Today, downtown at the Pace Gallery, Tamara Mellon finally unveiled her new brand – not mention plans for the business, which is based on a model that that rejects a lot of the basic conventions of the fashion industry. It tosses, for example, the whole idea of seasons out of window, as well as shows.
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.
We’re used to hearing about how this luxury brand is suing that web site for false advertising, and that one is suing that third party enabler for allowing other to sell counterfeit products, and yet another is suing for a product that looks a little too much like their existing product (OK, can anyone say LVMHand Google or eBay? Gucci and Guess?), but this is largely because the big guys, who have the most money, make the most noise. In fact, talk to the legal set and one of the greatest problems facing young designers in a globalised world is “trade-mark squatting.” Thus far, it’s mostly caused a lot of breast-beating and wallet-opening, but now one young designer has come up with a solution of sorts.
Once upon a time, to most people, “the woman in red” meant a mediocre 1980s comedy starring Gene Wilder and Kelly LeBrock. Not any more. These days, the phrase is shorthand for the protests in Turkey over the past two weeks. That the latter has so overtaken the former is testament to the power of the image in the age of social media. And clothing has a lot to do with that power.
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.
After the growing, and counter-intuitive success of the London Collections: Men, aka the only fashion week on the calendar these days with any buzz; after the purchase of Christopher Kane by the-former-PPR-now-known-as-Kering; after Jefferson Hack’s work with Tod’s; today comes yet another announcement that adds fuel to the growing sense that London is the fashion city of the moment: Katie Hillier, British accessories designer, and Luella Bartley, the YBD, are joining Marc by Marc Jacobs as creative director and design director of womenswear, respectively. Bring on the Brits! If you want to be a buzzy brand, these days, apparently, you need some of your own.
Oooh, the trash talk out of Milan. Having finally woken up to the fact that London Fashion Week is getting buzzier, and that such a development could be a threat to Milan, its collections, and the related economic windfall that comes to a city during showtime, Milanese designers are joining forces to defend their territory – but the infighting has already begun. The gossip and name-calling is fun to watch, but behind it is a real issue currently afflicting every fashion week: the tension between national industry interest and a brand’s self-interest. Read more
Yesterday Kering, the group-formerly-known-as-PPR, announced their Q1 results, and, as with rival LVMH, they were a little…slimmer than usual: up only 3.1% on a comparable basis and 1.0% on first-quarter 2012 (the luxury was up 6.4%, but the sports lifestyle side was struggling). To paraphrase the reaction: shock, horror, luxury slowdown! Except for one thing: the bright spot in the presentation was YSL. This is, of course, the first test of new creative director Hedi Slimane, and despite a large amount of angst surrounding his debut, at least on the part of the industry, he seems to have passed it pretty well. So how did everyone (except the guys who hired him) get it so wrong? Read more
No, this is not about Michelle Obama’s Get Fit campaign. The issue of size – of one’s body, as measured by the clothes one wears – has always been a touchy matter, not because of national epidemics of obesity, but because of our global individual body dysmorphia. Fashion has been an enabler of this all, not in the way you might think – not because of skinny models, or the deification of youth, for example, though it is certainly a factor in both – but because of its collusion in a less-discussed but equally problematic issue: the total elasticity of size. For fashion, size has become a tool of perception and subconscious seduction – oooh, look, this brand thinks I am so slim! I love it! – as opposed to reality. Except now one company, Alvanon, wants to change all that. And I wonder: Do we really want to know the truth? Read more
What does it mean to be the face of a movement? Well, it means, literally, that your face (not to mention the body below it) is a symbol. It means, like it or not, having to take responsibility for how the cause looks – ie, how you look.
And yet as far as I can tell, Sheryl Sandberg, author of the much-ballyhooed third-wave feminist book/exhortation Lean In, does not seem to have realised this – despite putting herself on the cover of the book; despite the fact that she is also on the cover of this month’s new Cosmo Careers magazine supplement because of it; and despite the fact that everyone else is more than happy to discuss it for her.