FASHION MAGAZINE CAREER. FASHION STYLIST VANCOUVER.

Fashion Magazine Career

fashion magazine career

    fashion magazine

  • This is a list of fashion magazines.
  • Fashion is a Canadian fashion magazine published by St. Joseph Media. Established in 1977, it was formerly known as Toronto Life Fashion magazine. It is currently based in Toronto (with satellite offices in Vancouver and Montreal), publishes 10 issues a year and has a total readership of 1,982,000.

    career

  • Move swiftly and in an uncontrolled way in a specified direction
  • the particular occupation for which you are trained
  • the general progression of your working or professional life; “the general had had a distinguished career”; “he had a long career in the law”
  • move headlong at high speed; “The cars careered down the road”; “The mob careered through the streets”

fashion magazine career – Free Gift

Free Gift with Purchase: My Improbable Career in Magazines and Makeup
Free Gift with Purchase: My Improbable Career in Magazines and Makeup
Everybody loves beauty products. Even if you think you know nothing about them, or even if you think you hate them, you actually know plenty about them and, in fact, have several of them that you love. You have major opinions that lie barely beneath the surface. Women whomodestly/moralistically claim to “never use all that beauty stuff” are big Clinique ladies, usually with a healthy helping of Neutrogena. —Free Gift with Purchase

From the beloved beauty editor of Lucky magazine comes a dishy, charming, and insightful memoir of an unlikely career. Combining the personal stories of a quirky tomboy who found herself in the inner circle of the beauty world with priceless makeup tips (Is there really a perfect red lipstick out there for everyone? Which miracle skin potion actually works?), Jean Godfrey-June takes us behind the scenes to a world of glamour, fashion, and celebrity.

Godfrey-June’s funny, smart, outsider perspective on beauty has set her apart since she first started writing her popular “Godfrey’s Guide” column for Elle magazine. In Free Gift with Purchase, she invites us into the absurd excess of the offices, closets, and medicine cabinets of beauty editors. From shelves upon shelves of face lotion, conditioner, lipstick, eye cream, wrinkle reducers, and perfume to thoroughly disturbing “acne breakfasts” and “cellulite lunches”; from the lows (a makeover from hell, getting pedicure tips from porn stars) to the highs (the glamour of the fashion shows in Paris, lounging in bed with Tom Ford, a flight on Donald Trump’s private jet, and landing her dream job at Lucky magazine), we see it all.

Like a friend sharing the details of her incredibly cool job, Jean lets us in on the lessons she’s learned along the way, about the eternal search for the right haircut and the perfect lip gloss, of course—but more important, about what her job has meant to her and why she loves what she does, blemishes and all.

From the Hardcover edition.

Career Fair

Career Fair
Yuqing Zhang, a graduate student studying business, speaks with a representative from DENSO Manufacturing at the Career Fair on Tuesday afternoon. Zhang is a junior from China.
fashion magazine career

fashion magazine career

Annie Leibovitz at Work
The celebrated photographer Annie Leibovitz, author of the New York Times bestselling book A Photographer’s Life, provides the stories, and technical description, of how some of her most famous images came to be. Starting in 1974, with her coverage of Nixon’s resignation, and culminating with her controversial portraits of Queen Elizabeth II early in 2007, Leibovitz explains what professional photographers do and how they do it. The photographer in this instance is the most highly paid and prolific person in the business. Approximately 90 images are discussed in detail — the circumstances under which they were taken, with specific technical information (what camera, what settings, what lighting, where the images appeared). The Rolling Stones’ tour in 1975, the famous nude session with John Lennon and Yoko Ono hours before Lennon was killed, the American Express and Gap campaigns, Whoopi Goldberg in a bathtub of milk, Demi Moore pregnant and naked on the cover of Vanity Fair, and coverage of the couture collections in Paris with Puff Daddy and Kate Moss are among the subjects of this original and informative work.The photos and stories are arranged chronologically, moving from film to digital. Leibovitz’s fans and lovers of great photography will find her stories of how one learns to see — and then how to photograph — inspiring.

Book Description
“The first thing I did with my very first camera was climb Mt. Fuji. Climbing Mt. Fuji is a lesson in determination and moderation. It would be fair to ask if I took the moderation part to heart. But it certainly was a lesson in respecting your camera. If I was going to live with this thing, I was going to have to think about what that meant. There were not going to be any pictures without it.”
—Annie Leibovitz
Annie Leibovitz describes how her pictures were made, starting with Richard Nixon’s resignation, a story she covered with Hunter S. Thompson, and ending with Barack Obama’s campaign. In between are a Rolling Stones Tour, John Lennon and Yoko Ono, Demi Moore, Whoopi Goldberg, The Blues Brothers, Arnold Schwarzenegger, Keith Haring, Mikhail Baryshnikov, Patti Smith, George W. Bush, William S. Burroughs, Kate Moss and Queen Elizabeth. The most celebrated photographer of our time discusses portraiture, reportage, fashion photography, lighting, and digital cameras.
Amazon Exclusive Essay: Annie Leibovitz on Photography

In 1977, when Jann Wenner, the editor of Rolling Stone, asked me to prepare a fifty-page portfolio of my pictures for the tenth anniversary issue of the magazine, I decided not to simply make a selection of photographs that had been published. I looked at everything I had done since I started working. It was a revelation. For one thing, I had no idea that I had accumulated so many photographs. You lose track of them when you’re working every day. And you see the work in a different way when you look at it from the distance of time. You get a sense of where you are going. You start to see a life.
I had the opportunity to edit my work most thoroughly when I prepared two retrospective books, Annie Leibovitz: 1970–1990 and A Photographer’s Life: 1990–2005. It was thrilling to see that first book laid out chronologically. To see the pictures historically. The second book, A Photographer’s Life, was assembled immediately after the death of Susan Sontag and my father. Editing the book took me through the grieving process.
The books are pure. They are mine. The magazines I work for don’t belong to me. It’s the editor’s magazine, and the editor has every right to use the material the way he or she wants to. It isn’t just that art directors and editors at magazines make selections that I wouldn’t necessarily make. Which they sometimes do. Or that they run pictures too small. Or that they put so much type on the pictures that you can’t see them anymore. Magazines have quite specific needs. It’s a collaboration only so far, which is true of almost all assignment work.
When I began working on my new book, I thought it would be a pamphlet of maybe forty pages or so. I intended to take ten of my photographs and dissect them. They didn’t have to be my most famous pictures, just pictures that I cared about. But as I began going through the material I realized that I might as well be more ambitious. I started to think that I would try to answer every single question anyone has ever asked about how my work is done. To defuse the mystery, and the misconceptions. To explain that it’s nothing more than work. And learning how to see.
So my forty-page pamphlet became a 240-page book with over a hundred photographs in it. It is written for someone like the person I was at the beginning of my career, when I was in art school. A young me. I didn’t know which road I would take. Whether it would be a commercial road, a magazine road, an artistic road, a journalistic road. It’s written for that person. Someone who is interested in photography but isn’t sure how they want to use it.
The book is more emotional than I had imagined it would be. But, most importantly, it is my edit. No one is going to care about, or understand, your work the way you do, and if you are going to explain it you have to be able to present it the way you want to. That’s what a book can do better than any other medium.
See Annie Leibovitz’s 15 favorite photography books.
(Photo credit Paul Gilmore)