it was expected that design professionals would have high interest in design

Consumers’ perceptions might be influenced in several ways by

the coded sensory system contained in products’ visual aesthetics.

Product appearance is the first thing that connects a product with

a potential buyer followed by evaluations based on this sensory

connection (Hollins and Pugh, 1990). Due to their coded sensory

system, visual aesthetics have a symbolic function that can influence

product evaluation. Visual appearance is actively considered

in product comparisons and is a key determinant of purchase

satisfaction (Bloch et al., 2003). Visual product aesthetics are significant

elements of product categories regarded as extensions of

the self (e.g. dress) due to the role of the coded sensory system in

identity expression.

In general, consumers prefer visual over verbal processing

(Childers et al., 1985; Holbrook, 1986). Highly visual consumers

may weigh aesthetic elements higher than less visual consumers

when making product choices. Consumer groups vary in sensitivity

to visual product aesthetics. Bloch et al. (2003, p. 558) noted

that ‘based on training, experience, and career demands typical of

these individuals, it was expected that design professionals would

have high interest in design and consider visual aesthetics to be

highly central’. Indeed, a group of design professionals did score

significantly higher on the Centrality of Visual Product Aesthetics

scale than samples from the general population. In one study, the

most preferred perceptual modalities of a sample of US fashion

design and merchandizing students were interactive (oral communication),

followed by kinesthetic (body movement) and visual

(viewing pictures, images, objects or activities). Touching and

smelling objects (haptic, olfactory) were ranked low by students as

means to acquire information (Workman, 2000). Results of a

recent cross-cultural survey of fashion design and merchandizing

students indicated that students preferred interactive, visual and

kin esthetic modalities while haptic and olfactory modalities were

less preferred by students from all three cultures (Caldwell et al.,

2005). yanzic0525.

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Hernandez also lauded the advantages of partnering with a larger outfit

"When that television commercial featuring the Proenza Schouler for Target collection started airing, all of the sudden people across America saw who they were," recalled Michael Macko, vp and men's fashion director at Saks Fifth Avenue. "Maybe some of them didn't read Vogue, but they were all watching the TV and saw ads for the collection during American Idol."
Proenza Schouler's story epitomizes the primary benefit that a retail design partnership can reap: Mass publicity--often in the form of broad-scale marketing--for a name previously known only to fashionistas and, with that publicity, opportunities for growth. According to Hoover's, Proenza Schouler's total sales for 2006 were a rather anemic $2 million. This past July, Valentino Fashion Group bought a 45% stake in the label, and paid $3-7 million for it.
At the time of the equity purchase, fashion-industry bible Women's Wear Daily quoted Hernandez enthusing that "we now have a security net for our company. Our business has been growing exponentially, and to do that you need the proper funding."
Hernandez (who was not available for comment) also lauded the advantages of partnering with a larger outfit that could lend logistical and infrastructural help with manufacturing and distribution. Such is one of the primary reasons why designers elect to ink deals with a huge retail chains to start with.
Occasionally, a designer will create a line extension that it manufactures itself and sells in its own stores. These so-called secondary collections (discussed in greater detail to follow) have fiscal advantages of their own. In general, however, the high visibility that a luxe brand aspires to is most directly achieved via a mass-retailer partnership.  yanzic0522.
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while many brands with lower-tier collections retain their rarified perception with the public

Indeed, blowback from a lower-tier collection that damages the core label is hardly a theoretical event. According to the Luxury Institute survey, while many brands with lower-tier collections retain their rarified perception with the public, just as many do not. This unsettling truth is why some high-end designers have chosen to avoid selling to the masses altogether, opting instead to build their brands over time by increasing the purchase frequency within their dedicated customer demographic.
While that self-limiting strategy might seem to shut the door on the potential of building a multi-tiered, multibillion-dollar brand like that of, say, Ralph Lauren, it also means not losing one's status in a market that burns through designers like so much coal in a furnace.
A View from the Bridge
Before this spring, Proenza Schouler was a boutique women's apparel brand whose critical acclaim and Council of Fashion Designers of America honors had given the label considerable traction in the industry, allowing it to snare accounts with key luxury retailers such as Barneys New York, Neiman Marcus and Bergdorf Goodman. Proenza Schouler, however, was light years from being a household name in mainstream America.
That all changed in March, when design duo Jack McCollough and Lazaro Hernandez designed a special collection for Target. The media coverage and consumer fervor helped spur reportedly brisk sales of the clothing (Schouler's reps, along with several other privately held luxury brands contacted for this story, declined to comment on fiscal results). Target had suddenly nudged the brand into the national spotlight.  yanzic0522.
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it was unusual the designer did not take a bow at the end of the company's runway presentation in Los Angeles in October

Despite Cohen's outward support of Gardner, it was unusual the designer did not take a bow at the end of the company's runway presentation in Los Angeles in October. Asked at the time about Gardner's fate at St. John, Cohen said a "brand new" designer would be announced in about a month and sources indicated at the time that it would be a major name.
In addition to Wang, sources said St. John could be hiring three new male designers by March 1 to head up its various divisions. All three prospects hail from companies such as Louis Vuitton and Prada, although their names couldn't be learned. St. John plans to show its fall collection on March 22, as the last show during Los Angeles Fashion Week.
Wang, in the meantime, has been expanding her $300 million business on several fronts. In addition to her successful bridalwear line, she has a small but growing rtw and dress business, as well as numerous bridal-related licensees in a slew of categories. The company has been looking to add nonbridal licenses, particularly in sportswear, and has been in talks with Kohl's about a mass distribution deal that could be a multimillion-dollar contract for the designer. In fact, it also has been involved with talks with Haim Dabah, chairman and ceo of Regatta Pacific Alliance, for two years about doing a sportswear line for mass distribution.
Wang also plans to expand her rtw collection globally, and will show her fall line in Paris at the Hotel Meurice. yanzic0520.

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Dresses were cut close to the body in plaid gabardine or full-skirted in lace or metallic tweed, cinched with belts

Sweetface: Add "quick study" to Jennifer Lopez's title of actress/pop diva/designer. The tight Sweetface collection Lopez showed on Friday indicated the willingness -- not to mention the savvy -- to take her lumps and learn from them. After her much-ado-about-little extravaganza a year ago and a one-season hiatus from the runway, Lopez returned with a shrunken presentation. It pulsed with "I-still-have-much-to-learn" humility, all while she worked her superstar wiles to uber advantage, greeting her guests before the show wearing a politely sexy dress and pumps. "I wanted to do something more personal, so you can really see the clothes," she said.
With an Airstream trailer as the backdrop, out came her models -- each in La Lopez hair and makeup -- in an appealing dialogue between ladylike dressing and street-smart style, the former attributed to a Sixties obsession triggered by her work in the biopic "El Cantante." Dresses were cut close to the body in plaid gabardine or full-skirted in lace or metallic tweed, cinched with belts; outerwear ranged from a plaid swing coat belted in front to a shiny hooded vest trimmed with fur, and deep-ribbed, knit-cuff knits lent attitude to skinny jeans. The results were more polished than before, and twinkled with the glow of a still-new endeavor really coming together.
Matthew Williamson: Times are tough for designers who revel in all things bohemian. And Matthew Williamson seems to be having a particularly hard time of it. With its overly retro silhouettes, his perplexing fall collection resembled a casting call for extras in "The Ice Storm" -- a seeming attempt to turn tailored wool groovy. So, too, his usual strengths of color and print appeared to malfunction. His palette swung from excessively bright to dull and muddy. And a fluorescent Aztec print that ran throughout in silk dresses, bow blouses and flouncy skirts was appealing in none of the above. In all fairness, there were redeeming factors, namely those cashmere sweaters and boucl-and-lam coats and yes, there will always be a customer for beaded chiffon.
Cynthia Rowley: As the New Amsterdam Boys Choir performed a medley of reworked pop ballads, Cynthia Rowley was singing the blues. Channeling painter Yves Klein's yen for the color, she worked her flirty little pieces in every imaginable shade, only throwing in spots of red, gold and pink here and there. Some noteworthy looks included her pretty puff-sleeve blouses worn with cropped skinny pants, delicate lace dresses and a playful trapeze coat. Yet that color fascination seemed to be the designer's only focus, as the rest of the collection was incohesive: exaggerated cowl-neck dresses; an ill-fitting satin cocktail slip worn jumper-style over a knit top; an asymmetric-gone-haywire dress. Then there was the peculiar "Magical Mushroom" motif worked into all of her prints, and also etched into the gold-plated hardware. It all left us wondering if Rowley was spending too much time in "Wonderland."  yanzic0516.
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mired in conflict between youthful notions of glamour and the realities of modern dressing

Some of the recent fall collections were all about the pretty and polished, with designers turning out simple cocktail dresses, smart little jackets and great-looking patterned coats.
Chado Ralph Rucci: As always, for his Chado Ralph Rucci collection, Ralph Rucci showed detailed clothes with superb cut and craftsmanship in exquisite materials, albeit with his typical architectural pomp. Still, what distinguished this line from previous efforts was the sheer number of accessible clothes. His lemon-colored cashmere jacket and the deep forest green high-necked cashmere coat, for example, didn't suffer any of the Rucci tricks, but rather were enriched by a monotoned paisley embroidery. The snug, sexy sheaths with tiered lace overlay worked a light-handed flirtiness, a rare treat in a Rucci collection. And the black silk velvet off-the-shoulder gown reflected the best of his talents -- a perfect mix of cut, artistic flair and drama.
Zac Posen: Just ask Drew Barrymore -- growing up in the public eye can be a tough, slow process. Zac Posen, all of 25, continues to experience his own growing pains, mired in conflict between youthful notions of glamour and the realities of modern dressing. Caught in the middle: his overwrought fall presentation, too much by day -- the shoulders, the snakeskin, the ponderous silhouettes -- and by night -- full skirts, feathers and a pair of models wrapped so tightly they couldn't walk. Which is a shame, because Posen has made considerable strides. On the upside, a demure plaid dress, sporty jackets and skirts, a terrific peacoat, and for when the lady wants to be a vamp, a smartly cabled mink-and-lamb trenchcoat, all featured interesting -- but reasonable -- quirks of construction. And at night, when he controlled the urge to overflex his considerable technical muscles, he came up with a chic navy satin sheath and a terrifically effortless silver sack dress. But these looks needed some toned-down company. Would that Posen could relax, flip through a few celebrity tabloids, watch the starlets banter with Letterman, pay attention to the comings and goings of thirtysomething socials. Which is not to say he should design to the blandest common denominator. But like it or not, these are casual times, and most women just don't feel comfortable in highly complicated clothes.  yanzic0516.
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Since Los Angeles is the denim capital, there are so many brands here using the same facilities

David Lim, owner and designer of the Los Angeles-based denim-driven brand Kasil, said the February installment of Coterie is always a particularly busy show because fall is a big season at retail.
"Coterie has a reputation of being a juried selection and because of that, buyers at Coterie write orders more often than at other shows. Buyers tend to want to stock up their stores during fall," Lim said. "We always want to do our best there." Lim declined to provide a projected three-day wholesale volume, but said he would like to increase the number of specialty stores where his collection is offered.
At Coterie, he intends to build the brand up, while maintaining what he calls "the cool factor." One way of doing this is by sticking with smaller boutiques and forgoing the department store route.
The wholesale price range of Kasil denim is between $85 and $120. Corduroys, which wholesale for $85, are expected to be a big hit for fall. Kasil's cords come in chocolate brown, khaki and maroon. A small sampling of women's blazers made from 100 percent cotton will be introduced this season, wholesaling for $175.
The timing of the show was an issue for Lim, but since all of the merchandise is produced in Los Angeles, it wasn't the Chinese New Year affecting his schedule. Producing domestically brings its own unique set of circumstances.
"No matter how long you do it, it doesn't get any easier," Lim said. "Since Los Angeles is the denim capital, there are so many brands here using the same facilities and there are so many samples going through. If something comes out wrong, we have to take it back to the drawing board."
Alice Cheng, founder of the New York-based contemporary line A. Cheng, said she'd like to move into more department stores, but understands such a move takes time.
"Department stores like to look at you for a couple of seasons before they take you on," Cheng said. Currently, A. Cheng is available in 80 specialty boutiques in the U.S., Canada, Sweden and Denmark. Wholesale prices of the collection range from $98 for blouses to $200 for coats. Dresses wholesale for roughly $140.
This season, Diana Lee joined Cheng as co-designer. Lee previously designed her own collection of sweaters. With Lee on board, Cheng said the collection has grown by about 40 percent.
"Since the collection is now twice as big, I think we should do about $900,000 in wholesale volume for 2006," Cheng said, noting that the total was double last year's volume. yanzic0514.
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For fall, Walter consists of skinny pants and fitted jackets with a Fifties or Sixties inspiration

DESIGNERS SHOWING DURING NEW YORK FASHION WEEK aren't the only ones under pressure from the calendar. Vendors at the Fashion Coterie here also are scrambling to get ready for the next installment, which will take place at the Show Piers here Feb. 14-16.
"We're rushing like crazy to make it happen," said Walter Baker, designer of the New York-based contemporary collection Walter. "The timing is hard. We make a lot of our stuff in China, and they're having their Chinese New Year now, so whatever we got from them two weeks ago was it," Baker said. "But that's part of the deal. We want to be in the fashion business, so we just have to do it."
For fall, Walter consists of skinny pants and fitted jackets with a Fifties or Sixties inspiration, but dresses are a crucial part of the collection this season. Colors range from shades of grey, blue and black to pink and red, "to pop it up a bit," Baker said.
Tops in the collection wholesale between $40 and $50, pants wholesale for less than $100 and the wholesale price range of jackets is between $100 and $150. Walter is available at more than 2,000 specialty boutiques worldwide as well as department stores such as Saks Fifth Avenue, Neiman Marcus, Henri Bendel and Nordstrom.
"My goal, at Coterie, is to increase our market share in specialty stores around the world and increase market share in department stores," Baker said. "I want our areas within stores to get larger as the brand gets more recognized."
Baker is anticipating a strong show at Coterie and anticipates a wholesale volume of about $300,000 over the three-day period. "And that's just orders people leave on the spot," he said, noting that most of the major department stores tend to place orders directly from the showroom.
"Coterie is the best venue for seeing all the stores and everyone comes to Coterie no matter what," he said. "They want to see what's fresh and new."
And Baker pulls out all the stops to make sure buyers see the big picture. "We'll have models in the booth, which makes it so much better for the buyers to actually see the product on a live person. It's a small investment, but it's totally worth it," he said.yanzic0514.
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The monstrous old dresses drifted into attics

Her face, entirely exposed, bore an indolent and haughty look that hadn't been seen for years. The new, impoverished dress represented a repudiation of everything Hyperion bad stotxl for. At the same time, within tbe culture ofthe liberated dress, it struck a radical note. Women hesitated; here and there, in a spirit of daring, someone appeared at a party dressed in the new style. One day, as if by secret agreement, the fashion was everywhere. The monstrous old dresses drifted into attics, where young girls, climbing the stairs in search of an abandoned doUhouse or a pair of skates, came upon something looming against the rafters and stopped uneasily before continuing on their way. At dinner parties and family gatherings, people recalled the old style with amusement and affectionate embarrassment, as one might rememher an episode of drunkenness. In memory the dresses became more vivid, more remote, until they seemed like brilliant birds rising in dark forests or like distant sunlit towns. Meanwhile the new dresses grew a little shorter, a little longer; slacks and blouses grew tighter, looser. One afternoon in late summer, on a sidewalk printed with the shade of maple leaves and flickers of sun, a woman walking with her young daughter had tbe sense that she was about to remember something, something about a dress, but no, it was gone,sexy lace ankle length dresse prom dress  vanished among the overhead leaves already turning, the bits oi blue sky, the smell oi cut grass, the chimney shadows sharp and black on the sunlit roofs. yanzic0508.

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One dress contained in its side a little red door

One fashion writer praised what she 76 HARPER'S MAGAZINE / MAY 2006 called the vanished woman and compared the enclosure dress to the development of the boudoir, or private sitting room, in the eighteenth century house—a secret domain in which a woman could be herself, safe from male control. A rival journalist, ignoring women and their desires, spoke only of the new aesthetic of costume, which at last was free to develop in the manner of landscape painting after it had become bold enough to exile the human figure. And indeed there now began a period of excess, of overabundant fulfillment, as if the banishment of the face had removed some nuance of restraint still present in the earlier collections. Inspired by Hyperion, dresses became fevered with obscure cravings, with sudden illuminations and desolations, and threw themselves into hopeless adventures. Restless and dissatisfied, they grew in every direction; in some instances they exceeded the size of rooms and had to be worn in large outdoor spaces, like back yards or public parks. The vast lower depths of such dresses encouraged coarse speculation. It was said that beneath those coverings, naked women coupled madly with young lovers in the grass. One dress contained in its side a little red door, which was said to lead to a room with a bed, a mirror, and a shaded lamp. Another dress, designed for the wife of a software CEO, rose three stories high and was attached to tbe back ofthe house by a covered walkway. A celebrated fashion journalist with a fondness for historical parallels compared these developments to the fanatical elaborations of coiffure in the late eighteenth century, when three-foot castles of hair rose on wire supports. The new dresses were not so much worn as entered— it was as if they wished to carry the structural qualities of fashion to the point at which clothing began to merge witb architecture. Such excesses were not without a touch of desperation, as if the escape of costume from the female body had created in clothes an uncertainty, a sharp malaise. One summer afternoon during a party at an estate in northwestern Connecticut, an unusual immobility in the lavish dresses became apparent. Had the women taken a solemn vow not to move.' The stationary costumes, arranged on a lawn that sloped down to a lake, resembled a form of sculpture. Four men, bored or excited by the motior\less women, stood before one of them, talking and drinking hard. Suddenly two of the men bent over, grasped the heavy dress by the hem, and lifted it violently into the air. Voices shouted, cheered. Underneath they discovered only the lawn itself, stretching away. sexy lace ankle length dresse prom dress ,The four men rushed over to the otber dresses, yanking them up, knocking them over, tearing at them with their fingers, but the women had disappeared. Later that day they were discovered in the kitchen of a neighbor's house, dressed in old bathrobes and talking among themselves. yanzic0508.

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Depending on what role you chose, I am curious about how you feel at this moment

Welcome to kindergarten at Anytown Country Day School. Come on in and pick a role. You can be the teacher, lower school head, Madeline's parent, Liam's parent, or any child sitting in the circle. Now, just settle into the moment.

It's September and it's circle time in the kindergarten classroom. Children are taking turns sharing information about who is in their families. Kids are talking about their moms, dads, brothers, sisters, pets, and grandparents. Madeline, a five-year-old with lesbian parents, says, "I have a Mommy and a Momma and a dog named Zack." A girl named Betsy asks Madeline, "How come you don't have a dad?" Madeline doesn't answer right away and another child, Liam, says, "There has to be a daddy because you need a seed." Madeline shrugs and says, "No there doesn't." The children look puzzled and turn to their teacher. 

Take a deep breath. Depending on what role you chose, I am curious about how you feel at this moment. If you're the teacher, you may feel anxious about how to respond appropriately. If you're the lower school head, you may be a bit worried about how parents will react to this kind of conversation taking place in the kindergarten circle. If you're Madeline's parent, you might be holding your breath to see how all this plays out, as Madeline does not have a lot of experience explaining her family configuration to people. As Liam's parent, you may be pleased (chagrined? surprised?) at how much information he absorbed from that Nova special you watched last week, "Reproduction from Bees to Bears to Babies!" And if you're a child in the circle, you may be learning something new about different kinds of families and also wondering when snack is. yanzic0507.

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Yet warrior fashion is an ancient and elaborate tradition

Some people will undoubtedly consider it frivolous to mention fashion and killing in the same sentence. Yet warrior fashion is an ancient and elaborate tradition, and nowhere is it more treasured than in Africa.

During the Somali conflict last year, for example, pictures of a Somali warlord's teenage gunmen suddenly flashed onto the television screen. Dressed in faded camouflage shirts and pants, probably army castoffs, they wore long scarfs around their necks and waist cinchers (the kind women in the United States wore under dresses in the late 1950s). Where they had gotten the waist cinchers no one seemed to know, but the image of teenage boys brandishing rifles and wearing this odd, Madonnaish feminine accoutrement was terrifying, and firmly in the tradition of cross-dressing warriors in tribal Africa, Asia, and North America.

In a similar but less spectacular way, a teenage Rwandan gunman appeared on the screen recently wearing faded, obviously cast-off camouflage, a long scarf he must have made around his neck, and a beige, monklike pointy hood on his head. He flailed into camera range, somehow managing to brandish two sticks and a rifle, a crazed look in his eyes. It was a horribly stylish and most chillingly effective outfit. yanzic0504
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Fashion is generated by disparate sources, and one of the surest, is television news

Fashion is generated by disparate sources, and one of the surest, if least obvious, is television news. Between April 26, when the South African elections began, and May 6, when Nelson Mandela won, I watched the nightly news without the sound to see what sort of style elements were penetrating our psyches.

What a delight it is to report that the intricate African stylishness, an expertise with line, drapery, texture, inventiveness, and detail that outclasses that of the French, will now become more and more evident to Americans through the nattiness and taste of President Mandela.

He is so stylish! He looks handsome in Western suits and ties. And his high-collared patterned shirts, buttoned to the neck, beautifully cut, look at once monarchal and grandfatherly. The shirt he wore for an interview with Peter Jennings, with its black yoke and its black-and-gray stripes, not only was modern but also looked perfectly suited to the leopard skin and beaded crown he later donned in a bow to history.

Camouflage has been creeping into fashion in the last two years. And indeed, one of the most prevalent groups on the news recently has been the army: the South African Army, the right-wing South African Nationalist Army, the Bosnian Army, the United Nations peacekeeping forces, the Rwandan armies, the Tanzanian Army, the Haitian Army, the Israeli Army. And all of them wear the most exotic array of camouflage patterns. yanzic0504
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eco-fashion, Spinning recycled goods into clothing

You are helping to protect the environment when you shop smart. Here's the latest on clothes that can make you look good and help preserve Mother Earth!

Would you like to learn how to be ecologically on point when you get dressed, just as you are when you recycle? Many companies around the country are making it really easy. In fact, your plastic soda bottle could even become your next favorite pullover!

Spinning recycled goods into fabric is one way the Green Movement has reinvented itself in the clothing industry. Plastic-bottle yarn--made into shirts, polar-fleece sweaters and knit dresses is just one product used in eco-fashions--garments produced in ways that cause as little harm to the earth as possible.

"The whole point of the eco movement in the fashion industry," according to Marylou Marsh Sanders, founder of Ecosport, "is to get rid of the need for pesticide sprays on cotton, which can later get into the skin." She adds, "If you feel tired, it may be your garment! You may feel better wearing organic cotton."

Organic-cotton clothes, the term used to define cotton grown without pesticides, were first made more than 20 years ago. Then, in the early eighties, Sally Fox bred cotton that grows naturally in brown and green, eliminating the need for dyes, which seep into our drinking water. Her company, Natural Cotton Colours, Inc., is a raw-cotton producer.

Another less toxic coloring method is laser imprinting. Jennifer Gentry, spokeswoman for Ecosport, says, "It's similar to a color-copying machine. Color is printed on release paper, which acts as an adhesive when heat from the laser prints the design on the garment."

ENVIRONMENTALLY FRESH FASHIONS
The softness of an organic-cotton cap inspired two sisters to add a new wrinkle to the Green Movement. Carole Bailey and Judyth Johnson opened The Organic Cotton Company and Such in Montclair, New Jersey, a year ago. They sell pro-Earth clothing in such colors as ivory, brown and green. While the easy-style garments are good for any body type, Johnson explains, "the look is also really flattering for larger women." The entrepreneurs have the environment in mind in even the smallest details. "Our bags, the bows on our bags and our business cards are all made from recycled paper," Bailey says. yanzic0504

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When it comes to the details of her style, this former Israeli army aide refuses to go beyond name, rank

Talented and confident (clearly), Lebenthal is candid about the extent to which family has influenced her career. After her grandfather died, her 52-year-old grandmother took charge of the muni-bond firm they had co-founded. Alexandra vividly recalls "going down to the office as a little girl and seeing this tough 4-foot-10 woman ruling the roost." From her father, who's still chairman and CEO, she has learned, among other things, "to project power by using humor a lot. I'm a young woman in a business associated with older men. I like to be up-front about it."

When it comes to the details of her style, this tall, commanding former Israeli army aide refuses to go beyond name, rank, and serial number. Her look rarely varies: short skirt, dark blazer, big jewelry. "I hope I look good, but I don't think about it," she says. "It's irrelevant." Her successful rekindling of Bain's once-hot consulting practice, she insists, is all about team building. "In the Israeli army the order was not 'Charge!' but 'Follow me,' notes Gadiesh. "At the end of the day, that's the only way to get people to come with you."

 The Mail Room. William Morris Agency Beverly Hills. JAMES HALJUN, 24. Trainee music division. Jacket by Gruppo di Capi, T-shirt by Calvin Klein, shoes by Bedford-Stu. JEFFERY KOLODNY, 31. Trainee television division. Suit by Calvin Klein, shirt by Faconnable with a Donna Karan tie, shoes from Kenneth Cole. APRIL LIM, 22. Trainee film division. Jacket by Mark Eisen, skirt by Giorgio Armani, shoes by Ann Taylor.

The next Geffen, Diller, and Ovitz? Incubated in the same talent agency mail room that hatched those three Big Birds, these trainees strive to replicate the look of their bosses. "Even when I was carrying this huge bin of mail," says Lim, "I'm dressed, like, in a suit." Haljun's division is a different world: "In the music business, if I wore a suit I'd be ridiculed for not being artist-focused." Pick your poison. As TV trainee Kolodny puts it, "You want to be an agent, you dress like an agent." yanzic0504

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