The French, English and even Arabic editions of the world’s most elite fashion magazines are bending over backwards to speak to the rising flow of Chinese tourists in their own language.
In the next instalment of Market GPS, BoF examines Kazakhstan, the undisputed goliath of Central Asia.
Net-a-Porter editor-in-chief Lucy Yeomans talks to BoF about her decision to leave Harper’s Bazaar, blending commerce and content, her vision for Net-a-Porter’s new editorial presence, separation of church and state, the global fashion consumer and building the fashion magazine of the future.
NEW YORK, United States — Since the very birth of fashion magazines at the end of the 19th century, editorial content has been a powerful generator of consumer demand for fashion products. But the path between inspiration and transaction — between content and commerce — was fragmented and full of friction. Over the last decade, however, the interconnectedness of the web has rewired reality and given rise to new business models that
Chanel’s Little Black Jacket: How Chanel split the fashion atom (Telegraph) “That innocuous cardie turned out to be fashion’s equivalent of the atom. And Coco split it. First, she took its pockets, which were perfectly positioned far enough down the front panels to encourage a woman to thrust her hands in them confidently, and placed them in corresponding places on jackets. Prior to Coco, women did not thrust, and
The Reality of ‘Fashion Star’ (WWD) “Fashion and entertainment is nothing new.But add commerce into the mix and you’ve got the novel ingredients for “Fashion Star,” the latest entry in the fashion-reality genre that made its debut on NBC Tuesday. Unlike some of its predecessors, this show landed with a concept that was compelling — too bad the clothes weren’t.” Lucy Yeomans quits Harper’s Bazaar for Net-A-Porter
LONDON, United Kingdom — There are two ways in which a fashion magazine can be successful: either by featuring clothes with which the reader can identify or by stimulating the reader’s imagination. It is the old tussle between commerciality and creativity. Except, of course, it isn’t a tussle that existed before fashion magazines became mass market and needed to chase and keep readers who, for most of the twentieth century, never