Pitti Uomo Magical Tour by F. Guazzelli | Source: Pitti Immagine

LONDON, United Kingdom — Physical trade shows, held over a few days in large exhibition halls, have long been the most effective and efficient way for suppliers to showcase and sell their products to customers. But today, the internet is making it increasingly easy to exchange information and conduct business regardless of physical location. On top of this, with the global economy in a state of turmoil, buyers are being more conservative with their travel budgets, putting new pressure on trade shows to compete for their attention and offer value for money.

In response to these shifts, many of the big trade shows are taking steps to digitally enhance their offerings. But for a system that’s rooted in face-to-face interaction, this presents unique challenges and prompts the inevitable question: can the in-person experience of a trade show ever really be replicated digitally?

Pitti Immagine, a series of fashion trade fairs based in Florence since the 1950s, might be one of the longest running shows. But last season, Pitti became a digital leader in its field, launching e-Pitti.com, a website that’s host to digital versions of Pitti Uomo, Pitti W and Pitti Bimbo.

Speaking with BoF, Pitti Immagine’s CEO, Raffaello Napoleone, was quick to point out that launching a digital presence was necessary to move the business forward. “In the last six years we’ve been monitoring the growing impact of digital media on the fashion industry,” he said. “Such impact has mainly hit the interaction between brands and consumers. What is lacking, from our point of view, is the application of digital media to the commercial relationship between brands and professional buyers,” he continued. “The trade fair industry has not yet started to leverage digital media to evolve — it’s still in the same way it was at the beginning. Trade shows are mainly physical events, with all the good things this means, but also with serious limits in terms of time and space.”

The power of the ‘always on’ trade show

In June of this year, e-Pitti.com was launched with 1080 participating brands (approximately seventy percent of the total number of Pitti’s exhibitors) and now offers an online marketplace, which features branded digital showrooms complete with 360 degree imagery and enables users to close deals online.

Mr. Napoleone expects these online showrooms to attract 150 brands by the end of 2011 and that e-Pitti at large will break even next year, emphasising that the ‘always on’ nature of digital makes the platform a highly convenient, value-added business tool. “We encourage brands to see e-Pitti.com as a 24-hour-a-day, 365-days-a-year open marketplace,” he said, explaining that e-Pitti is included in the €221 per square metre that exhibitors currently pay for their for physical stands.

The concept of the ‘365-days-a-year trade show’ is at the very heart of new digital initiatives like e-Pitti, which allows buyers and exhibitors to communicate and transact well beyond the confines of a traditional three to four day fair. At the physical Pitti show, where over 1,000 brands exhibit, a typical buyer attends for roughly two days and visits approximately fifty stands. The advent of an online platform like e-Pitti not only allows buyers to browse virtually, but gives those other 950 brands a second chance to gain new business.

Critically, a 365-days-a-year trade show also gives buyers the flexibility to order ‘out of season,’ allowing their organizations to respond more efficiently to market realities with reorders of fabrics or garments that have sold well, for example, something that’s especially valuable given changes to the fashion cycle and the broader climate of economic uncertainty.

Andrew Pollard, president of US trade show Project, agrees that implementing new technology is good for business, underscoring the power of an ‘always on’ event. “In 2012, we will be launching a digital solution that will allow our exhibitors and attendees to engage with each other in a convenient and modern way,” he said. “Like many industries, the business of fashion has undergone a transformation over the past few years; an online platform will allow us to efficiently communicate both creatively and commercially 365-days-a-year.”

These sentiments were echoed by Chris DeMoulin, international president of sister show Magic, which is also using digital to engage buyers and brands year round. “We have recently re-launched our website, magiconline.com, to act as a portal and provide a place to connect throughout the year,” he said. “These digital technologies and strategies — before, during and after the show — are literally transforming our twice-a-year event into a 365-days-per-year community.”

Magic is also leveraging digital to better enable their customers to create connections, not only with other businesses, but directly with consumers. “In an effort to increase the number of B2B and B2C connections our brands, retailers and other stakeholders have the ability to create through our network, we have launched a campaign that includes such efforts as bringing over 40 bloggers to our show to write and curate content, as well as applying a host of technologies, such as Facebook, Twitter, Tumblr, Pose, Bumebox and more,” added Mr. DeMoulin.

Face time still crucial. Digital is a complementary tool.

But while the heads of some of the world’s most important trade shows agree that, in the internet age, their events require a robust online presence, in fashion, a touchy feely business that has always thrived on physical contact with product and building relationships through face-to-face engagement, some feel certain that the physical trade show will never be replaced by digital, especially when it comes to fairs that focus on the earlier stages of the supply chain, such as sourcing fabrics.

“Real life sensations are fundamental and necessary for buying and selling in our industry,” said Pier Luigi Loro Piana, president of the Italian textile fair Milano Unica. “At the moment, there is still no better way to do real business in textiles than at an environment like a trade fair,” he continued. “I hardly think, in the short term at least, that the centrality of the textile fairs will be replicated by some alternative — not while human contact and face-to-face relationships between producers, buyers and tactile products are still so crucial,” he added. “Certainly, there’s no denying the rapid development and growing importance of new digital technologies, but from my personal point of view, these are largely complementary instruments which can be used to strengthen one’s position, not something to replace it.”

Mr. DeMoulin of Magic agreed. “We believe that digital technologies must be employed to complement the trade show format, but that there is no replacement for the value we provide by bringing the fashion business together in one place every February and August,” he said. “You can’t replace the face-to-face interaction, the networking, the live seminars, the events.”

Alana Wallace contributed reporting to this article.

NEW YORK, United States — Over the weekend, Band of Outsiders’ Scott Sternberg put on a lovely low-key show for his two women’s collections —Boy and Girl — underneath The Highline on New York’s West side. But earlier this summer he pulled out all the stops for a spectacular West Side Story-themed show for his Spring/Summer 2012 menswear collection as a special guest designer at the 80th edition of Pitti Uomo in Florence, Italy.

Sternberg’s star has been rising in international fashion circles, despite his having no formal fashion training; despite his decision to base his business in Los Angeles, far from the fashion mainstream; and despite price points that position his collection closer to high-end European brands than the surfeit of lookalike American contemporary brands which also call Los Angeles home.

I caught up with Scott at the gorgeous Villa Cora hotel the day after his Pitti show to understand the thinking behind these strategic decisions and learn more about his plans for the future of Band of Outsiders.

“I’m not saying that I’m never going to do a fashion show again. I’m not saying fashion film is the future. It’s just an idea…and it’s nice to have the option to do both.”

Avant-garde designer Gareth Pugh speaking to BoF founder Imran Amed in Florence, Italy at Pitti Immagine, where he projected a critically acclaimed fashion film on the ceiling of a 14th century church. On Wednesday in Paris, Mr. Pugh will present his A/W 2011 collection in a fashion show, his first since March 2010.

Givenchy Spring/Summer 2011 | Source: Givenchy

Pushing Fashion Boundaries in an Era Without Any (NY Times)
“In some ways, the focus on sexuality reflects the fairly narrow thinking of designers and photographers… the Internet represents a world that is livelier, more daring and actual than what currently takes place on runways and in mainstream magazines.”

Stepping Into the Sole of Luxury (WSJ)
“The U.K.’s reputation for making the finest cars, building the most luxurious ocean liners and running the greatest leading hotels may have waned, but in the county of Northamptonshire… workshops still produce what are regarded by many as the finest gentlemen’s shoes in the world.”

China’s rich: Armani or Vuitton? (FT)
“The country now boasts 1,900 renminbi billionaires – a third more than in 2009, and a stark jump from 24 in 2008 – and 875,000 renminbi millionaires. And so, with increasing numbers of Chinese making more money than they can spend, it’s useful to know: what do they want.”

A New Vision for Lacoste: Felipe Oliveira Baptista (Dazed Digital)
“Four months into his new gig (replacing Christophe Lemaire, who is now at the helm of Hermès), the Paris-based fashion designer sits down with Dazed Digital to talk about his visions for the famous sportswear brand.”

Gareth Pugh Pitti Immagine #79 2011 (SHOWstudio)
“With a collection inspired by religious iconography and Florentine opulence, Gareth Pugh made his Italian fashion debut at Pitti Immagine #79. Showcasing his clothes via a unique fashion film… Pugh melded the grand traditions and art of this ancient city with his own hyper-modern fashion vision.”

Jil Sander Spring/Summer 2010 | Source: Pitti Immagine

MILAN, Italy — This season, BoF dipped its toes a bit deeper into the waters of the Italian men’s fashion scene, starting with Pitti Uomo and moving on to fashion week in Milan. And, as the fashion circus moves on to Paris tomorrow, my fashion fantasies are still lingering on the outstanding presentation by Raf Simons for Jil Sander Spring/Summer 2011 at the stunning Villa Gamberaia just outside Florence. It might not have been particularly wearable, but it certainly left a lasting impression.

Editors and bloggers were out in full force to see Mr. Simons’ pops of colour, which Tommy Ton aptly described—in the words of Michael Roberts, he was careful to point out—as a bit of sorbet to “cleanse the palate” before the start of the season. Tim Blanks called it “a synthetic sundae.” And afterwards, Susie Bubble was practically reeling from the sensory overload created by the combination of fluorescent colour-blocking, the setting sun, a looming rainstorm and those sweet flashes of colour below the classic shoes.

Describing the collection, Raf Simons told BoF that it was “A celebration of colour; a tribute to the vibrancy of extreme tropical nature, with colours that were brighter than ever before, renewing the summer wardrobe and subverting the codes of formal tailoring.” Indeed, it was a refreshing and promising start for the men’s season which had just begun.

There was little subversion in Milan, however, where the mega brands were out in force, doing their commercial thing with the expected dose of Italian swagger. Gucci, D&G, and Ermenegildo Zegna were among the brands who showed their wares in large scale fashion shows dotted throughout the city’s golden triangle.

While of impressive scale, there was little in these events to leave a lasting emotional impact, though there was plenty to add to my personal wish list for next Spring. Unfortunately, it will be at least 6 months before I can buy any of it.

Luckily, Burberry’s outerwear—and not just the trench, this season saw Christopher Bailey’s homage to the biker jacket—was available for sale online immediately, with deliveries in a six to eight week timeframe. But the amazing Burberry gladiator sandals and delicate military shirts will have to wait until the Spring/Summer 2011 merchandise hits the shop floor sometime around December, conveniently in the middle of winter. When we will sort out these fashion seasons for once and for all? I want to buy now.

More exciting than the click-to-buy clothes was Burberry’s clever link-up with young British musicians, a refreshing and authentic step forward after last season’s PR-heavy push to keep livestream and 3D viewers entertained as real-life guests took their seats. This time, online viewers could preview videos of acoustic tracks by some truly talented young musicians, as curated by Christopher Bailey. It risked coming across as gimmicky, but instead felt perfectly in tune with the brand’s British DNA.

“Burberry is an iconic British brand and Britishness is so much about music,” Bailey told me in a mob of international media backstage after the show, saying that he discovered the young talents in lots of different ways. “It’s never very strategic…when something really hits me, I love it.”

As for the Burberry Acoustic concept, Bailey said that it came directly as a result of feedback from the brand’s Facebook fans. “Whenever we’ve done things with music at shows or events, it’s always been incredibly well received. We’ve got a lot of Facebook fans and we’ve had a lot of feedback that they love the music, so this was kind of an organic project,” he explained.

Rumour has it that Life in Film, one of the bands featured in Burberry Acoustic, is being heavily pursued by an international music label. So, the young musicians may get more than just great exposure from the Burberry collaboration, there are music contracts to be had as well.

Speaking of new talent, there were some interesting newbies on Milan’s men’s runways too. Unlike the womenswear season which is pretty much devoid of new talent, young men’s designers in Milan are making a serious mark. The pre-show buzz about Umit Benan was virtually deafening, and Albino showed his first men’s collection in a quiet but confident debut. Tomasso Aquilano and Roberto Rimondi showed an elegant and relaxed collection for Gianfranco Ferré, even if it seemed out of step with the brand’s heritage and indeed, its more structured womenswear, designed by the same duo.

All in all, after spending an enjoyable few days in the heart of Italy’s fashion community —and surrounded by some of the best dressed best men anywhere—it looks like the Italian menswear circuit may become part of the BoF roster in seasons to come.

Imran Amed is Founder and Editor of The Business of Fashion, an official media partner of Pitti Immagine

Giles Deacon At Pitti | Source: The Business of Fashion

FLORENCE, Italy — In the world of menswear, January is a full-on month of trade fairs and fashion shows. The super-charged schedule of activities begins with Pitti Uomo, continues on to Milan where mega Italian brands like Gucci, Prada and Armani unveil their collections, and concludes with a bang in Paris, where established Parisian fashion houses like Lanvin and Dior Homme show alongside a cornucopia of international designers from Korea, Belgium, Britain and the United States.

This season, the kind folks at Pitti Immagine invited me to Florence for my first-ever look at what Mesh Chhibber, Managing Partner of Relative|MO, refers to as “the chicest tradeshow on earth.” Indeed, rather than a series of boring stalls, filled with ‘me-too’ product, Pitti Uomo offers an impressive menswear mix of urban and classic, formal and casual, and high-fashion and high-street. There is literally something for everyone in the maze of pavillions on the site of the Fortezza da Basso.

Though the mood was somewhat subdued, the total number of visitors at Pitti Uomo was up 3 percent, with over 30,000 visitors attending. And, some brands — including Bill Amberg, the British designer known for his sumptuous leather goods, and Engineered Garments, the New York based brand with casually elegant, unstructured clothes — were swarmed with international buyers writing orders when I popped in to have a look.

But ironically, my Pitti Uomo highlight was actually served up by a womenswear designer. Each season, Francesca Tacconi and Lapo Cianchi of Pitti Immagine invite a guest designer to showcase high-fashion creativity within the context of the Pitti Uomo schedule. This season’s special guest was friend-of-BoF Giles Deacon, who was interviewed last year in our Inside the Studio video series.

Following on the heels of previous guest designers like Thom Browne and Proenza Schouler, Giles presented his pre-collection for Autumn in the almost three hundred year-old Richard Ginori factory. Giles said that he chose the location to showcase Florence’s enviable “industrial heritage” and the tradition of hand-made crafts that to this day form a big part of the Tuscan economy.

Despite the long haul from the city centre, fashion watchers flocked to the factory on the outskirts of Florence. On my way in, both Suzy Menkes and Susie Bubble commented to me on the inventiveness of Giles’ presentation — incorporating suspended porcelain, oversized paperclips and even a conveyor belt which transported dishes and ended with a celebratory smash — and the impact he had achieved by holding a fashion event in a decidedly non-fashion venue.

You know you have excited a blogger when she says: “I can’t wait to get back home and blog about this!”

Imran Amed is Founder and Editor of The Business of Fashion