L-R Céline, Hermès, Haider Ackermann S/S 2012 | Source: Style.com

On Paris Catwalks, Emotion Recollected in Tranquility (IHT)
“The post-power woman — purposeful but never aggressive — dug to the depths of women’s desires at Céline on Sunday. You could tell that the designer Phoebe Philo had put much of herself in the spring/summer 2012 collection because she was shaking with emotion backstage. ‘Strength and womanhood, effortless and beautiful,’ Ms. Philo said to sum up a collection that took her forward from her previous style, but only as a streamlined car purring ahead on the same route.”

Mall Kids Take Paris (NY Times)
“Only in the spontaneous, high-energy environment of Opening Ceremony, the retail temple dedicated to of-this-moment street style that started on Howard Street in New York nearly a decade ago, does it make any kind of sense that a pair of self-proclaimed mall kids from the suburbs of Los Angeles would wind up at the design helm of a Parisian fashion house.”

Hermès says buying power of luxury clients unchanged (Reuters)
“French luxury goods maker Hermès sees no sign yet of affluent buyers tightening their purse strings in spite of a somber global economic outlook… Hermès, known for its 10,000-euro Kelly handbags, joins the chorus of luxury brands such as Dior, Louis Vuitton and Lanvin that said recently trading remained buoyant even if consumer confidence was down.”

Fung Brands buys Belgian bags (FT)
“Fung Brands Limited, the private luxury investment arm of Fung Capital Europe, has bought Delvaux, the Belgium equivalent of Hermes. This follows Fung Brands April purchase of Robert Clergerie, the famous French shoe maker that had almost faded from view.”

Mario Testino at 30 Years (NY Times)
“In 30 years of fashion photography, he has captured in images the hectic glamour of beach life in Rio de Janeiro or the disciplined enthusiasm of the Horse Guards for the royal wedding last April. For that historic occasion, he was not only behind the lens to create an iconic image of a cuddly “Wills and Kate” before the event, but was also highlighted on camera at Westminster Abbey for his fame as a household name.”

Peter Marino | Source: Peter Marino Architect

The fashion industry depends heavily on a wide variety of creatives apart from just fashion designers. In our new series, The Creative Class, BoF highlights success stories, insights and advice from the most talented creatives working in fashion today.

NEW YORK, United States — “Dude, it’s ninety-five percent hard work!” the black leather-clad Peter Marino told BoF on his rise to the position of luxury fashion’s most influential architect. And work hard he has. Since founding his own architecture firm in New York in 1978, Mr. Marino has designed many of the world’s most forward-thinking retail temples, redefined the luxury flagship experience and established a decades-long tenure as the “go-to guy” for powerhouse firms like Chanel and LVMH.

“My first commissions were from Andy Warhol, Yves Saint Laurent and the Agnelli family,” said Mr. Marino. “Then the fashion world took notice. I started doing retail in the 80’s when Fred Pressman hired me to revitalise Barneys, which was then a sleepy men’s store. We introduced a really novel concept — no one had ever seen anything like it before.”

It was while working for Barneys that Mr. Marino met many of the world’s leading fashion designers: Calvin Klein, Donna Karan, Giorgio Armani, Azzedine Alaïa, Miuccia Prada. “I worked with every single one of those designers to bring their boutiques into Barneys, which was tough, because we wanted a very cool and hip look for Barneys, yet I had to keep the designers happy,” he said. “Somehow, I was able to do that, so I got into it as a career.”

But developing retail concepts that translate the codes of the world’s leading fashion brands into three-dimensional space, while creating novel and engaging consumer experiences, is no easy feat. “My real charge from all of the brands and why they keep coming back, is that each time we do a new store, everybody feels like ’that’s the way the brand should look and it hasn’t always looked that way,’” explained Mr. Marino.

Sometimes this means working closely with the brand’s creative director, which is especially important when a fashion house is undergoing a major revamp, as with Céline, for which Mr. Marino is designing new Paris and New York boutiques. “Phoebe Philo really wants to be involved in the stores, reflecting her direction and interpretation of the brand,” said Mr. Marino.

But unlike many architects, Marino doesn’t start with pen and paper. “I’m a colours and materials kind of guy,” he said, describing his creative process. “I start with colours, paint, fabrics, wools, metal, steel and put them on a table and feel if it’s the brand,” he continued. “This is very different from going ‘Oh, I think I’ll make a two-storey space. Hey dude, you’re given the store! One out of ten, I get to do the whole building, but nine times out of ten you’re given an existing building, so you have a lot of internal architecture and certainly a lot of façade architecture [to contend with].”

Marino must also take into account some fundamental economic realities. “[Unlike a fashion collection] architecture is there for six to seven years,” he explained. “For all of the boutiques that I do, it’s the single largest cash investment these corporations make in anything — it’s hundreds of millions of dollars. They absolutely don’t want something that is going to be out of date three, four, even five years down the line.”

In the face of this challenge, Marino has a rather scientific approach. “We push the branding, let’s say, as a factor between ten and thirty percent, so I’m actually trying new things in every store and keeping the rest [constant] so you feel at home and so there is a continuum,” he said. “This is crucial for these corporations financially, which is why I say a continuum: change the new stores, but by the time you get to the end of the seven year period, which is how most of these stores are financed, then you’re ready to begin again, but none of them ever look out of date,” he explained. “That’s my formula.”

But perhaps what makes Marino most valuable to the fashion industry is the way he is so sharply attuned to the practical needs of retail. “Some companies might over intellectualise the process,” he said. “Shopping is shopping. I try to make goods very, very, very accessible. I’m not John Pawson who puts two bags on a wall sixty feet long because I think that’s just torture,” he continued. “If you’re there in the store, the idea is to see the merchandise, touch the merchandise and hopefully get some kind of emotional response out of it.”

Indeed, uniting emotion and shopping is something Mr. Marino does uniquely well. The London ‘Maison’ he designed for Louis Vuitton, which opened last year on Bond Street, is an ambitious examples of experiential retail, integrating work by artists like Takashi Murakami, Gilbert & George and Andrei Molodkin into the shopping environment, something Mr. Marino is famous for doing. “It’s really good bringing artists in early, because you create the space around their art and you work together with them,” said Mr. Marino. “The reason they’re artists is because they don’t see things they way you and I do. They have unique visions and it’s just fantastic. Some of the commissions that I’ve been allowed to do have really synced with my architecture.”

And while Marino has so far eschewed digital interfaces inside his stores, he has embraced new technologies to turn the façades of his flagships into cutting-edge works of art. “I think computers remove emotion,” he said. “But modern technology on façades is totally legitimate and we always push it.” Indeed, as part of his commision for Chanel’s Tokyo Ginza tower, Marino spent eighteen months developing a new kind of “triple polarised” glass which allowed him to turn the building’s exterior into a TV screen, while allowing those on the inside to see out. “We are [using new technologies] with Vuitton and we are doing a new Dior store in Seoul, which will have a beautiful lighting affect on the exterior,” he said. “And for Chanel we are doing a store in China which has a new computerised way of doing neon. It literally feels like a work of art.”

Unsurprisingly, Marino is responsible for many of the most impressive luxury flagships popping up across Asia. Last Week, Louis Vuitton chief executive Yves Carcelle hosted an opening party for the ‘Island Maison’ Marino designed for the brand at the Marina Bay Sands Hotel and Casino in Singapore. “It’s a vacation spot for millions of Chinese. It’s an occasion spot [sic] where you go for a week, you go to the casino, the amusement park, hopefully you go to the shopping center,” said Marino. “But [Vuitton] didn’t want to just be in the shopping centre like every other brand,” he explained. “The LV island is a real experiment in retail. It’s an object sitting in the water. You take a little wooden path 100 feet to the store, or there is a tunnel with a moving walkway; a little history of the company flashes by you, which is great fun, and then you come up,” said Marino, explaining the choreography of the consumer experience. “Because Vuitton, with their luxury luggage collection, owns the world of travel, it’s very much reminiscent of a luxury liner.”

With Chinese luxury consumption projected to account for 20 percent of global luxury sales by 2015, it’s no surprise that Marino is increasingly active in the country. “The stores there are anywhere form twenty to eighty percent larger than they are in the West, either due to optimism or the Chinese growth rate,” he said. “But I worry a little bit, because really big is hard to keep [it] luxurious,” he added. “I keep fighting against a lack of intimacy and a lack of surprise.”

Indeed, the demand for fashion is so high in today’s China that not all brands see the need to innovate architecturally. “They just make a box and stick it up and they are successful,” said Marino. “Here in the West, there is so much competition you have to raise the bar.” But in rapidly growing markets like China, flagships also serve to educate consumers. “They convey the brand’s origins, heritage and story,” he continued. “In every market survey that I’ve read or witnessed, [Chinese consumers] are very interested in this.”

For Marino, communicating authenticity is key. “One of the things that I do in China, specifically, is try to accentuate the origins of the company,” he said. “So with Loewe, the oldest Spanish luxury brand, we give it a bit more Spanishness,” he continued. “In this case, we would use an artist like Cristina Iglesias — we want Spanish artists there, because we want to get the message across that this is a Spanish luxury goods company.”

“For Chanel and Dior, I’m also very much promoting that they are French luxury brands,” he underscored. “This means a lot to the Chinese. When they go shopping, they want the legitimate experience of the brand.” Which is precisely what Mr. Marino is so very good at conjuring.

This piece was written by managing editor Vikram Alexei Kansara, with research from contributing editor Timothy Coghlan

Beyoncé photographed by Ellen Von Unwerth | Source: IHT

For Her New Look, Beyoncé Goes Under the Radar (IHT)
“The difference, this time, is in her choice of designers. Instead of sticking to major fashion houses like Versace, Gucci, Prada or Chanel, the singer has thrown the spotlight on a number of up-and-coming designers whose names are likely to be unfamiliar to all but the most diehard fashion followers.”

Luxury group Hermes raises 2011 sales forecast (Reuters)
“Hermes raised its full-year revenue forecast on Tuesday as growing demand for its silk scarves, fashion accessories and leather bags showed no sign of slowing despite a foggy economic outlook… After what it described as a “better-than-expected performance” in the second quarter.”

Do star designers really exist? (FT)
“… In fashion you are only as good as your last collection, no matter how famous you are. We need to remember this is a product-based industry, and in the end, it’s the products that matter… This is fashion. It’s not rocket science, and it’s not Hollywood either.”

Fashion Titles Chart Modest Gains for September Issues (Ad Week)
“If fashion monthlies binged on ad pages in 2007, only to go on a crash diet, moderation could be the watchword of 2011. That’s the sense from the titles as they close their all-important September issues, where advertisers spend big to showcase their fall fashions, and give an indication of their appetite for spending going forward.”

Phoebe Philo: The British fashion designer who’s leading the pack (Independent)
“…Celine, the French fashion label she took over in 2008 in a blaze of publicity, and transformed into a global phenomenon almost overnight… just a little over two years after Philo’s arrival, the Celine look is already instantly identifiable.”

John Galliano | Source: The Creator Blog

PARIS, France – The process of writing this season’s wrap-up left a somewhat bitter taste in my mouth. Looking back, several of the most salient themes from this round of fashion weeks involve unsavoury behaviour, gossip and highly unprofessional comments from some of the industry’s most important figures.

Whether it was John Galliano’s inexcusable anti-Semitic rant captured on video for the whole world to watch, the scrum of increasingly aggressive street style photographers hunting editors down like game before the shows, or the distasteful comments made by Patrick Thomas, chief executive of Hermès, regarding the stake built up in its business by LVMH, it seemed everywhere you looked this fashion week members of the industry were behaving badly.

With all the whispering, gossiping and backbiting going on, it’s surprising that anyone even noticed the clothes. So, let’s start with the clothes then!

1. OUTERWEAR EVERYWHERE AND A FEW FASHION PRINTS

Click here to view the embedded video.

Outerwear was everywhere this season, reflecting a growing understanding amongst designers that coats, jackets, parkas and ponchos get lots of wear and are the first statement of individual style, and therefore deliver a big bang for the consumer buck. Joseph Altuzarra, Alexander Wang, and Burberry’s Christopher Bailey were amongst the designers at the vanguard of this outerwear moment.

Thakoon showed one of the best collections of the season in a gilded hall at New York’s Plaza Hotel, with stunning contrasts of mismatched prints inspired by Masai tribes. It felt like we were in Paris, which I guess was the point as the collection also looked to French aristocracy for visual cues. The offsite location stood out from the increasingly chaotic spaces at Lincoln Center and Milk Studios. Ambience and atmosphere count for a lot when you’re trying to create a mood and put on a real show. Bravo Mr. Panichgul.

Rodarte and Proenza Schouler also delivered stellar collections, demonstrating the continued evolution of their own special design signatures. Proenza Schouler’s Navajo knits and prints were a knock-out, while Rodarte showed their second consecutive highly creative collection which one could actually envision hanging on a retail rail – and selling.

Although there were some great fashion moments in London, overall, the week was not as strong as usual. One notable exception was Mary Katrantzou, whose signature digital prints delivered massive runway impact in a tightly focused collection that for the first time expanded to new categories like knitwear, a smart way to expand her offering beyond dresses.

Jonathan Saunders’ collection of colour-blocking (and the surprise introduction of menswear!) proved he is definitely now back on firm footing in London after a hiccup during the seasons he spent in New York. And, Giles Deacon put out a focused fetishist collection that showed his more serious, sombre side. Indeed, for many an editor, his was the best show of London Fashion Week, and that hasn’t been something we’ve heard for awhile.

Ann Demeulemeester’s show in Paris was a beautiful vision of primal female warriors. Lanvin was gorgeous, as usual. Céline showed off the on-going evolution of Phoebe Philo’s “new minimalism,” with a more graphic and colourful show. And Rick Owens brought a kind of couture quality to his singular dark aesthetic of carefully constructed clothes.

2. THINK BEFORE WE TWEET

Derek Blasberg Tweet | Source: Twitter

It seemed like just another fashion month, and then, with the high-profile meltdown of John Galliano, everything changed in a matter of hours. Soon, the fashion gossip mill was in a frenzy, turbocharged by Twitter which made the whole situation more ugly as the days went by and speculation about Galliano’s successor intensified after he was first suspended, and ultimately dismissed by LVMH.

A tweet by Derek Blasberg from backstage at the Katy Perry concert in Paris, citing an anonymous source which ‘confirmed’ the widespread rumour that Riccardo Tisci would be named Galliano’s successor set off further speculation on websites and blogs, who sometimes took Mr. Blasberg’s comments as though they had come straight from an official Dior press release. I found at least one website that took the Tisci rumour and reported it as fact, without any mention of the source at all.

But Mr. Galliano wasn’t alone. Rumours about the futures of Stefano Pilati, Hannah McGibbon, and Christophe Decarnin dogged designers and lit up the internet throughout Paris Fashion Week, creating a virtual feeding frenzy of immense proportions. We were an industry feeding on ourselves.

So dear fellow members of the fashion Twitterati, let’s think before we tweet. Careers and businesses can be impacted by what may seem like an innocent bit of speculation on Twitter, but can quickly turn into boldfaced headlines on major fashion websites, a hugely destabilising force at the most critical moments during the fashion calendar. We are all still learning how to use this powerful tool responsibly.

3. STREETSTYLE PAPARAZZI

Click here to view the embedded video.

Over the past few seasons, the number of photographers outside the shows has ballooned as interest in street style photography (and street style stardom) has soared. It’s been an amazing phenomenon to observe as many previously behind-the-scenes women such as Yasmin Sewell, Caroline Issa and Taylor Tomasi now provide inspiration to hundreds of thousands of fashion lovers around the world, appearing in outfits that are often more interesting than what is on the runway.

But the rapid rise of street photography also has a darker side. The ‘bloggers walk’ in the Jardin des Tuileries, site of many major Paris shows, is now completely out of control. Indeed, it’s become increasingly difficult to tell the difference between the aggressive paparazzi who stalk Hollywood celebrities outside bars and clubs and a few of the bad apples amongst the hordes of photographers that accost editors as they come in and out of shows.

Several street style bloggers told me confidentially that the competition is extremely fierce for getting the best photographs, which can then be sold on to global editions of Vogue and Harper’s Bazaar each for as little as $200, but up to $1000 or more.

Word to the wise: if you build a relationship with the women you’d like to photograph, and treat them with a bit of respect, you’ll be much more likely to get a great shot where they look their best and aren’t running to avoid you. Chasing them around, getting in their way, and coaxing them to come out of their cars is a sure fire way of alienating the objects of your fancy.

The best streetstyle photographers are streetsmart and dashing figures who build passionate online followings for these fashion personalities through the power of their photos. They compose beautiful shots that are flattering to their subjects and still interesting enough to spark a conversation, reflected in the hundreds and hundreds of people who chime in to say what they think. And most of all, they are gentlemen (or gentlewomen.)

4. CONSUMER PARTICIPATION

New York Fashion Week | Source: Fabsugar

While there has been a general trend towards smaller shows and presentations, PR professionals tell me they have been dealing with unprecedented demand for seats, making allocations more and more difficult. At Céline, many senior editors from the UK were forced to stand and more than one front-row blogger complained to me about not having access to Givenchy or YSL.

But alongside the growing number of requests from traditional media, major retail outlets, boutiques, online retailers, bloggers, and social media managers, more and more consumers are no longer content to simply watch the livestream at home. They too want to attend the shows in person and be part of the action, a trend which was most apparent in New York.

For several seasons, American Express has been inviting its cardmembers to attend shows in its Skybox at the tents, but these attendees have been somewhat removed from view: observing as opposed to participating in the show environment.

In contrast, at the Jason Wu show, I was seated next to a section allocated to Nordstrom, which had chosen to give away most of its seats to top clients who had flown in specially for the event from across the country. Indeed, department store buyers told me the pressure to find seats for top consumers is “enormous.” If a woman spends more than $1m in a store, she has come to expect VIP treatment.

The enthusiastic ladies at the Jason Wu show asked me questions about what I did and were eager to learn about the fashion personalities in the front row. It was a refreshing conversation with people who were truly curious about fashion as a culture. That the clothes on the runway weren’t available to buy for several months was apparently not a concern.

5. IMMEDIACY VS. EXCLUSIVITY

Moda Operandi screenshot | Source: Moda Operandi

Other businesses were attempting to satisfy growing consumer interest in fashion week through pre-orders. Burberry and Proenza Schouler have been offering direct buying from the runway for a few seasons now. But this time around, there was a lot of buzz about Moda Operandi, the new fashion e-commerce business founded by Lauren Santo Domingo and my friend and former McKinsey colleague Aslaug Magnusdottir.

Their offering of high-profile flash sales of the latest runway collections from some of the industry’s most celebrated designers certainly had people talking. Having coined the term “pretail,” the Moda Operandi founders have also cleverly suggested that the insights gleaned from their sales will help brands to merchandise their stores and work with other wholesalers, knowing what styles are most popular based on real consumer data. And, because they take a 50 percent deposit on all purchases in advance, the business operates with a positive cash flow model similar to the one that made Michael Dell’s company famously successful. In the approximately 6 months between payment and delivery, Moda Operandi can use the deposits paid by consumers to finance the working capital costs of running its business, and also giving a much-needed deposit to designers, who can also benefit from upfront cashflow to finance production.

But relying on this kind of financial model also creates other restrictions. When a consumer pays for things on Moda Operandi, they can never get their cash back. According to the terms and conditions, returns are only possible for apparel and footwear products, and even then, only for store credit. Everything else is not returnable. Some women I spoke to weren’t deterred by this, and had already excitedly logged on to the website to shop, but others were bothered by having to take all the financial risk to buy clothes on Moda Operandi. Why not wait, they asked, for the clothes to arrive in store if they would have to wait 6 months for delivery anyway?

Meanwhile Tom Ford, in his usual contrarian approach, has defied the trend towards fashion immediacy and severely limited access to his collections, going so far as to having journalists sworn to secrecy and sign non-disclosure agreements about his presentation in London. Is Mr. Ford taking fashion a bit too seriously? Or, has he found a brilliant way to drum up even more interest in his clothes as they hit stores in a few months time by orchestrating a fashion media crescendo at the same time. Only time will tell.

One other website of note this season is my-wardrobe.com which has just had its first major facelift under former Grazia editor Fiona Mcintosh who joined as creative director in February. Naturally, there are flourishes of Grazia in the yellow highlighted design and snappy copy, a smart way to deliver on the company’s new everyday luxury strategy, fueled by a recent £6m investment injection from Balderton Capital.

Grazia of course is one of the most powerful sales tools for women’s fashion of the moment. Designers frequently tell me that if their designs are featured in Grazia, they sell out everywhere. As a weekly magazine featuring things that are in store now, I’ve always wondered why Bauer Media has not created an online version of its magazine to at least earn affiliate revenue for all the products it manages to sell, if not set up a full-fledged e-commerce site. It seems like a very big missed opportunity that my-wardrobe.com is now going after.

6. JUST NATALIE

Natalie Massenet and Jeremy Langmead | Source: Net a Porter

In an industry that has been named and shamed this season, there is at least one individual that is setting a good example.

Since our Fashion Pioneers interview last summer, Natalie Massenet has continued her ascent to the top of fashion’s tech elite, not by acting like a grand poobah but by focusing on building her business. Whereas so many in our industry can get complacent or become tyrants (or both!) once they are firmly ensconced in the front row, Natalie is the kind of leader who cancels a trip to New York Fashion Week to hunker down with the Mr Porter team in the days leading up to its widely anticipated launch.

The results show in her team. When they are in public, they show a stylish united front and in private they don’t backbite about each other. At work, they are professional and responsive, and show up when they say they will. If they are going to be late, they send an apology. They say thank you, and they care about the details too.

Net-a-Porter’s success is often attributed to its high quality content. But as the company builds new businesses, it is the seamless back-end operations which pick, pack and ship hundreds of thousands of fashion products and deliver them to 170 countries around the world that make a big difference. This has enabled the company to quickly launch two new businesses – The Outnet and Mr Porter –  in less than 24 months.

The lynchpin for all of this is the positive role model and force for innovation that Natalie represents in our industry. It’s no wonder that to many in the industry, she is now just ‘Natalie’ and that she has become a positive face for the fashion business to the rest of the business community and the wider world at a time when the industry has been tainted. Hers is an example we can all follow.

Imran Amed is founder and editor of The Business of Fashion

Stella McCartney Spring 2011 Look Book | Source: Stella McCartney

Women Designers and the Quiet Revolution (Guardian Weekend)
“From Phoebe Philo at Céline to Stella McCartney to Hannah MacGibbon at Chloé, women designers are at the forefront of fashion right now… When women design clothes for women, they do it differently. For women, clothes are not just seen, they are felt from the inside.”

Luxury stores caught out by surge in demand (FT)
“[Louis Vuitton] is not the only luxury goods company to have been caught unawares by the strength of demand after last year’s slump. Chanel has pushed up the price of its classic quilted leather bags by 20%… while Salvatore Ferragamo says sales have risen by 20% since June.”

Optimistic Feelings as Rich Buyers Return (Reuters)
“Optimism is in the air at fashion houses Christian Dior and Lanvin… Consumption is back in Europe… and the market has picked up again in Russia. There was a time when our affluent clients did not want to spend, but now it is over.”

Luxury brands must allocate more budget to online advertising (Luxury Daily)
“Luxury brands must invest much more heavily in online advertising or find themselves out of touch with the young consumers who might be their biggest clients in the coming decades.”

Call It a Victory for Maturity (NY Times)
“It’s worth keeping in mind that Azzedine Alaïa and Karl Lagerfeld are doing some of their best work past age 70… Indeed, maturity in fashion, as Hussein Chalayan suggested, ‘is knowing exactly what you need and doing it really well.’”

Tom Ford by Terry Richardson | Source: Tom Ford

Glamorously, Tom Ford Is Back (NY Times)
“Explaining why he didn’t allow pictures, Mr. Ford said that fashion had become overexposed in recent years… ‘I want fashion to be fun again… You couldn’t wait to get the clothes and put them on, and I think we’ve lost that.’”

Luxury-Goods Firms Turn Up Volume on Value (WSJ)
“Luxury-goods retailers are coming to grips with the reality that ‘aspirational’ shoppers, who blew open the high-end market by stretching their budgets during the boom, aren’t coming back any time soon.”

Turning Playgrounds into Runways (Bloomberg)
“Dressing their kids in designer gear is a guilt-free way for fashion-focused parents to indulge their own penchant for following trends… It makes them feel good.”

Facebook adds ‘social context’ ad metrics (Biz Report)
“Facebook advertisers are being given more insight into the effectiveness of their campaigns. The social network has introduced new metrics focusing on the ‘social context’ of ads.”

New York Fashion Week | The Céline Factor (T Magazine)
“How much of the Céline designer Phoebe Philo’s tailored conceptualism, her hand with stripped-back superhot sportswear, would find its way into American clothes remained to be seen.”

Olivier Zahm by Terry Richardson | Source: purple DIARY

The Future Of Fashion: Olivier Zahm (Style.com)
“The French editor and founder of the twice-yearly independent publication Purple Fashion has many other passions… but in an increasingly conformist world, Zahm offers an original, entertaining, and astute voice.”

Abercrombie Will Keep Discounting (WSJ)
“Abercrombie & Fitch said… it will continue its uncharacteristically high levels of discounting through the spring in order to boost store sales… it is willing to sacrifice margins if necessary to improve sales.”

Burberry accuses TJX of selling counterfeit goods (Reuters)
“Burberry Group… has sued TJX, accusing the operator of the off-price TJ Maxx, Marshalls and HomeGoods stores of selling counterfeit goods.”

Céline starts from clean slate (Wealth Bulletin)
“After struggling for years to forge an identity, the label is finding influential retailers including Barneys New York, Saks Fifth Avenue and Bergdorf Goodman are clamoring to carry its collection, even as they cut back their portfolios to focus on best sellers.”

Paris: A Rounder Season (NY Times)
“Louis Vuitton seemed to provide the perfect bookend to the Milan-Paris ready-to-wear season… Between Miuccia Prada in Milan and Marc Jacobs at Vuitton we saw the return of the lush, full-hipped woman, her breasts served up like ripe fruit.”

Reiss Autumn/Winter '09 | Source: Reiss

When a Bottom Line Isn’t Just About Profit (New York Times)
“As the fashion industry struggles with a global economic downturn and a rapidly changing consumer landscape, qualities that are at the heart of family and owner/founder businesses, like a consistent vision and a long-term approach, seem to be helping those companies ride out the storm.”

Fashion house Celine says 2009 year of transition (Reuters)
“French fashion house Celine, owned by luxury goods group LVMH, has been holding off opening new stores this year and hopes collections from creative director Phoebe Philo will underpin sales from 2010.”

Jimmy Choo and Inter Parfums Sign a Fragrance License Agreement (Yahoo)
“Inter Parfums, Inc. today announced that its subsidiary, Inter Parfums SA, and Jimmy Choo have signed a 12-year worldwide license agreement commencing on January 1, 2010 for the creation, development and distribution of fragrances under the Jimmy Choo brand.”

Paper Scrapes By In Style (Forbes)
“New York City’s Midtown skyscrapers host some of the biggest names in American media: Hearst, Condé Nast, Time Inc., The New York Times, CBS and News Corp. A dozen blocks south in the Koreatown neighborhood are the offices of Paper, a magazine that endures apart from the mainstream.”

Paris match: Giles Deacon’s tough glamour (Independent)
“British designer Giles Deacon’s brand of tough glamour made him a star of the London catwalks. This week he’s going to show the French capital what he’s made of, he tells Susannah Frankel.”

Céline Resort 2010 by Annie Leibovitz, Courtesy of American Vogue

Fast-Forward Phoebe (Vogue)
“Phoebe Philo always had an uncanny gift for defining exactly what cool women want to wear. Now she’s back, reinventing Céline for a new era.”

LVMH in a recession: The substance of style (The Economist)
“The world’s biggest luxury-goods group is benefiting from a flight to quality, but the recession is also prompting questions about the company’s breadth and balance.”

Cavalli Says ‘Pessimistic’ Stores Turn Off Consumers (Bloomberg)
“Roberto Cavalli, owner of the eponymous Italian fashion house, said department stores are being negative and pessimistic in the economic downturn and risk turning off customers.”

New Cyclist Styles Pedal Their Way Into Paris (WSJ)
“An upright bike beats a tinted-window sedan for showing off an outfit any day. A new generation of cyclists, influenced by icons such as supermodels Elle Macpherson and Agyness Deyn, have turned biking from a sport into a fashion statement. Cycle Chic, a popular blog whose motto is “style over speed,” snaps photos of urban riders in Paris and Copenhagen.”

Luxury goods seen to thrive in Asia despite crisis (Inquirer)
“According to a MasterCard-commissioned report conducted with the ESSEC Business School in Paris, “The Luxury Industry: Lessons Learnt from Past Crises,” luxury brands should take advantage of the economic slump to evolve and diversify their distribution channels.”

Gianfranco Ferre S/S 2009, courtesy of Christopher Moore

IT Holding’s Ittierre Unit to File for Bankruptcy (Bloomberg)
Ittierre, the parent company of Malo and Ferré files for Bankruptcy

Discounting drives January sales (Drapers)
In the UK, deep discounts drove January sales but clothing sales dropped to its lowest rate.

Phoebe Philo is redefining soul of Céline (IHT)
With Phoebe Philo at the helm, “the focus is to redefine the soul of Céline, which started out as a children’s shoe supplier.”

American Eagle Sues Citi Over ARS (WSJ)
“American Eagle Outfitters Inc. sued Citigroup Global Markets Inc. and accused it of fraudulently inducing it to buy $258 million worth of auction rate securities.”

Twitter Speeds Up Fashion Trends (Consuming PR)
“Now, with the use of twitter, fashionistas everywhere can consume fashion 24/7.”