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Fashion retail: tips for future candidates by Training Luxury

Fashion retail: tips for future candidates by Training Luxury

With the new year, new resolutions and job changes are usually added. The fashion retail sector is one of the sectors that demonstrates these new habits. However, is there an effective way to apply for a job offer? What are the fundamental points that a curriculum should have? And what are today's fashion companies looking for? We have asked Renato Mosca, General Director and Founder of the company of training and selection of personnel, Training Luxury, and Elisabetta Pace, Head Hunter and International Consultant of the same company, what are the trends of the sector.

Fashion retail: tips for future candidates by Training Luxury

With the new year, new resolutions and job changes are usually added. The fashion retail sector is one of the sectors that demonstrates these new habits. However, is there an effective way to apply for a job offer? What are the fundamental points that a curriculum should have? And what are today's fashion companies looking for? We have asked Renato Mosca, General Director and Founder of the company of training and selection of personnel, Training Luxury, and Elisabetta Pace, Head Hunter and International Consultant of the same company, what are the trends of the sector.

How does the retail sector behave?

The retail industry is under significant pressure. The change from the physical store to the digital store affects costs on the one hand and obviously impacts the margins. While the industry seems to follow loyalty programs based on points, discounts and transactional benefits, there is a significant demand from customers for emotional benefits. These benefits are from product and event customizations, but also from privacy and confidentiality of the use of personal data that lately seems to be something really important for the final consumer. So people who will have to work in fashion retail, should be able to generate emotions for their customers. These emotions can be for example customizations in the luxury sector or by understanding the need to give more life to the products (concept concepto re-selling ’) in the fast fashion sector.


What profile are companies looking for?

You cannot talk about a specific profile, the factors to consider are many and may vary depending on the company and the position. Yes it is true that there is a common denominator, they are mainly looking for "attitude" and "ability to adapt to changes." The attitude to commitment, responsibility and passion for work must be accompanied by the ability to adapt to volatile environments. Obviously, depending on the position, other factors are involved, such as experience in leading and managing teams, analytical capacity, which are always * a sine qua non condition * in a sector focused on results and very competitive. Last but not least, is the candidate's fit with the company's values.


What would be the five key points for a successful resume?

The curriculum is like a business card, it is the first way to attract someone's attention, be it a customer or a personnel selection technician, so we advise you first to make it simple. Remember that less is more. Resumes with too many colors or extravagant forms instead of attracting attention sometimes generate the opposite effect, much form and little substance. The case of creative profiles is different, to which it is recommended to send a work portfolio next to the curriculum.


Then the CV must contain the necessary and complete information on a page or maximum two. There are many extensive resumes that bore you and nobody reads all the information in detail. But I am not in favor of the curricula where only the date, the company and the position are detailed without any additional information on the main responsibilities or tasks performed. We must find the right measure. For store profiles, for example, it is also very important that the workplace be defined exactly, for example: “Store Manager at Empresa XX, Calle Serrano Madrid”.


It is also advisable to start a resume with a brief description of oneself as a person and as a professional, the more personalized and personal the better, and in a few lines.


It is also important to describe the achievements made in each position and company, at the same time, underline what the candidate could contribute to the company for which he is applying. This quality will allow to adjust more precisely to the work position offered.


And another appreciable point is to include a photograph, although it is very personal. If the candidate decides to put it, we advise a photograph that looks good and with a professional image.


What are the mistakes to avoid for a candidate?

In relation to the curriculum, the advice of the previous answer can help avoid mistakes when submitting the application. As for the interview phase, good advice is not to focus motivation on the economic aspect. We all know that the salary part is important, especially it is essential that a candidate feels economically valued for their work. I confess that a candidate motivated for a change or for a new job just for salary progression, is likely not to be taken into account in a selection process. The motivation for the project, the challenge and the company weigh 50 percent when selecting a candidate. The remaining 50 percent are the perception of attitude, passion, commitment etc. That is, the values that can be transmitted in a shocking way in the short time that the candidate has available to generate an impact on their interlocutors.


What would be your suggestions or advice in the selection processes?

It is very important to prepare in advance. Above all, read about the company, its history, its values, its economic data and today, not least, look at social networks. Instagram is a great tool to get an idea of the company's communication, of its latest collections, of the brand's values. When expressing the motivation for a job, it is very welcome when the candidate can relate his motivation to something that has caught the attention of the brand and / or values of the company and with which he identifies. It has to be something that really feels, if it is something built we detect it right away. Regarding experience, we always advise our candidates to read the job offer very carefully, after all, it is what the client is looking for and there is no better guide or employer to follow.


Autor: Sakbayeva M. 01.11.2019

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Balenciaga vuelve a Madrid medio siglo después

Balenciaga vuelve a Madrid medio siglo después

Balenciaga returns to Madrid half a century later

Balenciaga returns to Madrid half a century later

The Thyssen-Bornemisza museum will open on the 18th an exhibition with 90 garments by the getariarist designer who will dialogue with 55 paintings by artists such as

The Balenciaga Museum has lent 27 garments designed by the getariarist designer who will be part of the new exhibition of the Thyssen-Nornemisza Museum, the first dedicated to the designer in half a century. The assignments of the center of Getaria represent a third of the total of the “masterly” creations for a sample in which Balenciaga will dialogue with paintings of the Spanish tradition, “one of its sources of inspiration”, explains the curator of the exhibition and also patron of the Eloy Martínez de la Pera museum, which these days is finalizing the preparations - "hanging pictures" - for the inauguration on the 18th.


The idea of Balenciaga and Spanish painting came about in 2013, when Martínez de la Pera and Sonsoles Díez de Rivera himself - also patron of the Getaria center - became aware that there had not been “a great, very retrospective exhibition” in Madrid since 1973, when the National Library hosted a sample, one year after the death of the designer.


In addition to the clothing provided by the Balenciaga Museum, the exhibition has loans from the Costume Museum of Madrid, the Museum of Disseny of Barcelona, as well as private collections.


Balenciaga and Spanish painting reviews the relationship of the designer with “inspiring” elements through works by authors such as El Greco, Velázquez, Murillo, Carreño de Miranda, Zurbarán Goya or Zuloaga, which also reinforce the idea that the “ Fashion has always been in art history. ”


The 90 pieces converse with up to 55 paintings, dated between the 16th and 20th centuries - it occupies the entire area of temporary exhibitions of the Thyssen, a total of about 800 square meters. “The idea is to explain how the beauty of Spanish art influenced their creations,” explains Martínez de la Pera, who worked for eight years with Hubert de Givenchy - a student from Balenciaga who died last year. The dialogue between clothes and paintings is established in several ways, through "conceptual elements or shapes, volumes, colors, spirituality or simple artistic desires."


The Guipuzcoan had a very good relationship with art, from the hand of his mother, Martina Izagirre, a seamstress who worked for good families in the area of Getaria. Among these were the Marquises of Casa Torre -they settled in the municipality the same year of the birth of Balenciaga, in 1895-, who frequented the Aldamar palace, also called Vista Ona-annex to the current Getaria museum-, and where, in addition to discover the fabrics and models that the elite of the time wore, Balenciaga was able to access both the art collection of the aristocrats.


Precisely, the first part of the exhibition brings together about eight pieces, now separated, from that collection that was in Getaria, such as the portraits of Carlos IV and María Luisa, “who are back together 120 years later”.


The show continues with its references, starting with El Greco and its colors "fuchsia, ash green, cobalt blue" that fascinated him and with which he caught the Parisian client upon arrival in the gala capital.


Then he continues with the painting of the cut, from the time in Felipe II "dyed the European court of black", while for Balenciaga "it was fundamental, archetypal and was always in his visual imaginary" -he made collections in this color always after the death of someone important in your life. “Black is fundamental in the exhibition. That is why the walls, the floor and the platforms are black, ”says the curator.

Zurbarán, who represents “religiosity”, something “indispensable when it comes to forging the personality” of the designer, dialogues with works that emulate the forms of the friars' habits, such as the Fabiola wedding dress from Belgium. The next influence was Goya and his way of portraying the ladies of the aristocracy.


BALENCIAGA AND ZULOAGAL The exhibition begins with Velázquez and concludes with a “wonderful” portrait that Ignacio Zuloaga made to the Duchess of Alba in 1921. Martínez de la Pera remembers that there are no first-person testimonies of the designer - he hardly did two interviews in his life -, but through third parties it is known that the getariarra and the donostiarra were friends, thanks to the mediation of one of the parish priests of Igeldo, with whom both used to eat.


‘EL GRECO’


Colour. The vivid colors of Doménikos Theotokópoulos, El Greco, which he used in his paintings, combine in the second room of the exhibition with dresses of intense colorful pink, yellow, green or blue colors with which Balenciaga captivated upon his arrival in Paris to the gala society . On the right is a conversation between Portrait of a gentleman, painted around 1586, and a black silk velvet night coat, whose cast neck refers to the shape of the gola, like the one that can be seen in oil.

ZURBARAN


Religiosity. In this section, the Thyseen establishes a relationship between the creations of the designer and the volumes, folds and textures of the dresses created by Zurbarán in his paintings of holy martyrs. “It becomes evident when contemplating together the creations of both artists,” they comment from the museum. The same goes for the sets of wedding dresses that have been installed and the friars painted by Extremadura, who seem to duel "white, shapes and textures."


IGNACIO ZULOAGA


Contemporary. The painter from San Ignacio Ignacio Zuloaga and the couturier designer Cristóbal Balenciaga were two contemporary artists who, as far as is known, shared friendship - they used to eat lunch and dinner together because of their relationship with a common acquaintance: the parish priest of Igeldo. In the exhibition of the Thyssen an evening dress puffed in red taffeta dialogues with the last painting of the sample, a portrait of María del Rosario de la Silva and Gurtubay, Duchess of Alba, painted by the Donostiarra in 1921.


GOYA


The beginnings The exhibition begins with a selection of those works that the designer could see in Getaria, when he visited with his mother the palace of Aldamar, residence of the marquises of Casa Torres, and now part of the Balenciaga Museum. Among the paintings in that collection is the one on the left, which has now been ceded by the Prado, a painting by Goya by Cardinal Luis María de Borbón y Vallabriga, which establishes a relationship with a red jacket and dress set , from the Costume Museum of Madrid.


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The minister with two daughters


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