The Moral of Dior, Russian market slows, Haute denim, ASVOFF winner, Getting to know Simon Spurr

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The moral of Dior’s numbers (FT)
“The Christian Dior results are in and, contrary to what some people had predicted in March when John Galliano, Dior designer, was fired for saying bad stuff, they are good. In fact, they are very good.  Revenue for the first nine months is up 21 per cent (at constant exchange rates) to €705m against the same period in 2010 and retail revenue rose by 27 percent.”

Weak economy reins in Russia’s young fashionistas (Reuters)
“Headbands emblazoned with Russian symbols, cheap accessories and military-style clothes sashayed through the Russian Silhouette fashion designer contest in Moscow this week… Some judges said that a slower economy this year had prevented students from displaying the kind of experimentation and whimsical flair seen in past shows.”

Haute Pants: Making A Market In Custom Denim (Forbes)
“Walk into 3×1, a new boutique in Manhattan’s Soho launched in August, and you may discover a team of pattern-makers, sewers and designers, all wearing pristine white lab coats, putting together a pair of jeans right in the middle of the store. Part atelier, part retailer, 3×1 offers limited-edition jeans sewn on site.”

ASVOFF Winner: Elisha Smithe-Leverock (Dazed Digital)
“Recently awarded the fourth A Shaded View on Fashion Film Grand Prize, judged by fashion legend and the awards organizer Diane Pernet alongside Manish Arora, Daphne Guinness and Rossy de Palma. Elisha Leverock-Smith’s witty, telling and hyper-glam film I Want Muscle, takes the fashion film genre and adds a level of social narrative to sharp effect.”

A Profile of Simon Spurr: Tough Swagger Confident (Esquire)
The journey — from boy to man to designer to brand — begins in a tiny village in Kent, in southeast England, a town, Simon says, “with one grocery store and five pubs.” His parents were both bankers, his dad commuting forty minutes each way to London. “I still look up to him,” Spurr says. “As a person, as a man. But he’s also very influential in my aesthetics. My dad had a lot of suits working in a bank, late ’60s, early ’70s. They still had the slim lapel, the narrow shoulder. And I guess it was subconsciously ingrained in me. That’s the decade I always go back to.”