Today, BoF exclusively brings you Savigny Partners’ blow-by-blow analysis of the rapidly shifting luxury fashion business model which is undergoing transformation due to underlying shifts in consumer values, technology and globalisation LONDON, United Kingdom — Luxury fashion is a very exciting business which can generate substantial returns if you get the formula right. Not only is there the ability to charge up to ten times
“At Cloak I was doing production, I was doing business, I was doing financing. It kind of killed me, actually. I was doing very little designing. The key thing at Versace was that I just got to design; it got the juices flowing again. Now, with my own collection, I get to design more, which is what I want to do. I don’t pretend to be a businessman. You have to be to a certain extent, but I also want to work with people who
“I think they are very beautiful objects. There is no touch of what is considered bad taste or bad design [with technology], because bad design is bad taste today. They are flawless in a way. Facebook is a flawless object...it's for me like a Brancusi" Karl Lagerfeld speaking exclusively to BoF Founder and Editor-in-Chief Imran Amed on technology for The Luxury Channel, following the IHT Heritage Luxury Conference hosted by Suzy Menkes and held in London last week.
“Marc pulled on one of the coats, put his hand in the pocket and found a Louis Vuitton Murakami phone charm that I must have been carrying the last time I wore it. He gave me a funny look and said, “I’m actually wearing your clothes. This feels a bit weird” Katie Grand on dressing Marc Jacobs in her personal archive of his designs as captured by Patrick Demarchelier for Issue 02 of INDUSTRIE Magazine, which was
“"If heritage is all about the physical artifacts and intangible attributes that connect the brand to its past, how does one break that down into codes that can be adapted for the Internet Age? ...The essence of heritage luxury takes a quiver of emotion from the past in a thoroughly modern world." The inimitable Suzy Menkes, writing exclusively for NOWNESS about “heritage” in the digital era for luxury brands, accompanied by an animated short from Christian Borstlab as part of the celebrations for the 10th annual IHT Luxury Conference being held in London this week.
NEW YORK, United States — Last Friday, The Business of Fashion attended the second annual L2 Innovation Forum, hosted by Professor Scott Galloway of NYU’s Stern School of Business. Featuring startup CEOs, academics, authors and bloggers, the forum examined innovation from a wide variety of angles. Over the course of the day, three important themes emerged: the power of disruptive thinking, the power of listening and the power of
“Thomas has such potential. The couture of it, the lines – his work is exceptional and wonderful.” Legendary shoe designer Manolo Blahnik, commenting Tuesday night on the incredible potential of Thomas Tait, winner of the Dorchester Collection Fashion Prize. Thomas was first featured in The Business of Fashion in May, and most recently following his stellar, hush hush London Fashion Week debut
NEW YORK, United States — As we emerge from the ruins of a deep recession, where are wealthy consumers shopping most? An analysis of online traffic statistics for February 2009 to February 2010, gathered from Google Ad Planner, reveals some interesting traffic trends, although these are only based on estimates. The Numbers Macys.com attracts more visitors with an annual income of over $100,000 than the websites of upmarket
With smartphone adoption rates higher than ever, there has recently been a flurry of activity from fashion brands focused on developing and deploying mobile applications. Today, luxury brands like Hermès, Chanel and Gucci have mobile apps for Apple’s popular iPhone. But far less attention has been paid to developing Mobile Web sites. In this guest post, our friends at PercentMobile explain why investing in the Mobile Web can often
LONDON, United Kingdom — The passing of Alexander McQueen and the future of his namesake brand provided the defining background narrative of the Autumn/Winter 2010 collections. Everywhere a fashionista went, in every conversation, at every show, party and presentation, the ghost of Alexander McQueen seemed to linger as the industry struggled to come to terms with its most sudden loss of creative genius since Gianni Versace was
LONDON, United Kingdom — One of the first fashion shows I ever attended was the Alexander McQueen show for Spring/Summer 2007, staged in the round at the Cirque D’Hiver in Paris. Jonathan Akeroyd, the affable CEO of McQueen, was kind enough to grant my cheeky request for an invitation, and he even let me bring along my college roommate, who was studying outside Paris at the time. We were seated in the very last row way up in
In Part 1, we examined how the Maison Martin Margiela brand successfully adopted strategies of impersonality and invisibility to achieve cult status with consumers. Today, we explore how Mr. Margiela’s exit from the company could have been better managed by adopting strategies learned from real-world cults. PARIS, France — In 2002, in an acquisition that was described as Greta Garbo marrying Harpo Marx, the Maison Martin Margiela