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.
Dries Van Noten is one of the world’s most successful independent designers. An original member of the Antwerp Six, the group of Belgians who transformed the city into a locus of avant-garde fashion in the mid-1980s, he is sold at more than 500 outlets worldwide, and has won the international award of the Council of Fashion Designers of America (CFDA).
Elizabeth Peyton is an American artist known for her stylised figurative portraits of well-known people; her work is in the permanent collections of the Museum of Modern Art in New York, the Pompidou in Paris, and the Kunstmuseum in Basel. The two have been friends since 2009.
The announcement that came along with Richemont’s 2012 annual results this morning that chairman Johan Rupert (left), is taking a year off from running the world’s second biggest luxury company starting this September is by far, to me at least, the most interesting part of the statement. For a man who has built the largest watch and jewellery Group to take a year off at age 62 – which, let’s face is not so old — at a time when the exponential growth trajectory of the luxury sector has started to slow is a little, well, surprising. And leads to all sorts of interesting speculation.
Moda Operandi’s announcement this morning that it would be selling designer gowns seen on celebrities and society mavens direct from next week’s New York Met Ball has really lifted the veil on the extent of the commercialisation of the 21st century red carpet.
The three-year-old company, which made its name offering high fashion looks straight from the catwalk and has widely been touted as one of the few e-commerce start-ups with a real shot at competing with queen bee of the pack Net-a-Porter, first made waves earlier this year by announcing its sponsorship of the “Punk: Chaos to Couture” themed event. Read more
I know most people aren’t thinking about this – they are thinking about hedge fund managers and how much they may, or may not, lose on their bets – but yesterdays’ dramatic drop in gold prices is going to have an interesting knock-on effect on jewellers and watch makers. Not because it will make their products, which have been creeping upwards over the last decade along with the price of their raw materials less expensive – but because it WON’T. It can’t. Here’s why.
Forget clothes; the red carpet is all about the jewellery now. Would be that of an after-awards morning my in-box would be full of who-wore-what emails. Not any more! Now it’s jewels, all the way down (or pretty much). Yet I can’t help feeling that there’s a difference between fine jewellery and clothes, even really expensive clothes, and the “if-it-worked-for-fashion-it-will-work-for-gems” theory is wrong. Read more