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You can be a t-shirt designer with the Learn to be a T-shirt Designer Sketchbook! Follow the tips and tricks inside to create your own fun style. This adorable 96-page sketchbook has a spiral binding which makes it easy for budding designers to lay flat for ease of use, and also has 3 sheets of cool stickers to inspire and embellish your fantastic designs! Featuring information on different design styles and blank templates to illustrate designs on, your skills can be displayed in all their glory in these amazing Glamour Girl titles!
From Azzedine Alaïa, Cristóbal Balenciaga, and Coco Chanel, to Alexander McQueen, Yves Saint Laurent, and Vivienne Westwood, a century’s worth of fashion greats from the permanent collection of The Museum at the Fashion Institute of Technology are celebrated in this limitededition volume. Photographs of over 500 garments selected from the Museum’s permanent collection illuminate each of the featured designers, while texts by the curators explain why each designer is important in fashion history and what is special about the individual pieces featured.
In her introductory essay, director and chief curator Valerie Steele writes about the rise of the fashion museum, and the emergence of the fashion exhibition as a popular and controversial phenomenon; and both Steele and contributor Suzy Menkes provide a history of this museum’s role in the world of fashion scholarship and preservation.
Fashion Designers A–Z is available as a series of six Designer Editions. Each edition (a total of 11,000 copies) is bound in a fabric created by one of six designers Akris, Etro, Stella McCartney, Missoni, Prada, and Diane von Furstenberg and comes in a Plexiglas box.
Crafted by hand at a bindery in the heart of Italy, and stamped with a unique number, every copy is an instant classic, and an addition to your fashion library that is truly one-of-a-kind. Reprinted especially for the Akris Edition of 2,000 copies, designer Albert Kriemler´s iconic “Grand Prix” digital photo print was created for his Akris Spring/Summer collection 2012.
“In the spirit of the devil-may-care elegance of John Frankenheimer´s 1966 movie Grand Prix” (Kriemler), the race cars whizzing by on silk crêpe found a suitable patroness: H.S.H. Princess Charlène of Monaco wore an Akris shift dress with the “Grand Prix” print to the Formula One races in Monte Carlo.
About the Author
Valerie Steele is director and chief curator of the Museum at the Fashion Institute of Technology and founding editor of Fashion Theory. Described in The Washington Post as one of “fashion’s brainiest women” and by Suzy Menkes as “the Freud of fashion,” Steele combines serious scholarship (and a Yale Ph.D.) with a rare ability to communicate with general audiences. As author, curator, editor, and public intellectual, Steele has been instrumental in creating the modern field of fashion studies.
Among the world's most influential fashion critics, she is an officer of the Order of the British Empire as well as a chevalier of the "Legion d'Honneur." She lives and works in Paris.
This book provides the most current and complete version of statements defining a competent instructional designer, for those who are or aspire to practice in virtually any context, anywhere in the world. The research conducted to update and validate these standards included obtaining feedback from over 1000 senior to novice practitioners and scholars working in the North, South, and Central Americas, Europe, Asia, Australia and New Zealand, and African nations.
This book is intended for those who hire, train, and prepare instructional designers and those who work (or plan to work) as instructional designers. It provides an updated description of the profession. It lays out the most critical competencies (e.g., knowledge, skills, and attitudes) of the successful instructional designer, regardless of the context in which they work (e.g., K-12, higher education, business and industry, government and military, private consultancy, informal or formal), the location in which they practice (e.g., the Americas, Europe, Asia, Africa, Australia), and the type of delivery for which they design (e.g., face-to-face, paper-based, digital, blended).
There have always been questions about what instructional designers do...such questions led to the creation of ibstpi more than 30 years ago. Yet, this questioning is especially true today with the growing call for developers of e-learning and other technology-supported instruction. The term 'instructional designer' seems to have become a generic phrase that now lends itself to a broad range of meanings, and yet, it is a definitive profession with a specific scope and focus. The more widely the label 'instructional designer' is used, the more room there is for misunderstanding about what is called for in skills, behaviours, competencies, and outputs. What is called for in the midst of this learning boom is clarity, direction and uniform expectations. With a common understanding, we can help avert poor design, especially in e-learning and technology-supported instruction, which often fails learners or has high attrition rates.
Grounded on rigorous research, consulting hundreds of practitioners around the world, this book articulates and explains what is required to be a competent instructional designer.
It includes the set of standards that clarifies the profession and provides a set of competencies for creating hiring schemes, professional development guidelines, performance assessments, work plans, and curriculum to prepare instructional designers.The instructional designer profession continues to grow in wake of emerging technologies, new pedagogies, and virtual learning environments.
However, many educators, instructors, and even training specialists often lack the competencies to design, develop, implement, and evaluate these newer types of instructional solutions. This book articulates and explains the competencies that are required to be a competent instructional designer.
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