A decade ago, Kris Van Assche wanted nothing more than to have his own fax number. Today, the Belgian-born designer is a fixture of the Paris menswear establishment at the creative helm of both Dior Homme and his own brand, which, this season, celebrates 10 years in business.
BoF sits down with Margaret Howell at her seaside house in Suffolk, England, to discuss how the British designer built a brand known for its simple, practical pieces, evocative of the natural landscape, into a business, now majority-owned by Japanese company Anglobal, that generates £100 million per year.
As John Varvatos launches a new flagship on New York’s Madison Avenue, part of an ambitious global retail rollout, BoF sits down with the designer to learn how he built his business at the intersection of fashion and rock n’ roll.
BoF speaks to footwear designer Brian Atwood about his professional journey from male model to creative director of the go-to label for colourful, sexy, statement heels.
On the eve of their first ever presentation at London Fashion Week, to be held at their new Sloane Square flagship, BoF spoke with David Neville and Marcus Wainwright, the duo behind one of New York’s most exciting emerging labels, Rag & Bone. NEW YORK, United States — “The secret to our success is the way we balance art and commerce,” said Marcus Wainwright, who, along with business partner and fellow English transplant David
NEW YORK, United States — “There were a lot of people doubting what we were doing in the beginning,” Tory Burch, both creative director and chief executive of her eponymous fashion company, told BoF on the eve of her Spring/Summer 2013 show. “I’m an information gatherer, I like hearing what people feel and think, but at the end of the day, you have to believe in yourself and go with your instinct and gut.” With neither traditional
NEW YORK, United States — “You have to make quick decisions,” Jenna Lyons, the president and creative director of J.Crew, told BoF. “Ultimately, fashion is all about gut anyway — there’s no science to what this should look like or that should look like or how many times you can redraw that or resketch that or redo that catalogue cover. The fact of the matter is, either it grabs you or it doesn’t.” Indeed, it’s trust in instinct,