Frida Giannini | Source: Vogue Taiwan

How Gucci Got Its Groove Back (Departures)
“Today she’s happy being the woman behind the brand, unlike Ford, who was ultimately bigger than Gucci, which is why, in part, he’s no longer there. (Ford declined to comment for this article.) ‘After almost ten years, it’s difficult to divide myself from Gucci,’ she says. ‘I love this company, and I have such respect for its history.’”

Azzedine Alaïa, a furious fashion talent (Independent)
“Basking in the knowledge that, more than any other designer, he occupies neutral territory – it is not uncommon for M Alaïa to be seen front row at many of his competitors’ shows, or indeed for other designers to wear his clothes – this is not a man who has been overly worried about what others might think of him and that, too, in fashion circles, is most unusual.”

The Rise of Consumption Equality (WSJ)
“It used to be so cool to be wealthy—an elite education, exclusive mobile communications, a private screening room, a table at Annabel’s on London’s Berkeley Square. Now it’s hard to swing a cat without hitting yet another diatribe against income inequality. People sleep in tents to protest that others are too damn wealthy.”

Fashion Hangover (Vogue)
“Louis Vuitton is going to war with Warner Bros: suing the entertainment giant for profits from it recent blockbuster sequel The Hangover Part II, for using fake copies of its bags in the film. Despite requests by the luxury label to not feature counterfeit bags – created by Diophy which is also being sued – the fake Louis Vuitton luggage appeared in a scene filmed at the airport.”

Cathy Horyn Recounts the Year in Fashion (NY Times)
“‘Give me time, and I’ll give you a revolution,’ Alexander McQueen once said. Like anyone born to achieve, he resented the small distractions — and the fashion business provides plenty of them.”

Inditex Headquarters in La Coruna, Spain | Source: Inditex

How Zara clothes turned Galicia into retail hotspot (Reuters)
“The green, rainy region of Galicia in northwest Spain is best-known as the destination for pilgrims hiking the Camino de Santiago to pay tribute at the remains of apostle Saint James… But a different kind of pilgrim also makes the journey here — retail sector analysts visiting the headquarters of Spain’s most successful modern export, Zara clothes, which has made the founder of Inditex one of the richest men in the world.”

The Future Of Fashion, Part Nine: Azzedine Alaïa (Style.com)
“Fashion will last forever. It will exist always. It will exist in its own way in each era. I live in the moment. It’s interesting to know the old methods. But you have to live in the present moment. The evolution today is in the machinery. There are machines that did not exist before. It allows you to be a lot more of a perfectionist.”

Luxury Daily Deals Site Gilt City Picks Up BuyWithMe at a Discount (All Things Digital)
“Gilt City, the daily deals site operated by fashion and luxury online retailer Gilt Groupe, has acquired BuyWithMe… Gilt will be purchasing BuyWithMe’s assets, including its member and vendor lists, as well as some of its technology. Other companies also exploring offers included San Francisco-based Bloomspot and the No. 2 player, LivingSocial.”

UnitedStyles Lets You Play Fashion Designer (TechCrunch)
“Based in Shanghai, UnitedStyles is a Facebook Connect-enabled service that lets any user create customized women’s apparel, allowing them sketch out, adjust and share a design via an online interface and customized 3D preview… Co-founder Marc van der Chijs tells me that his objective is to recreate the entire fashion design experience for Internet users, ‘It’s very strange that you cannot [already] design your own clothes online.’”

Rise: Anna-Sophie Berger (Dazed Digital)
“Graduating next year, 22-year-old Anna-Sophie Berger has a mad obsession with humanness and geometry. The Austrian student also likes to work around the concept of limitation and simplifying clothes to a very basic shape. For her mainly black and white collection ‘m/m2′, Berger chose the square that was transformed and disrupted, before shown as an installation pinned to a wall to visualize the two dimensional aspects of the flat squares and contrasting that in the look book, when the model’s body wearing the clothes creates a three dimensional volume.”

Louis Vuitton Voyages Exhibition, National Museum of China photographed by Luc Castel | Source: Louis Vuitton

The mystery of the Chinese consumer (Economist)
“After decades of deprivation and conformism, Chinese consumers regard expensive consumer goods as trophies of success… The owner of a gleaming new BMW will drive around for half an hour to avoid a 50 cent parking fee. And she will hesitate to spend much on interior decoration, because only her family sees the inside of her flat.”

Alaïa Opens Up His Universe (IHT)
“The designer, whose intense and personal work is the nearest to the original spirit of Parisienne couture, closed the autumn 2011 season after eight years off the runway… ‘Designers all have a world — but Alaïa has a universe.’”

Mouret Named Creative Director of Robert Clergerie (On the Runway)
“Roland Mouret… Has just been named creative director of the footwear and accessories company Robert Clergerie… Founded in 1978, has been looking to expand its profile globally since the brand was acquired in April by Fung Brands Limited.”

How Can Jeans Cost $300? (WSJ)
“It is an enduring mystery to anyone reared on $50 Levi’s: How can a pair of jeans cost as much as the Phantom, the new look from True Religion that will be priced as high as $375?… The prices of “premium” jeans… Appear to be edging slightly upward after a downturn following the financial crisis”

Becoming One of the ‘Relevant’ (NY Times)
“In January Ms. Zeva appeared in Seventeen magazine… Later she was named a judge at the WWD Magic trade show… Elle’s blog asked, “Is Bebe the new Tavi?”…  Brought her to the attention of magazines like Seventeen and Elle, and convinced Mr. Lin and Ms. Boyle that she might be a worthy subject for their documentary.”

Azzedine Alaïa | Source: New York Times

The relentless pace of the fashion industry has almost certainly contributed to the retirement, the downfall, and possibly even the death of some of the industry’s greatest creative talents. But is anyone asking questions that might lead to change? Today on the eve of his off-schedule show in Paris, BoF brings you an exclusive interview between our friends at 032c and the revered couturier Azzedine Alaïa, son of Tunisian farmers who has rejected a corporate fashion system he has called ‘inhumane’ and recently turned down the chance to replace John Galliano at Dior.

PARIS, France — Quietly outside the fashion spotlight, Rue du Moussy is Alaïa’s home and workplace. The boutique, the atelier, the showroom, the studio for private clients, the designer’s residence — it’s all here, under one roof. For more than a decade, Alaïa has premiered his collections at his own rhythm, in discrete, private défilés here. He creates one collection per season. He doesn’t advertise; very few magazines are sent clothes to feature. He rarely gives interviews, and makes no public appearances.

Everything Alaïa creates, he creates with his hands on a bust — to feel the movement of his creations he even maintains a fitting model in residence. Every piece is handmade. The clothes are there to make women even more beautiful. That is his goal. Pure and simple.

Monsieur Alaïa — fashion today, what is it like?

I can only speak for myself, but for a long time now the system of fashion has had nothing to do with our time — it doesn’t suit our time at all. The world is changing rapidly. We see the proof of change every day in the news. Young people want change in this industry, too, yet we continue, just like in the 19th century, to do défilés. There is no need – no interest, really. We could do fewer collections and obtain the same results. We don’t lose any money if we do less.

Is money really the only concern?

Creativity should be the only concern. But today there is no time for creativity; nobody has time to develop a special silhouette or a special fabric. Of course there are a few exceptions, like what Nicolas Ghesquière does at Balenciaga, or Alber Elbaz at Lanvin. But designers working for big houses like Dior or Vuitton have no time to reflect. We can’t just squeeze the young talents out like lemons and then throw them away. Four collections for women, four collections for men, another four collections to sell, and everything needs do be done within four-five months — it’s a one-way course towards emptiness. It’s inhuman.

You’ve been showing clothes at your own pace and in your own house for a while now, but this season it seemed especially exclusive, focusing solely on knitwear.

Maybe in July I will show other clothes, if I have the time to develop them. I refuse to work in a static rhythm. Why should I sacrifice my creativity to that? That’s not fashion, that’s industrial work. We can hire people to design all day long and then fabricate what they design and sell and sell and sell — but that has nothing to do with fashion, with la mode. And it’s a shame talents are being abused for this. I really don’t understand that. I have to live as well. That’s what life is about: living. Tell me how these designers who work for the major houses can have lives? How can they raise children if they are never home? They are gone for one, sometimes two months, while their children have to go to school. They have husbands, wives, but they can’t live their lives. People need time for that, and talents need time to create something. It’s stupid to ask someone to create eight collections per season. Look what has happened to John Galliano or this poor young guy from Balmain, who is now in a psychiatric hospital. After five or six seasons, he was already broken. Or last year, McQueen — dead. And there are many more that are just so tired. There is a pressure that is mad.

How do you work?

I first need to work on the fabric: I need to cut it, think about the shape, drape it on the bust — reflect on it. I make every piece with my own hands. And this season, where I decided to show only knitwear, I sold two times as much as I did last season. You know that at Barneys in New York I got a 140 square metre space just for me, for my clothes? If you do one beautiful skirt per season, that already is a miracle. If you do one manteau that women desire, you have won. You don’t need to do long coats, short coats, one with a zipper this way and another one with buttons that way.

Also, people travel a lot today. Seasons are not what they used to be — we go skiing in the summer, swimming in winter. We don’t need to think in seasons anymore; we need to think about beautiful clothes. We really have to do something about this situation in fashion.

What do you do to deal with that?

I remote. I don’t do fashion just for the show. I have done it in the past, but I stopped. There are other problems to solve, so I moved away from such frivolous things. I give myself time, as much as I need. I am not afraid to lose. As I say, you need one miracle piece – nobody can do a ton of great clothes. And Alaïa is expensive, like couture – it’s luxurious, like all high fashion brands. I don’t know why people in fashion don’t treat it as luxury anymore.

You have said before that we are missing philanthropy in fashion.

New talents, like Haider Ackermann, really have to watch out for themselves. The decision for someone like him is hard — to be approached by a big maison and then say no. But signing a big contract is like signing a contract with the devil today. He can’t do his collection and do, for example, collections for Dior. Of course there are exceptions, like Karl Lagerfeld — he can do Fendi, he can do Chanel, he can do photos, film, Diet Coke — but that’s something very different. There is just one Karl Lagerfeld — it’s a whole other system.

What about your system?

I just concentrate on the clothes I make. I think, “Why do I make clothes? What should the clothes I make be about?” There is just one good reason to do fashion: to make the woman look more beautiful. If that is not the case, it has no meaning for me to create. And it has no meaning for her to buy something that massacres her style. I truly never calculate — I only think about women when I create. And I owe it all to the women, all my success.

Are you interested in money?

Only to spend. And of course I had to learn, and I have learned, it’s good to have it to be able to do things.

Are you interested in success?

Everyone is! Even a sweeper is interested if you say he sweeps well. It shouldn’t go to your head though, because it’s not for ever. I am not pretentious in such things. You know, from the beginning I could have been the best paid stylist. I have been offered the highest paid contracts in the world. I refused them all. It’s not my thing. I don’t want to cheat people. And there are certain people I am allergic to. I even intervene when I don’t like a customer; I rush in and check all the names. If I don’t like them, I don’t take them.

What keeps you going?

I don’t let things get to me.

How many hours a day do you work?

I begin at 9 am and I go to bed around 2am, sometimes around 3am. I sleep little. If I’m not working or entertaining, I love to watch the National Geographic channel. It takes my mind off business. I don’t take things too seriously, though — in this system, you are closed in. You will wake up one day and you will think, “Shit, what have I done?” You have to take things with a lot of laughter. I laugh with everyone, this way I will be able to die happy. And I put myself on the same level as everyone else around me – from the directrice to the workman, everyone. Except my pets — they are the Kings; you must treat them like royalty.

Four or five hours of sleep — is that enough time to develop a dream?

I don’t waste time when I sleep.

How would you describe the man I am facing right now?

I don’t try to understand myself. I live more like this: every morning when I wake up, I ask myself, “What will I learn today?” Really, it’s true. When I wake up I am happy to open my eyes, happy to be alive, to feel good, to have no diseases. And then I ask myself, what will I learn today? Who will I get to know today? I am a very curious person. The beauty of working in fashion is it gives you the possibility to meet a lot of people – interesting, amazing people. I think I’ve met the most interesting people of my time, from all fields, and I am very grateful for that.

What have you learned today?

The day is not over yet. But I promise you I learn something new every day. And I want to try to keep it that way, until the day I die. Even in designing, there are so many things I still have to learn. I’ve been trying to manipulate clothes for thirty years, but I know I can still get better. Sometimes I redo one thing five, six times. I am always in doubt; I am never sure of myself. Even when you tell me I’m an influential designer — I don’t see myself like that. So I don’t like decorations. You know Sarkozy offered me the Légion d’honneur medal? I refused. People said I refused because I don’t like Sarkozy, but that’s ridiculous. I refused because I don’t like decorations — except on women. My dress on a woman — that’s a beautiful decoration.

This edited interview was conducted by Jina Khayyer and was first published in the Summer 2011 edition of 032c .

Azzedine Alaïa | Source: Lane Crawford

Azzedine Alaïa: The Master of the Female Form (NY Times)
“Maybe the notion of strong-looking fashion, based on concrete methods and examples rather than abstractions and ironic statements, is dying, and there is nobody around with the grit and stamina to map the geography of a woman’s body, as he has done for last 45 years.”

The Little Season That Could (WSJ)
“Resort has gone from mild-mannered and meekly helpful to a seasonal superpower… It’s a colorful irony that a season inspired by leisure time has become the hardest-working collection in the business.”

A Decade Of Change In The Chinese Luxury Market (Jing Daily)
“With major brands opening new, increasingly lavish, flagships on a regular basis, it’s easy to forget that China was a virtual blank slate 10 years ago, and that the market at that time was far more challenging than it is today.”

Neiman Q1 profit triples on higher luxury spending (Reuters)
“Neiman Marcus Group Inc’s quarterly profit nearly tripled as it benefited from continued gains in luxury spending. The operator… reported net income of $25.7 million for the August-October quarter, compared with $8.5 million a year earlier.”

Stylist with the key to Lady Gaga’s wardrobe (Independent)
“Among the roster of models, designers and famous faces… was one name that people beyond the industry may not have heard. The stylist Nicola Formichetti… received the Isabella Blow award for Fashion Creator.”

I heard rumours in Paris last week about a major luxury group taking a significant stake in Azzedine Alaïa’s business, after he bought his business back from Prada this summer. Today’s WWD confirms the mystery conglomerate as Richemont, a company known more for luxury watches and jewellery than high fashion.

Azzedine Alaïa is the ultimate fashion insider brand, loved by legions of devoted fans of his signature 80′s body-con dresses that have come into fashion’s favour again of late. Alaïa’s intricate and complex garment construction and personal touch are vestiges of a different era in fashion, and for this he is respected by even the most jaded fashion types.

Recently, Mr Alaïa has become better known to the mainstream for his vertiginous high heel shoes, which are packaged in signature leather boxes and have been produced through a partnership with the Prada Group. According to terms of the buyback deal this summer, Prada will continue to work with Mr. Alaïa production of this rapidly growing segment of the business.

As for Richemont, which also owns the explosively growing house of Chloé, the chances of repeating that success with Mr Alaia seem limited. At present, the Alaïa business turns over 13m euros and is housed in Mr. Alaïa’s small but exquisite headquarters in the Marais district of Paris. In the past, Mr. Alaia has been known for stubbornly sticking to his own agenda and I suspect he won’t be going back on this philosophy now.

Perhaps this was a way for Richemont to gain some serious fashion credibility while it contemplates further investments in the high fashion space?