That Dress Is So Preschool (NY Times) “Now, children are the new accessory, as once-snooty brands line up to please conservative-minded millennials while they use tiny garments to strengthen their brand power in regions like Asia.” Solid Q1 sales growth at French luxury group PPR (Business Week) “Blockbuster growth in luxury sales drove an 11 percent gain in first-quarter revenue at French retail and luxury group
Lanvin Spoof Video | Source: NEW YORK, United States — At BoF, we’ve been ranking the top fashion films of the season since 2009, when the genre was still just coming into existence. But even back then, set against the staggering rise of online video consumption and the growing importance of engaging young digital consumers, the medium’s tremendous potential was clear. Fast-forward to the Autumn of 2011 and YouTube-friendly short
LONDON, United Kingdom — This season, fashion brands embraced fashion film like never before, integrating digital videos more meaningfully into a wide spectrum of communications strategies, from Nicola Formichetti’s formidable social media machine for the House of Mugler to Tom Ford’s contrarian approach that defied the industry trend towards greater access and immediacy. In past seasons, fashion films have often been geared at
“"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.
LONDON, United Kingdom — The fashion film movement has hit the mainstream, with well-known brands like Prada and Y-3 running integrated, cross-channel campaigns around high-impact digital videos and a dedicated Digital Schedule for fashion films and catwalk streams now in place at London Fashion Week. But there were no signs that the medium was condensing around fixed codes. Quite the opposite. What we saw was the kind of restless innovation and constant evolution that characterises the fluid nature of digital media itself, with an explosion of new films that energised, but also transcended, the seasonal presentation schedule, speaking directly to consumers across the internet as part of in-season digital campaigns. During the Paris menswear collections, Stefano Pilati opened the Yves…