On the Wings of Céline

| Intelligence

From top left: Reed Krakoff, Rebecca Minkoff, Coach, Michael Kors, Mulberry, Calvin Klein Collection, Lanvin, Prada, Marni, Victoria Beckham, ZAC by Zac Posen, Fendi, Diane von Furstenberg, Nancy Gonzalez, Valentino, Chloé, 3.1 Phillip Lim, Jil Sander, Rag & Bone, Zara | Photo Illustration: The Business of Fashion

Céline has become one of the most copied fashion brands on the planet and every critic’s favourite. What’s more, it has sales revenue to support the hype. How long can it can last?

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Right Brain, Left Brain | The Making of Pattern

Opinion | Right Brain, Left Brain

Pattern: 100 Fashion Designers, 10 Curators | Source: Phaidon

Today, BoF founder and editor-in-chief Imran Amed kicks off Right Brain, Left Brain, a new column on his observations at the intersection of business, creativity, and the global fashion industry. LONDON, United Kingdom — In 2006, when I first started exploring the fashion industry, there was one book that became my bible. It wasn’t a book about the fashion business. It was a book called Sample, published by Phaidon, which showcased

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Looking Back at a Historic Paris Fashion Week

| Opinion

Dries van Noten Spring/Summer 2013 | Source: Nowfashion.com

Today, Jessica Michault, editor-in-chief of Nowfashion.com, shares her thoughts on the Paris Fashion Week collections. PARIS, France — Each season, as the international fashion flock winds its way from New York to London to Milan, there is usually a gradual yet perceptible build up of excitement for what comes last: Paris Fashion Week. After all, it’s here in the City of Light where the best and brightest designers from around the

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Colin’s Column | Designer Hokey Pokey

Colins Column | Opinion

(Clockwise L-R) Ricardo Tisci, Phoebe Philo, Raf Simons, Hedi Slimane, Sarah Burton, Jil Sander

LONDON, United Kingdom — Now that the dust has settled on the last of the four major international runways, it’s time to take stock. Watching the shows, I was reminded of British artist Richard Hamilton’s comment on Pop Art, which he described as “transient, expendable, low-cost, mass-produced and… big business.” This seems an almost spookily apt description of at least 70 percent of the collections I have seen this season,

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