While almost all other designers I have spoken to are nervously reporting order cancellations and declining or flat sales, Skovgaard’s shoes have chalked up triple-digit increases for Spring/Summer 2009.

Of course, part of this growth can be explained by the rapid growth of the luxury shoe category — it’s a case of  ‘the rising tide raises all boats. ‘ And, according to a recent report by Bain & Company, shoes will continue to be the fastest growing luxury segment of all; more than handbags, apparel, watches, jewelry and fragrances.

However, Camilla’s enviable success can mostly be attributed to perseverance, an incredible work-ethic, great design and pragmatism about merchandising and pricing her collection for the downturn. In our second CEO Talk, we caught up with Camilla to learn the secrets of her success.

BoF: Briefly, tell us about how your sales have gone for S/S 2009. In which markets are you experiencing the best results?

For Spring/Summer 2009, our US orders are up 300% and UK and International orders are up 200%. We now have over 50 stockists worldwide.

CS shoes have a had a couple of fake starts (due to manufacturing/delivery issues) so I’m thrilled to finally witness a nice spurt forward. It’s just odd that it happens at a time when the market is supposed to be at its worst.

BoF: So, what’s your secret? To what do you attribute your recent growth spurt during these tough economic times?

It comes down to two good sales agents and a favourable price point compared to the competition. Also, SS08 had a very high sell-through in stores (AW08 had just delivered when we began taking orders for SS09 take orders). Word seemed to spread quickly with some buyers.

Product-wise, when there is a recession, people want something special that they consider an investment – not too classic and not too trendy – and CS shoes fall right in between. For example, my cut-out ‘biker’ sandal continues to get orders in its 3rd season. Escapism probably also plays a role – after winter you want colour – and if there’s an economic crisis you want to be cheered up, especially if you’re spending money!

In the end, I want CS shoes to be more about a feeling and style rather than short-lived trends. Goods age too darn quickly if they are too trendy, which is why I admire brands like Rick Owens and Bottega Veneta.

BoF: How have you managed to keep your pricing so competitive while upholding the quality of manufacturing?

Trial and error! I initially produced for 2 years in Italy and it was, for me at least, rife with set-backs due to failed deliveries one way or the other. There’s a sense that most of the factories there are struggling and are not in a position to provide the kind of support newer brands need. I could not see a future for me there unless I was owned by a major luxury group, which would guarantee timely delivery and high-quality production.

So, I moved production to China a year ago, after having had a few tests done. I had the exact same shoe done in China and Italy for comparison and agents could not tell the difference. Italy may have a certain sensibility that China is yet to feel, between the lines on some levels, but they have already taken over several other areas and the gap is closing. By the way, I still use Italian materials all way through and ship these out to China. The leather companies in Italy are still good to work with.

Admittedly, the first factory I had in China wasn’t the right partner for CS shoes, but they were my entry into the country and I learned a lot. CS shoes are now finally with the right partner starting with SS09. It was my first China factory that actually called them and recommended me as they thought I was talented and they liked my organized paperwork.

The sample collection I received from them was the best one I’ve received to date, including those from Italy, with regards to finish, consistency, and packaging. Best of all, they were on time! I can’t wait to get the deliveries out to the stores at the end of January 2009.

As for quality and price, while the factory has its own Quality Control managers, I still go before delivery time myself to check as many boxes as possible. From next season onwards, CS shoes will have its own QC person in the factory. Finally, prices are kept more realistic once you are able to meet the required minimums at the factory.

That said, when working with China for manufacturing, you surely have yourself another full time job with shipping related matters alone.

BoF: The luxury shoe segment has been experiencing significant growth in recent years, displacing the bag as the statement accessory. Do you think this will continue?

I think it will continue for a good while. There’s a generation shift underway with new designers and style identities. Contrary to any other garment, shoes actually affect how you feel and walk.

Furthermore, particularly in times of recession, the fact shoes retail at around half the price of statement bags makes it a little easier to swing the credit card.

BoF: Finally, what advice do you have to offer to other emerging fashion businesses as we enter this period of economic contraction?

Plan ahead. Face all the things you don’t want to face but which nonetheless will be crucial for a successful final outcome.

Offer different price points in your collection, and make sure it is well-balanced and merchandised by providing combinations of units/wearability (day/going out). For example, if you do platform shoes then it’s probably not wise to do 80% of collection on platforms.

Also, decide if you want editorial acclaim or if you actually want to make money. Striking a balance between the two is, needless to say, the ideal.

This interview is part of an ongoing series of discussions with fashion entrepreneurs and business leaders as they combat the economic downturn. Previous interviews are listed below:

• Natalie Massenet, Chairman and Founder, Net-a-Porter
• Susan Lyne, Chief Executive Officer, Gilt Groupe
• Priya Kishore, Founder and Creative Director, Bombay Electric
• Alex Bolen, Chief Executive Officer, Oscar de la Renta

ZURICH, Switzerland – The Swiss Textiles Award is not the richest fashion design prize available — the 300,000 euro prize from Mango takes that category. But, over the past 5 years it has emerged as perhaps the most influential award of its kind, and the only one to operate with a global remit.

In 2003, a little-known Belgian designer named Raf Simons won the prize and went on to wow fashion critics, who were now playing close attention to his work. Cathy Horyn had this to say of his Simons’ men’s 2005 Spring/Summer collection, shown in Paris in July 2004:

What Mr. Simons did in an instant was to render the day, and most of the previous one of the spring men’s collections, obsolete. In 18 years of reporting on fashion, the last 5 at this post, I have stood up from only a handful of shows with a conviction that everything had been transformed.

The next year, Simons was tapped by Prada Group to become the Creative Director of Jil Sander. The brand has had its ups and downs since then and was subsequently sold to private investors. But, while it has yet to find its commercial rhythm, there is no doubt that Simons work for Jil Sander has propelled him into an elite group of global designers who are genuinely pushing design forward.

Can the Swiss Textiles Award take the credit for Simons’ giant leap? Of course not. But it has demonstrated an uncanny knack for recognising the world’s best fashion talent first, and giving them a platform of wider recognition and financial support to extend their reach. The award winner from 2006, Bruno Pieters, was announced as Creative Director of Hugo by Hugo Boss in 2007.

I spoke to Robb Young, a Business Strategies Consultant for the Swiss Textiles Award (and respected fashion journalist who writes for The International Herald Tribune and The Financial Times), to learn more about the Swiss Textiles Award and its strategy.

BoF: How did you get involved with the Swiss Textiles Award?

The Swiss Textiles Federation asked me to reposition and rebrand the award in the Spring of 2003. The first thing  I did was to introduce a strict nomination system and separate jury to get the widest possible appraisal from truly influential members of the fashion industry.

I’ve been lucky enough to have secured some spectacular partners as either nominators or jury members such as Suzy Menkes, Sally Singer, Carine Roitfeld and Franca Sozzani. Top buyers have also been very supportive like Julie Gilhart from Barney’s, Sarah Lerfel from Colette, and Armand Hadida from L’Eclaireur.

Fashion curators like Pamela Golbin from the Musee de la Mode et du Textile at the Louvre and Valerie Steele at FIT have also chipped in, as well as consultants like Robert Burke, Armando Branchini, Floriane de Saint Pierre, and of course, Diane Pernet.

The world is changing fast so we’ve also been attentive to the rising influence of emerging fashion markets by having excellent buyers and editors from the Middle East, Russia and China on board.

BoF: What is the Swiss Textiles Award and how did it come to be?

Well, essentially, it’s an annual €100,000 prize that puts the spotlight on a young designer who is both a creative maverick and commercial success. It’s given at a critical juncture in their business development cycle. The endowment is put aside for business activities that are tailored to the needs of the winning designer’s brand. The Swiss Textiles federation pays €100,000 worth of bills for the winning designer over a year– typically for the costs of their fashion shows, production, the hiring of specialist staff or whatever will bring the designer’s brand to the next level. Plus, each designer contestant gets vouchers for free fabrics as well.

To be eligible, designers must have presented at least four successive independent seasons in Paris, New York, Milan or London. This makes sure they have already proven some degree of longevity and can make it past the first few business hurdles of their own accord. They should be champions of a visionary and modern style; be on the forefront of seasonal tendencies while having a challenging and coherent brand identity; and they must have substantial retail distribution and media attention.

But contestants have to be nominated by a rotating panel of fashion industry experts – there’s no way to apply. 

Our winners, for one. But you’re right, there are several other awards out there serving a variety of interests nowadays. Some are quite successful in their own niche while others are not. But the Swiss Textiles Award is the only truly international one open to the best young designers from any of the fashion capitals. Other awards are restricted to designers showing at a particular fashion week, as a way to support national industries. And others still are there to promote a high street brand by vetting potential designer collaborators – or they are positioned to reward design students fresh out of school. That’s important too of course, but we’re focused on serious young fashion entrepreneurs.

You know, it’s not only about the size of the prize money – because some awards now bestow higher prizes than ours.  But, in addition to the cash, the Swiss Textiles Award aims to be the definitive authority on up-and-coming fashion design talent.

We’re here to recognise and nurture designers that have star potential to build their own signature brand. We like to think that our winner each year reflects the collective sentiments of the leaders of the global fashion industry – well, as far as that’s possible anyway. Our point of difference is that we have a system in place where we are objective enough – through our esteemed nominating panels and juries -  to look beyond a lot of the politics and nepotism that haunts the fashion industry. It’s about talented designers with a clear business vision and creative ambition for their brands.

And I think there is something to be said for being the first one out of the starting blocks. The Swiss Textiles Award will have its tenth anniversary next year and embarked on its current international strategy six years ago.

BoF: Who are the previous winners of the Swiss Textiles Award?

Our roster of international winners includes Raf Simons (2003), Haider Ackermann (2004), Christian Wijnants (2005), Bruno Pieters (2006) and Marios Schwab (2007). There have been some really touching stories where the award came through at pivotal moments in these designers’ careers to help them push forward through thick and thin.

Next year’s shortlist will be chosen by yet another nominating panel of experts and the ultimate winner will be selected by a jury later that year. So it’s all about designers being tapped for the waves they’re making from their shows and their success on market. Those who make a big impression on the fashion industry leaders should have every chance to be nominated.

For the 2008 Edition of the Swiss Textiles Award, Rodarte, Louise Goldin, Richard Nicoll, Toga, Cathy Pill and Jean-Pierre Braganza will show a selection of their most recent Spring/Summer 2009 collection in Zurich on the 13^th of November to an international jury.

Rodarte

Louise Goldin

Richard Nicoll

Toga

Cathy Pill

Jean-Pierre Braganza

LONDON, United Kingdom - James Ogilvy noticed something in 1996: there was no dedicated business publication for the wider luxury industry. So he conceived of Luxury Briefing, a monthly publication which is read by leaders and senior executives in luxury companies from fashion to cosmetics to gourmet food to design to media. Since then, James and his team have launched a website and a series of annual conferences that dig into the issues that impact businesses across the luxury spectrum.

James comes into contact with idea makers and opinion leaders from different parts of luxury and knows the topics and concerns on these executives’ minds. I caught up with James to benefit from this unique industry-wide vantage point and to learn about an exclusive Luxury Briefing offer for readers of The Business of Fashion.

BoF: What was the genesis of Luxury Briefing and why did you set it up to begin with?

JO: At the time we started – 1996 – the luxury industry was beginning to expand rapidly. We saw an opportunity to provide a central information resource and we are still here today!

The one thing that people require in good times and bad, and wherever the find their business leading them, is information. What we identified initially was a lack of connection between the different sectors, when in fact that there is both much to be learned and much to be gained from co-operation.

BoF: You are constantly in contact with all of the movers and shakers in the Luxury business worldwide. What are they saying about the current economic environment and prospects for the industry over the next 1-2 years?

JO: Those charged with running the leading brands are careful in what they say but they know this is a long-term game and that there will be ups and downs. Having said that some brands are still turning in very strong results, such as Burberry which has just announced it is up 26% in Q1.

BoF: Apart from the economy, what are the other top-of-mind issues for today’s Luxury executive?

JO: There are two key ones, I think: firstly, the whole online question. The luxury industry has been very slow to take full advantage of this and the majority are still well behind the curve. They are still to figure out what Web 2.0 is all about while others are talking about Web 3.0!

The second issue is emerging luxury, which is the theme of this year’s Luxury Briefing Conference in November. There will undoubtedly be huge opportunities for certain brands and certain products but there are big questions to answer about how much it will cost and how long it will take.

BoF: Tell us a bit about the special offer LB has set up for readers of The Business of Fashion and how they can go about tapping into this.

JO: Luxury Briefing is normally available only by subscription but we are happy to send out a current issue on request to BoF readers as well provide access to the closed off part of our website,. Just give us a call (+44 1 3333 60606) or drop us an email (subscribe@luxury-briefing.com).