Tag: Tom Ford

Model Chanel Iman and designer Tom Ford attend the 'Schiaparelli And Prada: Impossible Conversations' Costume Institute Gala at the Metropolitan Museum of Art. Getty Images

Model Chanel Iman and designer Tom Ford attend the 'Schiaparelli And Prada: Impossible Conversations' Costume Institute Gala at the Metropolitan Museum of Art. Getty Images

Mayor Bloomberg said it in his speech: “this is the Oscars of the East Coast.”

Tom Ford said it as he strolled the red carpet: “There’s more fashion here than at the Oscars.”

They were both talking, of course, about last night’s Met Gala, nominally celebrating the latest show, “Schiaparelli & Prada: Impossible Conversations,” but practically also raising an enormous amount of money for the museum’s Costume Institute (most of its annual operating budget, according to a spokesperson), working as highly effective advertising for all the fashion houses that participate, and this time also providing an unprecedented launch pad for a new brand.  And you thought it was just a party. Hah.

Indeed, this year, more than any other, there seemed to be an acknowledgement of the business dimension of the event, especially its red carpet.

The flight to the highest-end goes on. I know it doesn’t come that close to Hermès’ €1m bejeweled handbags, but yesterday news landed of eye glass frames for $2,950, courtesy of Tom Ford.

Tom Ford (Getty)

If ever there was illustration that luxury brands are convinced their customers not only still exist, but are demanding ever-more extreme iterations of their products, I think this is it.

Here’s what you get for your money:

  • a 1950s-inspired look involving gold-plated metal with “precious water buffalo horn” at the tips and around the eyes, as well as a certificate of authenticity for said horn
  • a special resin box with “conditioning cream” and a cleaning chamois for the glasses
  • knowledge that you are one of a select few, since the frames are only available from April-June

Now, I suppose, the question is: is that enough to justify the price (remember, this does not include lenses)? Personally, and given how often people lose their eyeglasses, I’d be so concerned about wearing these out in public that the stress might end up being the most costly part of the endeavor, but what do you think? Are the frames worth their weight in prestige?

The other day I got a nice email informing me that Marigay McKee, formerly Harrods’ fashion and beauty director, had been promoted to “chief merchant officer,” a relatively new title in the luxury world as far as I can tell (and one not to be confused with that other CMO, chief marketing officer). But it’s one that, I think, reflects not just a titular promotion, but a systemic change in industry thinking. After all, in fashion what you put on top always reflects something bubbling up underneath.

Christopher Bailey.

Christopher Bailey. Image by Getty.

Along with the recently-invented CCO (chief creative officer, a nomination bestowed on Christopher Bailey at Burberry and, before she resigned, Tamara Mellon at Jimmy Choo), it elevates the creative side of the business to the same executive level as the corporate side, officially acknowledging the growing synergy between the two.

After all, these same individuals had all previously been, like Ms McKee, “directors” – creative directors, if not fashion and beauty directors – creative director itself being a title invented by Tom Ford, I believe, during his years at Gucci, to indicate his move beyond the traditional role of “designer” into “overseer of all creative things.”

So it all came true, and PPR did, indeed, buy Italian men’s wear luxury brand Brioni. So far, so rumoured. But what does it mean? It seems to me there are two main implications to the deal:

1. Men’s wear is the new frontier.

Although widely heralded as one of the greatest men’s wear brands, Brioni itself spent several years chasing the women’s market. This began in the early noughties under then-CEO Umberto Angeloni, with ready-to-wear that looked a lot like men’s wear (think elegant cashmere suiting), and continued when the family took the helm back under Andrea Perrone, with snazzier styles by Alessandro Dell’Acqua. Mr Perrone was the founder’s grandson, but he resigned last year to make way for another non-family CEO Francesco Pesci (complicated, I know). But they all sought to tap the theory that women shopped and spent more than men.

The efforts didn’t work, and they gave up on women’s wear last August, which seems to have sat well with PPR. Indeed, in their statement, PPR was careful to call Brioni a “men’s wear-only brand,” a telling appellation. PPR has enough women’s wear brands after all; their only brand with a major upmarket men’s wear presence is Gucci. Their investment is in the guy factor – especially as it relates to China where it is the men who shop and spend more.

More details are emerging about Karl Lagerfeld — aka “Kaiser Karl,” he of the white-powdered ponytail, high-necked white shirt, leather gloves, and Chanel fame — and his new business, which for the past year has been code-named “Masstige.” It has now been christened…wait for it!…Karl. But there’s more.

Karl Lagerfeld

Karl Lagerfeld --Getty Images

Funded by Apax, the private equity firm that bought the old Karl Lagerfeld ready-to-wear line from Tommy Hilfiger, it will launch on January 25 on the Net-a-Porter website, followed by its own e-commerce site. This is being billed as: “For the first time ever a global fashion brand will launch exclusively via digital platforms.” Translation: No store investment (a select few wholesale accounts and pop-up stores will follow later).

Later there will be ”a new main prêt-a-porter line named « KARL LAGERFELD PARIS »” (presumably this is a high-end line) as well as “a number of important strategic partnerships and licencing relationships which are in the process of being finalized.” Translation: Manufacturing and distribution costs may be born by partners.

Clever that. But I feel I’ve seen it before. Where could it have been? Oh – I know: Tom Ford.

Hoo-ha in the US yesterday not just about plunging stocks, but plunging model ages as Good Morning America discovered that French Vogue and other magazines had put a 10-year-old in their pages. Granted, that was the Tom Ford-edited Vogue issue from  December, so GMA is late to this issue, but the upshot is that what was once a rumbling within fashion has now entered the world of public opinion and opprobrium.

Last night Michelle Obama wore white Tom Ford to the Buckingham Palace banquet. Once again, she matched the Queen!

Getty Images

The dress has created lots of buzz in the blogosphere, though not because of the matchy-matchy thing. Mostly it is because of the Tom Ford thing (this is the first time the First Lady has worn anything by him). And most of the buzz has been positive.

I have to say, though, that I’m not entirely convinced by the choice.

My problem is twofold. First, aesthetics and history; second lost economic opportunity.

Tom Ford

Tom Ford -- Getty Images

The Time magazine list of the 100 most influential people in the world is out and guess what: there’s only ONE fashion person on it: Tom Ford.

Guess the industry isn’t nearly as important as it thinks it is.

Except…except. It kind of depends how you define “fashion.” Many of the other electees, for example, are influential partly because of what they wear: Michelle Obama, for example; Kate Middelton; Blake Lively.

Michelle Obama

Michelle Obama -- Getty Images

 

Arguably, their “influence” has as much to do with their ability to communicate via style as anything else, especially in the latter two cases (what else do we know of Ms Middleton, after all? Google her, and it’s all about her recent shopping spree and how she will wear her hair on her wedding day.)

Unfortunately, however, Time isn’t talking about why they picked the people they picked; instead, each listing is accompanied by a hagiography authored by a friend.

 

Kate Middleton

Kate Middleton -- Getty Images

For example, Tom Ford is lauded by actress Rita Wilson for his manners and his tendency to wear a three-piece suit during filming, as opposed to the fact that when he relaunched his womens’ wear line he did it under the aegis of a fight against the internet-inspired fashion tide towards all-access to clothes and shows. This decision to go against the grain was presumably the reason for his inclusion in the Time list, though I’m not convinced this has sparked “dialogue and dissent and sometimes even revolution” (all that Time will say about its criteria).

Halle Berry

Halle Berry -- Getty Images

The other day I was talking to Bernd Beetz, the chief executive of Coty, in his office high over Park Avenue. There were lots of pictures of him with various celebrities whose fragrance Coty makes – Sarah Jessica Parker, Halle Berry (who apparently sells incredibly well in Poland) – on the windowsills, but what really interested me was less the celeb angle than Mr Beetz’s comment that “fragrance is now a crucial building block of a brand.” In other words, it’s the base, not the capstone, of a business.

So while the traditional brand structure was: ready to wear and accessories, and then once a company had established the name, latterly fragrance (think, for example, of Chanel and Dior), now it goes: name – fragrance. Ready to wear etc. has become the icing on the cake.

There has been much talk at the beginning of New York fashion week (whoopee!) about the incredible shrinking of the shows. Not the number of shows themselves, which is still alarmingly high, but the shrinking of the show spaces: the purported embrace of new, intimate catwalks that only allow a few hundred, instead of many hundred, attendees.

Y-3, for example, has a “new, intimate” venue downtown instead of the Park Avenue armoury; ditto Yeohlee Teng, who only has room for – count ‘em – 50, as opposed to 500. This is being blamed, variously, on:

Material World

with Vanessa Friedman

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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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