William Carrington March (February 4, 1923 - August 2, 2002) was an entrepreneur. He and his wife Julia R. March founded March Funeral Homes located in Baltimore, Maryland, the largest African American funeral services company in the United States.
March was born in Mount Pleasant, North Carolina to Carrington March, a Lutheran minister, and Georgia March. In 1928, his father moved his family to Baltimore, after taking a ministry job there. However, the Marches soon discovered that there was racial prejudice even within the church. Carrington March was removed from his Baltimore ministry because he was black. Lutheran officials offered him a church of his own in Selma, Alabama, but he refused to take his family to the deep South.
Began Working as a Child
The Great Depression started in the United States in the late 1920s, there were especially hard economic times for all working people. When William March was only ten years old he began working selling newspapers to contribute to his family's income. The small amount of money he earned was given to his sister Thelma to pay for her transportation to school. At the age fourteen March went to work setting pins at a local bowling alley. At the same time he started Dunbar High School in east Baltimore where he attended ninth and tenth grades. He later attended Fredrick Douglass High the west side of the city for eleventh. He worked hard in school and dreamed of becoming an architect. However, he knew he had little chance of going to college to get the education required for that career. March eventually was forced to quit school so that he could help support his family. He took a job digging ditches at Edgewood Arsenal, he then moved on to the factory line. Because so many black students had to help support their families, Douglass High School began to offer night classes, and March attended every night after work until he earned his diploma.
Went to War
In 1941 tragedy struck the March family when William's beloved sister Thelma died in a fire during her first year at college. The same year, the United States entered World War II. When the war began, March was working on the line at Edgewood Arsenal, training to become a machinist. He had worked there for some time when his supervisors discovered that they had made a mistake. March was a light-skinned black man, with blond hair and blue eyes, and the managers at Edgewood had assumed that he was white. Once they learned that he was African American, racism prompted them to remove him from the factory line. Once March lost his job he immediately became eligible for the draft. In 1943 he was drafted into the U.S. Army. On his first six-week furlough he married Julia Roberta Hayes, his high school sweetheart.
March participated in the June 6, 1944, D-Day invasion of Normandy, when Allied troops landed on several French beaches to start a new front of fighting against the Germans. After the bloody battle, March became a Master Sergeant, directing the delivery of ammunition to the front lines.
He also fought in the Korean War. He received a commendation and the Jubilee Medal from France for his participation in the invasion of Normandy.
When the war ended in 1945, March returned home to his wife and baby daughter. He also returned to work at Edgewood Arsenal, but he soon began to have greater ambitions. Funeral homes, like many other aspects of society, had long been racially segregated throughout the United States, and March liked the idea of providing such an important service to the black community
Using his benefits under the GI Bill, he attended the American Academy of Mortuary Science in New York. Finding it difficult to obtain an apprenticeship to get his mortuary license, he worked for the U.S. Postal Service to support his family. He continued to pursue his goal of becoming a funeral director for the sake of providing a quality education for his four children. He worked at the post office at night and build his funeral business during the day. He retired from government service after more than thirty years of service.
Building a Legacy
In 1957 he started his family owned funeral business in his single row house on East North Avenue. In 1973, in partnership with three other funeral directors, he founded King Memorial Park, a cemetery in Baltimore County catering the African-American community. The business grew steadily until 1978 when the firm moved to a newly constructed funeral home that occupied an entire city block.In 1985, Mr. March built a second facility in West Baltimore.
In 1992, the March family acquired ownership of the cemetery and expanded it to making it the largest black owned cemetery in the country.
Mr. March was a co-founder and the first Chairman of the Board of the Harbor Bank of Maryland, Maryland's first minority owned commercial bank. At some point the bank controlled more than $200 million in assets and was listed in Black Enterprise Magazine's top performing minority controlled financial institutions.
March was born in Mount Pleasant, North Carolina to Carrington March, a Lutheran minister, and Georgia March. In 1928, his father moved his family to Baltimore, after taking a ministry job there. However, the Marches soon discovered that there was racial prejudice even within the church. Carrington March was removed from his Baltimore ministry because he was black. Lutheran officials offered him a church of his own in Selma, Alabama, but he refused to take his family to the deep South.
Began Working as a Child
The Great Depression started in the United States in the late 1920s, there were especially hard economic times for all working people. When William March was only ten years old he began working selling newspapers to contribute to his family's income. The small amount of money he earned was given to his sister Thelma to pay for her transportation to school. At the age fourteen March went to work setting pins at a local bowling alley. At the same time he started Dunbar High School in east Baltimore where he attended ninth and tenth grades. He later attended Fredrick Douglass High the west side of the city for eleventh. He worked hard in school and dreamed of becoming an architect. However, he knew he had little chance of going to college to get the education required for that career. March eventually was forced to quit school so that he could help support his family. He took a job digging ditches at Edgewood Arsenal, he then moved on to the factory line. Because so many black students had to help support their families, Douglass High School began to offer night classes, and March attended every night after work until he earned his diploma.
Went to War
In 1941 tragedy struck the March family when William's beloved sister Thelma died in a fire during her first year at college. The same year, the United States entered World War II. When the war began, March was working on the line at Edgewood Arsenal, training to become a machinist. He had worked there for some time when his supervisors discovered that they had made a mistake. March was a light-skinned black man, with blond hair and blue eyes, and the managers at Edgewood had assumed that he was white. Once they learned that he was African American, racism prompted them to remove him from the factory line. Once March lost his job he immediately became eligible for the draft. In 1943 he was drafted into the U.S. Army. On his first six-week furlough he married Julia Roberta Hayes, his high school sweetheart.
March participated in the June 6, 1944, D-Day invasion of Normandy, when Allied troops landed on several French beaches to start a new front of fighting against the Germans. After the bloody battle, March became a Master Sergeant, directing the delivery of ammunition to the front lines.
He also fought in the Korean War. He received a commendation and the Jubilee Medal from France for his participation in the invasion of Normandy.
When the war ended in 1945, March returned home to his wife and baby daughter. He also returned to work at Edgewood Arsenal, but he soon began to have greater ambitions. Funeral homes, like many other aspects of society, had long been racially segregated throughout the United States, and March liked the idea of providing such an important service to the black community
Using his benefits under the GI Bill, he attended the American Academy of Mortuary Science in New York. Finding it difficult to obtain an apprenticeship to get his mortuary license, he worked for the U.S. Postal Service to support his family. He continued to pursue his goal of becoming a funeral director for the sake of providing a quality education for his four children. He worked at the post office at night and build his funeral business during the day. He retired from government service after more than thirty years of service.
Building a Legacy
In 1957 he started his family owned funeral business in his single row house on East North Avenue. In 1973, in partnership with three other funeral directors, he founded King Memorial Park, a cemetery in Baltimore County catering the African-American community. The business grew steadily until 1978 when the firm moved to a newly constructed funeral home that occupied an entire city block.In 1985, Mr. March built a second facility in West Baltimore.
In 1992, the March family acquired ownership of the cemetery and expanded it to making it the largest black owned cemetery in the country.
Mr. March was a co-founder and the first Chairman of the Board of the Harbor Bank of Maryland, Maryland's first minority owned commercial bank. At some point the bank controlled more than $200 million in assets and was listed in Black Enterprise Magazine's top performing minority controlled financial institutions.
Scott E. Essman (born September 19, 1966) is an American writer, who has been writing and producing projects about motion picture craftsmanship and Hollywood history since the mid-1980s.
Biography
Early life
Essman was born on September 19, 1966 and grew up on Long Island. In 1984 he went to college at Hobart in Geneva, New York. In 1986 he transferred to the University of Southern California in Los Angeles, where he studied psychology, screenwriting, and film criticism.
Movie career
In 1987, Essman's camera teacher was future director Jay Roach and in 1988, before graduating, he performed standup comedy in a show at USC's Cafe '84 hosted by future writer-director Judd Apatow and also featured actor Mark Christopher Lawrence.
After returning to New York in 1988, Essman formed Visionary Cinema, an eclectic artists group that was formed with a mixture of unproduced writers, performers, 2D artists, and filmmakers. When NYC proved unfruitful for Essman and Visionary Cinema, both he and the company relocated to Los Angeles. At that time, Essman wrote the screenplays KRAZY-TV, Rodeo Drive, and Candyland and made the rounds. There were a few bites but no buyers.
Career in Journalism
Switching to journalism, Essman was first published in Cinefex Magazine in 1996 with a story about makeup legend Michael Westmore. Essman has published over 400 articles as a freelancer for outlets also including The Los Angeles Times, Entertainment Design, The American Cinema Editors' magazine, The CinemaEditor, Creative Screenwriting, MovieMaker, Acted By, Below the Line News, Fangoria, plus several Internet sites dealing with filmmaking, especially in the science-fiction and horror genres. In 1998, Essman established Directed By: The Cinema Quarterly, a periodical that strictly focused on the craft of movie directors and directing. Seven issues were published, printed, and distributed.
In February 1996, Essman and his team documented a weekend-long creature effects film called Wolvy. It was eventually made into a 24-minute documentary and a two-minute music video from the doc was uploaded to YouTube, with over 64,000 individual views as of Halloween, 2009.
Also in 1996, Essman created his first special live event, a tribute to the makeup artist, Dick Smith. Created at the Beverly Garland's Holiday Inn in North Hollywood, the event was decorated with original posters of Smith's films and was attended by 40 of Smith's closest protégés, friends, and colleagues and included film footage of Smith's work, interviews, and tributes to Smith by all in attendance. In 1998, Essman created a 30-minute highlights video of the event.
Events in 1997 (A Tribute to John Chambers and Planet of the Apes) and 1998 (A Tribute to The Wizard of Oz) ensued and doubled each year in attendance. In June 2000, Essman recruited 16 actors plus a team of production designers, lighting designers, makeup artists and costume designers to create Jack Pierce - The Man Behind The Monsters, which was a staged multimedia play with a 48-page unique commemorative program. In 2004, Essman created a tribute to silent film star Lon Chaney at Universal Studios' CityWalk. In 2009, he created a tribute to the Westmores of Hollywood at the Monsterpalooza convention in Burbank, CA.
Work for Universal Studio
In 2002, noting that "if you can't beat them, join them," Essman started working for Universal Studios as a writer and publicist of classic monster films. As of late 2009, he produced over 25 publicity projects for Universal Studios Home Entertainment where he made video documentaries about filmmakers, co-produced special live events, and wrote publicity materials and interviewed movie craftspeople, including directors Peter Jackson (King Kong - 2005), Zack Snyder (Dawn of the Dead), and David Twohy (The Chronicles of Riddick) and produced documentaries about the visual effects of The Incredible Hulk and the stunt work in The Mummy: Tomb of the Dragon Emperor. In 2008, he served as publicist of the horror movie Trailer Park of Terror, and in 2009, he consulted on the publicity for the family comedy Monster Mutt, the horror film Sorority Row, and the remake of . Essman has also consulted as publicity and demo reel producer for the renowned Drac Studios.<r
Scott Essman published his first book, Freelance Writing for Hollywood, in 2000. He produced two short traditionally hand-drawn animated films: Abbott and Costello Meet the Monsters and Monster Kids and is preparing to complete an animated film about dogs. He has partnered with a media financing and production company to shoot the first of three science-fiction features in 2010 under the banner My Science Fiction Project. Scott lives in Los Angeles county where he has won a multimedia teaching award from The Art Institute of California and has also taught video production and DVD authoring at California State University at Pomona and mass media at the University of La Verne.
Biography
Early life
Essman was born on September 19, 1966 and grew up on Long Island. In 1984 he went to college at Hobart in Geneva, New York. In 1986 he transferred to the University of Southern California in Los Angeles, where he studied psychology, screenwriting, and film criticism.
Movie career
In 1987, Essman's camera teacher was future director Jay Roach and in 1988, before graduating, he performed standup comedy in a show at USC's Cafe '84 hosted by future writer-director Judd Apatow and also featured actor Mark Christopher Lawrence.
After returning to New York in 1988, Essman formed Visionary Cinema, an eclectic artists group that was formed with a mixture of unproduced writers, performers, 2D artists, and filmmakers. When NYC proved unfruitful for Essman and Visionary Cinema, both he and the company relocated to Los Angeles. At that time, Essman wrote the screenplays KRAZY-TV, Rodeo Drive, and Candyland and made the rounds. There were a few bites but no buyers.
Career in Journalism
Switching to journalism, Essman was first published in Cinefex Magazine in 1996 with a story about makeup legend Michael Westmore. Essman has published over 400 articles as a freelancer for outlets also including The Los Angeles Times, Entertainment Design, The American Cinema Editors' magazine, The CinemaEditor, Creative Screenwriting, MovieMaker, Acted By, Below the Line News, Fangoria, plus several Internet sites dealing with filmmaking, especially in the science-fiction and horror genres. In 1998, Essman established Directed By: The Cinema Quarterly, a periodical that strictly focused on the craft of movie directors and directing. Seven issues were published, printed, and distributed.
In February 1996, Essman and his team documented a weekend-long creature effects film called Wolvy. It was eventually made into a 24-minute documentary and a two-minute music video from the doc was uploaded to YouTube, with over 64,000 individual views as of Halloween, 2009.
Also in 1996, Essman created his first special live event, a tribute to the makeup artist, Dick Smith. Created at the Beverly Garland's Holiday Inn in North Hollywood, the event was decorated with original posters of Smith's films and was attended by 40 of Smith's closest protégés, friends, and colleagues and included film footage of Smith's work, interviews, and tributes to Smith by all in attendance. In 1998, Essman created a 30-minute highlights video of the event.
Events in 1997 (A Tribute to John Chambers and Planet of the Apes) and 1998 (A Tribute to The Wizard of Oz) ensued and doubled each year in attendance. In June 2000, Essman recruited 16 actors plus a team of production designers, lighting designers, makeup artists and costume designers to create Jack Pierce - The Man Behind The Monsters, which was a staged multimedia play with a 48-page unique commemorative program. In 2004, Essman created a tribute to silent film star Lon Chaney at Universal Studios' CityWalk. In 2009, he created a tribute to the Westmores of Hollywood at the Monsterpalooza convention in Burbank, CA.
Work for Universal Studio
In 2002, noting that "if you can't beat them, join them," Essman started working for Universal Studios as a writer and publicist of classic monster films. As of late 2009, he produced over 25 publicity projects for Universal Studios Home Entertainment where he made video documentaries about filmmakers, co-produced special live events, and wrote publicity materials and interviewed movie craftspeople, including directors Peter Jackson (King Kong - 2005), Zack Snyder (Dawn of the Dead), and David Twohy (The Chronicles of Riddick) and produced documentaries about the visual effects of The Incredible Hulk and the stunt work in The Mummy: Tomb of the Dragon Emperor. In 2008, he served as publicist of the horror movie Trailer Park of Terror, and in 2009, he consulted on the publicity for the family comedy Monster Mutt, the horror film Sorority Row, and the remake of . Essman has also consulted as publicity and demo reel producer for the renowned Drac Studios.<r
Scott Essman published his first book, Freelance Writing for Hollywood, in 2000. He produced two short traditionally hand-drawn animated films: Abbott and Costello Meet the Monsters and Monster Kids and is preparing to complete an animated film about dogs. He has partnered with a media financing and production company to shoot the first of three science-fiction features in 2010 under the banner My Science Fiction Project. Scott lives in Los Angeles county where he has won a multimedia teaching award from The Art Institute of California and has also taught video production and DVD authoring at California State University at Pomona and mass media at the University of La Verne.
Effort management refers to the effective and efficient allocation of time and resources to perform activities. These activities are generally performed in line with a company strategy and/or a project. Effective effort management requires self-discipline, communication, motivation, energy and focus. As part of the effort management process, effective scheduling and recording of the performed activities is essential. Depending on the results of the activity, adjustments can be made to further benefit the project and / or company. These adjustments will generally be made in the areas of quantity, quality and direction. The main goal of effort management within organizations is to increase viable and beneficial opportunities for the company.
Applications
Effort management is useful for processes and strategies that seek to focus on activities instead of other areas like project management especially if new activities are integrated into the process. For example, in software development, effort management breaks activities down to appropriate granularity level so that it leads to manageable activity sets. If used in the management of supply chain, it can be deployed in the planning, implementation, and regulation of functions related to supply chain in order to induce value creation. In the academic field, effort management is used to improve the educational achievement of learners. A study revealed that it facilitates motivational regulation strategies and is directly linked to the improvement of students' GPA.
The effort management framework could also positively affect sales for a retail organization. With the Bayesian approach, a strategy that employs effort management can determine demand not only based on sales but also based on stocks (for the probability of an exact demand observation) and the employees' sales effort.
Applications
Effort management is useful for processes and strategies that seek to focus on activities instead of other areas like project management especially if new activities are integrated into the process. For example, in software development, effort management breaks activities down to appropriate granularity level so that it leads to manageable activity sets. If used in the management of supply chain, it can be deployed in the planning, implementation, and regulation of functions related to supply chain in order to induce value creation. In the academic field, effort management is used to improve the educational achievement of learners. A study revealed that it facilitates motivational regulation strategies and is directly linked to the improvement of students' GPA.
The effort management framework could also positively affect sales for a retail organization. With the Bayesian approach, a strategy that employs effort management can determine demand not only based on sales but also based on stocks (for the probability of an exact demand observation) and the employees' sales effort.
Joel Fitzpatrick (born January 6, 1968) is a lighting and architectural designer, artist and entrepreneur based in New York City.
Early life
Fitzpatrick was born in Maine and raised in California to a French mother and American-Irish father. He attended The Dunn School, a co-ed boarding school in Los Olivos, California and began his entrepreneurial career there, giving haircuts, selling vintage clothing and keeping two Coca-Cola vending machines on campus. He attended Bennington College in Vermont, where he majored in Sculpture and Lighting Design. Characters in both Bret Easton Ellis Rules of Attraction and The Secret History by Donna Tartt are based on Fitzpatrick.
Career
In the early '90s, Fitzpatrick launched a lighting company called Double Happiness that provided lighting equipment and other related services to Los Angeles-area rock clubs, venues, raves and private events. At the same time, he was pursuing a Masters Degree in Theater Design at California Institute of the Arts. He learned Lighting Design for Modern Dance there, and made conceptual art films and designed lights for everything from operas in Paris to touring African dance troupes. Fitzpatrick also worked as a lighting designer for well-known Los Angeles promoters Brent Bolthouse and Mike Messex.
While pursuing his master's degree, Fitzpatrick began making hand-screened, politically themed T-shirts in his Hollywood backyard. From those, he launched first fashion brand, Pleasure Swell, in 1993. His punk rock meets-surfer aesthetic defined the brand. The line also re-imagined the concept of Americana kitsch, turning men's Adidas polo shirts into women's dresses and making fashion-forward versions of classic 1950s and 1960s pieces. Pleasure Swell sold at Fred Segal, Urban Outfitters, and at hundreds of boutiques around the world.
He opened his first store, Swell, with money he made by borrowing $90 from his bookkeeper and playing craps for 24 hours straight in Las Vegas, and with contributions from several investors. He opened a second store, Ether, in 1994.
Hush Puppies
In 1995 Fitzpatrick converted half of his retail space into a shop that sold Hush Puppies shoes exclusively. A 25-foot inflatable basset hound - the company's logo - sat atop the building. Pee-Wee Herman (Paul Reuben) bought a few pairs from the shop and word of mouth quickly spread. He began flying to the company's headquarters in Rockford, Michigan, working with them to expand their range of designs. When they refused to make women's sizes, Fitzpatrick got them to agree to produce bigger sizes of the narrower child's shoe and in turn sold those to his female clientele. He also developed and sold his own exclusive designs, like glow-in-the-dark Hush Puppies, some made out of Kevlar, and a blue suede pair that tapped into his Americana kitsch vibe.
Suddenly Hush Puppies became ubiquitous. Joel's celebrity clientele included Sarah Jessica Parker, Ellen DeGeneres, Jeanne Tripplehorn, Anjelica Huston and three of the five 1995 Academy Award nominees for Best Actress: Susan Sarandon, Sharon Stone and Elisabeth Shue. The New York Times compared the brand to Gucci and Tod's. The Council of Fashion Designers of America named Hush Puppies the Top Accessory of 1995. Malcolm Gladwell wrote an article in The New Yorker based on Joel's foresight and success, and secured his first book contract for the best-selling The Tipping Point, on that article. In 1996, Fitzpatrick was nominated for the California Designer of the Year award along with BCBG founder Max Azria, Mossimo founder Mossimo Giannulli and designer Janet Howard.
Fashion
Fitzpatrick opened another Ether shop in 1999 on Prince Street in New York, noted as the first to feature L.E.D. lighting in a retail space, and a Swell store on Lafayette Street. He continued to design clothing and showed two collections at New York Fashion Week in Bryant Park. The first was a group show, Girls Rule, which also featured the designs of Tatiana von Furstenburg, Planet Claire and Oliver Dow. The second was sponsored by Hush Puppies and featured dresses made from vintage 1950s men's sweaters with matching suede shoes.
In 2000, Fitzpatrick launched an interior/architectural design studio and also began working on Chemistryset, a line of home accessories with a 30-person sales force and five showrooms. In 2006, his show "Recreation in Ether" was shown at the Forbes headquarters in Manhattan.
Fitzpatrick is now focusing on architectural and lighting design in private homes as well as commercial properties. He has designed conceptual lighting for a series of art shows curated by Vladimir Restoin-Roitfeld (son of French Vogue editor-in-chief Carine Roitfeld), including building a temporary gallery at the Fifth Avenue flagship Armani space in Manhattan for artist Richard Hambleton, and the former Essex Street meat market in the Lower East Side for Nicolas Pol's first American exhibition. He is also a licensed real estate salesperson and is currently designing a line of home accessories and custom chandeliers and lighting installations for public and private spaces.
Fitzpatrick's name is on a residential townhouse on West 4th Street in the West Village where a dramatic light installation can be seen nightly. The townhouse is currently listed for sale.
Early life
Fitzpatrick was born in Maine and raised in California to a French mother and American-Irish father. He attended The Dunn School, a co-ed boarding school in Los Olivos, California and began his entrepreneurial career there, giving haircuts, selling vintage clothing and keeping two Coca-Cola vending machines on campus. He attended Bennington College in Vermont, where he majored in Sculpture and Lighting Design. Characters in both Bret Easton Ellis Rules of Attraction and The Secret History by Donna Tartt are based on Fitzpatrick.
Career
In the early '90s, Fitzpatrick launched a lighting company called Double Happiness that provided lighting equipment and other related services to Los Angeles-area rock clubs, venues, raves and private events. At the same time, he was pursuing a Masters Degree in Theater Design at California Institute of the Arts. He learned Lighting Design for Modern Dance there, and made conceptual art films and designed lights for everything from operas in Paris to touring African dance troupes. Fitzpatrick also worked as a lighting designer for well-known Los Angeles promoters Brent Bolthouse and Mike Messex.
While pursuing his master's degree, Fitzpatrick began making hand-screened, politically themed T-shirts in his Hollywood backyard. From those, he launched first fashion brand, Pleasure Swell, in 1993. His punk rock meets-surfer aesthetic defined the brand. The line also re-imagined the concept of Americana kitsch, turning men's Adidas polo shirts into women's dresses and making fashion-forward versions of classic 1950s and 1960s pieces. Pleasure Swell sold at Fred Segal, Urban Outfitters, and at hundreds of boutiques around the world.
He opened his first store, Swell, with money he made by borrowing $90 from his bookkeeper and playing craps for 24 hours straight in Las Vegas, and with contributions from several investors. He opened a second store, Ether, in 1994.
Hush Puppies
In 1995 Fitzpatrick converted half of his retail space into a shop that sold Hush Puppies shoes exclusively. A 25-foot inflatable basset hound - the company's logo - sat atop the building. Pee-Wee Herman (Paul Reuben) bought a few pairs from the shop and word of mouth quickly spread. He began flying to the company's headquarters in Rockford, Michigan, working with them to expand their range of designs. When they refused to make women's sizes, Fitzpatrick got them to agree to produce bigger sizes of the narrower child's shoe and in turn sold those to his female clientele. He also developed and sold his own exclusive designs, like glow-in-the-dark Hush Puppies, some made out of Kevlar, and a blue suede pair that tapped into his Americana kitsch vibe.
Suddenly Hush Puppies became ubiquitous. Joel's celebrity clientele included Sarah Jessica Parker, Ellen DeGeneres, Jeanne Tripplehorn, Anjelica Huston and three of the five 1995 Academy Award nominees for Best Actress: Susan Sarandon, Sharon Stone and Elisabeth Shue. The New York Times compared the brand to Gucci and Tod's. The Council of Fashion Designers of America named Hush Puppies the Top Accessory of 1995. Malcolm Gladwell wrote an article in The New Yorker based on Joel's foresight and success, and secured his first book contract for the best-selling The Tipping Point, on that article. In 1996, Fitzpatrick was nominated for the California Designer of the Year award along with BCBG founder Max Azria, Mossimo founder Mossimo Giannulli and designer Janet Howard.
Fashion
Fitzpatrick opened another Ether shop in 1999 on Prince Street in New York, noted as the first to feature L.E.D. lighting in a retail space, and a Swell store on Lafayette Street. He continued to design clothing and showed two collections at New York Fashion Week in Bryant Park. The first was a group show, Girls Rule, which also featured the designs of Tatiana von Furstenburg, Planet Claire and Oliver Dow. The second was sponsored by Hush Puppies and featured dresses made from vintage 1950s men's sweaters with matching suede shoes.
In 2000, Fitzpatrick launched an interior/architectural design studio and also began working on Chemistryset, a line of home accessories with a 30-person sales force and five showrooms. In 2006, his show "Recreation in Ether" was shown at the Forbes headquarters in Manhattan.
Fitzpatrick is now focusing on architectural and lighting design in private homes as well as commercial properties. He has designed conceptual lighting for a series of art shows curated by Vladimir Restoin-Roitfeld (son of French Vogue editor-in-chief Carine Roitfeld), including building a temporary gallery at the Fifth Avenue flagship Armani space in Manhattan for artist Richard Hambleton, and the former Essex Street meat market in the Lower East Side for Nicolas Pol's first American exhibition. He is also a licensed real estate salesperson and is currently designing a line of home accessories and custom chandeliers and lighting installations for public and private spaces.
Fitzpatrick's name is on a residential townhouse on West 4th Street in the West Village where a dramatic light installation can be seen nightly. The townhouse is currently listed for sale.