New york fashion institute of. Elena melnik fashion spot. Male fashion trends 2011.

New York Fashion Institute Of

new york fashion institute of


  • establish: set up or lay the groundwork for; "establish a new department"
  • Set in motion or establish (something, esp. a program, system, or inquiry)
  • Begin (legal proceedings) in a court
  • Appoint (someone) to a position, esp. as a cleric
  • an association organized to promote art or science or education
  • advance or set forth in court; "bring charges", "institute proceedings"

    new york

  • A state in the northeastern US, on the Canadian border and Lake Ontario in the northwest, as well as on the Atlantic coast in the southeast; pop. 18,976,457; capital, Albany; statehood, July 26, 1788 (11). Originally settled by the Dutch, it was surrendered to the British in 1664. <em>New York</em> was one of the original thirteen states
  • the largest city in New York State and in the United States; located in southeastern New York at the mouth of the Hudson river; a major financial and cultural center
  • one of the British colonies that formed the United States
  • a Mid-Atlantic state; one of the original 13 colonies
  • A major city and port in southeastern <em>New York</em>, situated on the Atlantic coast at the mouth of the Hudson River; pop. 7,322,564. It is situated mainly on islands, linked by bridges, and consists of five boroughs: Manhattan, Brooklyn, the Bronx, Queens, and Staten Island. Manhattan is the economic and cultural heart of the city, containing the stock exchange on Wall Street and the headquarters of the United Nations


  • manner: how something is done or how it happens; "her dignified manner"; "his rapid manner of talking"; "their nomadic mode of existence"; "in the characteristic New York style"; "a lonely way of life"; "in an abrasive fashion"
  • characteristic or habitual practice
  • Make into a particular or the required form
  • Use materials to make into
  • make out of components (often in an improvising manner); "She fashioned a tent out of a sheet and a few sticks"

new york fashion institute of – American Beauty:

American Beauty: Aesthetics and Innovation in Fashion (Museum at the Fashion Institut)
American Beauty: Aesthetics and Innovation in Fashion (Museum at the Fashion Institut)
This beautifully illustrated book is the first to examine the relationship between innovation and aesthetics as expressed by American couturiers and fashion designers from the late 1910s to the present day. The book, which accompanies a major exhibition at The Museum at the Fashion Institute of Technology, New York, reveals that great design and great style were consistent elements in the work of American’s best fashion designers.

Patricia Mears introduces many great forgotten figures, as well as many familiar names: work by lesser-known figures such as Jessie Franklin Turner, Ronaldus Shamask, and Charles Kleibecker is discussed alongside pieces by more celebrated creators, such as Halston and Charles James; work by designers of the past is juxtaposed with that of present-day designers such as Rick Owens, Yeolee Teng, and Maria Comejo. James’s grand and structurally imposing gowns from the 1950s appear alongside contemporary Infantas by Ralph Rucci; the section on draping juxtaposes 1930s gowns by Elizabeth Hawes and Valentina with more contemporary garments by Jean Yu and Isabel Toledo; clothing cut into pure geometric shapes like circles, triangles, and rectangles is illustrated by World War I?era teagowns by Jessie Franklin Turner, Claire McCardell’s mid-century rompers garments, and modern sportswear by Yeohlee and Shamask.

While the United States may be best known worldwide for its casual mass-marketed garments, Mears demonstrates that artistry, innovation, and flawless construction are the true marks of American fashion.

Former New York Times Building

Former New York Times Building
Civic Center, Manhattan, New York City, New York, United States


This sixteen-story office building, constructed as the home of the New York Times, is one of the last survivors of Newspaper Row, the center of newspaper publishing in New York City from the 1830s to the 1920s. Erected in 1888-89 and enlarged in 1903-05, the present building was the paper’s second on the site and was so identified with the Times that it was described in King’s Handbook of New York (1892) as "the Times expressed in stone." The former Times Building is the sole remaining office building in the downtown area by the pioneering skyscraper designer George B. Post. Post, the country’s pre-eminent -architect-engineer, achieved a major technological feat with this commission which required him to incorporate the floor framing from the Times’s five-story 1857 building so newspaper operations could continue on site while the new building was under construction. The Times Building, Post’s first in the Richardsonian Romanesque idiom, was considered "a masterpiece of the Romanesque style."

Faced with rusticated Indiana limestone blocks above a gray Maiiie granite base, the facades are articulated in a complex composition featuring a series of impressive arcades that emphasize the verticality of the building and horizontal moldings that call attention to the underlying structure. The carefully-scaled details include compound colonnettes, roll moldings, miniature balustrades, foliate reliefs, gargoyles and a mansard with gabled dormers

In 1904, the Times, which had been sold to Adolph Ochs, relocated to Times Square. The former ground-floor offices of the Times were converted to retail use, the mansard was taken down, and four new stories were added to the designs of Robert Maynicke.

Pace University acquired the building in 1951 for part of its Manhattan campus, converting the offices to classrooms and making changes to the base. With its three highly visible facades on Park Row, Nassau Street, and Spruce Street facing Printing House Square, the former New York Times Building remains a prominent presence in New York’s civic center.


Park Row and "Printing House Square"

The vicinity of Park Row, Nassau Street, and Printing House Square, roughly from the Brooklyn Bridge to Ann Street, was the center of newspaper publishing in New York City from the 1830s through the 1920s, while Beekman Street became the center of the downtown printing industry. This development began as early as 1830 when several old houses on the northwest corner of Nassau and Ann Streets were replaced by the Franklin Building, a five-story commercial building housing two printing offices and the New York Mirror newspaper.

By 1836 Nassau Street was home to fourteen newspapers and "numerous bookstores, stationers, paper-warehouses, printers, [and] bookbinders."

Park Row, with its advantageous frontage across from City Hall Park, had remained a street of restaurants, hotels, theaters, and churches until the late 1840s. As the entertainment district moved northward, the old buildings were replaced by first-class business buildings.4 Initially almost all of the new buildings were leased to dry goods firms, but by the end of the decade the majority had been taken over by newspapers and publishers.

This trend was greatly accelerated by the redevelopment of the former Brick Presbyterian Church block on Park Row between Beekman and Spruce Streets with the New York Times Building (1857-58, Thomas R. Jackson) and the Park Building (1857-58, demolished) which housed the New York World after 1860. In the 1860s, Park Row became known as "Newspaper Row" and the plaza formed by the intersection of Nassau Street and Park Row and bordered by the Times and Tribune Buildings as "Printing House Square."

The Civil War created a high demand for news which brought unprecedented growth and prosperity to the newspapers and weekly pictorial journals located in the vicinity of Printing House Square. In the post-war years, a number of papers replaced their old quarters with large new office buildings which incorporated elevators and were constructed with fire-resistant (often termed "fireproof) materials.

The majority of the new buildings incorporated several rental floors to take advantage of the great demand for office space in the City Hall area. Among the notable examples were the new "fireproof headquarters for the Herald (1868, Kellum & Son, demolished) at Park Row at Ann Street; the handsome Second Empire style New-Yorker Staats-Zeitung Building (1870-73, Henry

Fernbach, demolished) at the intersection of Centre Street, Tryon Row, and Park Row; the early skyscraper, Tribune Building (1873-75, Richard M. Hunt, demolished) at Park Row and Spruce Street; and Evening Post Building (1874-75, Thomas Stent, demolished) at Broadway and Fulton Streets.

In the 1880s and 1890s, the newspapers cont

Woman, black flower, snake, bottle

Woman, black flower, snake, bottle
Yes, a mannequin, and probably pretty obvious, but there was a trend for a while of applying a mannequin-like makeup look to living models. This was a student work in the "Aire of Fantasy" student design challenge at the Fashion Institute of Technology; its designers were Jay Elliot Flynn and JoAnna Black. Considering the snake and the black flower, it might’ve fit into FIT’s "Gothic" exhibition (which I haven’t seen yet) as well.
new york fashion institute of

new york fashion institute of

VIDEOFASHION: Elements of Style 1 #4 - Head Over Heels. Everybody knows that a woman's greatest weakness is a great pair of shoes. . . . a symbol of fashion, femininity, sex and status. Meet some of the designers who create fantasy for our feet . . . Christian Louboutin; Bruno Frissoni; Brian Attwood, Guido Bruno, Alexandra Neel, and, of course, Jimmy Choo! Valerie Steele of New York's Fashion Institute of Technology talks about the psychological power of shoes!
How do you define style? Utilizing the world-famous Videofashion Library, we created the Elements of Style series to meet the needs of programming executives searching for fashion and beauty programming that never gets old. Here, we examine every facet of fashion and all of the things that contribute to style as we understand it. Everybody knows that a woman’s greatest weakness is a heel of a certain height. . . . and that they are a symbol of fashion, femininity, sex and status. But you don’t have to be a character from Sex & the City to be transformed by a sensational stiletto. In this episode meet some of the designers who have the ability to create a fantasy for our feet . . . Artisans and craftsmen like Christian Louboutin; Bruno Frissoni; Brian Attwood, Guido Bruno, Alexandra Neel, and, of course, Jimmy Choo! We also hear what Valerie Steele of New York’s Fashion Institute of Technology has to say about the psychological power of shoes and how they have the power to transform our lives!