Christian Dior Couture Spring 2012 | Source: Style.com

Dior Designer: On the Doorstep? (IHT)
“The black and white, filmic Christian Dior haute couture show on Monday marked nearly a year since John Galliano left the brand in disgrace. But Bernard Arnault, chairman of LVMH Moët Hennessy Louis Vuitton, confirmed that there would be no announcement about a new designer this week and that the ‘suspense’ would continue.”

How the other half dress: Paris says merci as haute couture sales rise (Guardian)
“The demand for haute couture is a reflection of economic reality. Not of the recession, but of the polarisation of wealth. Fifteen years ago, there seemed little economic logic in creating beautiful dresses which cost 20 times more than those available in the top Bond Street boutiques. But the emergence of a super-rich strata of society, tiny in number but fabulously wealthy, has created a niche market for whom couture makes perfect sense.”

Now, Online-Only Fashion Shows for Busy Editors (On the Runway)
“KCD, the public relations company that produces fashion shows for top labels like Marc Jacobs and Givenchy, announced on Monday that it is offering a new service wherein it will produce some shows in an entirely digital format so that overtaxed editors can watch them online.”

Little Red (Litigious) Shoes (NY Times)
“This week a federal appellate court will hear arguments in a case involving this very question. The issue arises in connection with shoes, specifically, the vivid red soles beneath Christian Louboutin shoes.”

Fashion’s beautiful relationship with art (The National)
“There’s a real buzz about the vivid, almost saccharine sweet pastel shades that will define spring/summer 2012 fashion. That, and of course the other huge trend of the moment: thrilling prints and 3D textiles. Sometimes it’s hard to tell one from the other because the surface is textured, which heightens the overall trompe l’oeil effect of the print.”

Louis Vuitton Incheon Airport, Seoul | Source: Inluxe

S.Koreans go mass-market, online for luxury goods (Reuters)
“Sixty years ago, war-torn South Korea was one of the poorest countries in the world. Now it is the world’s 13th largest economy and a magnet for luxury goods, prying open the wallets of its wealthy people as well as tourists. Indeed, the country’s appetite for high-end labels has led to the christening of a Louis Vuitton handbag as the ‘three-second bag’ for its ubiquity, with one spotted every few seconds on the streets of the capital Seoul.”

Simons For Dior? (Vogue)
“Dior is said to be finalising its contract with Raf Simons, as reports escalate that he has been hired as the label’s new creative director replacing of John Galliano… If reports by WWD are true, the move may mark a change in Dior’s design aesthetic - Simons being known for his minimal, futuristic, modern looks.”

Fendi CEO to become head of Bulgari (Reuters)
“ LVMH said on Monday that Michael Burke, head of Italian fashion brand Fendi, would become chief executive of jeweller Bulgari in February as part of a management reshuffle following its acquisition. As part of the deal completed over the summer, Bulgari Chief Executive Francesco Trapani took over the chairmanship of LVMH’s watch and jewellery division and a replacement for him at the helm of the Italian jeweller was expected to be found.”

Exotic India Wrapped in Chanel (IHT)
” The collection the designer showed last week was an ode to India — but emotionally it was pinned to Paris…Compared to Mr. Lagerfeld’s previous interpretations of Coco in Moscow or last year’s Paris/Byzantium show, the mood was restrained. That, no doubt, fits more accurately the current financial mood and the spirit of potential customers.”

Refinery29: Boutique Fashion and Design for All (International Business Times)
“Now, through Refinery29, their rapidly growing fashion and design startup, they’re exposing this fashion-forward independents to an insatiable audience of readers and consumers seeking to define their style. ‘Make it your own. That’s the most important thing,’ says von Borries, describing the ethos of Refinery29 and the changing role of fashion industry brands. ‘[Our company] is all about empowering personal style.’”

Dior Couture by Patrick Demarchelier | Source: Mama's Rolling Stone

Opening the Doors of Dior (NY Times)
“Saint Laurent, Chanel, Dior: the names of the most famous Paris houses sort of dance off the tongue. Their histories defeat the idea that younger generations might be bored with old things. And a stream of books and films helps to assure that they won’t be. “Dior Couture” (Rizzoli), by the photographer Patrick Demarchelier, is far and away the most gorgeous book on the house…What Mr. Demarchelier offers is a personal view of fashion from a great Paris house.”

Prada profit surges 75% in third quarter on Asia sales (BBC News)
“Profits at Italian fashion house Prada soared in the third quarter boosted by increased sales in the Asia-Pacific region. Prada said it made a net profit of 273m euros ($364m; £234m) in the three months to the end of October, a 75% jump from year earlier.”

Tiffany sales growth shows signs of slowing (Reuters)
“Concerns about slowing sales momentum took some of the luster off Tiffany & Co’s stock amid signs that European and U.S. economic distress are weighing on luxury consumers, and shares fell 9 percent. The upscale jeweler, a stock market darling for how fast its international business has grown, reported third-quarter.”

Hall of Fame: Patricia Field (WWD)
“Patricia Field has always done things her way. With a career spanning 45 years and counting, the designer, stylist and boutique owner built her reputation by creating her own blueprint. ‘If you asked me who I looked up to from the beginning of my career, I would say no one,’ Field said. ‘I didn’t see fashion that way. I felt fashion.’”

Rise: Sean McGirr (Dazed Digital)
“It’s no coincidence that Candy Nippon in Tokyo and Immense in Taipei – two of Japan’s most closely watched boutiques – have Sean McGirr’s A/W 2011 collection hanging from the clothes hangers. Titled ‘The Adolescent Years’, it draws from the Oriental kimono silhouette and shares a sensibility with Japanese fashion that gives it an uncanny autonomy.”

Dries Van Noten Spring/Summer 2012 | Source: Style.com

Dries Van Noten: Illuminating a Cityscape (IHT)
“Dries Van Noten’s show Wednesday was a magnificent sweep of imagination and invention compressed into elegant, modern clothes. There is no doubt that Paris, which comes last on the international calendar, holds the creative corner… What is required to succeed here is an exceptional vision and the ability of an established designer to change without breaking an identity.”

Inside Dior, fashion’s besieged atelier (Telegraph)
“For reasons it must wish didn’t exist, Christian Dior has been the most-talked about fashion house of 2011. From the moment the footage of John Galliano’s racist outburst went viral in March, the house has been under siege. Galliano’s guilty verdict a few weeks ago only intensified speculation about his replacement.”

A Model Business (China International Business)
“China is the world’s fastest-growing fashion market and the crème-de-la crème of the sector are all flocking here in search of business opportunities. Even the grande dame herself, American Vogue editor Anna Wintour, came last year — the fashion-world equivalent of a state visit — and was blown away by the buzz of energy and creativity.”

Tablets: Ultimate Buying Machines (WSJ)
“Retailers have found an interesting characteristic of consumers who browse their websites using tablets: They’re much more likely to pull the trigger on purchases than other online shoppers… Tablets still account for only a small percentage of overall e-commerce, but they are punching above their weight. While the conversion rate—orders divided by total visits—is 3% for shoppers using a traditional PC, it is 4% or 5% for shoppers using tablets.”

Fashion Bloggers, Posted and Represented (NY Times)
“Indeed, seemingly every fashion brand is working with bloggers these days, including mainstream brands like the Gap (which featured the avant-garde-leaning Susie Bubble in a campaign), DKNY (which hired the photo blogger Jamie Beck to shoot behind the scenes at its recent runway show)… But deciding which opportunities to accept can be tricky for bloggers, who risk overexposure and being seen as a corporate shill. A blogger’s influence is derived from independence.”

Marc Jacobs | Source: Fashionfreax.net

Marc Jacobs To Dior? (Huffington Post)
“The question of who will take the top job at Dior has remained since Galliano’s ousting. But WWD writes that meetings between Dior representatives from LVMH, the luxury conglomerate that owns the Christian Dior label as well as Louis Vuitton, Marc Jacobs and a host of other top brands, and Jacobs’ legal representatives are set to take place this week in Paris.”

Carine Roitfeld by Karl Lagerfeld (Interview)
“Although Carine Roitfeld is no longer the editor of French Vogue, she remains steadily at the perch of the fashion world, standing atop those super-high bondage-referencing heels that she partly made a staple of Parisian style. But la femme parisienne, which Roitfeld very much is, makes her own ground wherever she walks.”

Cut from a different cloth (FT)
“What happens when bespoke is not enough? As the ability to personalise everything from your trainers to your trench has become democratised thanks to the internet, those in search of the truly special – the ne plus ultraof made-to-order – have become frustrated. Even more so as their old go-to solution, the tailor, has been constrained by the increasing homogeneity of cloth.”

J. Crew’s Canadian shoppers balk at higher prices (The Globe and Mail)
“J. Crew has raised its merchandise prices by about 15 per cent in its Canadian store and on its new Canadian e-commerce site compared with those at its U.S. outlets. For online customers, taxes and duties raised the final price for orders in some cases by as much as 50 per cent compared with the U.S. site they previously ordered from.”

Summer Scouting (On the Runway)
“F.N.O. was a good idea when it began, back in the depths of the recession when stores were virtually empty. But now it’s become a party, an institutionalized kickoff to Fashion Week, and though it apparently raises money for some causes, I have to believe that the costs of security, crowd control and entertainment, not to mention the traffic headaches, outweigh the actual benefits.”

Miu Miu Event in Shanghai, China | Source: Miu Miu

BEIJING, China — According to Bain & Company, a consulting firm, China is currently the world’s second largest consumer of luxury goods, ahead of Japan and second only to the United States. McKinsey forecasts that by 2015, China will account for around 20 per cent, or 180 billion renminbi (US$27 billion) of global luxury sales.

With numbers like these, it’s no surprise that a major land grab is underway amongst fashion brands eager to open new stores in China. But rapid retail expansion is only one part of a comprehensive strategy for seizing the opportunity in China. Equally important are a focused approach to local PR and product strategy.

Local PR and Marketing

Currently, the most popular way for brands to build local awareness is to host large-scale, buzz-friendly events like Miu Miu’s recent 1940s-themed fashion show at Shanghai’s Park Hyatt Hotel. But while grand events like this certainly make a statement about a house’s spending power, some experts question their long-term impact. “It’s burning money — you feed a lot of people who are not your clients, then there’s another party and people forget,” said former Richemont Asia Pacific CEO and luxury consultant Francis Gouten. “It’s better to tailor make events to hit the potential clients [on a more personal level] such as VIP dinners.”

Also effective are educational activities, Gouten continued, like the kind of historical or archival exhibitions that have been used by brands like Comme des Garçons and Hermès. “We do lots of levels of education,” said Paul Cadman, CEO of Ferragamo Asia Pacific. “We’ve done several events where we imported part of our museum from Florence or brought artisans over,” he continued. “Consumers are hungry for information and we need to let them know why our product is luxurious or has a certain value. If you see what the brand is about, it’s likely you will have an emotional connection.”

“I believe the goal is to get the consumer to understand the concept of the brand,” added Nicole Chen, founder of NC Style, a consultancy that helps brands launch in China and counts Y-3 among its clients. “It’s not just about the name — you need to give people a reason to want to buy it,” she continued. “I believe Chanel became a bigger success in China because of the two films released about Coco Chanel. People in China really respect the stories and the history.”

In particular, stories that focus on craftsmanship or savoir faire resonate with Chinese consumers, said semiology expert and consultant Laurence Lim. “Certain products such as perfumes and diamonds have prestige because the Chinese still do not have the craftsmanship to make these products,” he said. “So it’s important that luxury brands communicate about their craftsmanship and differentiate themselves from other brands. There’s an appeal in how these products are made. This strategy is working like crazy.”

Tailored Product and Merchandising Strategies

When it comes to product strategies, a number of brands have experimented with China-inspired items, from Zegna’s mandarin-collared shirts to Ralph Lauren’s cheongsams. But experts advise that it is best to avoid these clichés.

“You cannot change your product completely,” said Gouten. “It’s like Shanghai Tang having a mandarin collar — it’s just a gimmick,” he continued. “[The Chinese] want to buy the name, the product and the quality. You have to be yourself, come with your DNA and be as strong as you are in your own country. Don’t try to change your identity and don’t try to be special for China.”

“They don’t want China-inspired products,” agreed Lim. “But you cannot generalise, it’s a balance,” he continued. “Brands can do unique products, but you need to keep the Western perception of luxury.” There are less blatant ways to connect product to Chinese culture, advised Chen, pointing to artistic collaborations like those recently used by Diane Von Furstenberg and Dior. “Try to bring the Chinese culture into your brand, but not through obvious ways such as Chinese design,” she underscored.

Instead, brands should focus on promoting their most unique and defining products: Chanel’s 2.55 handbag, Burberry’s trench coat, Cartier’s tank watch or Ferragamo’s Varina ballet flats, for example, that are an iconic part of the company’s history.

Some firms, like shoe designer Rupert Sanderson and sunglasses manufacturer Luxottica, are making localized products in a way that’s less about design and more about fit. “I think right now it is a smart way,” said Chen. “Many Western brands have certain cuts and styles that don’t suit the Chinese consumer.”

In terms of merchandising, there are certain product categories that offer significant opportunities in China. In a culture where gifting is prevalent, small leather goods are extremely important, while status-oriented items like expensive watches and monogram products (logos still rule the roost) also resonate strongly. Thanks to the Little Emperor Syndrome, a by-product of China’s one-child policy, childrenswear is also an important product category. Indeed, Burberry’s new Beijing flagship houses the brand’s biggest ever childrenswear department. Luggage is also a key focus. “We know people are travelling more than they did, especially in China, so the luggage business is a category that has developed dramatically,” said Cadman.

But overall, it’s important to note that the China market is evolving extremely fast. “Historically, Chinese men didn’t like to wear suede shoes but now they do,” noted Cadman. In this context of rapid change, it’s critical that brands keep a sharp eye on evolving client tastes, closely monitor their sales figures and be prepared to adapt their strategies and execute accordingly.

Divia Harilela is an editor and writer based in Hong Kong. She is founder of The D’Vine, a blog focused on the luxury and fashion market in Asia.

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 .

Madame Grès at Musée Bourdelle | Source: Styleclicker

Gone Global: Fashion as Art? (IHT)
“At any given moment there are at least a dozen museums across the world offering major fashion displays — not to mention exhibits in galleries or even department stores… Fashion exhibitions are thus the height of fashion — and omnipresent.”

India’s Not Quite On The Brandwagon (Forbes)
“The Indian luxury sector represents a dormant volcano for the international marketer who can customise a response that is uniquely Indian. The Indian luxury consumer is evolving rapidly, but…that is inherently different from those in other developing economies.”

Invasion of global labels threatens Asian brands (Gulf News)
“Asian shoppers still aspire for luxury brands, many are embracing speciality stores with higher inventory turnover and better value, especially as a new middle class emerges with more disposable income and fickle fashion tastes.”

Days of Strangeness at Dior (On the Runway)
“Things must be very strange these days at the House of Dior, judging by the haute couture show we saw… All sorts of weird vibes, along with a lack of design leadership, have a way of surfacing in clothes. A runway is like a shrink’s couch; stuff just comes out.”

Rise: Annabel Luton (Dazed Digital)
“Inspired by Mata Hari, the mysterious vixen rumoured to be a spy in the 1900s, Annabel Luton’s graduate collection at Central St Martins’… presents sumptuous hand-printed fabrics paired with kimono style sleeves and de-constructed cropped jackets.”

Gucci Spring/Summer 2011 Campaign | Source: Fashion Fame

The reasons behind the major shake up at Gucci Group (CPP Luxury)
“International media as well as major luxury players have been taken by surprise this week by several major changes within PPR/Gucci Group and it seems this is just the beginning…. Francois Henri Pinault has radically changed management… responding fast to market conditions.”

Dropping Galliano lets Dior open new chapter (Reuters)
“Behind the scenes, Dior is telling industry watchers it is glad Galliano is gone, as it wanted to move away from his theatrical style and embrace a more subtle and refined elegance to better reflects post-economic crisis society. ‘This could be a driver for positive change, which is what Dior itself was looking for.’”

Balenciaga for Today (IHT)
“Mr. Ghesquière, who had gone punk and downtown last season, faced a difficult task. No longer the catwalk ingénue spicing up a house with a glorious past, he had to prove that he could move ahead within the spirit of the august founder. The designer’s process was via fabric, technique and cut.”

Hermès Annual Profit Jumps, Margins Exceed Forecast (Bloomberg)
“[Hermès] reported a surge in full-year earnings as improved confidence among wealthy customers boosted revenue. Operating profit jumped 44 percent to 668.2 million euros ($933 million)… Sales rose 25 percent to 2.4 billion euros and margins exceeded a forecast that Hermes raised last month.”

Thank goodness for Lady Gaga! (Telegraph)
Thank goodness for Lady Gaga! The bonkers blonde from New York has single-handedly rescued a week that on paper should be one of the high points of the entertainment calendar, but instead was fast becoming a car crash of disappointment… The party felt like a complete damp squib until the platinum blonde vision of Stefani Germanotta [arrived] making her catwalk debut at the Thierry Mugler show.”

Tommy Hilfiger Summer 2010 | Source: Tommy Hilfiger

Tommy Hilfiger Announces the Opening Champs Elysees Store (PR Newswire)
“The Champs Elysees store will serve as a true flagship for our brand in France and will further anchor our significant retail presence in Europe… It is an important milestone in our continued efforts to establish anchor stores in every major city around the world.”

Balderton invests $9m in My-wardrobe (FT)
“My-wardrobe is also looking to expand its appeal to customers outside of the UK, with a focus on France and Germany. Until now, the French market has been concentrated on online sales of discounted high-end clothes and accessories.”

The grown-up model comes of age (FT)
“Using older models in 2010 is less about the wow factor and more about reclaiming a generation. ‘Brands used to be obsessed with youth. Now they are realising that people in their forties are the customers and they’re addressing that.’”

Mittelmoda fashion awards in Italy (Telegraph)
“A fashion graduate from the National College of Art & Design, Dublin, and two MA graduates from London’s Royal College of Art, are among the prize-winners in the annual Mittelmoda.”

Dior Blooms Brightly (IHT)
“Backstage at Christian Dior, a simple pair of glasses transformed the show Monday into an extraordinary 3-D screen vision of women as flowers. Petals lapped their hips, colors were a hothouse explosion of vivid shades and skirts were shaped like the parrot tulips.”