The Luxe Chronicles

Fashion: Still More Innovation Courtesy of Net-A-Porter

2009-07-16T12:16:16+01:00

As mentioned yesterday, I attended the launch of Net-A-Porter's new iPhone application, NET-APP. The event featured a discussion with Net-A-Porter founder Natalie Massenet and designer Roland Mouret on the role of technology in fashion. Given the tremendous boost his RM by Roland Mouret label has gotten from the Net-A-Porter platform since its launch in 2007, his presence was a fitting tribute to the power of technology to change the established order of things.

Indeed, one of the harsh realities of the fashion industry is that even very talented designers face steep hurdles when they first set out to build their businesses. Acceptance by the fashion establishment which generally involves winning over influential fashion editors and gaining editorial coverage in fashion magazines used to be an essential piece of the fashion industry puzzle. Competition for coveted rack space in key retailers like Selfridges and Harvey Nichols was also an important part of the success equation. But, if the success of RM by Roland Mouret is any indication, Net-A-Porter is swiftly changing the rules of the game.

If you recall, Net-A-Porter broke new ground in July 2007 by broadcasting Roland Mouret's inaugural RM collection and offering customers the possibility to pre-order the entire collection for later delivery. One of the most exciting revelations of the evening is when Mouret admitted that within hours of that launch, he had pre-sold a whopping 60 per cent of his collection. Perhaps more significantly, this enviable result was achieved without the usual fashion industry ritual of presentation to fashion editors, review by influential critics, publication in monthly style magazines, etc. Traditional fashion media was effectively bypassed (at least initially) to reach the consumers directly. As Massenet explained: "We wanted to get out of the way and let the consumers decide for themselves what they liked." And so they did.

To a certain extent, the launch of NET-APP is merely the next logical step in Net-A-Porter's consumer-centric philosophy. As easy as it is to shop online from your desktop, the reality is that most women aren't always at their desk and hot fashion items tend to sell out quickly. NET-APP allows you to shop from your iPhone anywhere, any time. You can be in the back of a cab on your way to the airport and snag the latest RM dress or Christian Louboutin booties before your size sells out. You can also share items with friends and keep up with new additions to stock every Monday and Wednesday all from the convenience of your iPhone.

At a time when traditional fashion retailers are desperately trying to attract customers back to their stores, Net-A-Porter is bringing the fashion to consumers instead. I suspect one day we'll look back upon this innovation and identify it as a turning point in fashion retailing. I invite you to check out NET-APP for yourselves and let me know what you think.

Sincerely,

The Luxe Chronicles

Fashion: Close Encounters With Roland Mouret

2009-07-15T18:27:46+01:00

I've never been one to get excited about celebrities. Even as a teenager, I was never one to stand in line for hours to buy concert tickets or line up along a red carpet to catch a glimpse of an actor. It's just never been my thing. But, put me in the same room as one of my favorite designers and my inner "groupie" emerges and I quite literally go weak at the knees. This happened to me last night at a gathering of fashion bloggers and online editors hosted by Net-A-Porter founder Natalie Massenet for the launch of Net-A-Porter's new iPhone application (more about this later). The event featured a discussion with Roland Mouret on the role of technology in fashion. While the subject is a fascinating one, to be perfectly honest, the subject could have been dog grooming and I would still have showed up if for no other reason than to meet him. I will be posting on the topic tomorrow. Until then, I invite you to discover the NET-APP.

Sincerely,

The Luxe Chronicles

Fashion: The Seedier Side of the Industry

2009-07-15T05:00:00+01:00

U.K. supermarket chain Asda is launching a cheap knock-off version of the Balmain mini-dress worn by Kate Moss. By knock-off, I mean quite literally a seam-for-seam copy rather than the typical "homage" piece or "re-interpretation". The usual argument invoked to defend this blatant rip-off of intellectual property is to suggest that the target customer (high street consumer) is not the typical Balmain customer and therefore Balmain doesn't lose sales and incurs no harm. I find this argument unpersuasive and intellectually dishonest.

The real argument is that Asda will most likely reap a huge financial gain from exploiting a design that does not belong to it. The design is the fruit of Christophe Decarnin's labor and therefore the property of his employer, Balmain. The fact that high-street chains can so brazenly profit from the designs of fashion houses sends the message that fashion design is less worthy of intellectual property protection than industrial design or technology. I find this a sad commentary on the value of fashion as an industry.

Sincerely,

The Luxe Chronicles

Fashion: What's Wrong With Fashion Magazines?

2009-07-14T05:00:00+01:00

"Seriously?!"

It has become fashionable (pardon the pun) to dissect the troubles afflicting print fashion magazines these days. The recession, excessive photoshopping, underfed models, the stale content of many magazines and of course, the Internet, are routinely cited as explanations for the overall decline in ad revenue and circulation. U.S.Vogue as the industry leader is getting more than its share of scrutiny and critique (much of it deserved). While many of the reasons cited may indeed be contributing factors, I don't think any of the analyses proffered to date are particularly convincing.

Granted, the problems currently afflicting the fashion industry as a whole and the fashion media in particular are hard to pinpoint with any accuracy. I do sense however that many women are fed up with the genre. I for one have loved Vogue ever since it entered my life at roughly age 9 and attribute my life-long love of fashion to its influence. But even I can't help but snicker at what passes for "insights" and "observations" from many of its contributors. I couldn't help rolling my eyes for instance when Plum Sykes recently lamented the cost of a custom Pucci gown: "(...) I never in my wildest dreams imagined I would own a custom Pucci dress (I didn't even own a non-custom one, they are so expensive)." (July 2009, p.104) Really?

The problem is that thanks to past Vogue articles chronicling her fittings for a bespoke wedding gown by Alexander McQueen or her fittings at her Savile Row tailor for a bespoke tweed suit to wear for a day of shooting at a friend's country estate where incidentally, the dress code called for couture-like attire for evening, her lament about the Pucci gown sounds a trifle insincere. I would have infinitely more respect for the piece if she had chosen to celebrate the experience rather than obliquely apologize for it. Is this really the best Vogue can offer its readers?

The tactics magazines typically employ to preach to the masses aren't particularly appealing either. Speaking for myself, I rather resent the heavy handed attempts at manipulation. Perhaps I would have an easier time accepting Michelle Obama and her many cardigans as a legitimate "style icon" for instance if U.S. Vogue had not so thoroughly turned me off by their relentless campaign to make her into one. It would help their credibility as a "style bible" tremendously if they dissected her fashion faux pas (of which there are many) as diligently as they trumpet her fashion successes (of which there are also many). Ditto U.S. Harper's Bazaar's attempts to cast Victoria Beckham as a legitimate "designer". The overall effect of these campaigns might be more persuasive if they were less contrived.

These methods of anointing style icons and dictating fashion trends date back to the days when traditional fashion magazines were virtually the only source of style guidance for women. Today, women are just as likely to get their style inspiration from music videos, foreign travel and blogs chronicling street fashion than they are from any particular fashion magazine. Even a site like Net-A-Porter which does an excellent job of mixing and matching pieces from various designers is a good source of inspiration whether you end up buying from them or not. Moreover, unlike fashion magazines who are heavily beholden to advertisers, there is no pretense to these sites: Net-A-Porter exists to sell you fashion. We get that and respect it. Along the way, they provide a tremendous amount of good style advice as well. It's a win-win.

As consumers, we've collectively emerged from well over a decade of hype and contrived glamour that has left us dissatisfied, disillusioned and more than a little cynical. We're in search of greater authenticity from our fashion brands and from the magazines that cover them. Isn't it time for fashion magazines to catch on?

Sincerely,

The Luxe Chronicles

Fashion: The Highly Quotable and Highly Lovable Alber Elbaz

2009-07-13T05:00:00+01:00

Too often in fashion, the industry opts for hype over substance. Usually someone young, cute and perky with a smidgeon of talent gets anointed by the "right people" and they're off and running before they can even walk. Before the ink is dry on their design degree, they unveil an eponymous line followed in quick succession by accessories, a fragrance, a diffusion line, a one-off collaboration with Target or H&M, etc., etc. Every so often however, someone comes along and reminds you that there is more to good fashion than all this hoopla.

The August edition of British Vogue features an interesting profile of Lanvin's Alber Elbaz by its editor-in-chief Alexandra Shulman. In many respects, Mr. Elbaz runs contrary to most stereotypes associated with "designers" - beyond his obvious talent, he is known as a nice, decent man in an industry that is neither nice nor particularly decent. His career has had its ups and downs and he has kissed his share of frogs before finding the right fit at Lanvin. If you're not already in love with the very lovable Mr. Elbaz, you will be once you've read this article. I've extracted my favorite quotes for your enjoyment:

On his recruitment policy at Lanvin:

"The people I chose to run the store are nice. I cannot work with bitches, Alexandra. I can't. I can't. (...) Talent is amazing - I love it, I appreciate it. I respect talent a lot. But if you ask me, 'Talent and bitch, or less talent and good?', I'll go with less talent."

On his ouster from Yves Saint Laurent by Gucci Group:

"Some people had a different perception of my work, or thought that a designer should be more handsome or more out there, which is not my story."

Of the 17 job interviews that preceded his current position at Lanvin:

"There were two that I wanted and 15 that I didn't, but the two that I wanted didn't want me. Those two were the ones that came back three years later begging me, and I said 'Too late baby!'".

On the business of fashion:

"'Every decade, there is [a] new way of growing the business,' he says. 'In the Seventies, everybody invested in licenses so every designer sold their name and their soul. Then there was another system of going public and everyone thought it was an amazing idea, and how didn't I think of it before? But then you realize every decision has to be a public decision, so it doesn't work. Then people moved into groups, and you find out that you are no longer independent but very dependent. It's a very interesting time, this crash coming now - maybe it [sic] clear the air. It's very depressing people losing their jobs, but I think easy keel you. Easy makes you fat. That is why I'm always on a diet."

It is a lovely profile of a lovely man. I recommend you read it for yourselves.

Sincerely,

The Luxe Chronicles

Portrait of Alber Elbaz by David Sims.

Luxury: A Reprieve for Lacroix?

2009-07-10T15:28:56+01:00

Extraordinary times call for extraordinary measures. France's newly minted culture Minister, Frédéric Mitterrand, has expressed his intention to assist Christian Lacroix in finding a solution to his current financial crisis. Describing the potential loss of Lacroix's couture business as "un désastre culturel" (a cultural disaster), Mr. Mitterrand has vowed to step in and in his words "ne pas rester inerte" (not remain passive). En toute déférence Monsieur le Ministre, il était temps!

Sincerely,

The Luxe Chronicles

Haute Couture: God Is In The Details - Why Not Just Enjoy Them?

2009-07-09T13:31:15+01:00

Every couture season, it's the same story: chroniclers of fashion invariably question the future of the tiny industry. Usually, they point to the dwindling number of couture clients throughout the world and surmise that it's only a matter of time before there are none left and legendary couture houses are forced to shutter their ateliers forever. Of course, the fact that the future of Christian Lacroix's couture house looks increasingly bleak hasn't helped matters. "Was the sunset at Chanel symbolic of couture’s fading light?" asks New York Times' fashion critic Cathy Horyn.

The truth is nobody knows. Moreover, the same question is asked every time there is a recession of any magnitude. From where I'm standing, it seems to me that haute couture has proved itself fairly resilient throughout its history surviving world wars, the advent of pret-a-porter and previous recessions. The clients may hail from different parts of the world and different milieux than during the industry's golden years but they still keep coming. I also don't think the current recession is any different. The reality is that there are still plenty of high-net worth individuals out there with money to spend and while the current uncertainty of financial markets are inhibiting them from doing so now, they will eventually spend again. They also seem to be increasingly seeking out luxury products and brands that embody luxury's core attributes: fine craftsmanship, history and artistry. In other words, the very cornerstones of haute couture. So, while the experts and critics debate the future of haute couture, I intend to simply enjoy the spectacle albeit from afar.

Sincerely,

The Luxe Chronicles

Fashion: Vive Lacroix!

2009-07-08T08:36:00+01:00

And vive the spirit of solidarity that binds the French fashion community!

It is precisely this spirit that prompted embroiderers, seamstresses, hair and make-up artists and countless others to donate so generously of their time and craft and other members of the fashion community like Bruno Frisoni, Ines de la Fressange and Diego della Valle to donate shoes - all so that the Lacroix haute couture show could go on. Now, all we need is a white knight with very deep pockets to ride in on his (or her) gleaming horse and save the day. Any takers?

Sincerely,

The Luxe Chronicles

Fashion: Haute Couture's Rising Stars

2009-07-07T14:03:40+01:00

Lest you come away with the impression that Dior was the only couture house to unveil a collection in Paris yesterday, I would like to draw your attention to two other very talented couturiers each of whom presented a parade of gorgeous creations worthy of attention.

The first is by La Chambre Syndicale de la Haute Couture's newest member, Stephane Rolland (images above). The second is by the better-known Alexis Mabille (images below). While I find that Rolland's collection was more cohesive than Mabille's, both offered tactfully restrained luxury with an emphasis on silhouette and texture such as pleating and cut out rather than one excessive adornments or heavy embellishments. Both collections were perfectly in tune with the times. While many remain skeptical of haute couture's long term prospects, my money is on Rolland and Mabille as names to watch.

Sincerely,

The Luxe Chronicles

Fashion: A Reality Check from Manolo Blahnik

2009-07-07T05:00:00+01:00

Fashion designers are often portrayed as being frivolous or eccentric or both and it's not uncommon for them to be mocked by those outside the industry. This was abundantly on display for instance in Morley Safer's supremely superficial profile of Anna Wintour for U.S. "news" program 60 Minutes a few months back. While some designers like John Galliano or Karl Lagerfeld do indeed invite that kind of derision by cultivating an eccentric public persona and making provocative statements to the press, they are hardly the norm. There are plenty of very talented designers who stand firmly on the other end of the spectrum like shoe-tsar Manolo Blahnik but the press rarely focus on them.

This is why I found the interview of Mr. Blahnik in this weekend's Financial Times "Lunch with the FT" segment particularly refreshing. During the interview he touches upon the recession and the impact on his business:

"(...) I think of the workers in the factories who make my shoes and I worry. The orders are going down but we need to keep them occupied. I don't really care if the shoes sell, you know, I don't. I don't give a damn. I never wanted this crazy success, except I have a responsibility to these people."

I know of very few designers of his stature who would be willing to admit publicly to a drop in orders. I know even fewer who would take the time to acknowledge the impact on the people who toil in obscurity to produce their products. I think that the current turmoil within the industry triggered by the downturn gets less sympathy from the general public than say, the automobile industry, in part because the general public rarely see beyond the hype and glamour of the fashion business. The emphasis is generally placed on the glitzy, celebrity aspect of fashion and rarely on the grittier aspects of what is in reality a multi-billion dollar global industry that has strong ripple effects across countless other sectors.

Mr. Blahnik may be less flamboyant or less quotable than Galliano or Lagerfeld but I find his honesty akin to a welcome breath of fresh air in an industry far too consumed by image and ego. I think fashion would get more respect if more designers could see beyond their egos. Fashion as an industry and designing as an occupation would be all the better for it.

Sincerely,

The Luxe Chronicles

Portrait by Michel Compte.