Tag: Lanvin

Any regular reader of this blog knows that my opinion of fashion film shorts is not exactly sky-high; of all the ones produced by this industry recently as it discovered the joys of YouTube and its gazillion viewers, only one has really worked. That’s because it walked a perfect line between self-mockery and great fun, and was not obsessed with framing its products perfectly in the camera’s eye. (The film of which I speak features models wearing Lanvin and dancing to Pit Bull.)

So I admit: when Cartier called me to tell me about its new commercial, my first reaction was (and I’m not proud of this, but we are going for full disclosure here): oh, no. Not again. Ergghh. And so on. But I took myself off to the unveiling at the Mini Palais restaurant in Paris anyway, sat myself in the plush velvet seat and prepared to grit my teeth.

Spring-summer collection 2012. Credit: Catwalking.com

Before his pre-fall collection for Lanvin today designer Alber Elbaz told a funny story. He was in NYC a few months ago for a meeting about the new Lanvin Men’s store, he said, and took a cab ride down Fifth Avenue. He passed megastore after superstore (he didn’t name them but the new, airplane-hangar-sized Uniqlo and H&M come to mind) and by the time he got to his new store he was in a tizzy. “We have to be bigger!” He told his architect. “New York is all about big!”

His architect looked at him. “And then I realised,” said Elbaz, “maybe what was good about us was we were small. Maybe that is why we had been successful for so long. And we should just be who we are.”

There is nothing small about Elbaz’s clothes, of course (metaphorically speaking); they are full of volume and big thinking about how fabric technology (polyester duchesses, rubberised wool) works with traditional sewing techniques to create dresses that are more than the sum of their parts.

But this idea that a high luxury company, which Lanvin is, can stay at a certain, relatively small size — can be happy being hard-to-find and exclusive — that’s kind of radical. In fact, the only other time I ever heard the same idea voiced in this age of globalisation (where conventional luxury wisdom is: “the world is big; a few hundred stores is just the beginning”) was in a recent conversation with Frederic de Narp, chief executive of Harry Winston, who told me he had an ideal number of stores worldwide in mind for his brand and it was … 50.

He was the first luxury CEO to ever give me a number beyond which he didn’t want to grow, and I was gobsmacked.

But now we have Lanvin thinking the same way. When I was talking to Thierry Andretta, Lanvin CEO, before the show, he pointed out that the best-selling pieces for the brand were always the most complicated, ornate and expensive dresses, not the entry-level accessible stuff, and you only need to sell about three of the former to make the same profits as you do from ten of the latter (or more).

There’s something important here, I think.

This is my last post of the year. Though I have been hanging on in terror that some perverse power play on the part of Dior will cause it to announce its new designer when everyone is away from their desks – hah! Panic in the fashion newsroom – I have finally decided to turn off the computer, and in a few hours I’m off to the not-entirely-frozen north and the great Canadian woods to hang with the coyotes. The real kind, not the metaphorical human kind.

(Really; all of us have alternate universes, and this is one of mine, courtesy of my beloved Canadian husband. My fashion statement up there is an all-in-one skidoo suit that makes so much noise when I walk it scares away any living creature. Another of my universes is the amateur circus circuit. Both places, note, put very little emphasis on clothing. Anyway, I’d be very curious to know about other people’s other dimensions, if anyone can take a few moments to write in.)

I considered signing off with great thoughts about what’s next for 2012 (fear of consumer slowdown!) and what the great moments of 2011 were, but having surfed a few fashion sites and been inundated with the above, I decided to take a page from Coco Chanel and pare things down. So I will simply leave you with one of the few virtual cards I received this Christmas that actually made me smile.

After the runaway viral success of his YouTube video for the Lanvin autumn/winter collection, designer Alber Elbaz has lent his hand to Claridge’s christmas cheer by creating their holiday tree. Here it is, in full glory, with various Lanvin-clad marionettes lounging around the base. What do you bet a guest tries to buy the dolls? I feel a clever brand extension coming on.

It’s that time of year: fall ad campaigns are kicking in, and magazines occasionally double as doorstops. Judging by the size of US Vogue, along with this week’s Hermès announcement that operating profit was up 37 per cent in the first half of the year, you’d think that the economy, at least as far as luxury is concerned, had recovered.

But back to the ad campaigns. Hands-down the most charming one I’ve seen so far is the new Lanvin video: check it out, and I dare you not to smile. Even my children, aged 11, eight, and six, and largely uninterested in fashion unless it involves Dr Martens or monsters, begged to see this video three times. Which suggested to me perhaps its appeal was worth exploring. Multi-generational attraction! Every brand wants it!

Cotton prices are soaring; the fact that this means higher prices for raw materials used in fashion, and therefore for the consumer, is no surprise. But one less well-known aspect of the higher price of cotton is that polyester is getting a knock-on boost: as manufacturers search elsewhere for material, demand for the man-made rises. Even worse: the rising price of oil, which is used in manufacturing, has raised raw material costs still more. In other words, just because you’re wearing un-natural fibres, don’t expect a bargain!

After the much-publicised sell-out success of their pre-xmas collaboration with Lanvin, high street megalith H&M has announced their next partner: Elin Kling, a Swedish fashion blogger and stylist.

Yup. The bloggers have moved from commentators to creators; gone from front row next to Anna Wintour to backstage next to Alber Elbaz in but one calendar year. We have entered The Next Stage.

Designers, be afraid. Be very, very, afraid.

A pretty provocative paper comes from a group of INSEAD professors, albeit with a less-than-pretty title: PERFORMANCE IMPLICATIONS OF OUTWARD PERSONNEL MOBILITY IN CREATIVE INDUSTRIES. It looks at the question of whether the talent drain in fashion houses – -  or the tendency of designers to occasionally jump ship – -  is actually, as has been posited in the past, a bad thing, and concludes….wait for it…not necessarily. All that guff about “star designers” (i.e. Tom Ford)?  Self-serving propaganda!

Ok, well, that’s a bit of a generalisation. The study looked at 361 fashion houses over the period from 2000-2010, their personnel movements, reviews, buyers’ orders, etc. and came up with a variety of complicated charts and metrics, all of which led them to the idea that, in fact, losing a certain number (they think four is optimum) of what I assume are “design team” members as opposed to brand name designers (this is not, in fact, specified, and they do name check Mr Ford, as well as Karl Lagerfeld and John Galliano, but it seems logical given their conclusions) to competing brands actually can be beneficial to a company – - as long as it stays in touch with those ex-employees.

Last night I went to the Pierre hotel in New York to see a Lanvin loves H&M fashion show. They – by which I mean H&M, since this was clearly their gig to fund, though it had been given a Lanvin make-over — had taken over a jewel-like ballroom in the luxury hotel and erected a catwalk; outside was a red carpet. Many foreign fashion editors, as well as director Mike Figgis, who made their on-line advert/film, had been flown in for the occasion, and put up at the Four Seasons, and some celebrities, like Elettra Widemann, were front and center. The whole thing was running on high-fashion time, so the invitees stood around for an hour as tuxedo-clad waiters served caviar and blinis and champagne. Finally the show took place, and everyone cheered; Mike Figgis, who was sitting next to me, whispered that he thought the clothes had been upscaled for the catwalk. Afterwards, there was a pop-up shop where the attendees could have first dibs on the collection, though not immediately: people were let in according to colour codes on the back of their invites.

In other words, as an event it was: expensive, gorgeous, and elitist. All of which are words I think of as par for the course for high fashion, but the exact opposite of what H&M stands for, and what has made it such a success, which as I’ve always understood it was great fashion for the masses. And that, along with the prices tags of the Lanvin for H&M dresses, which clock in at $199.90, made me wonder if, perhaps, the event was about a little more than just a big blow-out shindig .

Stephane Gallois

Lanvin for H&M collection. H&M image. Photographer: Stephane Gallois

What’s a brand to do when it has a good idea and then everyone copies it? Accessorise, of course! So seems the conclusion, of H&M, anyway, as their high-end limited, oh-my-god-I-have-to-get-it designer collaborations are copied by other companies from Target to Gap. Hence the decision to up the ante, as can be seen with this month’s much-ballyhooed Lanvin project, which launches on November 20, but is being preceded by…drumroll…the sort of build up that usually accompanies rather more haute offerings collections.

Today, for example, a new, full collection video with serious production values has launched on the H&M home page directed by Mike Figgis (“Leaving Las Vegas”) and starring, in no particular order, Lanvin designer Alber Elbaz, and famous models including Natasha Poly, Irina Lazareanu and Hannelore Knuts (among others), as well as all the RLBDs (ruffled little black dresses) and RLFDs (ruffled little floral dresses) you’ll be able to buy in a few weeks time. Before then, however, there will be an invite-only catwalk show at The Pierre hotel in New York (November 18). Beat that, Target!

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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