It was clean, it was exact, it didn’t rock the boat (or the brand). It was, as the French say, pas mal.
Almost entirely in black and white, Alexander Wang’s first Balenciaga show nodded to the house’s architectural past. Building from a base of a flat suede boot/legging, he layered on skinny black trousers, high-waisted skirts cut in a curve on the hem and waist to dip in back and rise in front. There were white shirts that mixed cotton piqué with a nubbly cloqué added under or over in origami-folds; neat dresses in a marbelised print realised in appliqués on organza; intarsia furs; a cracked painted leather polo neck and matching skirt; and suede trousers flashing bits of flesh between the cracks.
As an interpretation of the now-abstract idea of Balenciaga, it looked exactly like what to expect if one imagined the archives and what a young designer would make of them, which will probably be gratifying from a consumer perspective: not too challenging, but elegant enough, the clothes suggested the past without confronting it. It’s nice to be proved correct when you enter a store (or pick a designer). And they will probably attract Mr Wang’s band of cool, growing-up, society girls – even, possibly, their mothers. Read more
I did a fairly long interview with Francois-Henri Pinault, ceo of PPR, that’s running in the paper next week, about the way he thinks of his luxury brands, but in the process of talking Mr Pinault dropped some titbits I wanted to pass on. Here are three juicy ones. Read more
So it’s official: Alexander Wang, the 28-year-old wunderkind who launched his eponymous brand in New York only five years ago has just been handed the creative director reins at Balenciaga. He will continue to run his own brand (which is owned independently by Wang and his family), and split his time between New York and Paris. His first collection will be autumn/winter 2013 womenswear, next March. I’m wondering, does this indicate a new theory about/stage in luxury brands?
Just as e-tailers have come to realise that a virtual store in not enough, and are increasingly adding bricks and mortar storefronts (or, as folks like Warby Parker and Bonobos tend to call them, “showrooms”) to their offering, so, too, are e-sites. Last year Style.com launched style.com the magazine, a twice-yearly collection-focused oversize print book, and now Mark Sebba, CEO of net-a-porter, has announced they are planning a print magazine.So what is this? Nostalgia for ye olden days? I thought the brilliance of digital was that we were free of so many of the nagging costs and limits associated with the physical world and its products. I thought magazines were seen as dying media. What do they have that e-zines don’t? Read more
Oooooh those PPR folks are making the gossip waters churn. Today reports say NY hipster designer Alexander Wang is the top candidate for the artistic director job (artistic director, creative director, designer – does no one else wish these companies would regularise their titles?), while rumours are that Christopher Kane, the erstwhile favourite for that spot, is actually being looked at in the context of buying his eponymous brand! Good gosh and golly. Two young designers at once! Both would be surprising moves, however, seems to me.
Today PPR announced, in one of the terser emails I’ve gotten, that they had mutually decided to part ways with uber-designer, fashion favourite, and more superlatives like that, Nicholas Ghesquiere. November 30th will be his last day. So what do we think happened?
Sorry – that title is a bit misleading. I am not suggesting Jochen Zeitz, the chief exec of PPR-owned sportswear brand Puma, is in favour of counterfeiting. Rather, I was struck by comments he made as reported today in the FT regarding the benefits of synthetic fabrics vs leather in ye olde sneakers, and how the former were significantly better for the environment than the latter. This is something you actually hear a lot from various environmentalists, and it seems to me most consumers would consider it surprising. They also might be surprised to learn that fashion, whether driven by eco concerns or just the lust for the new, is fast going in the same direction.
What high-end brands do those unpredictable but desirable, virtually-enabled, live-life-on-Facebook twentysomethings like? This is a question that obsesses luxury — after all, some chunk of said twentysomethings will become the luxury purchasers of the future, and knowing what they respond to is one of the great mysteries of today and potential cash cows of tomorrow. The other day I had an experience that gave me some clues as to the possible answers. And it’s not what you (OK, I) might expect.
Time magazine has made its first foray into the world of best-dressed lists by releasing its own “All-Time 100 Fashion Icons” list, presumably in an effort to support its recently re-launched “Style and Design” issue.
The criteria, as stated, is “most influential”. This is fair enough, though vague: influential over who? The masses? The industry? International? The US? It’s unclear. The timeline begins in 1923, the year of the magazine’s birth. Again, fine. Fashion as we know it largely began then too (though it means Charles Frederick Worth is not on the list). It includes designers, brands, muses, photographers, models, editors and stylists — a good mix. The problem is in the seemingly random nature of the final choice. Read more
The Vanity Fair New Establishment 100 list has just been unveiled, and its criteria for picking “the 100 most influential” are increasingly impenetrable. Read more