Does the influence of fashion editors, who has the power to manipulate Essay

Does the influence of port editors, who has the power to manipulate the collections of fashion fashion designers - prove ExampleThere are almost too many to name individually, really. But we are fans of Versace dresses and Vera Wang get hitched with gowns, Chanel perfume, Gucci purses, Yves St. Laurent and Ralph Lauren clothing, Karl Lagerfelds unusual fashion, and Emporio Armani suits and sunglasses. The last five years in fashion has seen a radical trade from impractical to more practical clothingat least in stores. On the runways, its a different story, as emaciated models walk the catwalk, pose, turn, and leave. Fashion editors can be a dime a dozen these days with all the magazines out there churning out content, but their staying power has remained in the sense that they do all of the necessary vetting for the fashion industry. III. The Pros Two pros of fashion editors follow. First of all, fashion pull up stakes be predictably selected if just one editor is manipulating the collections. This means that every piece of clothing in a collection which is featured in the magazine is carefully chosen with delicate care. This is to ensure that the high-quality standards of the fashion industry are being met, according to the editors interest. ... One has to start somewhere. If a juvenile designers line does not cater to the whimsy of the fashion editor, the piece on the radical designers line might not get written, published, or shotat all. The hour worry about how fashion editors manipulate the industry is that fashion designers will not be competent to succeed without being screened by an industry expert. Since the fashion world can be very ill-tempered about what it likes, the fashion editor serves as a kind of gatekeeper. Who is in (or popular) at the time is what en vogue, and if a type of fashion has been labeled a failure or unpopular, it could significantly damage that designers sales or marketing strategy. V. Anna Wintour, The September Issu e, and The ogre Wears Prada Anna Wintour, the editor-in-chief of Vogue Magazine, was something of a legend in the fashion world because of the way she could make or break a fashion collection. She was always look for for the newest and latest design or trend. Wintour wanted a hipper, younger Leadership, and twenty-three-year-old Cleave, an Oxford graduate with a degree in art, was given the youth page beatthe same with-it demographic that Anna later targeted, likely on her fathers advice, when she first became a fashion editor.1 Ms. Wintour was such the stuff of legend, that her figure was immortalized in The September Issue, and next, likened unto that of fashion editor Miranda Priestly in Lauren Weisbergers break-out fashion chick lit novel, The Devil Wears Prada. There was a lot of patronizing that went on behind the scenes at fashion magazines, and Ms. Priestly was no stranger to that atmosphere. In the fashion industry, particularly around editors, there is a