Podcasts about merchandising fidm

In this episode on Retail Corner Podcast, Ranu Coleman, Head of Marketing at PatPat, shares expert insights on innovative marketing strategies for fashion retailers. Learn how to connect with modern consumers, leverage digital tools, and create impactful brand experiences in a competitive market. About our guest, Ranu Coleman: A seasoned marketing and communications leader with deep experience in the retail/fashion space, Ranu Coleman serves as Head of Marketing for PatPat, overseeing global marketing strategy, driving brand and product awareness, and customer acquisition and engagement. Prior to PatPat, Coleman held marketing roles across a variety of fashion and retail brands. She most recently served as Chief Marketing Officer for Azazie, the direct-to-consumer bridal company focused on high-quality, custom-fit, affordable bridesmaid dresses and wedding gowns. Previously she held the role of director of marketing for a cutting-edge tech company, ASD, following consulting for Sephora, where she led the rollout of a new urban location prototype, Sephora Studio. Coleman served as manager, brand marketing for equestrian footwear and apparel brand Ariat International after a similar post for Dreamwear, facilitating strategic partnerships with national brands including Nicole Miller, Skinnygirl by Bethany Frankel, Playboy, The Kendall + Kylie brand, and Laura Ashley. Ranu received her bachelor's degree in political science from UC Irvine and her professional designation program-visual communications degree from the Fashion Institute of Design & Merchandising (FIDM). Ranu Coleman is married with two children and lives in the San Francisco Bay Area. Linkedin: https://www.linkedin.com/in/ranu-coleman-9a44884/ Website: https://www.patpat.com/ About Retail Corner Podcast: Host: Cole Koumalats Producer: Sachin Kumar Bhate Podcast Sponsor: Proxima360 Listen to other podcasts at: https://retailcorner.live Subscribe our Podcast: Apple iTunes: https://apple.co/3eoeUdT Spotify: https://spoti.fi/3dvjpDJ Google Podcast: https://bit.ly/3DFHXHw Amazon Music: https://amzn.to/3tkbhk1 Interested in being on our podcast? Submit request at: podcast@retailcorner.live

Sasha has been working in the field for over 12 years. Her career started in retail development and merchandising after obtaining her degree from the Fashion Institute of Design & Merchandising (FIDM) in Los Angeles. Her career started in visual merchandising and quickly took her to designing retail spaces all across the country.  She was helping companies land HUGE sales partnerships with big name companies and also teaching 250+ retailers how to utilize the power of merchandising and visual storytelling.  Since then, she's opened up her creative agency INICIO, helping numerous businesses and companies fine tune their branding, get clear on their marketing strategies, improve their web traffic and more. --- Support this podcast: https://podcasters.spotify.com/pod/show/thasmokingsection/support

Pre-Loved Podcast is a weekly vintage fashion interview show, with guests you'll want to go thrifting with! For more Pre-Loved Podcast, subscribe to our Patreon! On today's show, we're chatting with Lexy Silverstein, a sustainable fashion creator and advocate. Once a frequent shopper of fast fashion, Lexy's personal quitting fast fashion journey towards adds authenticity to her sustainability advocacy. She says she aims to inspire significant, impactful changes in the industry by educating and engaging people in the process. Lexy recently got her degree  fashion merchandising and marketing  at the Fashion Institute of Design and Merchandising (FIDM) in Los Angeles, and while she was there, she led a student protest and petition, calling on FIDM to drop it's partnership with the ultra fast fashion brand, SHEIN. We chat about all this and more on today's show – let's dive right into it! DISCUSSED IN THE EPISODE: [4:07] As a lifelong fashion-lover, Lexy found herself obsessed with fast fashion as a teen. [14:20] On her journey to quit fast fashion, Lexy discovered a love of thrifting. [17:30] At first, it was a slippery slope because she didn't know how to stop overconsuming, even at the thrift store. [24:08] Lexy led a student protest and petition, calling on FIDM to drop its partnership with the ultra fast fashion brand, SHEIN. [37:30] How to win people over with positivity and humor. [43:38] Lexy's personal style and favorite thrift stories EPISODE MENTIONS:  @lexysilverstein Lexy's blog eLEXYfy Lexy' podcast The Place for Fashion Wolf & Badger FIDM and SHEIN Change.org petition Vogue Business story on the protest BJonesStyle Pickwick Vintage @madisonxwild NATALIA TREVINO AMARO The Devil Wears Vintage ebook LET'S CONNECT: 

This week, Erica and Cassie get to know Taylor Porter, Social Media Strategist at Dutch Bros Coffee. In this episode, Taylor lifts the curtain on social media strategy for Dutch Bros, revealing the KPIs her team looks for to gauge successful social campaigns, the importance of consumer sentiment, and how the team approaches expansion into new markets. Here's a peek at what we cover in this episode: [00:04:16] - Taylor shares a look at her career journey to date, from attending the Fashion Institute of Design & Merchandising (FIDM) in LA, working as a "Bro"-ista (get it...Dutch "Bros") at her local shop, transitioning to the corporate side of Dutch Bros Coffee as a Social Media Specialist and eventually getting promoted to her current role of Social Media Strategist. She also shares how her start in fashion helped her gain valuable skills to carry with her into future creative endeavors in social media, and gives us a peek into some of the exciting Dutch Bros projects she and her team have worked on; highlighting their giveback programs, limited merch drops, and fun drink launches. [00:12:08] - Taylor lifts the curtain on social media strategy for Dutch Bros Coffee, sharing what content they've seen work recently on each platform. She also gives her advice around testing posts on social and why content calendars are especially important to create. [00:17:04] - Taylor explains some of the KPIs that her team looks for to ensure successful social campaigns, including reach and engagement rates, consumer sentiment, and YOY (year-over-year) comparisons. She also shares how Facebook groups have been especially valuable in connecting Dutch Bros with their customers and gathering feedback. Then, we take a look at how the Dutch Bros Coffee team approaches expansion into new markets (like Tampa - coming soon!!), and the other projects they're gearing up to launch this spooky season! Grab a drink and listen in to this week's Marketing Happy Hour conversation! ____ Other episodes you'll enjoy if you enjoyed Taylor's episode: Audience Insights 101: Sliding in the DMs | Sara Arbelaez of Heelys Top Social Media Tips by Platform | Bri Reynolds of Lyft Building an Engaging Brand on Social Media | Jack Appleby of Future Social ____ Say hi! DM us on Instagram and share your favorite moments from this episode - we can't wait to hear from you! ⁠Join our MHH Insiders group to connect with Millennial and Gen Z marketing professionals around the world!⁠ ⁠⁠Get the latest from MHH, straight to your inbox: ⁠Join our email list!⁠⁠⁠ Connect with Taylor: Instagram | LinkedIn Follow along with Dutch Bros Coffee: Instagram | Facebook | TikTok Follow MHH on Social: ⁠⁠⁠Instagram⁠⁠⁠ | ⁠⁠⁠LinkedIn⁠⁠⁠ | ⁠⁠⁠Twitter⁠⁠⁠ | ⁠⁠⁠TikTok⁠⁠⁠ Subscribe to our LinkedIn newsletter, Marketing Happy Hour Weekly: ⁠⁠⁠https://www.linkedin.com/newsletters/marketing-happy-hour-weekly-6950530577867427840/ --- Support this podcast: https://podcasters.spotify.com/pod/show/marketinghappyhour/support

In this episode, I speak with Sasha about how she became a brand strategist and web designer. We chat all about how you can create your brand kit, enhance your brand ecosystem, and attract more clients. Sasha has been working in the field for over 12 years. Her career started in retail development and merchandising after obtaining her degree from the Fashion Institute of Design & Merchandising (FIDM) in Los Angeles. Her career started in visual merchandising and quickly took her to design retail spaces all across the country. She was helping companies land HUGE sales partnerships with big-name companies and also teaching 250+ retailers how to utilize the power of merchandising and visual storytelling — but once she got burnout, she decided it was time to move to freelance.Since then, she's helped numerous businesses and companies fine-tune their branding, get clear on their marketing strategies, improve their web traffic, and more. Ultimately she's helped them grow and scale by finding their unique attributes and building upon that. It's something she does best, find the uncommon denominator within their industry and turn it into their greatest strength. Action Steps:Audit your social media - can people tell who you are, what you do, and how you do it right away?Check out your branding to see if the colors and fonts are matching and aestheticAsk yourself - how can you better communicate what you do?Connect with Sasha:Website: https://iniciocreative.com/helloInstagram: https://www.instagram.com/sashamoniquecreates/TikTok: https://www.tiktok.com/@sashamoniquecreatesDTLD Magazine: https://dtldmag.comConnect with me, Hayleigh Hayhurst:Website: https://www.espressopodcastproduction.com/Podcast courses: https://hayleigh-s-school-2cca.thinkific.com/courses/great-guesting-how-to-be-an-unforgettable-podcast-guestInstagram: https://www.instagram.com/espressopodcastproduction/Facebook Group: https://www.facebook.com/groups/espressogrowth Music: John Kiernan. www.johnkiernanmusic.comHost your podcast on Spreaker: https://spreaker.pxf.io/Boss

Ep. 162: Kia Ragland's Journey from Cosmetologist to Product Developer at Kylie Cosmetics   On this episode of the Friends in Beauty podcast I welcome Kia Ragland, Director of Product Development - Color Cosmetics & Skin for Kylie Cosmetics. Ragland is a proud woman of color credited with creating beauty products and formulas for women of all complexions and skin tones.    Before joining the Kylie Cosmetics & Skin team, Kia began her career as a cosmetologist and a certified makeup artist that felt like she was destined for more. Her determination to be a part of change led her to continue her education at the Fashion Institute of Design and Merchandising (FIDM), where she discovered product development. Product development ended up being the career that Kia knew she was destined for because, as a biracial woman, she felt that she was not represented in the beauty industry, and this would allow her to be behind products that were not only meant for her skin and complexion but for other women as well.    As Kia began to obtain experience from being an Intern at Stila Cosmetics and later working there, her career began to propel when becoming a Product Developer at Estee Lauder, working on the Smashbox Cosmetics brand, where she worked on the iconic team behind Smashbox's Legendary “Be Seen” Lipstick. Today, Kia is one of the lead product developers of color cosmetics and skincare at Kylie Cosmetics.  I had such a wonderful time chatting with Kia. Product development is one of those things that doesn't get talked about much in the industry so having this conversation with Kia was truly eye opening and so much fun. In this interview Kia shares:   -What sparked her interest in beauty at a young age -What led her to pursue product development as a career -The product development process from idea to consumer -Her opinion on the rise of celebrity beauty brands -Her proudest moment as a product developer so far -Spring/summer beauty trends she's loving -What you need to become a product developer and sooo much more   Let's get into it! This will definitely open your eyes to another career path that you may want to take in the beauty industry. Let's go ahead and jump into this chat with Kia and if you prefer to watch our beautiful faces then tune in on YouTube.    Enjoy this episode!   Leave us a 5 star review and share this episode with a friend or 2 or 3. info@friendsinbeauty.com ENROLL IN D.I.Y PODCASTER COURSE TODAY:  bit.ly/DIYPodcasterCourse   JOIN PATREON TO SUPPORT THE FRIENDS IN BEAUTY PODCAST https://www.patreon.com/friendsinbeauty   FRIENDS IN BEAUTY FACEBOOK COMMUNITY www.facebook.com/groups/friendsinbeauty   FOLLOW FRIENDS IN BEAUTY ON IG  www.instagram.com/friendsinbeauty   SUBSCRIBE TO YOUTUBE CHANNEL bit.ly/FIBTube   SEND ME A TEXT! (202) 519-4652   ADVERTISE YOUR BUSINESS OF THE PODCAST https://www.friendsinbeauty.com/fibadrequest Resources Mentioned In This Episode: -Smashbox -Kylie Cosmetics   Additional Resources: -https://www.amazon.com/shop/akuarobinson -Skillshare - Use this link for 2 months free of the premium plan: https://skl.sh/30t352q -Shop Mented Cosmetics - https://www.mentedcosmetics.com/?rfsn=1290937.f2481  Use Code “AKUAROBINSON” for 10% of your purchase    Announcements: We're on Apple Podcasts - www.bit.ly/FIBPodItunes!   Join our Facebook community… If  you're looking for a community of like minded, ambitious, and supportive #FriendsinBeauty all working to leave our mark on the beauty industry, join us here: https://www.facebook.com/groups/friendsinbeauty   Join the Friends in Beauty Mailing List: www.bit.ly/FIBTribe   Social Media Info: Kia Ragland  (Instagram) - @kurly_kiki Friends in Beauty (Instagram, Facebook, Twitter) - @friendsinbeauty Friends in Beauty (YouTube) - Friends in Beauty https://www.youtube.com/channel/UCcYPyO8nAosEmjEE5nza9Zg?view_as=subscriber Akua Robinson (Instagram,Twitter) - @akuarobinson AkuaRobinson (Facebook) - Akua Robinson MUA Akua Robinson (Website) - www.akuarobinson.com

Encore! Film and fashion historian Kimberly Truhler discusses her fascinating career with Jan Price! You can follow Kimberly on Facebook, Twitter, and Instagram at @GlamAmorYou can also find Kimberly on YouTube at GlamAmorTV.com Film and fashion historian Kimberly Truhler has spent more than 25 years researching Hollywood history, ten years curating vintage clothing, and years working in LA's Fashion District. In 2009, she founded GlamAmor.com. She has written hundreds of articles on iconic costume design and its influence on fashion. She has taught the History of Fashion in Film as an Adjunct Professor at Woodbury University, host of multiple screening series for the American Cinematheque, guest speaker for museums and other cultural institutions, and producer of more than 20 events online. Due to her knowledge and experience, Truhler has been a respected expert for organizations such as Turner Classic Movies (TCM), National Film Registry, Christie's auction house, Elle magazine, and the Fashion Institute of Design & Merchandising (FIDM). In 2019, she appeared in all four parts of CNN's docu-series American Style. Truhler published her first book, Film Noir Style: The Killer 1940s, in 2021 and is a contributor to the upcoming Encyclopedia of Film and Television Costume Design. She's currently appearing as an expert in the Follow the Thread series on TCM and hosting the online series History of Fashion in Film 1920s-1980s. Hosted on Acast. See acast.com/privacy for more information.

Trendy highly regarded and sought after Kristiann Colasacco, takes the chair with Bob & Dave and talks gratitude & embracing the inner being with a positive mindset to overcome adversity and support each other in the process. @kristiannityc About Kristiann:  The Cosmetic Surgeon of your Space, New York Native Interior Designer servicing Westchester to NYC who studied Interior Design in Los Angeles, California at The Fashion Institute of Design and Merchandising/FIDM. Kristiann also specializes custom furniture design for particular "space-al" needs. Kristiann was named One of New York's Top 50 Best Interior Designers in 2019 and strives to give each client a unique experience throughout her design process! 

From Machine Gun to Sewing Machine…Trinidad Garcia was already an accomplished clothing business entrepreneur, but he had always wanted to be a U.S. Marine. In 2008, at age 31 he enlisted in the Marine Corps. He deployed twice with 2/7, serving aboard Marine Expeditionary Units in the Pacific. Through two enlistments his dream of becoming a denim designer started burning inside of him again. While at his final assignment, a reserve unit in the Los Angeles area, he secretly applied to the prestigious Fashion Institute of Design and Merchandising (FIDM) and was accepted. He balanced his schedule while not missing any of the exercises required, as well as not missing his classes at night. He joined forces with the local VA administrator for FIDM and founded the FIDM-SVA (Student Veterans of America) Chapter; to give those who followed him a better chance at navigating the rigors of student life. As he neared graduation in 2018, Trinidad founded his namesake brand – Trinidad3 Jeans. He experienced local success and wanted to expand his mission to support veterans with every pair of jeans, developing the catchphrase Powering Vets with Every Pair!  In addition to operating his own clothing company, Trinidad works for Conflict Kinetics, a civilian company that trains military members through their Synthetic Marksmanship Training Systems (SMTS) - scenario based shooting situations. Through his own struggles with trauma, and loss of identity through his transition from the military, Trinidad got involved with Merging Vets & Players to create an environment where these warriors can share each other's strength and experience and can support each other in building fulfilling lives of service and strength. PODCAST - LISTEN, WATCH, AND SUBSCRIBE https://linktr.ee/TransitionDrillPodcast CONNECT WITH TRINIDAD https://trinidad3.com/ https://www.instagram.com/trinidad3jeans/ http://conflictkinetics.com/ https://vetsandplayers.org/

New for you - Saturday! Film and fashion historian Kimberly Truhler sits down with Jan Price to discuss her fascinating career!You can follow Kimberly on Facebook, Twitter, and Instagram at @GlamAmorYou can also find Kimberly on YouTube at GlamAmorTV.comFilm and fashion historian Kimberly Truhler has spent more than 25 years researching Hollywood history, ten years curating vintage clothing, and years working in LA's Fashion District. In 2009, she founded GlamAmor.com. She has written hundreds of articles on iconic costume design and its influence on fashion. She has taught the History of Fashion in Film as an Adjunct Professor at Woodbury University, host of multiple screening series for the American Cinematheque, guest speaker for museums and other cultural institutions, and producer of more than 20 events online. Due to her knowledge and experience, Truhler has been a respected expert for organizations such as Turner Classic Movies (TCM), National Film Registry, Christie's auction house, Elle magazine, and the Fashion Institute of Design & Merchandising (FIDM). In 2019, she appeared in all four parts of CNN's docu-series American Style. Truhler published her first book, Film Noir Style: The Killer 1940s, in 2021 and is a contributor to the upcoming Encyclopedia of Film and Television Costume Design. She's currently appearing as an expert in the Follow the Thread series on TCM and hosting the online series History of Fashion in Film 1920s-1980s. See acast.com/privacy for privacy and opt-out information.

Nick Verreos is the Co-Chair of Fashion Design at the Fashion Institute of Design & Merchandising/FIDM in Los Angeles. He is also a Fashion Designer, Author, Red Carpet Expert and a Consulting Producer on Bravo's “Project Runway”. Nick was also a contestant on Project Runway in Season 2. Celebrities including Heidi Klum, Beyoncé, Katy Perry, Carrie Underwood and Miss Universe Brook Lee have worn his NIKOLAKI designs and his NV Nick Verreos line has been sold on QVC UK, QVC Italy, as well as other home shopping networks. Nick is the co-author of four books, “A Passion for Fashion”, “The Pageant Coloring Book”, “A Basic Guide to Pattern Drafting”, and “A Comprehensive Guide to Men's Flat Sketching”. His very popular YouTube Channel “Fashion School with Nick Verreos” has over 340K subscribers and 10 MILLION views. It's A Hawaii Thing Productions. Quality content for the Hawaii Enthusiast and traveler. Celebrities, artists & community leaders vomming together to showcase the spirit of the islands. New weekly program dedicated to anything and everything unique to life in Hawaii. To Learn more about It's A Hawaii Thing visit: https://www.itsahawaiithing.com/ It's A Hawaii Thing is a https://www.wikiocast.com/ production. #FashionDesign #nickverreos #ProjectRunway #FashionSchool

WILD CAR WEEKEND BABY!!!! 49ers are in Dallas and we are ready to roll! This episode Emma and George sit down and talk bout mindset, fashion and some funny memories of their times in Dallas. For our Merging Vets and Players guest we have Trinidad Garcia. His story is incredibly inspiring so we're including his full bio. Trinidad Garcia:Trinidad3 Jeans: Trinidad3 Jeans - https://trinidad3.comIG: @trinidad3jeansFrom a very early age Trinidad Garcia III, of Oxnard, California, had an eye for fashion. With shoes clean and clothes pressed and color coordinated, he headed out for elementary, high school and college. Then in the mid nineties he decided to create his own line of clothing, and his dream enterprise started out promising, but then it sputtered and failed. He decided he needed more self-discipline and to accomplish this, he would join the Marines - or would he? “You're too old, Garcia,” he was told. “Our maximum age for enlistment is twenty-seven. You're thirty-one. Go get a job.” But he didn't want a job. He wanted to become a Marine and his recruiter, Sargent Luke, decided to see if there was anything he could do for him. Luke learned that the recruiting numbers in parts of the country back east were down, and if Garcia would apply from one of those areas, they might wave the age limit rule. Franklin Tennessee was just the place, and they took him. Several hundred men filed in for boot camp in September of 2008, and Garcia was the oldest one - by far. He became a machine gunner, spending time in Twenty-nine Palms, California, Okinawa, Japan, and on two military vessels, the USS Essex and the USS Harper's Ferry. After his first tour of duty he re-enlisted, then after his second tour he considered staying in the Marines for the long haul, but the design bug bit him once again. He applied to and was accepted at the prestigious Fashion Institute of Design and Merchandising (FIDM) in Los Angeles.    While a student at  FIDM Garcia found purpose and a mission to Power Veterans. He  served as President SVA FIDM Chapter and was instrumental in opening the Fashions Schools 1st Veteran center. Also, while a student established Trinidad 3 Jeans. He is most proud of the Jeans he designed for US Marine Corps Veteran Amputee  Corporal Josue Barron, who lost his left leg and left eye in Afghanistan. This Jean won a Rivet Award Best show piece 2020 at Project show in Las Vegas.  He is very active in the Veteran Community. He  advocates, participates and donates to Veteran Organizations such as Merging Vets and Players, Save the Brave,  and Sarges Resource Center. While he works at building his Jean Company, he works on training warfighters at US Naval base Point Mugu, California.Featured Organizations: Merging Vets and Players - https://vetsandplayers.org/Sarges Resource Center - https://www.sargesrc.org/

What you'll learn in this episode: The history of Sculpture to Wear and how Lisa maintains its legacy Why editorial and media coverage is crucial for getting art jewelry recognized as a fine art What the role of a jewelry gallery is Why Lisa always advises artists to keep good records of their work How the bold brooches of the 80s paved the way for today's art jewelry About Lisa M. Berman Lisa M. Berman is an internationally recognized “Ambassador of Wearable Art.” Based in Southern California, her expertise extends to major manufacturing and retail markets, museums and corporations in the United States, Canada, Mexico, Asia and Europe. Lisa is the owner of the iconic gallery Sculpture to Wear, which was instrumental in launching the studio jewelry movement in the United States. The gallery offers an eclectic array of art, jewelry and unique objects to discerning collectors, media producers and institutions, which have been featured in film, television and publications. Her recently launched Berman Arts Agency offers artist representation, career management, corporate acquisition, sponsorship advisement, museum placement, exhibition curation and education services on the disciplines of fine art, jewelry, design and fashion. Lisa holds degrees in Plastics Manufacturing Technology from California State University Long Beach, Product & Jewelry Design from Otis College of Art & Design and Merchandising/Marketing from Fashion Institute of Design and Merchandising (FIDM). She has served on the Board of Governors for OTIS College of Art & Design; as Public Relations Chair for the Textile and Costume Council at the Los Angeles County Museum of Art (LACMA); and on the Museum Collection Board at FIDM. She volunteers for Free Arts for Abused Children, STEAM projects and Art & Fashion Councils. Additional Resources: Sculpture To Wear Website Sculpture To Wear Instagram Sculpture To Wear Facebook Berman Arts Agency Instagram Photos: Lisa M. Berman wearing Archival 18k gold plate PEBBLES Necklace by Robert Lee Morris, her own sterling silver pendant by K. Lamberti, Issey Miyake coat and holding a signed ARTWEAR Catalog (RLM). Photo by Daniel Oropeza NUE Magazine Holiday 2020  Model Neva Cole, Photo by Daniel Oropeza  ICE Collar by Greg Orloff, 2018, $15,000 Creative Director / styled by: Lisa M. Berman  NUE Magazine Holiday 2020  Feature article "Powerful Woman of Dissent" from the "Feel the Frill" Exhibition honoring RBG curated by L.M. Berman.  Sculpture: LUX MAXIMUS, Winner of ARTPRIZE 2017 by Daniel Oropeza $350,000.  Model Neva Cole wears Emancipation Collar by 2Roses, 2020, $1,500.  Photo by Daniel Oropeza  Creative Director / styled by: Lisa M. Berman  Cover of IONA Magazine  Model wears Beaded Galaxy by 3 Tribes, from our Timeless Measures Exhibition 2006, curated by Lisa M. Berman & Pamela McNeil  1 year collaboration with women from 3 tribes in Africa - elders teaching the younger generation how to bead.  Cuffs (sterling Silver & Copper) by Tana Action  IONA Magazine  Models wears pieces by Jan Mandel: “REVEALED” Collar $50,000 (worn to the EMMY Television Academy's Governors Ball) and “POIGNET” (French meaning Wrist) $25,000 - both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine, 2001. IONA Magazine  Models wears pieces by Jan Mandel: Earrings - 18k gold & aqamarine (NFS), “TRANSITION” Collar, 18k gold, Onyx, Aquamarine $20,000  and “GOLDEN” Cuff, 18k gold, $10,000, made in 2001. Niche Magazine - TOP RETAILER SPIKED, red collar (Collection of Myra Gassman) & Cuffs on left side by Michelle Ritter  “POIGNET” (French meaning Wrist) $25,000 -  both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine. Bouquet Ring, Stainless steel & garnet by Wendy Gwen Hacker $800 Collaboration with Sculpture To  Wear Designer Gina Pankowski & MOEN Facet manufacturer. Utlilitary into Wearable Art Cover of W Magazine  - January Jones wears LATTICE necklace (oxidized Sterling Silver) by Gina Pankowski, $4,000 And Bridge Bracelet sterling silver by Sergey Jivetin, SOLD in Private Collection    The images below are from a PHOTO shoot based in the music video Rico Mejia Photography Fashion Beauty Celebrity Lifestyle Mobile number: 323-370-0555 https://www.behance.net/ricomejia https://twitter.com/RicoMejiaFoto https://www.instagram.com/ricomejiaphoto/ Perpetual Light in Motion - editorial photography by Rico Meija for Costumes bResin and Diamond Bangle by Cara Croninger from 24K Show, 1979, $4,000 Citrus Collar of acrylic, stainless steel & magnetic closure $650, and Bracelet $300 by Adriana Del Duca of Genos Jewelry  Vintage Earrings- acrylic, one of a kind by Frank & Anne Vigneri, 1984, $350 Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  Resin DROP earrings by Cara Croninger $200 REGINA Collar of acrylic, stainless steel & magnetic closure $800 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Bracelet by Genos, NFS in collection of Julie Laughton Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  BLUE DROP earrings Teri Brudnak $98 HEDGEHOG Collar of acrylic, stainless steel & magnetic closure $850 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Clear CUFF by Cara Croninger, NFS collection of L.M. Berman        Cover of Vogue with Cherize Theron     Transcript: Lisa Berman, owner of art jewelry gallery Sculpture to Wear, has been a figure in the art jewelry world for over 20 years, and she has a wealth of insight to share with fellow jewelry lovers. For her second appearance on the Jewelry Journey Podcast, she talked about how she's maintained relationships with hundreds of designers and collectors over the years, what advice she offers the designers she works with, and why art jewelry is coming into its own as a fine art collected by museums. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Lisa Berman. Although we share the same last name, I'm not related to Lisa; however, over the years she has become a friend and a trusted dealer. Lisa has been a guest on the show before. Today, we'll have a wide-ranging discussion with less of a focus on a particular piece, more talking about her experience in the jewelry and fashion world. Per our practice, the podcast is audio only. We will be posting photos of many of the pieces Lisa mentions today on our website, which is JewelryJourney.com. This is also a two-part podcast, so please keep your eyes open for our second episode which will air later this week. Please make sure you're a member of our jewelry community by subscribing to the Jewelry Journey Podcast. That way you can listen to both episodes hot of the presses, so to speak. With that, I'd like to welcome Lisa to the program.   Sharon: When you say editorial—you talked about editorial versus advertorial—what do you mean?   Lisa: Years ago, we had magazines like W and Vogue and Vanity Fair, and the word advertorial did not exist. You had true editorial, where you were a new designer, you were creating something different, you had a new statement necklace, and they wanted to feature it. By the way, the vernacular “statement jewelry” wasn't in vogue 25 years ago. We talked about it. Now you see something on the cover and people talk about. From a marketing and selling point, it's a statement piece. That's something we were using in studio jewelry decades ago.    Let's see, we were talking about editorial, working with creative directors of publications. You have a timeline that's three months in advance because you didn't have digital. You had film; you had slides; you had all these timelines that were completely different. Then publications changed. They had to find a way to stay afloat, to stay in business, and like any other business they said, “Look, if you buy an ad, we'll promote you in an editorial article.” That's why you have some galleries now charging artists to physically have their work on the walls, which is something we didn't do, of course.   Sharon: That's interesting. Then you have people like me who walk into a gallery—I didn't know a lot—but depending on the gallery, they might pay to have their work on the wall. Having come from public relations, I immediately look at something to see whether they paid for that article or if it was chosen. I think it's important to point out—people might say, “Well, it sounds dated to be talking about all this print stuff,” but that goes immediately online. All the print is immediately online. There may be some things that never make print that are online, but it's important because whatever you see in print is going to be online.    Lisa: Well, I'll tell you why it's important and relevant. It actually goes back to catalogues and museums. I will get to museums in a second. As much as we want to save the planet and save paper and all of that, museums still demand catalogues for their major exhibitions. That's an important part of collecting. An important part of an artist's career is to have that physical catalogue, that tangible item that can be placed on a bookshelf, or talked about, or brought to a dinner party or a lecture series or whatever it may be. That's really important. An editorial and a printed editorial are the same. Obviously, there are more online publications and it's literally just flipping through the images.    For example, we just filmed a music video with Linda Hikel. We used a number of pieces from Sculpture to Wear in the music video. People loved it. They will use it for promotion, but she called me and said, “We want to capitalize on the fact that you brought such extraordinary work to the video. We want to capture those for editorial.” Then she called me and said, “We actually want to take it a step further. We're thinking about a book,” so these are the conversations. Printed materials are not a thing of the past, thankfully; they're an important element of documentation. That's why I tell artists, when I'm on an artist's tour or in their studio or we're having a conversation, “Please, if you're not a good note taker or you're not good about keeping files, literally keep a box on your desk, and anything—a summary or a note or something in regard to that project—keep it in there. This is so important for telling the story for an exhibition in a museum or just a gallery or online show.”   Sharon: Lisa, you mentioned that makers, jewelers, artists don't understand the role of a gallery. They think, “What am I paying you for?” in a sense. Tell us what your response to that is.   Lisa: I no longer have a physical, permanent location, but I do curate exhibitions. I will collaborate with fine art galleries or other locations to host exhibitions within their space. Even if a show is online, you still get the attachment of being in an exhibition that is part of Sculpture to Wear history and legacy. You have the exposure that I bring to that particular artist, whether it be through my website, through the newsletters I send out, through Art Jewelry Forum, through Indelible, which is my new column for older jewels. That's under the umbrella of Artistar Jewels.   Sharon: Artistar Jewels?   Lisa: Artistar Jewels; I'll tell you about that. Also, there's the collector base. A lot of artists think they pick up the phone and it just happens. Well, it does in some instances. It happens because I've cultivated a relationship for five to eight to 10 years. Yes, I can ask for a favor. Yes, I can propose an idea and I will be taken seriously because there's a track record of credibility. That's important for artists to understand. I think a lot of them coming from major schools do understand that. That is something that's part of their curriculum.    Sharon: You mentioned the importance of keeping all your sketches and notes and everything like that because it helps the gallerist tell a story.   Lisa: Right. In my garage, I literally have over two decades of artists' submissions. I know it sounds crazy. I have artists' submissions that were done on slides and then zip drives. I don't even know how I will convert those images, but I was so afraid of throwing away some of the most magnificent images I've ever seen and shown. Then each one of my exhibitions is in chronological order in a binder with the title and if there's any traveling accompanying that exhibition. I think I learned that from my days in the fashion industry, because you had to document, document, document. That has served me well, because if you don't document it, it never happened. So, you've got the documentation of the visuals and the notes and the advertising, and those are really important. Of course, now artists are saving all of that online, but hopefully there's still something tactile to incorporate.   Sharon: It's so important for credibility, whether it's online or not. Ideally, it's legitimizing it. I know for me, when I'm considering a piece of jewelry, if I know the artist has been in this museum or that museum or it's in the writeup, that makes a difference to me. It weighs more in favor of purchasing something, that credibility.   Lisa: Yes, and that's a whole round robin of a conversation. For example, the pieces I placed in LACMA on behalf Lynn Altman—unfortunately, Lynn is deceased. She was one of my favorite and dearest people on the planet. The three pieces that LACMA acquired were actually owned by me first, so it tells me I have a good eye, and it will also tell a collector I have a good eye. I know the process; I know what museums might be interested in. Mostly whatever I thought was interesting or fascinating, that's what I would collect, but it does matter. It plays a role in credibility in the conversation, if I'm going to be working with a client for consulting, either with a one-on-one client, with an artist or with a company or museum. By the way, one of the misnomers with museums and donations is that people think, “Oh, I have these amazing pieces and I want to donate them.” That's a very long process.   Sharon: From what I've heard, it's a challenge.   Lisa: It's a challenge because good museums will only accept pieces they can properly store. Of course, everyone wants them to be on display 100 percent of the time, but you can't do it. That's a conversation as well. You've got museums looking to acquire pieces, but they need funding for it. There's a whole program with their donors and collectors; “How do we buy this?” Then there are pieces they want that are being donated to them, but maybe they're going under renovation. Whatever the story may be, they want to make sure they're going to acquire them and be able to sort them, so that during their downtime another museum doesn't take them. It's really testing out there.   Sharon: When I've heard of collectors who have donated their collections, it sounds like it's been a long process. It's been something that took years before they even decided to do it. They were being wooed, or they would ask the museum, “What should I buy? What would you like to see in the collection?” that sort of thing. It doesn't sound like you just drive up and unload your station wagon.   Lisa: Oh, no.   Sharon: Do people have station wagons anymore?   Lisa: I don't know. They're called SUVs.   Sharon: Yes, SUVs.   Lisa: At least at a reputable location, that is definitely not the case. I think it's a very exciting time because you have people creating these secondary market pieces, people auctioning them, collecting them, and then you have some of the most dynamic makers. What's interesting to me is also the variations of ages from very young, 19 to 20, and then you have some jewelers I've met that were famous. They were architects or sculptors, and they wanted to change direction.    I've also talked to some of them in regards to ageism. They can't apply for certain grants because they're too old for one at 66. There are a lot of new conversations, like how we've had to learn to communicate with this new technology in Zoom. Life throws us curve balls and we go with it, and there are different trends, too. Brooches were so important probably 20 years ago and they still are, but you had it peak with the “Brooching it Diplomatically” book and Madeline Albright. For many years, large-scale collars were important. You have the Susan Lewin book that just came out and the exhibition book about rings. It's exciting. This field is constantly growing, constantly renewing itself, and I'm always inspired by it.    Sharon: I think we had a conversation once where you told me that brooches helped people segue to art jewelry. People could understand those and wear an avant garde brooch before they would wear something in their hair or an earring or something like that.   Lisa: Yes. People won't believe this, but fashion also played a role in that. For example, 25, 30 years ago, you had women entering the workforce—I know I'm going to get backlash on this—but they were wearing these blazers. So, they can't wear a large collar, plus they're downplaying it. They still want to make a nonverbal statement, and the easiest thing is to put a large-scale piece on a lapel. The ideal wall to place a brooch was on a blazer. For example, I'm wearing a Miyake shirt today. You can't put anything heavy through that. These blazers and large-scale shoulders, that was a perfect wall space to wear these pieces. For makers, these are the easiest way for them to literally make sculpture to wear. It was in a format that made sense to them, a smaller-scale sculpture that was on the left shoulder most often, but there are no rules now. Literally everything goes.    I happen to personally enjoy large-scale collars, just because I like to be hands free and my hands are always moving when I'm talking. I don't wear a lot of rings. When I had much shorter hair, I wore giant earrings. Now I don't, but it's all about personal preference. It was also interesting with the gallery. Someone would see a necklace or a piece in a feature editorial in the Los Angeles Times or W or whatever it may be, and they would call and say, “That's the piece I want.” Then, ultimately, they would come to the gallery and try it on, and they thought, “You know what? This just doesn't sit right on me. I want to look at something else,” or we would specifically have the artist there to meet with them and talk with them.   Sharon: You've talked about the fact that relationships are so important. I know what you mean. It's not just a matter of calling up Sally Smith who you've never talked to before and doesn't know you from Adam, versus calling somebody you've worked with or who knows you always bring her great pieces or something interesting. I want people to understand what you do and why they should call you, because you have your fingers in so many different areas.   Lisa: You know what's interesting about your statement, Sharon, is that I do. I am that person who will call anyone. I have the zero-fear factor.   Sharon: That's great.   Lisa: Completely, because the fact is the worst they can say is no. I'm on a phone call and I present the idea. I think it makes sense, otherwise I wouldn't call them or present them with the idea or exhibition or whatever it may be. I literally will pick up the phone, or I have a crazy idea and I will create a way to connect the dots. Most people think, “Oh my gosh! I would have never thought about that.” Often it's thinking about who's in that particular trade industry, how can we possibly get sponsorships, what's a different avenue. Let's think out of the box. We always hear that: let's think out of the box. I like to be creative, and I like communication. I literally will pick up the phone, and I always like to have a conversation.    So many people hide behind this little mouse on their computer or Facebook or Instagram or private messages. I say if we're going to work together or any of this, I have to have a conversation. Let's go on WhatsApp. If you're in a different time zone, a different county—it doesn't matter if they're speaking Latvian and they're mumbling through a translator, you just get their essence. That's really important, especially now with the lack of human interaction. I'm always an advocate for having a conversation because you never know where it's going to lead, that next step, that next unturned stone. You learn so much more when you have the conversation with the person.   Sharon: I always envy you people who have zero fear factor. I don't fall in that category, so I think it's great. Why should people call you today? To curate an exhibition?   Lisa: Thank you. I do a number of things. Obviously, first and foremost, I do represent certain artists' careers on an ongoing basis, whether it's curating exhibitions for their particular body of work. I can also host a show where we would sell work, because that's the fuel that makes the engine go: selling artists' work, curating exhibitions, connecting them to editorial, getting them placement for exposure. I would say 50 percent of what I do is a PR agency. That is the bulk of most of my day. It's writing articles, sending out newsletters, Instagram, Facebook posts, calling institutions or perhaps sponsors who are creating an exhibition, and creating those business alignments to further these ideas. Whenever I'm on Zoom conferences, I'm taking notes. Editorial, promotional, selling—it's like an ad agency as well.   Sharon: And when you say artists, that's bench jewelers, retailers, makers and fine artists.   Lisa: Yes, now I have branched out with the Berman Art Agency. That umbrella encompasses the very few select sculptors and photographers I've worked with throughout the years. For example, Bonnie Schiffman, she's a very well-known, iconic photographer in 16 museums worldwide. She came to me to make a commission piece in a gallery with Claudia Endler. That was an heirloom piece, and she wears it every day. Now we have this relationship where I'm working with her photographs. We've done shows throughout LA. I picked up the phone and created a museum exhibition for her back east. Some of these artists have had a rich career, and then they either hit a lull or they're on hiatus. How do I resurrect this? It's looking at those types of people. Like Marc Cohen—   Sharon: We just had Marc Cohen on the podcast with his box jewelry, which is so unique.   Lisa: I've known Marc for almost 35 years. I'm working with him on his 40 years of archives to make sense of them and understand how to present wearable art box sculptures, which are little, unique maquettes of a stage, like a Broadway stage. He incorporates iconic photography, and each of those tells a story. I'll be wearing one, and from across the room, someone will point at me and say, “That's the box man.” He's done a lot of much larger installations at the Museum of Jerusalem and some other work. So, presenting that work, how do we package that? How do we package it for a museum exhibition, for a gallery exhibition? Of course, we want to do a book.   Then I was working with Teri Brudnak. She was Karen McCreary's partner for Star Trek. We met 35 years ago in a plastics technology class. She and Karen were making work for Star Trek: The Next Generation, the television show. We were the only three women in this class, and people were making fun of us until they would see their pieces on television within the two-week period. They stopped the teasing and said, “O.K., this is something.” For example, the Skirball Museum has a Star Trek exhibition. How do we incorporate the legacy of what Terry and Karen created with their jewelry? It's always about peeking around the curve and finding a placement that makes sense. It is in alignment in an authentic way with their artist's voice and what they've created; not necessarily a stretch, but completely in alignment with their work and their creativity.   Sharon: Lisa, thank you so much. I learned so much today about how an artist has to sell their work. I know that's where so many get caught. Thank you so much for being here today.   Lisa: I appreciate the opportunity to tell your audience about this. It's very important. Thank you, Sharon.   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: The history of Sculpture to Wear and how Lisa maintains its legacy Why editorial and media coverage is crucial for getting art jewelry recognized as a fine art What the role of a jewelry gallery is Why Lisa always advises artists to keep good records of their work How the bold brooches of the 80s paved the way for today's art jewelry About Lisa M. Berman Lisa M. Berman is an internationally recognized “Ambassador of Wearable Art.” Based in Southern California, her expertise extends to major manufacturing and retail markets, museums and corporations in the United States, Canada, Mexico, Asia and Europe. Lisa is the owner of the iconic gallery Sculpture to Wear, which was instrumental in launching the studio jewelry movement in the United States. The gallery offers an eclectic array of art, jewelry and unique objects to discerning collectors, media producers and institutions, which have been featured in film, television and publications. Her recently launched Berman Arts Agency offers artist representation, career management, corporate acquisition, sponsorship advisement, museum placement, exhibition curation and education services on the disciplines of fine art, jewelry, design and fashion. Lisa holds degrees in Plastics Manufacturing Technology from California State University Long Beach, Product & Jewelry Design from Otis College of Art & Design and Merchandising/Marketing from Fashion Institute of Design and Merchandising (FIDM). She has served on the Board of Governors for OTIS College of Art & Design; as Public Relations Chair for the Textile and Costume Council at the Los Angeles County Museum of Art (LACMA); and on the Museum Collection Board at FIDM. She volunteers for Free Arts for Abused Children, STEAM projects and Art & Fashion Councils. Additional Resources: Sculpture To Wear Website Sculpture To Wear Instagram Sculpture To Wear Facebook Lisa Berman Instagram Photos: Lisa M. Berman wearing Archival 18k gold plate PEBBLES Necklace by Robert Lee Morris, her own sterling silver pendant by K. Lamberti, Issey Miyake coat and holding a signed ARTWEAR Catalog (RLM). Photo by Daniel Oropeza NUE Magazine Holiday 2020  Model Neva Cole, Photo by Daniel Oropeza  ICE Collar by Greg Orloff, 2018, $15,000 Creative Director / styled by: Lisa M. Berman  NUE Magazine Holiday 2020  Feature article "Powerful Woman of Dissent" from the "Feel the Frill" Exhibition honoring RBG curated by L.M. Berman.  Sculpture: LUX MAXIMUS, Winner of ARTPRIZE 2017 by Daniel Oropeza $350,000.  Model Neva Cole wears Emancipation Collar by 2Roses, 2020, $1,500.  Photo by Daniel Oropeza  Creative Director / styled by: Lisa M. Berman  Cover of IONA Magazine  Model wears Beaded Galaxy by 3 Tribes, from our Timeless Measures Exhibition 2006, curated by Lisa M. Berman & Pamela McNeil  1 year collaboration with women from 3 tribes in Africa - elders teaching the younger generation how to bead.  Cuffs (sterling Silver & Copper) by Tana Action  IONA Magazine  Models wears pieces by Jan Mandel: “REVEALED” Collar $50,000 (worn to the EMMY Television Academy's Governors Ball) and “POIGNET” (French meaning Wrist) $25,000 - both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine, 2001. IONA Magazine  Models wears pieces by Jan Mandel: Earrings - 18k gold & aqamarine (NFS), “TRANSITION” Collar, 18k gold, Onyx, Aquamarine $20,000  and “GOLDEN” Cuff, 18k gold, $10,000, made in 2001. Niche Magazine - TOP RETAILER SPIKED, red collar (Collection of Myra Gassman) & Cuffs on left side by Michelle Ritter  “POIGNET” (French meaning Wrist) $25,000 -  both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine. Bouquet Ring, Stainless steel & garnet by Wendy Gwen Hacker $800 Collaboration with Sculpture To  Wear Designer Gina Pankowski & MOEN Facet manufacturer. Utlilitary into Wearable Art Cover of W Magazine  - January Jones wears LATTICE necklace (oxidized Sterling Silver) by Gina Pankowski, $4,000 And Bridge Bracelet sterling silver by Sergey Jivetin, SOLD in Private Collection    The images below are from a PHOTO shoot based in the music video Rico Mejia Photography Fashion Beauty Celebrity Lifestyle Mobile number: 323-370-0555 https://www.behance.net/ricomejia https://twitter.com/RicoMejiaFoto https://www.instagram.com/ricomejiaphoto/ Perpetual Light in Motion - editorial photography by Rico Meija for Costumes bResin and Diamond Bangle by Cara Croninger from 24K Show, 1979, $4,000 Citrus Collar of acrylic, stainless steel & magnetic closure $650, and Bracelet $300 by Adriana Del Duca of Genos Jewelry  Vintage Earrings- acrylic, one of a kind by Frank & Anne Vigneri, 1984, $350 Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  Resin DROP earrings by Cara Croninger $200 REGINA Collar of acrylic, stainless steel & magnetic closure $800 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Bracelet by Genos, NFS in collection of Julie Laughton Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  BLUE DROP earrings Teri Brudnak $98 HEDGEHOG Collar of acrylic, stainless steel & magnetic closure $850 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Clear CUFF by Cara Croninger, NFS collection of L.M. Berman        Cover of Vogue with Cherize Theron     Transcript: Lisa Berman, owner of art jewelry gallery Sculpture to Wear, has been a figure in the art jewelry world for over 20 years, and she has a wealth of insight to share with fellow jewelry lovers. For her second appearance on the Jewelry Journey Podcast, she talked about how she's maintained relationships with hundreds of designers and collectors over the years, what advice she offers the designers she works with, and why art jewelry is coming into its own as a fine art collected by museums. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Lisa Berman. Although we share the same last name, I'm not related to Lisa; however, over the years she has become a friend and a trusted dealer. Lisa has been a guest on the show before. Today, we'll have a wide-ranging discussion with less of a focus on a particular piece, more talking about her experience in the jewelry and fashion world. Per our practice, the podcast is audio only. We will be posting photos of many of the pieces Lisa mentions today on our website, which is JewelryJourney.com. This is also a two-part podcast, so please keep your eyes open for our second episode which will air later this week. Please make sure you're a member of our jewelry community by subscribing to the Jewelry Journey Podcast. That way you can listen to both episodes hot of the presses, so to speak. With that, I'd like to welcome Lisa to the program. Lisa: Thank you, Sharon. I'm so delighted to be back here again. Sharon: It's great to have you. For those who don't know your background, can you give us a brief overview of your background? Lisa: Of course. I grew up in the fashion industry and had a career in fashion design. I had an accessory business for many, many years, and then I acquired the name of Sculpture to Wear Gallery in 1998. Of course, that was originally launched in 1973 in New York City in the Park Plaza Hotel. I launched my first exhibition at Bergamot Station Art Center, which I'll tell you about in a second, on January 16, 1999. I'm proud to be the second owner of Sculpture to Wear Gallery. Now, location is important. Location, location, location, you've heard a million times in real estate. Bergamot Station Art Center is in Santa Monica, California, Southern California, and it was formerly the home to 25 thriving contemporary galleries and the Santa Monica Museum of Art. It was, I believe, a five-acre complex. Now the Red Line runs through it. Sharon: The Red Line being the Metro. Lisa: Yes, the metro. Anyway, that's where I started my journey. I actually met my former husband, Robert Berman, there as well. It was the heyday. It was like Soho. It was the happening place on the West Side; it was a lot of fun. Every Thursday, Friday and Saturday night for 10 years, there were gallery openings. There was constant influx of artists and jewelers and collectors and educators and writers, so it was definitely the place to be. Sharon: What was groundbreaking about—first, it was groundbreaking that Sculpture to Wear was on the West Coast, but what was groundbreaking about the original Sculpture to Wear? Lisa: The owner, Joan Sonnabend, was basically located in Boston, but she had a tiny, little, postage-stamp gallery. Robert Lee Morris told me it was only about 400 square feet. The delineation was that she only showed work by signed artists. For example, you had Alexander Calder making jewelry, and he actually made his jewelry. There were pieces by Picasso; those were in addition to the series and those were made by other craftsmen. Of course, you have people like Robert Lee Morris, whose entire career was launched at the original Sculpture to Wear. The idea was that she was selling one-of-a-kind, sculptural jewelry made by fine artists, not by jewelry artists. That was the idea. Sharon: From what I've heard, nobody else was doing that then. This was unusual. Lisa: It was extremely unusual. The only person that was doing something similar was in Philadelphia. That's our beloved Helen Drutt, who is about to turn 91. She was also very monumental and important in bringing studio jewelry and wearable art to the United States, but she worked with jewelers and makers, mostly in Europe. Sharon: How did you know the Sculpture to Wear license was available? How did you find out about that? Lisa: I was introduced to the idea through Cindy Forbes, who's now Cindy Brown. She ultimately ended up being my gallery manager. We had a conversation, one thing led to another, and that was kind of it. It was available, so I capitalized on that and the domain and the name. When I acquired the name, I felt it was very important that every decision I made was legacy-driven, because it was a very important part of history. This is not something I just launched; they had an important history and legacy on the East Coast. That's why for my business card, I purposely selected the title of “visionary proprietor,” because it kept me on point and on target. At first, I got a little flak from it, but as I explained, that kept me on point to do my best. That was it. Sharon: Flak because people said, “Oh my gosh—”  Lisa: A lot of gumption that I would profess to be this visionary proprietor. Now, everyone on social media is a visionary and all the museum collectors' groups are visionaries. I don't know; I guess I was ahead of the curve. Sharon: You are a visionary. Lisa: This was 23 years ago. There you go.  Sharon: So, you opened at Bergamot Station and then you moved the gallery to Montana Avenue in Santa Monica? Well, they're both in Santa Monica. Lisa: I was in Bergamot Station from 1999 until 2003. In Bergamot Station, I had two separate little locations. In 2003, I moved to a much larger location. That was on Montana Avenue at the cross street of 11th Street. I moved there knowing I was a destination, that I had built a brand with Sculpture to Wear and with the artists through a number of different ideologies and media and exposure. We'll get into that in a second, but I knew I was a destination. I was not going to rely on walk-in traffic on Montana Avenue, like so many of the other stores did. That was really important, that I had built up that mailing list, the collector base. People would be traveling, or friends would be coming in from out of town and our collectors would pick them up at the airport and say, “We have to take you to Sculpture to Wear first.” It was those kinds of relationships we had built there. Sharon: Did people stumble on your gallery in Bergamot Station? How did they find you? Lisa: Bergamot had 25 galleries, so at any given day at any given moment, you had tons of people walking around. It's completely different than it is today; of course during the pandemic, but completely different. There was no problem reaching collectors, and I was the complete anomaly. You have this sculptural jewelry, and it was an education to a new audience. A lot of these people weren't necessarily open to the idea of jewelry not having diamonds or gold. People that had an educated eye in regard to design, like architects, were some of our first clients because they understood the design. It literally was a small-scale sculpture.  I think my passion for that and some of the artists were also incorporated into that conversation. I made a request of any artists that were local to the gallery that they do three things: they had to work in the gallery, they had to come and help set up an exhibition that wasn't theirs, and they had to attend an opening that wasn't theirs. I wanted them to understand the role of a gallery and what we did. At first it was, “Well, why I would give you 50 percent of the retail price?” This was a demonstration for them to learn why. There wasn't any artist who partook in those three requests that came to me and said, “No, this isn't right.” They all were shocked at what we did on a daily basis. Robert Lee Morris, I told him about that, and he was shocked. He said, “You did that?”  Sharon: You mentioned Robert Lee Morris. A lot of people will know who he is, especially New Yorkers or fashionistas, but tell us who he is and why he's important. Lisa: Robert Lee Morris is an icon. He's been designing jewelry for over 50 years. He's the only designer to earn the Coty Award for his jewelry design an unprecedented three times. He was the designer who made the big, bold, gold jewelry in conjunction with Donna Karan's black cashmere new work uniform in the late 80s, early 90s. Digressing to understand why he's important in my world, our world of art jewelry, is that he was one of the most important and prolific designers at the original Sculpture to Wear in New York.  He was self-taught. He was literally found at a tiny, little show in an offbeat path. He was immersed in this incredible work from Alexander Calder, Salvador Dalí, Louise Nevelson—amazing artists who already had these incredible careers, and as it turns out, people loved Robert's work. He outsold all the other artists combined at Sculpture to Wear. Then he launched his own gallery. After Sculpture to Wear closed, he launched Artwear. That launched a number of careers from a lot of famous artists, jewelers, studio jewelers, some of whom are still with us and some are not. That's his legacy; first at Sculpture to Wear, then Artwear. He has these amazing archives, and we'll talk about how editorial and prior images play a role in the secondary market. That might be a good place to talk about that. Sharon: O.K., please. Lisa: What's a phenomenon for me is that when I started and someone would ask if I sold jewelry, I knew the context. They would immediately think of CZ or— Sharon: Engagement rings. Lisa: Engagement rings. I said, “No, that's not at all what I do,” and I would always be wearing a piece. I was always wearing largescale pieces of jewelry. At that time when I first opened my gallery, I had very short hair; I think it was two inches long. People may not have remembered my name, but they would point at me from across the room and say, “Oh, that's the jewelry lady. That's the Sculpture to Wear lady,” and that was just fine.  This type of work, like photography 80 or 60 years ago, was not accepted in the realm of a fine art museum. Now you see photography auctioned at over $1 million, and some of the most incredible collections in the world are simply photography. Art jewelry is now collected in some specific fine art institutions, and that is for a number of reasons. First of all, it's because of exposure from editorial and media, and also because of the stewardship of specific collectors and designers like Helen Drutt, who bequeathed her collection to the Houston Fine Art Museum. I think it was almost a decade ago, and there's an incredible book. It's on my bookshelf. I can see it from here; it's very orange and large. She wanted her collection to be viewed at a fine arts museum versus a craft museum, and that started that conversation.  Lois Boardman on the West Coast donated her collection to LACMA, LA County Museum of Art, I believe five years ago. Also, for example, the Renwick Gallery at the Smithsonian has been collecting this work for a lot longer. For example, Jen Mandel and I were there for her induction into the Smithsonian. That was incredible. We were standing right next to a piece made by Alexander Calder, and that's where her vitrine was placed. It's really about this conversation, and I think it's a conversation of education.  As for the secondary market, we were just attending the Bonhams preview for the Crawford Collection. That's an unprecedented phenomenon, to have a collection of that level, of that stature, being auctioned by Bonhams without diamonds, without gold. There are a few elements and pieces to that, but you're looking at Art Smith pieces, modernists, studio jewelers. This is a very exciting and fertile time to be involved in studio and art jewelry. This is what I've been doing for the last 22, 25 years. We're at a very exciting place and there are a number of forums, especially with Covid and Zoom, with Art Jewelry Forum having open conversations about this, introducing collectors to artists and, of course, your podcast. There are a lot of variations and factors for the secondary market. Sharon: Lisa, because your jewelry and art jewelry in general is still avant garde—although it's coming into its own—do you think collectors or people like you are going to say, “O.K., what's next? What's on the horizon now? That's become old hat.” It hasn't, but do you think people are going to move on? Lisa: Sharon, I hope not. Within the genre of studio jewelry and wearable art, it has progressed and become so sophisticated. There are so many different makers out there, especially with the internet connecting us. When I first started in 1999, we didn't really have the internet; we barely had email, and now that's how everyone communicates. I think that people's creativity, the way people wear pieces and where they wear them—the reality is that we're not going anyplace right now during the pandemic, and I'm looking at different generations and how to include that next generation in collecting. For example, some of my first clients were in their 60s and 70s when they started collecting, and some are no longer with us. So, how do we engage their family members? You're our most recent convert to art jewelry. My gallery was so close to your house, yet you would have had no interest in what we did. I think it's a journey. Can you say someone's going to have a different trend? No.  I also think technology has played an important role not only in studio jewelry and the exposure, but also the techniques. People are using laser cutting, 3D printing. Technology has also been accepted into fine arts institutions and it has blurred the lines of the conversation of craft and fine art. Even five years ago, there was a delineation that was very distinct. There are still institutions that are not interested in immersion, but I think technology has been a friend, not a foe, to studio jewelers and the paths they can cross. Sharon: I do have to tell a story. Lisa and I were laughing because I lived close to where her gallery used to be. I lived not so far in the Valley, 10 miles away. I was never in your gallery, but I remember seeing an ad one day and thinking, “Who is going to wear this stuff?”  Lisa: And now the Jewelry Journey Podcast. Sharon: It was way out. When you say that people who were older started collecting it, that's the sort of people who don't automatically say, “Wow, that's so new and so cool.” Lisa: My collectors—and I'm sure a number of the gallerists across the United States who have been around for decades would say the same—our clientele, they're not interested in trends. If they open a Vogue, they might see a dress they like, but they're not going to buy it because it's on trend or in fashion. All my clientele, they're well-traveled; they're well-heeled; they're generally educated. They're willing to be avant garde. They don't want to wear the same thing everyone else is wearing, so it's a little bit different. The whole conversation now is that there are younger generations. I just met an incredible student at USC at the Bonhams preview. She's running this entire magazine department in her off time while she's full-time at USC. That's to reach a new collector base and new makers, but that's exciting. That's what makes it viable. Sharon: Yes, it keeps on going. Lisa: Right. That was one of the things I wanted to talk about in regards to when I first started in 1999: it was not only the relationships we built with the artists and the collectors, but we also had our version of social media, which was just printed publications. We didn't have social media, so building relationships with well-known stylists, who were either Emmy award winners or high-profile people that worked with celebrities, that was really important. We got to the point where they would literally call me up with the theme, tell me what it was, and I would already pull the pieces and have a box ready for them. We had a shorthand. That was, again, a relationship that would have to be cultivated. It was very exciting, and that's part of building the legacy of why this work is important. For example, Robert Lee Morris is pulling out his archives. Part of the excitement of these presentations is showing some of the editorial, these great magazine covers and shows that these pieces were included in. I have two decades of binders of images. So, that's very exciting, to show the relevance 20 years ago to now.

Fashion for Profit with International Expert and Author Frances Harder Have you ever dreamed of taking your design to market?Ever wondered how you get to design for a celebrity or get their endorsement? Ever thought of investing in a new designer's business? Or product? the next Nike or the next “Green” fashion? Well, I know just the person to help us understand the Good, Bad, Ugly and Fantastic of the Fashion business and how to make money investing in that industry. Or finding your Angel investor. Meet Frances Harder, fashion designer to royalty, author, speaker, professor and coach.I love that she recognizes that one of the biggest obstacles to creatives, is the lack of business knowledge. She shares her lessons so you can avoid the pitfalls that happened to her.Yes! you are a creator, but you are also a small business.The first time someone in the fashion industry asked me to invest in their product I thought, this is way out of my comfort zone ad wheel house so I investigated more into what it takes to be successful and make a return for me the investors. Wowza!More about Frances... Frances Harder Founder/CEOFrances Harder authored and published a series of books dealing with starting a fashion business.  Fashion for Profit (10th edition), Costing for Profit, Brand Building for Profit and Forms for Profit are industry focused texts used both by new companies and for further education programs. www.fashionforprofit.com. Consultant to the United Nations assisting small businesses: Peru- Alpaca products, (women owned businesses), Nepal - Cashmere products and recently assisting apparel manufacturer in Egypt enter the U.S. market (2nd contract). She consults and speaks internationally on product development, branding, merchandising, sustainability, costing, production and entering the US market.Frances serves as an industry expert in legal disputes.Organizes and presents seminars at Sourcing at Magic trade shows-(20 years) Presents on a variety of topics and moderates at many international trade shows both within the US and Internationally.Adjunct professor at Cal Poly Pomona and serves on the Dean's advisory board. In 1999 she founded the FBI (Fashion Business Incorporated), an educational 501c3 organization, which provided vital business development, resources, and certified job training programs to both the US. Closed in 2017 to relaunch under Fashion for Profit Consulting platform as a for profit entity in 2018.She studied Art and Fashion in the UK. Some of her professional accomplishments include having her name under license in Japan, designing for the Royal House of Brunei and designed two lines for Priscilla Presley that were sold on Home Shopping Club. Her last teaching position was for 9 years as a full time Associate Professor at Otis College of Art and Design (9 years), Fashion Institute of Design & Merchandising (FIDM)  (8 years).#FashionforProfit #Frances Harder #athenapaquette

Rose Fernandez is the CEO of ALGENIST – Algae based skincare born from ingredient level innovation, delivering on 10 Day Results that boasts 8 patents with Alguronic Acid™ and 6 exclusive ingredients, 100% vegan, clean and safe.   Rose has more than 20 years of experience in sales and marketing in the beauty industry. Developing strong businesses across retail, digital channels and spa by focusing on brand, relationships and profitability. She is keenly passionate about assembling the right team and developing people to success. Rose has previously held senior-level management roles with established brands like Murad, Kate Somerville and Jurlique, and has been featured in various publications and podcasts as an expert on the topics of brand, strategy and leadership.   Rose has been prominently featured in both industry, business and beauty press including WWD, CEW, Beauty Independent, Glossy, Yahoo Life, GCI Magazine, Salon Today, Happi, Cosmetic Business, and more. Rose has also spoken at the highly coveted WWD Beauty Summit, a featured panelist for PWBC & Kaiser Permanente on Leading from the Center, held a Working Women Seminar for Manifest, and was part of Stila Cosmetics beauty panel featuring BOSSES in the beauty industry. Rose also contributes to business leadership discussions through podcast such as The Reboot Chronicles, The Impact Effect, Beauty Business School, and The Story of A Brand.   Rose holds a BS in Marketing from the University of Phoenix and served as a Spa & Wellness and Business Ethics instructor at the Fashion Institute of Design and Merchandising (FIDM), where she is currently also on the Advisory Board. She has served as a board member for the Green Spa Network – an organization focused on providing education on sustainability – and is an active CEW member. --- Send in a voice message: https://anchor.fm/skincareanarchy/message

Jessica is in conversation with Diana Ganem. Diana Ganem's early life saw her moving from Mexico, to the American Southwest, and ultimately to Los Angeles, where, discovering her life's passion, she attended the Fashion Institute of Design & Merchandising (FIDM). After over a decade in various roles in the fashion industry, she decided to become her own boss, and began work on developing a socially responsible fashion brand that aligned with her values in sustainability and ethical practice. Now based in both Los Angeles and Costa Rica, Night swim, launched in 2018, is a conscious leisurewear brand rooted in respecting the planet and its people. The brand strives to empower consumers in making wiser shopping decisions, while at the same time providing high quality pieces that make women feel confident and comfortable Follow them on: @nightswimbrand Follow us on: @Fouura_lifestyle --- Send in a voice message: https://anchor.fm/jessica-ramoshaba/message

Today on What's My Frame? I'm chatting with one of the most influential and sought after costume designers, Mandi Line! Mandi's credits include SHAMELESS, THE ARRANGEMENT, CHARMED for the CW, BH90210 and the iconic PRETTY LITTLE LIARS. Where for six seasons, Mandi left her fashionable stamp on millennial culture! After graduating from the prestigious Fashion Institute of Design & Merchandising (FIDM), Mandi first gained experience as an intern, quickly moving into music videos and celebrity styling, working with the likes of Jared Leto, Lucy Hale, Kirstun Dunst and Mandy Moore. Her dream of working on TV became a reality when she became Head Costume Designer on ABC Family’s breakout hit GREEK. Next up was PRETTY LITTLE LIARS, and as they say thes rest is history! Mandi's work on PLL left a lasting impression on the industry and she's been going at 90MPH ever since; including a clothing line, countless other iconic shows and her highly successful IGTV series Creative Conversations with Costume Designs! --- Support this podcast: https://anchor.fm/whats-my-frame/support

Fashion is a $400-billion-dollar industry in the U.S. But until recently, Phoenix was only capturing a small sliver of that pie at best. That changed when two Valley entrepreneurs came together and decided those aspiring to carve out careers in the fashion industry, shouldn't have to relocate to hubs like Los Angeles or New York to be successful. In this episode of The SuccessLab Podcast, Sherri Berry and Angela Johnson, co-founders of the Arizona Apparel Foundation and F.A.B.R.I.C, share their uphill climb to launching the fashion business resource and innovation center, and how they've grown it to a beacon for fashion design businesses in the community. Headquartered in Tempe, Ariz., Sherri and Angela have grown F.A.B.R.I.C. into an important economic development initiative, opening the doors for fashion entrepreneurs to put down roots and thrive in the Valley –– and they did it all on a very limited budget. Read on for a selection of questions, and listen to the entire interview by clicking the player above. How did you get into the world of fashion? Angela: I went to Northern Arizona University (NAU) and got my degree in speech communication. When I graduated, I realized I could do some public speaking, but didn't have expertise in anything. So I decided to pursue fashion because I have always had a love for it. I went to Los Angeles and earned a degree from The Fashion Institute of Design and Merchandising (FIDM). Then I worked in Los Angeles for a few different brands until I eventually started my own collection. Sherri: When I graduated with my business degree from the University of Wisconsin, I really wanted to be a fashion designer. At the time there wasn't the internet, so you needed a million-dollar ad budget to be able to advertise so people would recognize your brand and buy it in a store. That wasn't realistic for me, so I went into retail and 17 years later I was running 350 stores. I burned out so I decided to launch my fashion brand. I got my MBA and then took two years off to learn everything I could about apparel, design, development and manufacturing. I also spent a lot of time in California working with Frances Harder. She had a consultancy called Fashion Business Incorporated and she wrote a very famous book called, Fashion For Profit. I met Angela during this time. Angela was literally the matriarch of the whole fashion community in Phoenix. Whatever resources were available here, Angela was connected to and willing to share. What traits have helped you advance your career? Sherri: When I started my retail career, I was an assistant manager at a store with a college degree. It didn't pay very well but it was a great opportunity because it was in close proximity to the corporate headquarters of Famous Footwear. Because all the buyers and vendors would come in, the store and our customer service had to be perfect.  It helped me learn you're only as good as the people you hire. You can be on your game, but if one of your employees isn't, then you're not on your game either. It really is about finding people who share in your desires and beliefs and motivations, and also that you support them in their goals as much as they support you in yours. Have you had any low points as an entrepreneur? How did you pull yourself out of it? Angela: I ended up moving back to Arizona to take care of my grandfather when my grandmother passed away. My brand, Monkeywench, was selling internationally and was profitable. But soon I realized that none of the resources I had been using in Los Angeles existed in Arizona. I couldn't operate this business that I had spent years growing anymore if I was going to live in Arizona. So I made the hardest decision of my life to close down a profitable business because of proximity. It was a dark day, but I decided at that moment I wasn't going to let that be the end of my story. Instead, I was going to solve my own problem while also solving the same problem for other people. I pulled together the community from a directory of fashion businesses in Arizona. Now LabelHorde is the directory we use here at F.A.B.R.I.C. to tie everybody together. Is there a common mistake you see first-time entrepreneurs making? Sherri: I try to explain to designers that less is always more when you're starting a fashion design business. It's more important they decide what their niche is and who their target customer is, and then get enough product in enough quantities to build up that brand.  That's the beauty of social media right now. You can take beautiful pictures and videos to put out there, and then do pre-sales without investing a ton in your manufacturing.  What advice do you have for fellow entrepreneurs? Angela: Educating yourself in your industry before you enter it is probably the most important thing. What's great about F.A.B.R.I.C. is that we want to educate people so they know what they're doing and are actually taking on all the responsibilities of this complex industry.   Speed Round: Are you a coffee drinker, yes or no? Angela: Yes. Sherri: Oh my God, yes. What's one business tool you are geeking out over right now? Sherri: I'm looking at CRM systems right now.  What is your favorite piece of technology? Angela: It seems so obvious but when my computer doesn't work, my whole world comes crashing down. Sherri: It's amazing what you can do through a phone now. I can be on the move and be able to do important things without having my laptop or an internet connection.  What's one book you'd pass along to a fellow entrepreneur? Angela: The Entrepreneur's Guide to Sewn Product Manufacturing is a great book for any fashion design entrepreneur.  Sherri: Who Moved My Cheese? It's a short, quirky book, but if you're feeling stuck, you have to read it. Who is one person you'd like to make a connection with? Sherri: I have two: Doug Ducey and Sandra Watson. Angela: Michael Krohn. What would be your icebreaker? Angela: “How would you like to disrupt an industry and help put Arizona on the map for a brand new, innovative industry in the 21st century?” How many hours of sleep do you each get each night, on average? Angela: Oh, that's embarrassing. Five, maybe. Sherri: I try to get as much sleep as possible. How can people connect with you or F.A.B.R.I.C? Angela: Fabrictempe.com takes you to everything that we do. Contact us from there or come in for a tour. 

'TK's Juicy Pod', by Taylor King, is all about the Juicy poll questions she asks on her Instagram stories. Oli Abbas joins Taylor to create juicy poll questions, and talk about the results as the votes come in. Oli shares all about his journey moving across the country to LA, Attending the Fashion Institute of Design and Merchandising (FIDM) for college, How FIDM helped him get to where he is now, How he landed his dream job, How he made friends with so many high profile Influencers, Working with Jeffree Star and what it was like, Manifesting the life you want, Teaching others how to manifest and apply it in their own world, and giving advice on boy problems. Don’t forget to leave a rating and a review! Have you taken one of TK's Juicy Polls? Well, get ready to take a bunch! Host, Taylor King (TK), is constantly posting juicy poll questions onto her instagram stories (@tksjuicypolls) for you, yes YOU, to participate in. During each episode, Taylor will host a new guest to come up with more juicy polls and discuss the interesting results! Questions range from food, dating, work, advice, anything really, as long as they are juicy. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/tksjuicypod/support

Lisa Berman* is an internationally recognized “Ambassador of Wearable Art.” Based in Southern California, her expertise extends to major manufacturing and retail markets, museums and corporations in the United States, Canada, Mexico, Asia and Europe. Lisa is the owner of the iconic gallery Sculpture to Wear, which was instrumental in launching the studio jewelry movement in the United States. The gallery offers an eclectic array of art, jewelry and unique objects to discerning collectors, media producers and institutions, which have been featured in film, television and publications. Her recently launched Berman Arts Agency offers artist representation, career management, corporate acquisition, sponsorship advisement, museum placement, exhibition curation and education services on the disciplines of fine art, jewelry, design and fashion. Lisa holds degrees in Plastics Manufacturing Technology from California State University Long Beach, Product & Jewelry Design from Otis College of Art & Design and Merchandising/Marketing from Fashion Institute of Design and Merchandising (FIDM). She has served on the Board of Governors for OTIS College of Art & Design; as Public Relations Chair for the Textile and Costume Council at the Los Angeles County Museum of Art (LACMA); and on the Museum Collection Board at FIDM. She volunteers for Free Arts for Abused Children, STEAM projects and Art & Fashion Councils. *No relation to host Sharon Berman What you’ll learn in this episode: How Lisa introduced wearable art into major fashion magazines and helped it gain traction with the public. The history of Sculpture to Wear and how Lisa came to own the gallery. Why architects were some of the first people to buy art jewelry. The influence of Helen Drutt on art jewelry in the United States. The challenges that galleries are facing with new consumers. The process for collectors to donate or sell their collections to museums. The mission and current projects for Sculpture to Wear and Berman Arts Agency. Additional resources: Berman Arts Agency Facebook Sculpture To Wear Gallery Facebook Sculpture To Wear Gallery Instagram

Do you enjoy working with people, artifacts, and history? Exactly what is a “Special Library”? Join Robin Dodge, Head Librarian of the Fashion Institute of Design & Merchandising (FIDM); Julie Huffman, Genealogy Librarian at the Los Angeles Public Library & Denise L. Mc Iver from the California African American Museum.

Brianna Rooney is a fierce, passionate, money motivated entrepreneur. She owns Techees, a very successful recruiting firm for the last 8 1/2 years. She has helped grow many tech-focused companies in the Bay Area. Highly sought-after software engineers is her specialty. Prior to finding her now passion, she thought fashion was her calling. She graduated from the Fashion Institute of Design and Merchandising (FIDM) in Los Angeles when she was 20 years old. Realizing you needed money to fulfill that dream of opening up a boutique, she went to bartending school. Partying and making quick cash seemed like a good step in the right direction. Two years later and too much of a good time. Brianna realized it was time to grow up and get a real job. One that didn't require late night taxi rides home and a stop at Jack in the Box. Brianna knew sales was her only way to get real money real fast. She met up with her friend one night for some drinks and career advice. She was a recruiter for accounting. She said her personality was perfect for it. Little did she know the universe already had this plan in motion. Brianna got a call during dinner from someone that saw her resume on Monster.com. He was a recruiter and asked if she had heard of the industry. This was fate. She was sure of it. The next day she went into the interview and the owner went on and on about how she could make a ton of money placing software engineers. They worked with startup companies in the Bay Area. He asked her how much she wanted to make. Being a money hungry 22 year old she had nothing to lose so she said $300,000. A reasonable amount for a young person with no experience. He hired her right on the spot. That first year she made almost $90,000. Tune in to hear the full story and more details.     Learn more about your ad choices. Visit https://megaphone.fm/adchoices (megaphone.fm/adchoices)

Brianna Rooney is just 33 and has built a highly successful recruiting business in the San Francisco Bay Area. In this episode, Brianna discusses what it takes to become a recruiter with a strong book of business. If you're considering recruiting as a career or business, this one is for you. Brianna Rooney has owned Techees, a very successful recruiting firm, for the last 8-1/2 years. Before finding her true passion, she graduated from the Fashion Institute of Design and Merchandising (FIDM) in Los Angeles at the age of 20. She then dabbled in bartending for a couple of years before deciding she wanted to find an industry she could really excel at. Brianna joined a recruiting firm and loved it so much that she left and started her own. Her specialty is finding great places for highly sought-after software engineers. Reach out to Brianna at https://www.linkedin.com/in/bmarie/. *** Raising Money Summit 2018 *** Ike Mutabanna is going to be on stage as an expert panelist at this summit in Denver. With over 400 investors from across the US attending, Ike will share his philosophy for raising money. Go to www.ike.show/moneysummit and you will get $100.00 off your ticket. This is a one of a kind Summit and we look forward to seeing you there. Looking to start or grow your business? We've got an entire ecosystem to get you quickly off the ground with ideas, mentors, and money! Write to ike@thesidebusiness.show. Make sure to subscribe to The Side Business Show. We are on Apple Podcasts, Google Podcasts, and Spotify. Find links for other popular apps at our subscription page. Disclaimer: The Side Business Show team and Ike Mutabanna (“The SB Show Team”) do not endorse any claims made or explanations provided by guests interviewed on the show. The SB Show Team does not endorse or support the guests or their businesses. The SB Show Team does not receive any compensation from guests appearing on the show. The audience is advised to do their own due diligence in any interaction or dealings with guests.

Taylor Clark is a 22-year-old entrepreneur and fashion designer dedicated to changing the world – one shirt at a time. Growing up with her parent’s bridal gown business, Taylor was exposed to the fashion and business industry at a young age. Her infatuation for bridal gowns led her to travel across the country to Los Angeles, CA to attend the Fashion Institute of Design and Merchandising (FIDM) and pursue her dreams of being a fashion designer. While Taylor’s main goal within FIDM was to be accepted into their 3rd year program, a full debut runway show that attracts 10,000+ industry professionals, she sadly just missed the mark. Little did she know, this would be a turning point on her mission to change the world.  Taylor’s endearing vulnerability in sharing her downfalls, as well as her triumphs, makes her not only a pinnacle of humility, but an incredibly relatable human being to anyone who’s ever felt lost at some point in their life. After a year of feeling stuck, Taylor made it on the Gary Vaynerchuk show where she asked how to shake the feeling of dissatisfaction with her current state. His answer sparked a movement inside of her, and Taylor embarked on a 30-day plan to launch her very own clothing line: Digital Nomad Apparel (DNA). As of now, Taylor is ever growing and expanding her clothing line toward her vision of a global massive collaboration. Her end goal is a to be a platform for designers from all across the globe to show and get credit for their creations, essentially changing the way we view fashion today.  In this episode of WakeUP!, Taylor gives insight on how embracing the dark makes way for the light in your life and how taking every opportunity presented to you is a doorway to success. Get excited for episode 19 with Taylor Clark! Discussion Topics: Who is Taylor and what is she up to now? Why are you on this planet and what is inside of you that is calling you forward? What advice do you have on achieving your dreams in the face of fear and self-doubt? Taylor Clark: Instagram: @thefabulousjourney Youtube: youtube.com/taylorclarkthefabulousjouney

Kapasa is a Magna Cum Laud graduate of the Fashion Institute of Design and Merchandising (FIDM) in Los Angeles, California, U.S.A. Kapasa has over seven years industry experience has showcased collections in Los Angeles, Palm Springs, Atlanta, Adelaide and Lusaka. Mangishi Doll is an apparel design & manufacturing company, established in 2012. located in Lusaka, Zambia. The word Mangishi is derived from the Nyanja Language, referring to a piece of wire twisted into an artistic craft, representing the art and innovation in our every creation. https://www.facebook.com/mangishidoll

Kirstyn Shaw has had a penchant for fashion since she started sewing at the age of six, but it wasn't until she had her "quarter life crisis" that she decided to make a career out of it. With a bachelor's degree from UCLA and a degree in apparel manufacturing from the Fashion Institute of Design and Merchandising (FIDM), Kirstyn wasted no time diving into the business. In 2008 she began designing and producing eco-friendly women's clothing for kika with her mom, Kim Shaw. While Kirstyn is a production wizard and has built great relationships in the business, her true passion is at the intersection of technology, sustainability, and fashion. I wanted to talk to Kirstyn to learn more about the business models she has explored. Her Business Philosophy:  Do unto others as you would have done unto you - show kindness and respect in your relationships.   Her advice to female entrepreneurs Don't fall in love with your inventory.  Inventory can be one of the biggest killers in a business. Know what you're good at and delegate the rest.  Delegation is key. Links http://www.natalieattired.com/ https://www.shopkika.com/ Subscribe to the Beehive on iTunes  Join us on Facebook

Fast Talk with Vickey Wachtel and Courtney Barker with guest Jeanette Chasworth Jeanette Chasworth's clients have nicknamed her “the color whisperer” because of her approach to creating incredible rooms or homes for her clients. When starting a new project, she first listens to the needs and desires of both the client and the house. Instead of fitting her style to a project, she uses her intuition and design knowledge to create a unique environment that weaves together each client's unique tastes, preferences and functional needs to create a space or home that reflect the client's personality. After working with Jeanette, clients describe their new space as “visual expressions of their personality”. Their homes move from feeling chaotic to feeling more like a sanctuary. There is a sense of peace and comfort created by colors and textures that now harmonize with the energy of the client—and with their home. As a result, Jeanette's portfolio illustrates great diversity in design, as her philosophy is unbounded by a particular style, and her inspiration draws from the desires that houses may ‘whisper in her ear'. In addition to Jeanette's innate talent with color and design, she earned a degree from Los Angeles' Fashion Institute of Design and Merchandising (FIDM). Next were varying assignments, from showrooms at the Pacific Design Center, interior design firms, drapery manufacturers, and the assistant to the president and designer of a Bausman & Co., a premier furniture manufacturer. In 2002, Jeanette opened her own design firm and her journey an interior designer took a new and exciting turn. In addition to managing numerous interior design projects., she has taken her love one step further, by being an interior design instructor. She has inspired students at Citrus College in Glendora, the University of California at Riverside, and Mt. San Antonio College in Walnut.