All that stuff we’ve been hearing about the Chinese market moving toward the exclusive, the subtle, and the non-logo? It’s happening in beauty too. The other day I was chatting to Christophe Robin, the Paris hair colourist, and he mentioned that his line of products had really taken off in China. They’re called “Christophe Robin.” Heard of them? No? Well, that’s the point. “Last year sales were up 53%, and this year we think it will be 70%,” he said. Given that Bain reported luxury market growth of about 2.5% in China last year, that’s saying something. Read more
I’ve been thinking about presents recently – no surprise, really, as this week marks the official start of the last-minute Christmas panic-buying rush. The irony being that I have spent so much time in the past few weeks immersed in our gift guide that I have not actually bought any gifts.
Today LVMH unveiled what as far as I can tell is a first of its kind in luxury: a beauty “campus” in Saint-Jean-de-Braye comprised of 18,000 square metres of buildings on 55 hectares of land “dedicated to research and innovation”, and housing 250 cosmetic and perfume professionals from Parfums Christian Dior, Guerlain, Givenchy Perfumes and Fresh. Sound familiar? Yes: it’s Google for beauty: great minds in a bucolic space designed to make creativity bloom. Think I’m reading too much into this? Consider the explanation. Read more
Much drumroll comes around the world from China, where Chinese Vogue is celebrating its 100th issue (left), which also happens to be its first “all-Chinese” issue — by which they appear to mean all-Chinese models and subjects issue, as it was also all shot by Mario Testino, who is, of course, Brazilian. Still, it’s interesting, both for the content, and for the sheer fact that for 100 issues it hadn’t happened. I mean, the magazine was founded in 2005. What took them so long? Before you say “why do we, who do not necessarily read Chinese Vogue, care?” I offer you this: the advent of the all-China Chinese Vogue is less about China itself than about the relationship between China and Western fashion, and where exactly the balance of power lies. Read more
Blame it on Michelle Obama’s elegant arms and the related tricep/bicep workout craze, but women want to show off their upper limbs like never before and there are few ways to do so as stylishly as in a one-shoulder top. Once upon a time, a bare shoulder was almost a synonym for disco nights, but these versions are altogether more grown-up, polished and accessible. Read more
“I wanted to be nasty. I’m fed up with everything.”
So said Miuccia Prada after her emphatic spring/summer show, which looked at the debate over women’s roles without flinching.
I know it’s a political discourse,” said Mrs Prada, “but I wanted to say what I could through clothes.”
It’s rare, if not unheard of, these days for a big global brand to take a stance on any issue; worried about inadvertently offending potential consumers and losing a lucrative revenue source, they waffle, avoiding commitment. Hemlines are high – or they are low. Trousers are tight – but they can also be wide. Coats are light as air – except when they are fur. Shoes are sky high – and completely flat. And so on.
Five years ago, as New York Fashion Week began, Lehman Brothers began its fast slide into bankruptcy and as the shows progressed so did the sense that the consumer world as we knew it was about to change. The ensuing financial crisis altered not only the economics of fashion, especially fashion in Lehman’s home city, but also its aesthetic course, though perhaps not in ways anyone might have predicted. Or so was apparent from last week’s spring/summer womenswear season.
From chequerboards to Greek pottery, kinetic swirls to giant gingham, next summer will be one of clearly defined contrasts. Read more
One of the more notable moments of the recent Paris couture week occurred at a very fancy party hosted by Bulgari in a former palace now used as the Chamber of Commerce on Avenue Friedland. As attendees milled around the gardens, swilling champagne, snacking on stuffed tomatoes and chatting to the various executives – outgoing chief executive Michael Burke (who has moved to Vuitton), incoming chief executive Jean-Christophe Babin and Francesco Trapani, head of watches and jewellery at LVMH – models sporting elaborate jewels mingled with guests such as Milla Jovovich, Alexa Chung and Bradley Cooper.
Of all the executives, models and celebrities in attendance, however, none drew as many sideways glances and surreptitious whispers as the new face of Bulgari’s Diva collection and the star of its forthcoming ad campaign, resplendent in black trouser suit and 43-carat sapphire necklace – France’s former first lady Carla Bruni-Sarkozy. Read more
It’s too bad EU trade commissioner Karel De Gucht wasn’t at the couture shows last week. It would have given him lots of ammunition during this week’s EU-US free trade talks (presuming they go ahead) when the question of the French exception culturelle is raised. After all, the fashion industry is not covered – not even the made-to-order highest end of it, as invented and perfected in Paris. What became increasingly clear during the collections is that, other than location, couture no longer seems to have much to do with France.
Part of this is literal: of the big brand names still on the couture schedule, only one, Jean Paul Gaultier, is actually designed by a Frenchman. The rest are created by Belgians (Dior, Martin Margiela Artisanale), Dutch (Viktor & Rolf), German (Chanel), Italians (Versace, Armani, Valli, Valentino), Russians (Ulyana Sergeenko) and Lebanese (Elie Saab). But most of it is aesthetic.