2010年1月11日 星期一
2009年11月30日 星期一
Social Media Reality Check
26 November, 2009 by Imran Amed, Editor
Fashion 2.0 Social Media Reality Check
Tavi Gevinson Source: Style Rookie
NEW YORK, United States — Ever since the dynamic and erudite young fashion blogger Tavi appeared at the runway shows in New York this past September, the fashion industry has partaken in a veritable social media orgy. Article after article rightfully declared the 13 year-old blogger and her talented fashion blogger brothers and sisters — BryanBoy, Susie Bubble and others — the new fashion stars.
During New York Fashion Week in September, The New York Times Technology section exclaimed: “Young bloggers Have Ear of Fashion Heavyweights.” Then, Women’s Wear Daily declared: “Everyone’s doing it: Brands take on Social Media,” and followed with “Bricks Versus Clicks: Front Row at D&G,” ranking the front row presence of bloggers at D&G in Milan as a “Defining Moment” of the Spring/Summer 2010 collections.
But it didn’t there. The Independent in London showcased the “New Kids on the Blog,” Metro News in Toronto said “Style bloggers bring fashion to the masses,” the Irish Independent said fashion blogs are “Writing with Style,” the Financial Times revealed that “Style bloggers take centre stage” and the International Herald Tribune chimed in, saying that we are moving “From Couture — to Conversation.”
And while nothing delights us more than to see bloggers finally getting the attention and respect they deserve, the time has come for a bit of a social media reality check.
Fashion blog web traffic Source: Alexa
According to some quick research on Alexa, the recent attention has propelled traffic of these fashion blogs to record highs, and for a short period, tiny Tavi’s traffic even eclipsed that of the superblogger Scott Schuman. All the while, brands were chasing the “new front row” for attention and approval, an international luxury conference was convened in Berlin to explore how social media is revolutionising the fashion industry, and the star bloggers were trying to make sense of their overnight fame and newfound industry influence.
But what happens next? It’s time to take stock to assess how each of the constituent players in this rapidly developing online fashion eco-system can develop over the long-term. For everyone involved, this will require not only a change of media, but also a change of mindset.
BRANDS: Develop long-term, reciprocal relationships with bloggers. Don’t just create PR stunts to get attention.
At that now infamous D&G show in Milan, where bloggers were prominently placed in the front row for all to see, laptops were also set up in front of their seats. The objective, it appears, was to make it look like they were “live” blogging and tweeting during the show, even though none of the selected photobloggers (Scott Schuman, Tommy Ton, and Garance Doré) work in this way. Rather, the photobloggers take hundreds of photos over the course of a day and then edit their photos down before publishing only the best ones. In reality, only Bryanboy is a regular Twitter user and the only one who might be considered a “live” blogger.
As a PR stunt, the illusion of live blogging may have done wonders for D&G as press photos of the bloggers appeared in major publications around the world. Conjuring up images of young people streaming their ideas live from the front row made for a great story, but it probably made the bloggers themselves feel uncomfortable. D&G apparently wanted to be seen as the first to truly embrace media, even though other brands have been doing so for several seasons now, albeit in a quieter manner.
It’s not enough to be seen to embrace social media. Brands and retailers must also build real long-term symbiotic relationships with bloggers, not short-term exploitative ones. Excellent examples of this are Lane Crawford, who from the start have supported and worked with Tommy Ton on their ad campaigns, and Burberry and DKNY who hired Mr. Schuman for his photography skills to appear on their website and in their advertisements, respectively.
Finally, consider the point made by Yuli Ziv, a New York-based fashion blogger who said to brands last week: “If you are looking for sales, make sure to provide [bloggers] the detailed product info, pricing and availability, if SEO optimization is your top goal – make sure you use the right keywords in your pitch, if publicity buzz is what makes you satisfied – give them juicy stories, and if you simply want love – give them the reasons to love you.” It’s as simple as that.
BLOGGERS: Operate with the highest-levels of integrity and don’t lose your independent voice and point-of-view.
In his book “Watching the Watchdog: Bloggers As the Fifth Estate,” author Stephen D. Cooper argues that bloggers can hold companies and the mainstream media accountable for their actions. But in order to do so, bloggers must simultaneously maintain healthy, positive relationships with the brands with whom they work, while also fiercely protecting their independence.
Even though we don’t necessarily agree with the recent FTC ruling holding bloggers to a different level of accountability than the mainstream press, the underlying principles are sensible. Don’t allow your praise to be bought. Accept gifts like everyone else in the industry, but be transparent when you have been given something to review or been flown in to cover an event. And, most of all, say what you think! After all, this is why your audience comes to you in the first place. The minute bloggers become part of the easily-manipulated fashion media machinery, they lose their unique selling proposition.
If bloggers want to be taken seriously, they must operate like professionals. Indeed, it is the most professional of bloggers — those who work hard, operate with integrity, and maintain good relationships — who are having the most financial success, attracting advertising, sponsorship and even consulting and employment opportunities.
MAINSTREAM MEDIA: Engage with bloggers as professionals and consider making them your new colleagues.
The rise of fashion bloggers does not necessarily mean the death of fashion editors. There is more than enough room for everyone to take part in the ever-growing sphere of fashion writing and communication.
However, more than just writing about bloggers (over and over again), the mainstream media may want to consider engaging with them as fellow professionals. Prior to last week’s IHT conference in Berlin, Suzy Menkes agreed to have the tables turned on her, participating in an interview with Mary Scherpe on her blog, Quite Contrary. While many other journalists were interviewing bloggers, Suzy was letting a blogger interview her. Suzy also made an effort to meet with bloggers in Berlin who were (really) blogging and tweeting from the front rows.
Dazed Digital and Vogue web traffic Source: Alexa
Jefferson Hack, Editorial Director of Dazed Group, has taken this one step further. When hiring for Dazed Digital a few years back, he did not look to traditional editors or photographers to lead his new digital team. Rather, he turned to the internet’s burgeoning fashion talents, hiring photographer Alistair Allan as Digital Director and prodigious fashion blogger Susie Bubble as Commissioning Editor. Long before much of the mainstream media was even paying attention to bloggers, Jefferson was already learning from them.
The results have been impressive. Independently-owned Dazed Digital now receives about 2 million pageviews per month, placing it in the leagues of Conde Nast-owned Vogue.co.uk, according to Alexa.
Still, I regularly hear reports of major online fashion properties who “can’t find the budgets” to hire young digital natives to help them amp up their online content. This is pennywise, pound foolish, especially as these young talents can be hired for a fraction of the cost of major photo shoot or big-time editor.
If the mainstream media are to keep up with all of the new developments, technologies and tools of online media, they might as well turn to the experts. Bloggers are at the forefront of content innovation on the internet and have the know-how to use social media effectively. In today’s internet world, it is innovative content attracts viral attention and fosters relationships with readers, which are also the most important drivers of traffic and loyalty.
Imran Amed is Editor of The Business of Fashion
Tavi Gevinson Source: Style Rookie
NEW YORK, United States — Ever since the dynamic and erudite young fashion blogger Tavi appeared at the runway shows in New York this past September, the fashion industry has partaken in a veritable social media orgy. Article after article rightfully declared the 13 year-old blogger and her talented fashion blogger brothers and sisters — BryanBoy, Susie Bubble and others — the new fashion stars.
During New York Fashion Week in September, The New York Times Technology section exclaimed: “Young bloggers Have Ear of Fashion Heavyweights.” Then, Women’s Wear Daily declared: “Everyone’s doing it: Brands take on Social Media,” and followed with “Bricks Versus Clicks: Front Row at D&G,” ranking the front row presence of bloggers at D&G in Milan as a “Defining Moment” of the Spring/Summer 2010 collections.
But it didn’t there. The Independent in London showcased the “New Kids on the Blog,” Metro News in Toronto said “Style bloggers bring fashion to the masses,” the Irish Independent said fashion blogs are “Writing with Style,” the Financial Times revealed that “Style bloggers take centre stage” and the International Herald Tribune chimed in, saying that we are moving “From Couture — to Conversation.”
And while nothing delights us more than to see bloggers finally getting the attention and respect they deserve, the time has come for a bit of a social media reality check.
Fashion blog web traffic Source: Alexa
According to some quick research on Alexa, the recent attention has propelled traffic of these fashion blogs to record highs, and for a short period, tiny Tavi’s traffic even eclipsed that of the superblogger Scott Schuman. All the while, brands were chasing the “new front row” for attention and approval, an international luxury conference was convened in Berlin to explore how social media is revolutionising the fashion industry, and the star bloggers were trying to make sense of their overnight fame and newfound industry influence.
But what happens next? It’s time to take stock to assess how each of the constituent players in this rapidly developing online fashion eco-system can develop over the long-term. For everyone involved, this will require not only a change of media, but also a change of mindset.
BRANDS: Develop long-term, reciprocal relationships with bloggers. Don’t just create PR stunts to get attention.
At that now infamous D&G show in Milan, where bloggers were prominently placed in the front row for all to see, laptops were also set up in front of their seats. The objective, it appears, was to make it look like they were “live” blogging and tweeting during the show, even though none of the selected photobloggers (Scott Schuman, Tommy Ton, and Garance Doré) work in this way. Rather, the photobloggers take hundreds of photos over the course of a day and then edit their photos down before publishing only the best ones. In reality, only Bryanboy is a regular Twitter user and the only one who might be considered a “live” blogger.
As a PR stunt, the illusion of live blogging may have done wonders for D&G as press photos of the bloggers appeared in major publications around the world. Conjuring up images of young people streaming their ideas live from the front row made for a great story, but it probably made the bloggers themselves feel uncomfortable. D&G apparently wanted to be seen as the first to truly embrace media, even though other brands have been doing so for several seasons now, albeit in a quieter manner.
It’s not enough to be seen to embrace social media. Brands and retailers must also build real long-term symbiotic relationships with bloggers, not short-term exploitative ones. Excellent examples of this are Lane Crawford, who from the start have supported and worked with Tommy Ton on their ad campaigns, and Burberry and DKNY who hired Mr. Schuman for his photography skills to appear on their website and in their advertisements, respectively.
Finally, consider the point made by Yuli Ziv, a New York-based fashion blogger who said to brands last week: “If you are looking for sales, make sure to provide [bloggers] the detailed product info, pricing and availability, if SEO optimization is your top goal – make sure you use the right keywords in your pitch, if publicity buzz is what makes you satisfied – give them juicy stories, and if you simply want love – give them the reasons to love you.” It’s as simple as that.
BLOGGERS: Operate with the highest-levels of integrity and don’t lose your independent voice and point-of-view.
In his book “Watching the Watchdog: Bloggers As the Fifth Estate,” author Stephen D. Cooper argues that bloggers can hold companies and the mainstream media accountable for their actions. But in order to do so, bloggers must simultaneously maintain healthy, positive relationships with the brands with whom they work, while also fiercely protecting their independence.
Even though we don’t necessarily agree with the recent FTC ruling holding bloggers to a different level of accountability than the mainstream press, the underlying principles are sensible. Don’t allow your praise to be bought. Accept gifts like everyone else in the industry, but be transparent when you have been given something to review or been flown in to cover an event. And, most of all, say what you think! After all, this is why your audience comes to you in the first place. The minute bloggers become part of the easily-manipulated fashion media machinery, they lose their unique selling proposition.
If bloggers want to be taken seriously, they must operate like professionals. Indeed, it is the most professional of bloggers — those who work hard, operate with integrity, and maintain good relationships — who are having the most financial success, attracting advertising, sponsorship and even consulting and employment opportunities.
MAINSTREAM MEDIA: Engage with bloggers as professionals and consider making them your new colleagues.
The rise of fashion bloggers does not necessarily mean the death of fashion editors. There is more than enough room for everyone to take part in the ever-growing sphere of fashion writing and communication.
However, more than just writing about bloggers (over and over again), the mainstream media may want to consider engaging with them as fellow professionals. Prior to last week’s IHT conference in Berlin, Suzy Menkes agreed to have the tables turned on her, participating in an interview with Mary Scherpe on her blog, Quite Contrary. While many other journalists were interviewing bloggers, Suzy was letting a blogger interview her. Suzy also made an effort to meet with bloggers in Berlin who were (really) blogging and tweeting from the front rows.
Dazed Digital and Vogue web traffic Source: Alexa
Jefferson Hack, Editorial Director of Dazed Group, has taken this one step further. When hiring for Dazed Digital a few years back, he did not look to traditional editors or photographers to lead his new digital team. Rather, he turned to the internet’s burgeoning fashion talents, hiring photographer Alistair Allan as Digital Director and prodigious fashion blogger Susie Bubble as Commissioning Editor. Long before much of the mainstream media was even paying attention to bloggers, Jefferson was already learning from them.
The results have been impressive. Independently-owned Dazed Digital now receives about 2 million pageviews per month, placing it in the leagues of Conde Nast-owned Vogue.co.uk, according to Alexa.
Still, I regularly hear reports of major online fashion properties who “can’t find the budgets” to hire young digital natives to help them amp up their online content. This is pennywise, pound foolish, especially as these young talents can be hired for a fraction of the cost of major photo shoot or big-time editor.
If the mainstream media are to keep up with all of the new developments, technologies and tools of online media, they might as well turn to the experts. Bloggers are at the forefront of content innovation on the internet and have the know-how to use social media effectively. In today’s internet world, it is innovative content attracts viral attention and fosters relationships with readers, which are also the most important drivers of traffic and loyalty.
Imran Amed is Editor of The Business of Fashion
Tavi Gevinson Source: Style Rookie
NEW YORK, United States — Ever since the dynamic and erudite young fashion blogger Tavi appeared at the runway shows in New York this past September, the fashion industry has partaken in a veritable social media orgy. Article after article rightfully declared the 13 year-old blogger and her talented fashion blogger brothers and sisters — BryanBoy, Susie Bubble and others — the new fashion stars.
During New York Fashion Week in September, The New York Times Technology section exclaimed: “Young bloggers Have Ear of Fashion Heavyweights.” Then, Women’s Wear Daily declared: “Everyone’s doing it: Brands take on Social Media,” and followed with “Bricks Versus Clicks: Front Row at D&G,” ranking the front row presence of bloggers at D&G in Milan as a “Defining Moment” of the Spring/Summer 2010 collections.
But it didn’t there. The Independent in London showcased the “New Kids on the Blog,” Metro News in Toronto said “Style bloggers bring fashion to the masses,” the Irish Independent said fashion blogs are “Writing with Style,” the Financial Times revealed that “Style bloggers take centre stage” and the International Herald Tribune chimed in, saying that we are moving “From Couture — to Conversation.”
And while nothing delights us more than to see bloggers finally getting the attention and respect they deserve, the time has come for a bit of a social media reality check.
Fashion blog web traffic Source: Alexa
According to some quick research on Alexa, the recent attention has propelled traffic of these fashion blogs to record highs, and for a short period, tiny Tavi’s traffic even eclipsed that of the superblogger Scott Schuman. All the while, brands were chasing the “new front row” for attention and approval, an international luxury conference was convened in Berlin to explore how social media is revolutionising the fashion industry, and the star bloggers were trying to make sense of their overnight fame and newfound industry influence.
But what happens next? It’s time to take stock to assess how each of the constituent players in this rapidly developing online fashion eco-system can develop over the long-term. For everyone involved, this will require not only a change of media, but also a change of mindset.
BRANDS: Develop long-term, reciprocal relationships with bloggers. Don’t just create PR stunts to get attention.
At that now infamous D&G show in Milan, where bloggers were prominently placed in the front row for all to see, laptops were also set up in front of their seats. The objective, it appears, was to make it look like they were “live” blogging and tweeting during the show, even though none of the selected photobloggers (Scott Schuman, Tommy Ton, and Garance Doré) work in this way. Rather, the photobloggers take hundreds of photos over the course of a day and then edit their photos down before publishing only the best ones. In reality, only Bryanboy is a regular Twitter user and the only one who might be considered a “live” blogger.
As a PR stunt, the illusion of live blogging may have done wonders for D&G as press photos of the bloggers appeared in major publications around the world. Conjuring up images of young people streaming their ideas live from the front row made for a great story, but it probably made the bloggers themselves feel uncomfortable. D&G apparently wanted to be seen as the first to truly embrace media, even though other brands have been doing so for several seasons now, albeit in a quieter manner.
It’s not enough to be seen to embrace social media. Brands and retailers must also build real long-term symbiotic relationships with bloggers, not short-term exploitative ones. Excellent examples of this are Lane Crawford, who from the start have supported and worked with Tommy Ton on their ad campaigns, and Burberry and DKNY who hired Mr. Schuman for his photography skills to appear on their website and in their advertisements, respectively.
Finally, consider the point made by Yuli Ziv, a New York-based fashion blogger who said to brands last week: “If you are looking for sales, make sure to provide [bloggers] the detailed product info, pricing and availability, if SEO optimization is your top goal – make sure you use the right keywords in your pitch, if publicity buzz is what makes you satisfied – give them juicy stories, and if you simply want love – give them the reasons to love you.” It’s as simple as that.
BLOGGERS: Operate with the highest-levels of integrity and don’t lose your independent voice and point-of-view.
In his book “Watching the Watchdog: Bloggers As the Fifth Estate,” author Stephen D. Cooper argues that bloggers can hold companies and the mainstream media accountable for their actions. But in order to do so, bloggers must simultaneously maintain healthy, positive relationships with the brands with whom they work, while also fiercely protecting their independence.
Even though we don’t necessarily agree with the recent FTC ruling holding bloggers to a different level of accountability than the mainstream press, the underlying principles are sensible. Don’t allow your praise to be bought. Accept gifts like everyone else in the industry, but be transparent when you have been given something to review or been flown in to cover an event. And, most of all, say what you think! After all, this is why your audience comes to you in the first place. The minute bloggers become part of the easily-manipulated fashion media machinery, they lose their unique selling proposition.
If bloggers want to be taken seriously, they must operate like professionals. Indeed, it is the most professional of bloggers — those who work hard, operate with integrity, and maintain good relationships — who are having the most financial success, attracting advertising, sponsorship and even consulting and employment opportunities.
MAINSTREAM MEDIA: Engage with bloggers as professionals and consider making them your new colleagues.
The rise of fashion bloggers does not necessarily mean the death of fashion editors. There is more than enough room for everyone to take part in the ever-growing sphere of fashion writing and communication.
However, more than just writing about bloggers (over and over again), the mainstream media may want to consider engaging with them as fellow professionals. Prior to last week’s IHT conference in Berlin, Suzy Menkes agreed to have the tables turned on her, participating in an interview with Mary Scherpe on her blog, Quite Contrary. While many other journalists were interviewing bloggers, Suzy was letting a blogger interview her. Suzy also made an effort to meet with bloggers in Berlin who were (really) blogging and tweeting from the front rows.
Dazed Digital and Vogue web traffic Source: Alexa
Jefferson Hack, Editorial Director of Dazed Group, has taken this one step further. When hiring for Dazed Digital a few years back, he did not look to traditional editors or photographers to lead his new digital team. Rather, he turned to the internet’s burgeoning fashion talents, hiring photographer Alistair Allan as Digital Director and prodigious fashion blogger Susie Bubble as Commissioning Editor. Long before much of the mainstream media was even paying attention to bloggers, Jefferson was already learning from them.
The results have been impressive. Independently-owned Dazed Digital now receives about 2 million pageviews per month, placing it in the leagues of Conde Nast-owned Vogue.co.uk, according to Alexa.
Still, I regularly hear reports of major online fashion properties who “can’t find the budgets” to hire young digital natives to help them amp up their online content. This is pennywise, pound foolish, especially as these young talents can be hired for a fraction of the cost of major photo shoot or big-time editor.
If the mainstream media are to keep up with all of the new developments, technologies and tools of online media, they might as well turn to the experts. Bloggers are at the forefront of content innovation on the internet and have the know-how to use social media effectively. In today’s internet world, it is innovative content attracts viral attention and fosters relationships with readers, which are also the most important drivers of traffic and loyalty.
Imran Amed is Editor of The Business of Fashion
Fashion 2.0 Social Media Reality Check
Tavi Gevinson Source: Style Rookie
NEW YORK, United States — Ever since the dynamic and erudite young fashion blogger Tavi appeared at the runway shows in New York this past September, the fashion industry has partaken in a veritable social media orgy. Article after article rightfully declared the 13 year-old blogger and her talented fashion blogger brothers and sisters — BryanBoy, Susie Bubble and others — the new fashion stars.
During New York Fashion Week in September, The New York Times Technology section exclaimed: “Young bloggers Have Ear of Fashion Heavyweights.” Then, Women’s Wear Daily declared: “Everyone’s doing it: Brands take on Social Media,” and followed with “Bricks Versus Clicks: Front Row at D&G,” ranking the front row presence of bloggers at D&G in Milan as a “Defining Moment” of the Spring/Summer 2010 collections.
But it didn’t there. The Independent in London showcased the “New Kids on the Blog,” Metro News in Toronto said “Style bloggers bring fashion to the masses,” the Irish Independent said fashion blogs are “Writing with Style,” the Financial Times revealed that “Style bloggers take centre stage” and the International Herald Tribune chimed in, saying that we are moving “From Couture — to Conversation.”
And while nothing delights us more than to see bloggers finally getting the attention and respect they deserve, the time has come for a bit of a social media reality check.
Fashion blog web traffic Source: Alexa
According to some quick research on Alexa, the recent attention has propelled traffic of these fashion blogs to record highs, and for a short period, tiny Tavi’s traffic even eclipsed that of the superblogger Scott Schuman. All the while, brands were chasing the “new front row” for attention and approval, an international luxury conference was convened in Berlin to explore how social media is revolutionising the fashion industry, and the star bloggers were trying to make sense of their overnight fame and newfound industry influence.
But what happens next? It’s time to take stock to assess how each of the constituent players in this rapidly developing online fashion eco-system can develop over the long-term. For everyone involved, this will require not only a change of media, but also a change of mindset.
BRANDS: Develop long-term, reciprocal relationships with bloggers. Don’t just create PR stunts to get attention.
At that now infamous D&G show in Milan, where bloggers were prominently placed in the front row for all to see, laptops were also set up in front of their seats. The objective, it appears, was to make it look like they were “live” blogging and tweeting during the show, even though none of the selected photobloggers (Scott Schuman, Tommy Ton, and Garance Doré) work in this way. Rather, the photobloggers take hundreds of photos over the course of a day and then edit their photos down before publishing only the best ones. In reality, only Bryanboy is a regular Twitter user and the only one who might be considered a “live” blogger.
As a PR stunt, the illusion of live blogging may have done wonders for D&G as press photos of the bloggers appeared in major publications around the world. Conjuring up images of young people streaming their ideas live from the front row made for a great story, but it probably made the bloggers themselves feel uncomfortable. D&G apparently wanted to be seen as the first to truly embrace media, even though other brands have been doing so for several seasons now, albeit in a quieter manner.
It’s not enough to be seen to embrace social media. Brands and retailers must also build real long-term symbiotic relationships with bloggers, not short-term exploitative ones. Excellent examples of this are Lane Crawford, who from the start have supported and worked with Tommy Ton on their ad campaigns, and Burberry and DKNY who hired Mr. Schuman for his photography skills to appear on their website and in their advertisements, respectively.
Finally, consider the point made by Yuli Ziv, a New York-based fashion blogger who said to brands last week: “If you are looking for sales, make sure to provide [bloggers] the detailed product info, pricing and availability, if SEO optimization is your top goal – make sure you use the right keywords in your pitch, if publicity buzz is what makes you satisfied – give them juicy stories, and if you simply want love – give them the reasons to love you.” It’s as simple as that.
BLOGGERS: Operate with the highest-levels of integrity and don’t lose your independent voice and point-of-view.
In his book “Watching the Watchdog: Bloggers As the Fifth Estate,” author Stephen D. Cooper argues that bloggers can hold companies and the mainstream media accountable for their actions. But in order to do so, bloggers must simultaneously maintain healthy, positive relationships with the brands with whom they work, while also fiercely protecting their independence.
Even though we don’t necessarily agree with the recent FTC ruling holding bloggers to a different level of accountability than the mainstream press, the underlying principles are sensible. Don’t allow your praise to be bought. Accept gifts like everyone else in the industry, but be transparent when you have been given something to review or been flown in to cover an event. And, most of all, say what you think! After all, this is why your audience comes to you in the first place. The minute bloggers become part of the easily-manipulated fashion media machinery, they lose their unique selling proposition.
If bloggers want to be taken seriously, they must operate like professionals. Indeed, it is the most professional of bloggers — those who work hard, operate with integrity, and maintain good relationships — who are having the most financial success, attracting advertising, sponsorship and even consulting and employment opportunities.
MAINSTREAM MEDIA: Engage with bloggers as professionals and consider making them your new colleagues.
The rise of fashion bloggers does not necessarily mean the death of fashion editors. There is more than enough room for everyone to take part in the ever-growing sphere of fashion writing and communication.
However, more than just writing about bloggers (over and over again), the mainstream media may want to consider engaging with them as fellow professionals. Prior to last week’s IHT conference in Berlin, Suzy Menkes agreed to have the tables turned on her, participating in an interview with Mary Scherpe on her blog, Quite Contrary. While many other journalists were interviewing bloggers, Suzy was letting a blogger interview her. Suzy also made an effort to meet with bloggers in Berlin who were (really) blogging and tweeting from the front rows.
Dazed Digital and Vogue web traffic Source: Alexa
Jefferson Hack, Editorial Director of Dazed Group, has taken this one step further. When hiring for Dazed Digital a few years back, he did not look to traditional editors or photographers to lead his new digital team. Rather, he turned to the internet’s burgeoning fashion talents, hiring photographer Alistair Allan as Digital Director and prodigious fashion blogger Susie Bubble as Commissioning Editor. Long before much of the mainstream media was even paying attention to bloggers, Jefferson was already learning from them.
The results have been impressive. Independently-owned Dazed Digital now receives about 2 million pageviews per month, placing it in the leagues of Conde Nast-owned Vogue.co.uk, according to Alexa.
Still, I regularly hear reports of major online fashion properties who “can’t find the budgets” to hire young digital natives to help them amp up their online content. This is pennywise, pound foolish, especially as these young talents can be hired for a fraction of the cost of major photo shoot or big-time editor.
If the mainstream media are to keep up with all of the new developments, technologies and tools of online media, they might as well turn to the experts. Bloggers are at the forefront of content innovation on the internet and have the know-how to use social media effectively. In today’s internet world, it is innovative content attracts viral attention and fosters relationships with readers, which are also the most important drivers of traffic and loyalty.
Imran Amed is Editor of The Business of Fashion
Tavi Gevinson Source: Style Rookie
NEW YORK, United States — Ever since the dynamic and erudite young fashion blogger Tavi appeared at the runway shows in New York this past September, the fashion industry has partaken in a veritable social media orgy. Article after article rightfully declared the 13 year-old blogger and her talented fashion blogger brothers and sisters — BryanBoy, Susie Bubble and others — the new fashion stars.
During New York Fashion Week in September, The New York Times Technology section exclaimed: “Young bloggers Have Ear of Fashion Heavyweights.” Then, Women’s Wear Daily declared: “Everyone’s doing it: Brands take on Social Media,” and followed with “Bricks Versus Clicks: Front Row at D&G,” ranking the front row presence of bloggers at D&G in Milan as a “Defining Moment” of the Spring/Summer 2010 collections.
But it didn’t there. The Independent in London showcased the “New Kids on the Blog,” Metro News in Toronto said “Style bloggers bring fashion to the masses,” the Irish Independent said fashion blogs are “Writing with Style,” the Financial Times revealed that “Style bloggers take centre stage” and the International Herald Tribune chimed in, saying that we are moving “From Couture — to Conversation.”
And while nothing delights us more than to see bloggers finally getting the attention and respect they deserve, the time has come for a bit of a social media reality check.
Fashion blog web traffic Source: Alexa
According to some quick research on Alexa, the recent attention has propelled traffic of these fashion blogs to record highs, and for a short period, tiny Tavi’s traffic even eclipsed that of the superblogger Scott Schuman. All the while, brands were chasing the “new front row” for attention and approval, an international luxury conference was convened in Berlin to explore how social media is revolutionising the fashion industry, and the star bloggers were trying to make sense of their overnight fame and newfound industry influence.
But what happens next? It’s time to take stock to assess how each of the constituent players in this rapidly developing online fashion eco-system can develop over the long-term. For everyone involved, this will require not only a change of media, but also a change of mindset.
BRANDS: Develop long-term, reciprocal relationships with bloggers. Don’t just create PR stunts to get attention.
At that now infamous D&G show in Milan, where bloggers were prominently placed in the front row for all to see, laptops were also set up in front of their seats. The objective, it appears, was to make it look like they were “live” blogging and tweeting during the show, even though none of the selected photobloggers (Scott Schuman, Tommy Ton, and Garance Doré) work in this way. Rather, the photobloggers take hundreds of photos over the course of a day and then edit their photos down before publishing only the best ones. In reality, only Bryanboy is a regular Twitter user and the only one who might be considered a “live” blogger.
As a PR stunt, the illusion of live blogging may have done wonders for D&G as press photos of the bloggers appeared in major publications around the world. Conjuring up images of young people streaming their ideas live from the front row made for a great story, but it probably made the bloggers themselves feel uncomfortable. D&G apparently wanted to be seen as the first to truly embrace media, even though other brands have been doing so for several seasons now, albeit in a quieter manner.
It’s not enough to be seen to embrace social media. Brands and retailers must also build real long-term symbiotic relationships with bloggers, not short-term exploitative ones. Excellent examples of this are Lane Crawford, who from the start have supported and worked with Tommy Ton on their ad campaigns, and Burberry and DKNY who hired Mr. Schuman for his photography skills to appear on their website and in their advertisements, respectively.
Finally, consider the point made by Yuli Ziv, a New York-based fashion blogger who said to brands last week: “If you are looking for sales, make sure to provide [bloggers] the detailed product info, pricing and availability, if SEO optimization is your top goal – make sure you use the right keywords in your pitch, if publicity buzz is what makes you satisfied – give them juicy stories, and if you simply want love – give them the reasons to love you.” It’s as simple as that.
BLOGGERS: Operate with the highest-levels of integrity and don’t lose your independent voice and point-of-view.
In his book “Watching the Watchdog: Bloggers As the Fifth Estate,” author Stephen D. Cooper argues that bloggers can hold companies and the mainstream media accountable for their actions. But in order to do so, bloggers must simultaneously maintain healthy, positive relationships with the brands with whom they work, while also fiercely protecting their independence.
Even though we don’t necessarily agree with the recent FTC ruling holding bloggers to a different level of accountability than the mainstream press, the underlying principles are sensible. Don’t allow your praise to be bought. Accept gifts like everyone else in the industry, but be transparent when you have been given something to review or been flown in to cover an event. And, most of all, say what you think! After all, this is why your audience comes to you in the first place. The minute bloggers become part of the easily-manipulated fashion media machinery, they lose their unique selling proposition.
If bloggers want to be taken seriously, they must operate like professionals. Indeed, it is the most professional of bloggers — those who work hard, operate with integrity, and maintain good relationships — who are having the most financial success, attracting advertising, sponsorship and even consulting and employment opportunities.
MAINSTREAM MEDIA: Engage with bloggers as professionals and consider making them your new colleagues.
The rise of fashion bloggers does not necessarily mean the death of fashion editors. There is more than enough room for everyone to take part in the ever-growing sphere of fashion writing and communication.
However, more than just writing about bloggers (over and over again), the mainstream media may want to consider engaging with them as fellow professionals. Prior to last week’s IHT conference in Berlin, Suzy Menkes agreed to have the tables turned on her, participating in an interview with Mary Scherpe on her blog, Quite Contrary. While many other journalists were interviewing bloggers, Suzy was letting a blogger interview her. Suzy also made an effort to meet with bloggers in Berlin who were (really) blogging and tweeting from the front rows.
Dazed Digital and Vogue web traffic Source: Alexa
Jefferson Hack, Editorial Director of Dazed Group, has taken this one step further. When hiring for Dazed Digital a few years back, he did not look to traditional editors or photographers to lead his new digital team. Rather, he turned to the internet’s burgeoning fashion talents, hiring photographer Alistair Allan as Digital Director and prodigious fashion blogger Susie Bubble as Commissioning Editor. Long before much of the mainstream media was even paying attention to bloggers, Jefferson was already learning from them.
The results have been impressive. Independently-owned Dazed Digital now receives about 2 million pageviews per month, placing it in the leagues of Conde Nast-owned Vogue.co.uk, according to Alexa.
Still, I regularly hear reports of major online fashion properties who “can’t find the budgets” to hire young digital natives to help them amp up their online content. This is pennywise, pound foolish, especially as these young talents can be hired for a fraction of the cost of major photo shoot or big-time editor.
If the mainstream media are to keep up with all of the new developments, technologies and tools of online media, they might as well turn to the experts. Bloggers are at the forefront of content innovation on the internet and have the know-how to use social media effectively. In today’s internet world, it is innovative content attracts viral attention and fosters relationships with readers, which are also the most important drivers of traffic and loyalty.
Imran Amed is Editor of The Business of Fashion
Tavi Gevinson Source: Style Rookie
NEW YORK, United States — Ever since the dynamic and erudite young fashion blogger Tavi appeared at the runway shows in New York this past September, the fashion industry has partaken in a veritable social media orgy. Article after article rightfully declared the 13 year-old blogger and her talented fashion blogger brothers and sisters — BryanBoy, Susie Bubble and others — the new fashion stars.
During New York Fashion Week in September, The New York Times Technology section exclaimed: “Young bloggers Have Ear of Fashion Heavyweights.” Then, Women’s Wear Daily declared: “Everyone’s doing it: Brands take on Social Media,” and followed with “Bricks Versus Clicks: Front Row at D&G,” ranking the front row presence of bloggers at D&G in Milan as a “Defining Moment” of the Spring/Summer 2010 collections.
But it didn’t there. The Independent in London showcased the “New Kids on the Blog,” Metro News in Toronto said “Style bloggers bring fashion to the masses,” the Irish Independent said fashion blogs are “Writing with Style,” the Financial Times revealed that “Style bloggers take centre stage” and the International Herald Tribune chimed in, saying that we are moving “From Couture — to Conversation.”
And while nothing delights us more than to see bloggers finally getting the attention and respect they deserve, the time has come for a bit of a social media reality check.
Fashion blog web traffic Source: Alexa
According to some quick research on Alexa, the recent attention has propelled traffic of these fashion blogs to record highs, and for a short period, tiny Tavi’s traffic even eclipsed that of the superblogger Scott Schuman. All the while, brands were chasing the “new front row” for attention and approval, an international luxury conference was convened in Berlin to explore how social media is revolutionising the fashion industry, and the star bloggers were trying to make sense of their overnight fame and newfound industry influence.
But what happens next? It’s time to take stock to assess how each of the constituent players in this rapidly developing online fashion eco-system can develop over the long-term. For everyone involved, this will require not only a change of media, but also a change of mindset.
BRANDS: Develop long-term, reciprocal relationships with bloggers. Don’t just create PR stunts to get attention.
At that now infamous D&G show in Milan, where bloggers were prominently placed in the front row for all to see, laptops were also set up in front of their seats. The objective, it appears, was to make it look like they were “live” blogging and tweeting during the show, even though none of the selected photobloggers (Scott Schuman, Tommy Ton, and Garance Doré) work in this way. Rather, the photobloggers take hundreds of photos over the course of a day and then edit their photos down before publishing only the best ones. In reality, only Bryanboy is a regular Twitter user and the only one who might be considered a “live” blogger.
As a PR stunt, the illusion of live blogging may have done wonders for D&G as press photos of the bloggers appeared in major publications around the world. Conjuring up images of young people streaming their ideas live from the front row made for a great story, but it probably made the bloggers themselves feel uncomfortable. D&G apparently wanted to be seen as the first to truly embrace media, even though other brands have been doing so for several seasons now, albeit in a quieter manner.
It’s not enough to be seen to embrace social media. Brands and retailers must also build real long-term symbiotic relationships with bloggers, not short-term exploitative ones. Excellent examples of this are Lane Crawford, who from the start have supported and worked with Tommy Ton on their ad campaigns, and Burberry and DKNY who hired Mr. Schuman for his photography skills to appear on their website and in their advertisements, respectively.
Finally, consider the point made by Yuli Ziv, a New York-based fashion blogger who said to brands last week: “If you are looking for sales, make sure to provide [bloggers] the detailed product info, pricing and availability, if SEO optimization is your top goal – make sure you use the right keywords in your pitch, if publicity buzz is what makes you satisfied – give them juicy stories, and if you simply want love – give them the reasons to love you.” It’s as simple as that.
BLOGGERS: Operate with the highest-levels of integrity and don’t lose your independent voice and point-of-view.
In his book “Watching the Watchdog: Bloggers As the Fifth Estate,” author Stephen D. Cooper argues that bloggers can hold companies and the mainstream media accountable for their actions. But in order to do so, bloggers must simultaneously maintain healthy, positive relationships with the brands with whom they work, while also fiercely protecting their independence.
Even though we don’t necessarily agree with the recent FTC ruling holding bloggers to a different level of accountability than the mainstream press, the underlying principles are sensible. Don’t allow your praise to be bought. Accept gifts like everyone else in the industry, but be transparent when you have been given something to review or been flown in to cover an event. And, most of all, say what you think! After all, this is why your audience comes to you in the first place. The minute bloggers become part of the easily-manipulated fashion media machinery, they lose their unique selling proposition.
If bloggers want to be taken seriously, they must operate like professionals. Indeed, it is the most professional of bloggers — those who work hard, operate with integrity, and maintain good relationships — who are having the most financial success, attracting advertising, sponsorship and even consulting and employment opportunities.
MAINSTREAM MEDIA: Engage with bloggers as professionals and consider making them your new colleagues.
The rise of fashion bloggers does not necessarily mean the death of fashion editors. There is more than enough room for everyone to take part in the ever-growing sphere of fashion writing and communication.
However, more than just writing about bloggers (over and over again), the mainstream media may want to consider engaging with them as fellow professionals. Prior to last week’s IHT conference in Berlin, Suzy Menkes agreed to have the tables turned on her, participating in an interview with Mary Scherpe on her blog, Quite Contrary. While many other journalists were interviewing bloggers, Suzy was letting a blogger interview her. Suzy also made an effort to meet with bloggers in Berlin who were (really) blogging and tweeting from the front rows.
Dazed Digital and Vogue web traffic Source: Alexa
Jefferson Hack, Editorial Director of Dazed Group, has taken this one step further. When hiring for Dazed Digital a few years back, he did not look to traditional editors or photographers to lead his new digital team. Rather, he turned to the internet’s burgeoning fashion talents, hiring photographer Alistair Allan as Digital Director and prodigious fashion blogger Susie Bubble as Commissioning Editor. Long before much of the mainstream media was even paying attention to bloggers, Jefferson was already learning from them.
The results have been impressive. Independently-owned Dazed Digital now receives about 2 million pageviews per month, placing it in the leagues of Conde Nast-owned Vogue.co.uk, according to Alexa.
Still, I regularly hear reports of major online fashion properties who “can’t find the budgets” to hire young digital natives to help them amp up their online content. This is pennywise, pound foolish, especially as these young talents can be hired for a fraction of the cost of major photo shoot or big-time editor.
If the mainstream media are to keep up with all of the new developments, technologies and tools of online media, they might as well turn to the experts. Bloggers are at the forefront of content innovation on the internet and have the know-how to use social media effectively. In today’s internet world, it is innovative content attracts viral attention and fosters relationships with readers, which are also the most important drivers of traffic and loyalty.
Imran Amed is Editor of The Business of Fashion
2009年10月28日 星期三
Maison Martin Margiela | The Cult of Invisibility – Part One
28 October, 2009 by Guest Contributor
Maison Martin Margiela The Cult of Invisibility – Part One
Maison Martin Margiela The Cult of Invisibility – Part One
The industry’s worst kept secret was confirmed this week when Renzo Rosso told Horatio Silva that he was “this close” to appointing a new designer at Maison Martin Margiela. Though Rosso says Margiela will continue to be involved from a distance, the loss of a founding designer at a namesake brand is not an easy transition to make. In the first of a two part series, our friends at Agenda Inc. examine how Maison Martin Margiela grew into a global cult brand, at the heart of which was the noisy invisibility of the eponymous designer.
PARIS, France — This month, after several years of intriguing – then frustrating – rumours among journalists, fashion editors and fans, Maison Martin Margiela announced that Margiela was no longer designing at the brand that he had created.
The reaction was confused. People wanted more information. As a cult brand, it had spent 20 years inspiring loyalty, love, and disciples. Despite years of communication that the brand was designed by a team – the hand of Margiela, albeit invisible, was a big part of the brand’s equity.
With Margiela gone, how should the brand evolve? There are lessons to be learned from real-world cults – who face varying levels of crisis when a leader leaves, retires, dies, kills himself, is proved embarrassingly wrong or – in some other way – is no longer available.
We believe that the future of Maison Martin Margiela can benefit – in strategic and business terms – from leveraging the heritage of the brand, and to integrate lessons from real-world cults about how leaderless cults evolve.
To understand the cult elements that animate the Margiela brand, it’s important to understand the role that invisibility and anonymity has had throughout the brand’s history.
A sense of invisibility has been incorporated into the DNA of the brand since the beginning. Patrick Scallon, the right hand person to Margiela once characterised the marketing strategy of Margiela as “absence equals presence” and “the cult of impersonality,” indicating that it was a central part of the brand identity.
This cult of impersonality spread through the aesthetic of the brand:
Signage – Stores are never listed in phone books or identified with signage.
Uniforms – Staff at stores and at Margiela HQ wear standard white labcoats.
Colours – White – called “whites” in Margielaspeak – is the ubiquitous color of all stores, Margiela HQ, and of the sheets that covered all in-store furniture and displays.
Packaging – Margiela packaging is monochrome and logo free.
Models – Runway models at MMM more than any other designer often appear on the runway with covered faces.
Runway shows – Seating is mostly first-come, first-served, avoiding the industry standard of seating hierarchy.
Collective speaking – The brand used a first person plural response to all requests, emphasizing the collaborative, disciple-like consensus of their thoughts.
Photography – The aesthetic of photo communications came to resemble the spiritualist photography of the 19th century; models appeared as ghostly blurs, and a sense of fragility hovered in the air, somewhere between the theosophy of Blavatsky and the work of Louise Bourgeois.
As the brand became successful in the mid-90s, Martin Margiela retired completely from public view, at a time when the idea of the invisible designer found itself at odds the accelerated rise of celebrity culture. As other designers chose – or were required to become – famous; Margiela’s anonymity became louder than ever. And ironically, his invisibility became exponentially interesting to the media. No article was written without some reference to his invisibility. It was part of the appeal, it defined the brand. But the clothes still dominated.
The figure of Martin Margiela became relevant to wider debate – still going on – about the relationship between designer, celebrity, and the brand they represent; a debate summed up in this comment by Zac Posen:
“I think there’s a great divide in fashion right now between the desire of the old school, which valued being hidden and shy, and what is going to bring our industry forward, which is connection, personality and craft.”
In fact, Margiela uniquely was operating at both levels simultaneously. The hidden part was the personality. So far, so Jean Baudrillard.
Tomorrow, in part two, we will explore how Mr. Margiela’s exit from the company could have been better managed by adopting strategies learned from real-world cults.
Lucian James is Founder of Agenda Inc, an insight and thought-leadership partner for luxury brands.
PARIS, France — This month, after several years of intriguing – then frustrating – rumours among journalists, fashion editors and fans, Maison Martin Margiela announced that Margiela was no longer designing at the brand that he had created.
The reaction was confused. People wanted more information. As a cult brand, it had spent 20 years inspiring loyalty, love, and disciples. Despite years of communication that the brand was designed by a team – the hand of Margiela, albeit invisible, was a big part of the brand’s equity.
With Margiela gone, how should the brand evolve? There are lessons to be learned from real-world cults – who face varying levels of crisis when a leader leaves, retires, dies, kills himself, is proved embarrassingly wrong or – in some other way – is no longer available.
We believe that the future of Maison Martin Margiela can benefit – in strategic and business terms – from leveraging the heritage of the brand, and to integrate lessons from real-world cults about how leaderless cults evolve.
To understand the cult elements that animate the Margiela brand, it’s important to understand the role that invisibility and anonymity has had throughout the brand’s history.
A sense of invisibility has been incorporated into the DNA of the brand since the beginning. Patrick Scallon, the right hand person to Margiela once characterised the marketing strategy of Margiela as “absence equals presence” and “the cult of impersonality,” indicating that it was a central part of the brand identity.
This cult of impersonality spread through the aesthetic of the brand:
Signage – Stores are never listed in phone books or identified with signage.
Uniforms – Staff at stores and at Margiela HQ wear standard white labcoats.
Colours – White – called “whites” in Margielaspeak – is the ubiquitous color of all stores, Margiela HQ, and of the sheets that covered all in-store furniture and displays.
Packaging – Margiela packaging is monochrome and logo free.
Models – Runway models at MMM more than any other designer often appear on the runway with covered faces.
Runway shows – Seating is mostly first-come, first-served, avoiding the industry standard of seating hierarchy.
Collective speaking – The brand used a first person plural response to all requests, emphasizing the collaborative, disciple-like consensus of their thoughts.
Photography – The aesthetic of photo communications came to resemble the spiritualist photography of the 19th century; models appeared as ghostly blurs, and a sense of fragility hovered in the air, somewhere between the theosophy of Blavatsky and the work of Louise Bourgeois.
As the brand became successful in the mid-90s, Martin Margiela retired completely from public view, at a time when the idea of the invisible designer found itself at odds the accelerated rise of celebrity culture. As other designers chose – or were required to become – famous; Margiela’s anonymity became louder than ever. And ironically, his invisibility became exponentially interesting to the media. No article was written without some reference to his invisibility. It was part of the appeal, it defined the brand. But the clothes still dominated.
The figure of Martin Margiela became relevant to wider debate – still going on – about the relationship between designer, celebrity, and the brand they represent; a debate summed up in this comment by Zac Posen:
“I think there’s a great divide in fashion right now between the desire of the old school, which valued being hidden and shy, and what is going to bring our industry forward, which is connection, personality and craft.”
In fact, Margiela uniquely was operating at both levels simultaneously. The hidden part was the personality. So far, so Jean Baudrillard.
Tomorrow, in part two, we will explore how Mr. Margiela’s exit from the company could have been better managed by adopting strategies learned from real-world cults.
Lucian James is Founder of Agenda Inc, an insight and thought-leadership partner for luxury brands.
2009年10月27日 星期二
Fashion style
S/S 10 collection of Swagga and Soul
Masterclasses at the Arts of FashionFlat Texture
stone pebbling 'effect' production by using patent leather
Natascha Stolle S/S 10 collection
Country Tough------innocent look
Courtesy of Lover
Natascha Stolle S/S 10 collection
Country Tough------innocent look
Courtesy of Lover
2009年10月20日 星期二
Fashion 2.0 | Top 10 Fashion Films of the Season
19 October, 2009 by Vikram Alexei Kansara
Fashion 2.0 Top 10 Fashion Films of the Season
Screenshot from David David fashion film Source: David David
NEW YORK, United States — Fashion film was everywhere this season. Emerging and established designers alike dreamt up new ways to use the medium, proving it to be an increasingly powerful and flexible format for capturing, heightening and transmitting the energy of the collections.
In New York, designers Gareth Pugh and Tim Hamilton presented films that acted as prequels and sequels to their respective Paris runway shows, extending their presence across multiple fashion capitals. While in London, DAVID DAVID presented a series of clean and cost-effective films in lieu of an expensive runway show, Richard Nicoll showed a haunting short to introduce his catwalk outing, and luxury knitwear manufacturers Pringle of Scotland returned to London Fashion Week with a beautiful film featuring Tilda Swinton.
Fashion film was a powerful force in Paris, as well. Alexander McQueen integrated film into his visionary, technology-infused show, creating a heightened, multimedia experience for the editors and buyers in attendance, while beaming the spectacle to the world via twin robotic cameras and a link up with Nick Knight’s website SHOWstudio.
Fashion film also made an appearance alongside the collections. In a timely homage to an early pioneer, Parisian department store Le Bon Marché held a beautifully installed exhibition titled “Guy Bourdin: ses films.” Meanwhile, across the Seine at the Palais de Tokyo, fashion blogger Diane Pernet staged her second annual fashion film festival, screening recent films by Steven Klein, Nick Knight and others.
What follows is a BoF Best of the Season selection of what we think were the most innovative and captivating fashion films (and fashion film happenings) we saw this season. (RSS and Email subscribers, click here to view the films).
1. ALEXANDER McQUEEN
Alexander McQueen’s show at the Omnisports center in Paris was utterly extraordinary, not least because of the way the designer integrated revolutionary new technology into his runway outing. Presented on a 60 foot LED screen behind the catwalk, a mesmerizing digital film by Nick Knight, featuring Raquel Zimmerman coiled with snakes and melting in and out of a watery tomb, drove home the dystopian themes of the collection. We think the film provided a perfectly immersive backdrop to the clothes and turned this spectacular show into a multi-sensory blockbuster.
2. GUY BOURDIN: SES FILMS
“This may be one of the most moving displays of fashion imagery I have seen,” tweeted BoF editor-in-chief Imran Amed from the private view of “Guy Bourdin: Ses Films” on the second floor of venerable Paris department store Le Bon Marché. We think Bourdin was a true pioneer. His experiments in fashion film, shot long before digital video or the internet, blend sex and surrealism with an undercurrent of violence that has inspired fashion filmmakers ever since.
3. GARETH PUGH
Gareth Pugh Spring/Summer 2010 Source: SHOWStudio
This season, Gareth Pugh established his first presence at New York Fashion Week with four abstract films, created in collaboration with fashion filmmaker Ruth Hogben and presented on a giant monolithic cube in the darkened loading dock at Milk Studios. Inspired by the four elements – earth, water, wind and fire – we think the films were a perfect trailer for Mr. Pugh’s Spring Summer 2010 runway show in Paris, creating just the right dose of mystery and heightened anticipation, without giving away too much.
4. RICHARD NICOLL
Produced by Jaime Perlman, Art Director of British Vogue, and directed by Kathryn Ferguson, we love the beautifully layered short film that set the mood for Richard Nicoll’s S/S 2010 runway show. The film also appears on TEST, Ms. Perlman’s new online platform which brings a new sense of transparency and democracy to the making of moving fashion imagery, presenting finished work alongside creative inspirations, behind the scenes moments, and profiles of everyone involved in the creative process.
5. VANESSA BRUNO
Also launching this season was Vanessa Bruno’s film with longtime collaborator Stephanie Di Ciusto, featuring Lou Doillon. Released in lieu of a catalog, Bruno’s “visual poem” beautifully depicts Doillon as she evolves from cave dwelling wild child to contemporary urban warrior. But what we find most interesting is Bruno’s decision to use fashion film to speak directly to consumers. In a smart move, she decided to launch the video on vanessabruno.com and YouTube, as a gift to her loyal fans, and feature the A/W 2009-2010 collection that’s currently in stores.
6. DAVID DAVID
David Saunders of DAVID DAVID presented his Spring Summer 2010 collection with a series of fashion films that had us hypnotized. We like how the films stayed focused on the clothes, playing with music, subtle visual effects and the bold geometric prints of Mr. Saunders’ elegant shirt dresses and swimwear to create an entrancing mood.
7. A SHADED VIEW ON FASHION FILM
This season, Diane Pernet staged her second annual fashion film festival, “A Shaded View on Fashion Film.” As the medium continues to grow, we think the importance of an annual event like this to help incubate and recognize both emerging and established talent cannot be overestimated. The festival featured a stunning selection of films by Ruth Hogben, Steven Klein, Undercover, Georgie Greville, Chris Cunningham and others, including our favorite: a “video portrait” of Rick Owens by fashion film pioneer Nick Knight.
8. COMPLEX GEOMETRIES
PERPETUAL LEISURE from JASON LAST on Vimeo.
Montreal-based label Complex Geometries bypassed the traditional fashion week outing altogether, deciding instead to show their Spring Summer 2010 collection, “Perpetual Leisure,” exclusively on film with a beautiful short created by Jason Last. We think this approach makes sense for emerging designers with limited budgets and love how the film elegantly combines music and slow motion to conjure up a powerful mood, while showing off the clothes to full effect.
9. TIM HAMILTON
Tim Hamilton’s Rope and Climb were created in collaboration with contemporary artist and photographer Collier Schorr. Screened at New York Fashion Week, we think the simple, but evocative films beautifully complement each other and were a smart way to give the brand a continued presence in New York, following Mr. Hamilton’s decision to show both his women’s and men’s collections in Paris.
10. E. TAUTZ
In London, Savile Row “sporting and military tailors” E. Tautz created a quirky animated fashion film to launch their Spring Summer 2010 ready-to-wear collection. Created by Quentin Jones, we think the film lightens things up, while getting at the specifically English sense of style and humour that underlies the elegance of Savile Row.
HONOURABLE MENTION: PRINGLE OF SCOTLAND
Pringle Film Screenshot
Source: Style.com
Luxury knitwear manufacturers Pringle of Scotland celebrated its return to the London catwalk with a short film that perfectly complemented the colour palette and sensibility of the new collection that followed. Starring Tilda Swinton, the brand’s current muse, and shot by Ryan McGinley near Swinton’s home in Inverness, the film was beautifully conceived and executed. But we have to question Pringle’s distribution strategy. The film debuted during London Fashion Week and has been discussed on the internet, by both the fashion press and consumers, but curiously will not be available online until the Spring.
Which fashion films got two thumbs up from you this season? Let the BoF community know which films you thought were special.
2009年9月5日 星期六
Lace by Wikipedia
Lace
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Lace (disambiguation).
Lace appliqué and bow at the bust-line of a nightgown.
Lace is an openwork fabric, patterned with open holes in the work, made by machine or by hand. The holes can be formed via removal of threads or cloth from a previously woven fabric, but more often open spaces are created as part of the lace fabric. Lace-making is an ancient craft. True lace was not made until the late 15th and early 16th centuries. A true lace is created when a thread is looped, twisted or braided to other threads independently from a backing fabric.
Originally linen, silk, gold, or silver threads were used. Now lace is often made with cotton thread. Manufactured lace may be made of synthetic fiber. A few modern artists make lace with a fine copper or silver wire instead of thread.
Contents[hide]
1 Types
2 History
3 Gallery
4 See also
5 External links
//
[edit] Types
There are many types of lace, defined by how they are made. These include:
Needle lace; made using a needle and thread. This is the most flexible of the lace-making arts. While some types can be made more quickly than the finest of bobbin laces, others are very time-consuming. Some purists regard needle lace as the height of lace-making. The finest antique needle laces were [made] from a very fine thread that is not manufactured today.
Cutwork, or whitework; lace constructed by removing threads from a woven background, and the remaining threads wrapped or filled with embroidery.
Bobbin Lace; as the name suggests, made with bobbins and a pillow. The bobbins, turned from wood, bone or plastic, hold threads which are woven together and held in place with pins stuck in the pattern on the pillow. The pillow contains straw, preferably oat straw or other materials such as sawdust, insulation styrofoam or ethafoam. Also known as Bone-lace. Chantilly lace is a type of bobbin lace.
Tape lace; makes the tape in the lace as it is worked, or uses a machine- or hand-made textile strip formed into a design, then joined and embellished with needle or bobbin lace.
Knotted lace; including macramé and tatting. Tatted lace is made with a shuttle or a tatting needle.
Crocheted lace; including Irish crochet, pineapple crochet, and filet crochet.
Knitted lace; including Shetland lace, such as the "wedding ring shawl", a lace shawl so fine that it can be pulled through a wedding ring.
Machine-made; any style of lace created or replicated using mechanical means.
Ecru lace; lace not bleached
[edit] History
Objects resembling lace bobbins have been found in Roman remains, but there are no records of Roman lace-making. The craft may have begun in the first half of the 14th century in Flanders (Now on the boarder between France and Belgium).
Lace was used by clergy of the early Catholic Church as part of vestments in religious ceremonies, but did not come into widespread use until the 16th century.[1] The popularity of lace increased rapidly and the cottage industry of lace making spread throughout Europe to most European countries. Countries like Finland (city of Rauma), Slovenia (city of Idrija), Belgium, Hungary, Ireland, Malta, Russia, Spain, Turkey and others all have their own unique artistic heritage expressed through lace.
In North America in the 19th century, lace making was spread to the Native American tribes through missionaries. [2]
St. John Francis Regis helped many country girls stay away from the cities by establishing them in the lacemaking and embroidery trade, which is why he became the Patron Saint of lace-making.[citation needed]
[edit] Gallery
White lace is often used in collars and other fabric borders
Lace of the Royal collection, Belgium
Needle Lace borders from the Erzgebirge mountains Germany in 1884, displayed in the Victoria and Albert Museum
Armenian needlelace circa 2004.
Koniakow traditional laces
Csetneki lace
19th century Irish crocheted lace
Needle lace
Traditional ñandutí lace from Paraguay
[edit] See also
Wikimedia Commons has media related to: Lace
Needlework
Crochet
Silk
Bobbin
Ribbons
See-through clothing
[edit] External links
Virtual Museum of Textile Arts
A Renascence of the Irish Art of Lace-making
International Bobbin and Needle Lace Organisation
International Old Lacers
English lace organization
Italian lace and embroidery organization
Australian lace museum
Antique Bobbin Lace
Irish Lace
The Craft of Bobbin Making
Rauma bobbin lace
[show]
v • d • eLace types
Needle lace:
Punto in Aria · Point de Venise · Point de France · Alençon · Argentan · Argentella · Armenian · Hollie Point · Point de Gaze · Youghal · LimerickEmbroidered: Reticella · Buratto · Filet/Lacis · Ñandutí · Needlerun Net · Tambour · TeneriffeCut Work: Battenberg · Broderie Anglaise · Carrickmacross
Bobbin lace:
Ancient: Antwerp · Ecclesiastical · Freehand · TorchonContinental: Binche · Flanders · Mechlin · Paris · ValenciennesPoint ground: Bayeux · Blonde · Bucks point · Chantilly · Tønder · Beveren · LilleGuipure: Genoese · Venetian · Bedfordshire · Cluny · MaltesePart laces: Honiton · Bruges · BrusselsTape: Milanese · Flemish · Russian · Peasant
Tape lace:
Mezzopunto · Princess · Renaissance · Romanian point
Knotted lace:
Macramé · Tatting
Crocheted lace:
Broomstick lace · Irish crochet · Hairpin · Filet crochet
Lace knitting:
Lace knitting
Machine-made lace:
Warp Knit · Bobbinet · Leavers · Pusher · Barmen · Curtain Machine · ChemicalHand Finished: Hand-run Gimps
[show]
v • d • eTextile arts
Fundamentals:
Applique · Crochet · Dyeing · Embroidery · Fabric (textiles) · Felting · Fiber · Knitting · Lace · Nålebinding · Needlework · Patchwork · Passementerie · Plying · Quilting · Rope · Sewing · Spinning · Tapestry · Textile printing · Weaving · Yarn
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Clothing and textiles · Silk · Quilting · Textiles in the Industrial Revolution · Timeline of textile technology
Related:
Blocking · Fiber art · Mathematics and fiber arts · Manufacturing · Preservation · Terminology · Textile industry · Textile Museums · Units of measurement · Wearable fiber art
Retrieved from "http://en.wikipedia.org/wiki/Lace"
Categories: Lace Net fabrics History of the textile industry
Hidden categories: All articles with unsourced statements Articles with unsourced statements from April 2009
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For other uses, see Lace (disambiguation).
Lace appliqué and bow at the bust-line of a nightgown.
Lace is an openwork fabric, patterned with open holes in the work, made by machine or by hand. The holes can be formed via removal of threads or cloth from a previously woven fabric, but more often open spaces are created as part of the lace fabric. Lace-making is an ancient craft. True lace was not made until the late 15th and early 16th centuries. A true lace is created when a thread is looped, twisted or braided to other threads independently from a backing fabric.
Originally linen, silk, gold, or silver threads were used. Now lace is often made with cotton thread. Manufactured lace may be made of synthetic fiber. A few modern artists make lace with a fine copper or silver wire instead of thread.
Contents[hide]
1 Types
2 History
3 Gallery
4 See also
5 External links
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[edit] Types
There are many types of lace, defined by how they are made. These include:
Needle lace; made using a needle and thread. This is the most flexible of the lace-making arts. While some types can be made more quickly than the finest of bobbin laces, others are very time-consuming. Some purists regard needle lace as the height of lace-making. The finest antique needle laces were [made] from a very fine thread that is not manufactured today.
Cutwork, or whitework; lace constructed by removing threads from a woven background, and the remaining threads wrapped or filled with embroidery.
Bobbin Lace; as the name suggests, made with bobbins and a pillow. The bobbins, turned from wood, bone or plastic, hold threads which are woven together and held in place with pins stuck in the pattern on the pillow. The pillow contains straw, preferably oat straw or other materials such as sawdust, insulation styrofoam or ethafoam. Also known as Bone-lace. Chantilly lace is a type of bobbin lace.
Tape lace; makes the tape in the lace as it is worked, or uses a machine- or hand-made textile strip formed into a design, then joined and embellished with needle or bobbin lace.
Knotted lace; including macramé and tatting. Tatted lace is made with a shuttle or a tatting needle.
Crocheted lace; including Irish crochet, pineapple crochet, and filet crochet.
Knitted lace; including Shetland lace, such as the "wedding ring shawl", a lace shawl so fine that it can be pulled through a wedding ring.
Machine-made; any style of lace created or replicated using mechanical means.
Ecru lace; lace not bleached
[edit] History
Objects resembling lace bobbins have been found in Roman remains, but there are no records of Roman lace-making. The craft may have begun in the first half of the 14th century in Flanders (Now on the boarder between France and Belgium).
Lace was used by clergy of the early Catholic Church as part of vestments in religious ceremonies, but did not come into widespread use until the 16th century.[1] The popularity of lace increased rapidly and the cottage industry of lace making spread throughout Europe to most European countries. Countries like Finland (city of Rauma), Slovenia (city of Idrija), Belgium, Hungary, Ireland, Malta, Russia, Spain, Turkey and others all have their own unique artistic heritage expressed through lace.
In North America in the 19th century, lace making was spread to the Native American tribes through missionaries. [2]
St. John Francis Regis helped many country girls stay away from the cities by establishing them in the lacemaking and embroidery trade, which is why he became the Patron Saint of lace-making.[citation needed]
[edit] Gallery
White lace is often used in collars and other fabric borders
Lace of the Royal collection, Belgium
Needle Lace borders from the Erzgebirge mountains Germany in 1884, displayed in the Victoria and Albert Museum
Armenian needlelace circa 2004.
Koniakow traditional laces
Csetneki lace
19th century Irish crocheted lace
Needle lace
Traditional ñandutí lace from Paraguay
[edit] See also
Wikimedia Commons has media related to: Lace
Needlework
Crochet
Silk
Bobbin
Ribbons
See-through clothing
[edit] External links
Virtual Museum of Textile Arts
A Renascence of the Irish Art of Lace-making
International Bobbin and Needle Lace Organisation
International Old Lacers
English lace organization
Italian lace and embroidery organization
Australian lace museum
Antique Bobbin Lace
Irish Lace
The Craft of Bobbin Making
Rauma bobbin lace
[show]
v • d • eLace types
Needle lace:
Punto in Aria · Point de Venise · Point de France · Alençon · Argentan · Argentella · Armenian · Hollie Point · Point de Gaze · Youghal · LimerickEmbroidered: Reticella · Buratto · Filet/Lacis · Ñandutí · Needlerun Net · Tambour · TeneriffeCut Work: Battenberg · Broderie Anglaise · Carrickmacross
Bobbin lace:
Ancient: Antwerp · Ecclesiastical · Freehand · TorchonContinental: Binche · Flanders · Mechlin · Paris · ValenciennesPoint ground: Bayeux · Blonde · Bucks point · Chantilly · Tønder · Beveren · LilleGuipure: Genoese · Venetian · Bedfordshire · Cluny · MaltesePart laces: Honiton · Bruges · BrusselsTape: Milanese · Flemish · Russian · Peasant
Tape lace:
Mezzopunto · Princess · Renaissance · Romanian point
Knotted lace:
Macramé · Tatting
Crocheted lace:
Broomstick lace · Irish crochet · Hairpin · Filet crochet
Lace knitting:
Lace knitting
Machine-made lace:
Warp Knit · Bobbinet · Leavers · Pusher · Barmen · Curtain Machine · ChemicalHand Finished: Hand-run Gimps
[show]
v • d • eTextile arts
Fundamentals:
Applique · Crochet · Dyeing · Embroidery · Fabric (textiles) · Felting · Fiber · Knitting · Lace · Nålebinding · Needlework · Patchwork · Passementerie · Plying · Quilting · Rope · Sewing · Spinning · Tapestry · Textile printing · Weaving · Yarn
History of... :
Clothing and textiles · Silk · Quilting · Textiles in the Industrial Revolution · Timeline of textile technology
Related:
Blocking · Fiber art · Mathematics and fiber arts · Manufacturing · Preservation · Terminology · Textile industry · Textile Museums · Units of measurement · Wearable fiber art
Retrieved from "http://en.wikipedia.org/wiki/Lace"
Categories: Lace Net fabrics History of the textile industry
Hidden categories: All articles with unsourced statements Articles with unsourced statements from April 2009
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