In Milan, best known for its high fashion houses and denim brands, and critiqued for its lack of innovation, visually bold, Italian contemporary label MSGM has found success with a fresh new formula.
No brand before or after it captured the zeitgeist quite like Juicy Couture. So why did the brand, a business with almost $500 million in annual revenue, sell this autumn in a $195 million cash deal to a licensing group better known for working with brands like Marilyn Monroe and Elvis Presley?
Investors are moving away from bigger groups towards smaller brands and American “affordable luxury.” Meanwhile, the jury is still out as to whether the crucial trading period from Thanksgiving to Christmas will deliver strong results, but sentiment remains positive, reports Pierre Mallevays of Savigny Partners.
Today, to coincide with the start of Art Basel Miami Beach, Hettie Judah considers the increasingly intertwined markets for fashion and art. Tomorrow, we examine the anatomy of fashion’s most spectacular artist collaboration to date: Yayoi Kusama for Louis Vuitton.
A career in fashion is a more visible and viable option than ever before. As a result, interest in fashion education is booming and a range of institutions, from design colleges to business schools, are seizing the opportunity.
The once sleepy handbag brand Kate Spade New York has grown from $126 million to $750 million in net sales in just five years. Now, the company has set the ambitious long-term goal of becoming a $4 billion brand.
Courtesy of our friends at 032c, BoF brings you an exclusive excerpt from Jonathan Olivares’ piece on HTM, a three-person design collaboration between Nike chief executive Mark Parker, designer Tinker Hatfield and cultural consultant Hiroshi Fujiwara, conceived “to amplify new innovations, reinterpret existing designs, and explore concepts that take the brand to new places.”
Fashion brands, both emerging and established, have been investing significant resources in building and maintaining their archives. BoF investigates.