's Tale' with Burton LeBlanc – 3X Emmy | 4X Guild | MET Fashion Award Nominated Makeup Artist | Dept Head | Designer for The Handmaid's Talewww.MeettheCreatives.orghttps://linktr.ee/meetthecreativesny

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'Looking Back on the Early Days of The Handmaid's Tale' with Burton LeBlanc – Makeup Artist | Dept Head | Designer for The Handmaid's Tale

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Play Episode Listen Later Sep 16, 2022 9:18

Looking Back on the Early Days of The Handmaid's Tale' with Burton LeBlanc – Makeup Artist | Dept Head | Designer for The Handmaid's Talewww.MeettheCreatives.orghttps://linktr.ee/meetthecreativesny

Burton LeBlanc – 3X Emmy | 4X Guild | MET Fashion Award Nominated Makeup Artist | Dept Head | Designer for The Handmaid's Tale