Maxime Simoens' couture collection. Getty Images
It seems LVMH has taken a new approach to its investment in young fashion brands having made a minority investment in 29-year-old French couturier Maxime Simoens. The company has snapped up between a 20-30 per cent stake in the business, according to an LVMH spokesperson. This means Mr Simoens will not officially become part of LVMH (not yet, anyway), but that the group will act as advisers on the growth of the brand – in particular, Dior chief executive Sidney Toledano, who was the driving force behind the investment. Dior, as the group likes to point out, is the main holding company of LVMH.
Mr Simoens had been rumoured as a candidate for the Dior artistic director job, and though that went to Raf Simons, Mr Toledano and Dior deputy managing director Delphine Arnault were impressed. Their first move now: helping Mr Simoens hold his debut ready-to-wear show on March 3 (he already does couture, which may seem odd, but it does not require the same up-front funding for wholesale orders as RTW). Read more
Over and over came the oversized overcoats: the giant menswear-inspired outerwear items. From grey flannel to navy wool, plaid to pea coat, the runways were covered – literally and metaphorically – by the sorts of toppers that can take a village (inside). It’s less a nod to the romance of filching a too-big item from the closet of a boyfriend or husband than a reflection of the current trend towards toughening up that has also spawned the return of the suit.
These coats cover a multitude of sins, creating their own psychological and physical comfort zone: just huddle, or cuddle, up inside. And while they also nod to ye olde vintage craze, and are smart enough not to advertise their haute origins, make no mistake: in fabric and expanse, they are the ultimate in insider luxe. Read more
British designer John Galliano
It’s been a big week for scandals; Europe’s horsemeat-in-the-beef-lasagna crisis, John Galliano’s appearance in New York in what some construed as faux-Hasidic garb, and CNN’s decision to run a piece comparing war photography and fashion photography. It’s hard to know where to start. Here are some thoughts – in no particular order.
1. Horsemeat: reading my colleague John Gapper’s column today about the supply chain issue being at the heart of the matter, it occurred to me that this bears a notable resemblance to the blood diamond scandals, which resulted in the Kimberley Process. Like the supermarkets that sold the adulterated meat, the jewellers that sold the sparkly end product had never really pushed themselves to know where it came from. When the truth was revealed, they were horrified and embarrassed. It had never occurred to them they needed to take ownership of the supply chain if they were responsible for the end product, and the experience changed luxury’s strategy completely. Read more
The continued preponderance of celebs at the couture show in Paris this week – Sigourney Weaver, Chloë Moretz, Jessica Alba, Rosamund Pike and Noomi Rapace, among others (left) at Dior; Hilary Swank and Uma Turman at Armani; Charlene, Princess of Monaco and Olivia Munn at Versace; Rita Ora at Chanel – has got me thinking about the expectation this has raised, and how that can backfire for a brand. And no, I’m not talking about the usual problem of celebs behaving badly.
I’m talking about the fact that these relationships have become so common and so public, that now when we see a star in pretty much anything branded, there is an assumption there’s a contractual relationship there. And a contractual relationship implies approbation and shared values. At our recent Business of Luxury conference in New York, Lisa Jacobson, head of branding for United Talent Agency, said there were “maybe” five celebs in Hollywood that didn’t want a relationship with a brand, and the endorsement contract had become a significant part of most stars’ income. Read more
Ok, Prada is not participating in the couture shows this week, but it did send out this little sneak peek of the dresses the brand made for Baz Luhrmann’s upcoming and much-anticipated film The Great Gatsby. It seems for no immediately apparent reason – the film is not due to open until May, there’s no specific promotional activity happening now around it – until you start thinking about the fact that these sketches (left and below) are one-offs made for Carey Mulligan, who plays Daisy Buchanan, and certainly look as intricate and imaginative as most dresses come. Kind of like couture.
That green number is a “radzmire dress with bustier embroidered with pearls, stones and sequin fringes”; the first one below is a “multi-striped sequins dress with a plastic and trimmings embroidery at the bottom”. The one at the bottom is “orange organza dress enriched with plastic fish scale-like sequin embroidery”. Read more
Recently I was talking to James Carsellis, the entrepreneur behind web start-up Luxup, and he mentioned the theory that Europe was becoming a luxury goods Disneyland for emerging market consumers. You know: a place where the entertainment value/point lies in shopping for expensive stuff. I don’t think the comparison is that far-fetched.
Today Dolce & Gabbana confirmed rumours that it will create a small couture collection for the first time, to be showed July 9th to a group of clients in Taormina Sicily. The unveiling will take place far from the classic couture environs of Paris; the eye of the Chambre Syndicale, the governing body of the French couture tradition; and the fashion media. The choice is strategic for a number for reasons.
The branded jewellery game, long viewed as an area with the least players and the biggest potential pay-off, has a new entrant: Versace, which just announced it will introduce its first high jewellery line (one-off creations with emeralds, diamonds, etc) this Sunday during its couture show at the Paris Ritz. I’ll see your collection and raise you! Read more
Recently, a woman in the midst of a career change came to see me. This former banker, who took time off to get married and have children, was on the verge of beginning a new life in the high-end fragrance business. Her launch product is a limited edition perfume called “Tiara” that will sell for $1,200 and features particularly glitzy packaging: nestling inside a white resin box is a glass vial shaped like a cupcake, “crowned” by a special silvery top studded with sapphire blue Swarovski ovals. The look was, she said, inspired by the late Princess Diana’s engagement ring, as now worn by the Duchess of Cambridge.
Q: When is a hand bag not just a handbag ?
A: When it is also a piece of high jewellery and a sculptural object.
The crocodile skin and diamond Hermès bag (photo by Dan Tobin Smith)
Such is the case, anyway, with Hermès’s second foray into haute bijouterie (as opposed to haute joaillerie — the former starts with outrageous designs, the latter with mega stones). Their jeweller and shoe maestro Pierre Hardy created four different mini-handbags, in part inspired by the brand’s iconic handbags, using gold and a LOT of precious stones. They are each functionally a “bracelet” and they actually work as (very small) handbags.In theory, anyway.
It seems to me the idea of anyone actually carrying a handbag worth €1.5m and made of intertwining chains covered in 11,000 diamonds, or a rose gold version of the Kelly bag with crocodile scales and 1,160 diamonds is a little nuts, and I mentioned this to Patrick Thomas, the CEO of the brand. He laughed. Read more