Tag: Prada

Bertelli: “We don’t want to be a brand that nobody wants to copy.”

Getty Images

Getty Images

The above quote is from an interview Patrizio Bertelli, aka Mr Prada, gave yesterday to Bloomberg TV, and it is probably going to set off something of a hoo-ha in fashion, which has of late become very publicly litigious when it comes to copying.

Aside from the recent Gucci/Guess case, and the recent Burberry case (they sued a bunch of Chinese counterfeiters and won $100m in a Manhattan Federal court), there is the still pending YSL/Louboutin appeal. It is striking, because for years luxury – LVMH aside – was very purposefully quiet about this. I remember being told not so long ago by PPR that they were quite active in pursuing IP issues, but that they wanted to do so under the radar. Ditto Richemont.

Yet a few weeks ago even the latter called me to tell me about a trademark case they had going (which they won) in Russia. Something has changed.

Introducing the best argument I’ve heard yet about why skinny models are not, actually, ideal selling agents for fashion brands – and the only one that may actually go some way toward convincing the industry.

It comes courtesy of Ben Barry, who just received a doctorate from Judge Business School at Cambridge University and who spent the last year testing reactions among a few thousand Western and Chinese women to various models of different shape, age and race in the same dress. His conclusion: skinny models in high fashion may not be the attraction we think – especially in China.

Shock! Horror! What are all those luxury brands whose advertisements in Asia feature elongated western models and who want nothing more than to tap into all that new wealth going to do? Nothing changes a company’s behavior like hitting them where their wallet is.

Mr Barry made a video – rather catchily entitled “Does my bottom line look big in this?” explaining his findings: check it out.

Outgoing French president Nicolas Sarkozy is escorted by France's new president François Hollande. Getty Images

Outgoing French president Nicolas Sarkozy is escorted by France's new president François Hollande. Getty Images

Watching François  Hollande be sworn in as the new French president today, I was struck by how incredibly color-coordinated the hand-over of power was. I know it wasn’t planned – the Hollande and Sarkozy camps are not that friendly – but Tim Gunn couldn’t have styled it better if he’d tried.

First, as if to acknowledge the serious state in which the country finds itself, as well as the choice they made by choosing the non-blingy Mr Hollande over the slicker Mr Sarkozy, both outgoing and incoming head of state dressed pretty much entirely in black and white (So Hollande had a navy tie on, but in photos it read black-ish, just like Mr Sarkozy’s) – as did their partners, Carla Bruni-Sarkozy and Valerie Trierweiler. It may be the last time things are quite so cut and dried for any of them, but it did make for a crisp, no-nonsense set of pictures that presented a picture of unity, in a we-all-want-what’s-best-for-the-state sort of way.

Meanwhile, both Mr Sarkozy and his wife wore almost matching pinstriped trouser suits and white shirts, as if to demonstrate their own united front as they head off into private life and put paid to the speculation, recently floated, that Ms Bruni-Sarkozy had been frumping herself up for election purposes. Her look now seems to say, the election is over, I haven’t changed.

All in all, it was a dramatic contrast to the last French presidential inauguration, when Mr Sarkozy and his then-wife, Cecilia both strolled into the Elysee clad in Prada: a clear message that a new sort of political brand had arrived.

I’ve been thinking of a conversation I had with Rodrigo Bazan, president of Alexander Wang, about the problem of pricing in a global luxury world – and his rather clever way of addressing the issue.

The trigger was the news that European brands (well, mostly LVMH brands) were raising the prices of their products in Europe. The move, to compensate for the slight slowdown of business in Asia, caused it seems by the Chinese buying luxury brands abroad, where they are notably cheaper than they are locally. All of which reminded me of something Mr Bazan had said of the luxury consumer in Asia: “when they see something they like, the first thing they do is Google it on the US web site of the brand, to see what the prices are in dollars.”

If the gap (for whatever reason: import duties, taxes, real estate costs etc) is too big, well – you can guess what happens, and where they make their purchases.

Aquascutum show at London Fashion Week Autumn/Winter 2012. Image by Getty

Aquascutum show at London Fashion Week Autumn/Winter 2012. Image by Getty

“Due to unforeseen circumstances the Aquascutum autumn/winter 2012 press day has been cancelled until further notice.”

That was the email that went to the fashion press yesterday, ahead of news that the British label has gone into administration. To be blunt, the autumn issues of glossy magazines aren’t going to collapse if stylists can’t get their hands on an Aquascutum trench to feature in their shoots. The wheels of fashion aren’t going to stop turning.

However, while Aquascutum isn’t one of the labels that shape the style landscape, like a Prada, or a major advertiser, like Armani, because there are few major British designer labels, when one is under threat it’s a big deal.

It’s my belief that the iPad, for all its marvellous abilities to show feature films, make it look like you are reading actual books, and otherwise replace most electronics in your life, is actually beloved of most men I know because it lets them play Angry Birds or Zombie Smash or Hungry Shark, no matter where they are. And I do not think I am alone in this, judging by a new Prada video, which taps into exactly those gaming urges.

Nominally made to sell sunglasses, the short film depicts said glasses floating through what looks like a 3D video game universe of Prada belts and Prada suitcases, which may sound yucky, but in (virtual) reality actually looks pretty cool. This one works for me in a way the majority of fashion films, which show soulful models flipping their hair in slo-mo, do not, and I’d put odds-on it working for Prada’s male customers too. Check it out, and tell me what you think. I think they win.

Looking back over 2011, which I am currently doing for a Christmas Eve column, I’ve been struck by the fact that one trend dominates all others by a significant margin, having held true from last March through year end: the IPO.

Despite all the economic gloom, fashion houses apparently have turned away from their  flirtation with private equity and now think tapping public pockets is the way to grow.

Consider the following:

June: Prada lists on the Hong Kong stock exchange, ditto Samsonite, and Ferragamo lists in Milan.

November: Coach takes a secondary stock listing in Hong Kong and Graff announces it is  planning another Hong Kong IPO for 2012.

December: Chow Tai Fook lists in HK.

Meanwhile, this week Tumi, the super-strong luggage company sold in 1,600 stores around the world, filed papers with the SEC for an IPO. And tomorrow, in an already over-subscribed offering, Michael Kors will become the first American fashion company to go public in years, trading under the name — yes — KORS. The listing is expected to value the company at $3.4bn. Zowie!

Marc Quinn silk scarf for Selfridges

Marc Quinn silk scarf for Selfridges

Art and fashion have had a notoriously long affair, with the former attracted to the glamour and glitz of the latter like moths to a flame, and the latter attracted to the former for the creative legitimacy it can bestow on an essentially commercial endeavour. But rarely has one actually crossed over into the territory of the other. However, as of this Christmas season, Marc Quinn – he of Saatchi Young British Artists, “blood head”, and Trafalgar Square plinth/disabled marble bust fame – is breaking the rules.

To be specific: He’s making his own accessories and clothing, and selling them at Selfridges. And he’s not hiding behind anyone else’s brand name. As far as I can tell, that’s a first for an artist.

The next big spring costume exhibit at the Metropolitan Museum of Art, the one that has the difficult job of following Savage Beauty, this year’s Alexander McQueen show that broke every record for a costume show, will focus on Elsa Schiaparelli, the surreal designer from the 1930s, and Miuccia Prada, the intellectual of the late 20th/21st century, and be sponsored by none other than Amazon. This makes it the first costume show in recent memory (possibly forever – the Met’s press office wasn’t sure) not to be sponsored by a fashion brand.

Unless…Amazon wants people to think of it as a fashion brand?

After all, Prada and Schiaparelli are not exactly the most accessible of designers. They are, rather, designers’ designers, known for thought-provoking clothing: Schiaparelli is perhaps most famous for her lobster and skeleton dresses, while Prada likes to riff on the idea of ugliness, and twisted tropes of femininity. They are also known for their relationships with the art world (Schiaparelli was friends with Cocteau and Dali, and Prada has her own contemporary art foundation), and politics. Sponsoring this show demonstrates a certain amount of very high-minded taste.

So, back from my August vacation two days late thanks to Hurricane Irene, to discover, at least as far as NY fashion goes, things seem pretty much business as usual.

I may have spent Monday scooping a swarm of suicidal gnats out of my in-laws’ pool (apparently, they decided they would choose their own death by water instead of having the winds foist it upon them) instead of making my fashion week schedule, but the emails have flowed in nonetheless, requesting RSVPs and trumpeting that pre-fashion week consumer extravaganza otherwise known as Fashion’s Night Out.

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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