Tag: Chanel

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.

Yup: this is the view from my seat at Chanel, across the aisle. This couture season they created a whole Airbus interior inside the Grand Palais in Paris, complete with faux logo carpet, wheelie carts with orange juice and champagne, and a sky and cloud video that segued into earth from above moving across the ceiling.

Why?

Maybe they were inspired by all those private planes they rented to
transport people to their recent Las Vegas extravaganza at the Wynn. Maybe
it was a comment on where the couture customers are these days (far away
from Paris in the Middle East and Russia). Maybe it was a metaphor for the
current economic situation, and the need for revenue to soar, not crash.
Maybe that’s pushing it as an interpretation.

What I do know is that, aside from a colour palette that tended to sky and
midnight blue, it didn’t seem to have much to do with the clothes, which
were heavy with gems and sequins and encrustation (although there were a
lot of balloon sleeves). What I guess is the answer is much simpler, and
more revealing in nature: because they can.

Who is fashion week for?

The fact that this is a pressing question has suddenly become as clear as the plaid on a kilt thanks to British Vogue’s website, which today launched a new initiative: “Online Fashion Week.”

And what, you may ask, is “Online Fashion Week”?

It’s a B2C five-day event where designers offer special sales and products, show certain collections (christmas, pre-fall, spring/summer), and engage in “Twitter takeovers” by posting on the microblog site 24/7, the better to reach their consumers in the holiday shopping period. It is not particularly limited to UK designers (Chanel and Christian Louboutin are participating), though it is UK-heavy.

It is, in other words, a lot more like that after-hours shopping extravaganza, Fashion’s Night Out, than like what I consider the traditional NY/London/Milan/Paris Fashion Week, and it points to a growing schism in the fashion world.

François Lesage, widely acknowledged as the greatest couture embroiderer and an iconic figure inside the fashion world, died on Wednesday night at age 82. Though he had been ill for a number of years, he remained active in his eponymous business until recently.

Getty Images

The company, which has been owned by Chanel since 2002, will continue under the leadership of Hubert Barrère, recently appointed artistic director. However, Lesage’s death marks the loss of yet another building block of the haute couture. As Karl Lagerfeld, Chanel’s creative director, said at the time of the Lesage purchase in 2002: “There is no couture without embroidery and no embroidery without Lesage.” (That’s Lesage embroidery on the left on a Chanel ”Metiers d’Art” dress shown last year. )

Despite the additions of names like Armani and Versace, the haute couture collections have shrunk to a mere three days, and M Lesage’s death will reignite the debate about the purpose of the sartorial art form, and its role as an expression of French culture.

A group of luxury companies, including Chanel and Dior, yesterday met Antonio Tajani, the European Commissioner for industry. The fashion houses and luxury brands entered the hallowed halls of the EU for the first time to discuss how they might be able to work together.

Wait — the first time? Yes, weird as that may sound, after two years of lobbying, the ECCIA (European Cultural and Creative Industries Alliance, the over-arching European luxury organisation made up of the groups from the UK (Walpole), France (Comite Colbert), Italy (Altagamma), Germany (Meisterkreis – Deutsches Forum für Luxus), and Spain (Circulo Fortuny) finally succeeded in getting Brussels’ attention.

You have to wonder what took them so long. After all, luxury is one of the few growth stories coming out of Europe.

Consider their stats:

  • of the top 25 worldwide luxury companies, 17 are from the EU;
  • they are responsible for 75 per cent of the global luxury market, more than €170bn of the worldwide luxury goods consumption and employed, in 2010, from 800,000 to 1 million people.
  • more than 70 per cent of the luxury goods produced in Europe are exported outside the region.

Whoa! Tax euros!

Chanel show

Chanel show - picture by Vanessa Friedman

At the Chanel show I was sitting next to architect Peter Marino, and after we had admired the all-white aquarium set (pictured left), we got to chatting about his recent renovation of the brand’s London Sloane Street store, to be unveiled this week. It’s not what you would expect.

First, it wasn’t nearly as expensive as one (okay, me) might assume, even though the centrepiece is a graphic black and white work of art by Allan McCollum, the American artist, displayed around the central stairwell and featuring the most popular 1000 women’s names according the US census. Think Maria, Chanel (really) and Shakira and you’ll get the idea.

Is the fact that IMF head Christine Lagarde has made Vanity Fair’s International best-dressed list good or bad for the image of the financial sector?

Though at first I was excited about the news — yay! a female financial policymaker has finally been acknowledged for sartorial prowess, the “boring” stereotype is broken — after sleeping on it, I actually think this one could backfire.

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For while I do think it’s great that a woman who wears discrete suits and clearly understands the semiological uses of a pin (note picture at left: her starfish pin echoes the stars of the European Union!) is acknowledged as elegant and influential in the same way as the Duchess of Cambridge and Michelle Obama are, dressing well does imply a certain amount of money spent on clothes.

Ms Lagarde seems particularly close to Chanel; she’s often at the show, and she is wearing one of its dresses in the picture at below right, as well as carrying an Hermès handbag. This may not be a time, however, when a top public financial policymaker wants attention paid to how much of her personal account is devoted to her, well, person. Plus, she’s supposed to be thinking about other things. Like the Italian economy.

How do you make big brands with a history of secrecy and high glamour shine a light on their corporate social responsibility policies?

You write a report that suggests that some are doing things they perhaps should not be doing. Such as selling Burmese rubies, which have been the subject of sanctions in the EU and the US since 2008 and 2003 respectively.

The rumours that Hillary Clinton wants to be the next president of the World Bank — whispered about by a bunch of people I know in Washington for the last few weeks – have now gone public thanks to Reuters, and though they’ve also been publicly denied by her camp, I can’t help keeping my fingers crossed. After all, if she did want/get the post, and Christine Lagarde does succeed in her quest to head the IMF, think what this will do to the image of bankers around the world! Certainly more than any of the spin doctoring Goldman et al have tried so far.

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And even more than that: think what it would do for the idea that you can be a woman financier, tough and intelligent, and care about how you look at the same time! In both cases, it would be a transformative situation — and a major opportunity, from a stereotype-smashing, changing-public-opinion point of view.

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After all, to have Clinton and Lagarde — smart, blonde, clearly image-aware – at the top of two global financial institutions would be the ultimate stereotype-smashing communication device; a series of “show, don’t tell” moments.

Ms Lagarde in particular has been unapologetic about her interest in fashion: she is often a fixture at Chanel ready-to-wear shows, and was the number one nominee in a poll I conducted a few years ago for “Best-dressed businesswoman.” Meanwhile, Mrs Clinton’s struggles with hair and wardrobe are pretty well documented, and her current relaxation into a longer-haired, softer, style, complete with practical trouser suits and sparkly evening gowns, indicate a growing self-confidence: she wears what she wants and what works for her.

Together they would put an end to the endless parade of men in dark navy suits that occur whenever the world’s bankers get together, brightening up the photos and embedding an alternative narrative in the public’s mind. In that respect, at least, it’s an opportunity worth someone’s weight in gold. Even at today’s prices.

Well, this is a shocker: today a digital think tank called L2 publishes a study, “L2 Prestige 100®: Facebook IQ,” which ranks the high-end brands as: “genius, gifted, average, challenged, and feeble” according to who uses Facebook best. Out of brands that span the auto, watch and jewellery, fashion, beauty, and spirits and champagne sectors, Burberry, normally held up as the most web-savvy, digi-forward company in the luxury industry, ranks…average. Actually, it’s number 49.

Material World

with Vanessa Friedman

About this blog About Vanessa Blog guide
Vanessa Friedman's blog deals with the fashion/luxury industry from both a corporate and consumer point of view, as well as the subject of dress.



Vanessa FriedmanVanessa has been the FT’s fashion editor since 2003, and is based in New York, though she lived in London for 12 years.
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