Sometimes, reading about brand expansion plans makes you long for the good old days when designers big market grabs had to do with sunglasses and fragrance. Today Marc Jacobs’ opened his new all-beauty store on Bleecker street in Manhattan, bringing his stores on the block to five. But why stop there? CEO Robert Duffy “hinted” that the future could hold “fine jewelry and furniture.” I bet he’s not the only one at LVMH who thinks so.
The other day I was at a dinner arranged by the World Gold Council that featured the usual suspects – David Lamb, MD jewellery; jewellers Pamela Love and Janis Savitt – as well as one thing that was not like the others: Olivia Bolles, aka Olivia Bee, aka an 18-year-old photographic “protégé.” She had just started shooting the new “Love Gold” campaign, aimed at cooling-up the image of the yellow metal, which apparently suffers from a grandmother-complex among Gen Z. Which raises the question, is she a one-off, or the harbinger of change to come? Read more
Christiane Amanpour is the chief international correspondent for CNN, host of an eponymous interview programme, and is also global affairs anchor of ABC News. She grew up in Iran and in Great Britain and joined CNN after university. As a reporter, she has covered many conflicts as well as interviewing heads of state such as Iran’s former president Mahmoud Ahmadi-Nejad and the former Egyptian president Hosni Mubarak.
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.
According to a new report published today by the Digital Luxury Group, Chanel has ousted Louis Vuitton for the first time as the most-searched-for luxury brand in China (that’s their Beijing store, below). Rock our little velvet-lined world. Especially because why is one of the best arguments I’ve yet heard for why a brand needs to hit every luxury market segment.
These days we all hold certain truths to be self-evident: 1) that the Chinese market, while slowing, is still expected to be the biggest fashion market in the world; 2) that the Chinese are attracted to the idea of European heritage and skills; 3) that there is an increasing drive in China to support home-grown design (or to create it); 4) that the Europeans are trying to figure out how to exploit all those two realities to their own profit. Hence, for example, Kering’s purchase last year of Qeelin, the Chinese jewellery brand, and hence Iceberg’s decision to partner with Chinese video artist Yi Zhou for a capsule collection of menswear, womenswear, and accessories, to be launched next Christmas. What’s interesting about both these choices is they are focused much more on East than West. Fair enough: you go where the money is. And with the Iceberg case we reach example number 2 of this approach, thus bringing us ever-closer to critical mass for a trend.
Can it be a coincidence that the start of the summer cultural season – ie, that time of year when blockbusters hit big screens and beach reads land on bookshelves – has been heralded by two launches that, while they don’t necessarily celebrate consumerism, certainly have it at their core?
Between The Bling Ring , Sofia Coppola’s dramatisation of Nancy Jo Sales’ magazine piece about brand-and-celeb-obsessed teenagers and the criminal lengths they reach, andCrazy Rich Asians, Kevin Kwan’s novel about lux- and status-obsessed Singaporeans, it’s hard to escape the idea that this will be the summer of stuff. Read more
Just as pre-fall appears in stores, pre-spring (aka resort) appears on runways. But how to make sense of a season that spans from November through to May? The answer for a number of designers: skin. Sometimes yours, sometimes an animal’s, sometimes something that looks like an animal’s.
Last weekend I experienced an unfamiliar clothing trauma (I know, I shouldn’t admit it). Coming from New York, where it was muggy and 32C, to Europe, where it was 13C and rainy, via a stop in London to see the Chime for Change concert, with two black-tie events and a conference on the menu, I was paralysed by the question of what to wear. Having decided June qualified as summer, and having packed away my winter wardrobe, I simply couldn’t get my head around what I knew I needed to bring, which involved the words “cashmere” and “knit”. It felt philosophically wrong.
Generally, as I have written before, I have a wardrobe stocked with clothing bought to solve specific problems (black-tie work events, where you need to be fancy but appropriately covered; pre-work meetings with your children’s teachers, where it’s better not to be too glossy) but the transformation of climate into a fungible concept has proved difficult. Having been trained to think in a spring/summer vs autumn/winter dialectic, I find it difficult to accept a new philosophy. Even though, to paraphrase Francis Fukuyama, it increasingly seems the End of Seasons is nigh.