Source:http://www.forbes.com/2009/03/13/fashion-deflation-designers-lifestyle-style-fashion-deflation.html?feed=rss_forbeslife_style
Style
Fashion Deflation
Jeanine Poggi, 03.13.09, 05:00 PM EDT
The recession is prompting clothing makers and retailers to lower prices.
There's some good news for shoppers amid the economic gloom: Lower clothing prices are coming soon, and not just for sale items. Mainstream brands such as Lacoste and Coach plan to cut retail prices as much as 30% on their fall offerings.
The reason: Fashion producers are trying to anticipate consumers' tighter budgets and avoid last year's drastic markdowns, which can undercut a brand's perceived strength. "The 70% discounts we saw during the holiday season are risky not just for brand integrity but brand equity," says Erwan Rambourg, luxury and sporting goods analyst at HSBC.
Despite all the sales, retailers posted big losses in the second quarter. In March, Neiman Marcus announced a second-quarter loss of $509 million. At J. Crew Group (nyse: JCG - news - people ), the loss was $13.5 million.
In Pictures: Fashion Deflation
As a defensive action, clothing makers are tightening belts, making do with lower profit margins and passing along the cuts to consumers in the form of lower retail prices.
For the fall, Lacoste will offer cable-knit sweaters, normally $145, for $98, says Robert Siegel, chairman and chief executive of the company. In spring 2010, Lacoste plans to lower prices in other categories, including its signature polo shirts. Price cuts do not mean a cut in quality, says Siegel. "We are taking it out of our own margins in our attempt to be more consumer-friendly."
Coach (nyse: COH - news - people ) is also planning to trim profit margins, reducing its average handbag price to $300 from $335. Joe's Jeans (nasdaq: JOEZ - news - people ), which sells premium denim, is dropping its entry price point to $138 from $145.
High-end fashion brands are planning to produce lower-priced products too. Monique Lhullier, for example, will offer several gowns retailing for $2,500. Her dresses usually sell for between $3,000 and $7,000.
Retailers are also trimming their sails. Instead of lowering prices on the lines they usually stock, boutiques are starting to incorporate more accessible products into their collections. Nordstrom (nyse: JWN - news - people ) plans to spend more inventory dollars on lower-priced merchandise.
Gretta Monahan, owner of Boston-based boutique Gretta Luxe, says in the fall she will begin offering shoes from Vera Wang's Lavender Line, which start at $295. Normally, she carries Jimmy Choo and Brian Atwood, which start at around $400. "We want to incorporate prices into our selection that are easier for the consumer to digest," she says.
Eugene Fram, professor of marketing at Rochester Institute of Technology, predicts that other retailers will follow suit." In terms of pricing, some of the organizations are now on the defensive, like Saks Fifth Avenue and Tiffany's," he says. "It wouldn't be surprising to see price reductions of 50%-plus in their attempts to avoid Chapter 11 proceedings. Others, in a stronger position, will have to offer substantially lower discounts, 20% to 35%, to remain in the ballgame until this traumatic period subsides and affluent consumers once again find luxury merchandise more appealing."
The strength of the U.S. dollar and Japanese yen, vs. the weakness of the British pound and euro, is also affecting prices, says HSBC luxury analyst Rambourg. This may cause some European luxury brands to lower prices.
"Designers see the writing on the wall and realize they cannot achieve the same margins," says Jennifer Black, founder and president of the research firm bearing her name. "Those days of 40% to 60% margins are over. Consumers are savvier."
For the most part, however, retailers and designers will not broadcast reduced prices. Unless you are a loyal consumer, you may not recognize the decreases.
It's highly unlikely that you will see these reductions at true luxury players such as Louis Vuitton and Cartier. "These brands offer classics, and if Cartier doesn't sell one of its watches today, they can still sell it six months from now," notes Rambourg.
Roger Kowall, owner of Ohio-based men's boutique Cuffs, says suppliers such as Hermès, Loro Piana and Brioni have maintained their prices for the fall. Burberry and Bally also say prices will remain steady.
"Luxury is all about perceived value," Rambourg observes. "If you lower prices you take away that 'wow' effect, which is what defines luxury."
2009年3月18日 星期三
2009年3月12日 星期四
Color Theories/ Principle Task 2-------Boutique
This is a task which using the color principle i've learnt in the 7th lecture.
2009年3月7日 星期六
Martin Margiela 數字系列
Milan's Choice: Appeal to Reason or the Gut?
from: http://online.wsj.com/article/SB123622001815636427.html?mod=rss_Fashion_Journal
MARCH 5, 2009, 11:17 P.M. ET
Milan's Choice: Appeal to Reason or the Gut?
Some Labels Offer Smart Design, While Others Aim to Strike Awe; 'Don't Tell Me More '80s!'
By CHRISTINA BINKLEY
Watching from the helm of the Gucci Group luxury empire, Robert Polet sees longtime patterns changing. "People don't have the impulse to buy," the CEO said last week at Milan's fall 2009 fashion shows. "They think about purchases more."
That's a vexing problem for the European designers who are presenting the clothes that will appear in stores next fall. Foot traffic is down in luxury stores everywhere. With the Dow industrials below 7000 for the first time since 1996 and with the U.S. savings rate at its highest level in 14 years, how is a fashion designer to sell expensive clothes?
In Milan, there seemed to be two conflicting approaches to this question. Some designers drilled to their cores. Giorgio Armani returned to the sleek executive lines he is known for, with capes, cardigans and slim pants in pewter and various other shades of gray. Versace went for all-out, body-hugging sex -- just what the brand is known for. Bottega Veneta showed winning looks for a woman who wants to be subtle about the excellence of her clothes. In fact, Tomas Maier's collection for Bottega was outstanding -- softly colored, supple wools and silks, such as a graceful silk jacquard trench coat and a soft, double-faced cashmere coat.
Miuccia Prada, who is consistently independent of the trends chased by other designers, rediscovered the suit -- creating slightly off-kilter, woodsy suits that were still authoritative enough to be snapped up by working women. "Women always wear suits," the influential designer said after her show. Though she's known for her artistic independence, she made a point of saying that her suits would work "from a commercial point of view."
Bottega Veneta
Bottega Veneta offered subtlety with a silk jacquard trench coat
Many other designers threw caution to the wind, creating collections of flamboyant, indelibly unique clothes and avoiding items that could be accused of being "commercial." That went against the normal grain of the Milan shows, where designers generally present a lot of wearable clothes. With the biggest economic challenge of their lifetimes facing them, these designers seemed to be trying to create clothes that would feel worth the investment. While this is an exciting approach, it's also risky, and it remains to be seen which of these designers will have hits on their hands.
Brian Atwood's designs for Bally included memorable shoes with elaborately carved metal heels. Mr. Atwood said he didn't concern himself with keeping costs down for the "fashion collection" whose role is to draw attention. (Bally's less showy "pre-collections" were created with costs kept in check, executives said.) "I think it's what women wanted," Mr. Atwood said. "Especially now, you really have to inspire."
Designer Graeme Black, of his impossibly expensive eponymous label, said, "That's my only weapon -- luxe." Mr. Black's collection, presented at his Milan showroom, was half the size of his previous seasons, and he's been working to cut his prices sharply. But there wasn't a single item that didn't attempt to deliver a knockout punch, including a $3,976 black cocoon cape that was inspired by a visit to the mineral collection at London's Natural History Museum. Mr. Black created the cape with multiple uses in mind, pitching it as practical, to a certain point: "You can wear it with skinny jeans, you can wear it with an evening dress," he said.
Graeme Black went for 'luxe' with a mineral-inspired dress.
Another suit had been hand-painted to achieve the mineral-like look he desired. Mr. Black said he is braced for selling fewer items to his wealthy clients than before, so he wants each one to pack a wallop. "One of the sad things about this downturn is that ladies' husbands have cut their budgets," he said.
No matter who is picking up the bill, shoppers may balk at some of the 1980s looks on the runways. Quite a few Milan designers seemed to think that creating excitement required outlandish designs based on that decade's exaggerated lines. We saw multiple takes on huge, wide shoulders. Ferre designers Tommaso Aquilano and Roberto Rimondi did them squared off with a fold of fabric wrapped from back to front -- extraordinary tailoring. Gucci did them on cropped jackets, exaggerating the football-player look. Dolce & Gabbana did them big and poofy -- more Elizabethan than '80s. Waists were often pinched under the huge shoulders. Pants were cropped at the ankle and pleated at the hip -- not a flattering look on many women as it shortens and broadens their legs.
Investment dressing it was not. The fashion world has been toying with the 1980s for the past year, ever since Marc Jacobs sent out a playfully '80s-inspired collection a year ago. But I can't help thinking the clothes will look entirely out of date within a year, maybe two. That's what happened with my own suits and jackets from the 1980s, which wilted like cut flowers when that era was over. The '80s weren't flattering to women's figures, and many women later recalled them with a shudder.
"My clients won't go for the literal translation of the '80s looks on the runways," says Kelly Golden, owner of the high-end Neapolitan boutique in Chicago. "They want something that they can wear now and in future seasons."
To get a read on consumer response to the shows, I asked consultants Zeta Interactive, based in New York City, to use their Zeta Buzz technology to measure the so-called buzz surrounding a handful of high-profile
Jil Sander offered bold art but also wearable, minimal looks.
Milan shows on more than 100 million blogs, message boards, social media posts and other Internet outlets.
Prada had the highest overall volume of chatter, with Bottega Veneta coming in second, according to Zeta. When it came to the tone of the posts, though, Bottega Veneta had the most positive posts -- 98% were positive. Gucci had the worst tonal rating, with 61% positive.
And despite the inarguable skill involved in the design and tailoring of many of these garments, many store buyers were looking for alternatives to the '80s look by week's end. As a colleague and I left Versace's early show on Monday night, Bloomingdale's fashion director Stephanie Solomon was racing into the later show. "How was it?" she called. "Don't tell me more '80s!"
That might be why the Jil Sander collection, designed by Raf Simons, was well received. The first part of the collection was pure Jil Sander daywear to the core -- minimal, strong lines on suits and dresses of fine melton wool and wool crepe -- with flat shoes. What followed was an artist's take, inspired by the late French ceramist Pol Chambost. The clothes curved like sculpture, some supported by whalebone hoops, using materials including starched wool, techno foams, scuba jerseys and a wool tweed coated with gold dust.
The patterns required such precision that Mr. Simons brought out his pattern cutter for a bow. For such elaborate work, Mr. Simons said, "We have to honor them."
Ms. Golden, the boutique owner, agreed. "The beautiful tailoring seen at Prada and the luxurious fabrics at Jil Sander are great examples of the understated elegance that my clients will be seeking out during this challenging economic time," she said
MARCH 5, 2009, 11:17 P.M. ET
Milan's Choice: Appeal to Reason or the Gut?
Some Labels Offer Smart Design, While Others Aim to Strike Awe; 'Don't Tell Me More '80s!'
By CHRISTINA BINKLEY
Watching from the helm of the Gucci Group luxury empire, Robert Polet sees longtime patterns changing. "People don't have the impulse to buy," the CEO said last week at Milan's fall 2009 fashion shows. "They think about purchases more."
That's a vexing problem for the European designers who are presenting the clothes that will appear in stores next fall. Foot traffic is down in luxury stores everywhere. With the Dow industrials below 7000 for the first time since 1996 and with the U.S. savings rate at its highest level in 14 years, how is a fashion designer to sell expensive clothes?
In Milan, there seemed to be two conflicting approaches to this question. Some designers drilled to their cores. Giorgio Armani returned to the sleek executive lines he is known for, with capes, cardigans and slim pants in pewter and various other shades of gray. Versace went for all-out, body-hugging sex -- just what the brand is known for. Bottega Veneta showed winning looks for a woman who wants to be subtle about the excellence of her clothes. In fact, Tomas Maier's collection for Bottega was outstanding -- softly colored, supple wools and silks, such as a graceful silk jacquard trench coat and a soft, double-faced cashmere coat.
Miuccia Prada, who is consistently independent of the trends chased by other designers, rediscovered the suit -- creating slightly off-kilter, woodsy suits that were still authoritative enough to be snapped up by working women. "Women always wear suits," the influential designer said after her show. Though she's known for her artistic independence, she made a point of saying that her suits would work "from a commercial point of view."
Bottega Veneta
Bottega Veneta offered subtlety with a silk jacquard trench coat
Many other designers threw caution to the wind, creating collections of flamboyant, indelibly unique clothes and avoiding items that could be accused of being "commercial." That went against the normal grain of the Milan shows, where designers generally present a lot of wearable clothes. With the biggest economic challenge of their lifetimes facing them, these designers seemed to be trying to create clothes that would feel worth the investment. While this is an exciting approach, it's also risky, and it remains to be seen which of these designers will have hits on their hands.
Brian Atwood's designs for Bally included memorable shoes with elaborately carved metal heels. Mr. Atwood said he didn't concern himself with keeping costs down for the "fashion collection" whose role is to draw attention. (Bally's less showy "pre-collections" were created with costs kept in check, executives said.) "I think it's what women wanted," Mr. Atwood said. "Especially now, you really have to inspire."
Designer Graeme Black, of his impossibly expensive eponymous label, said, "That's my only weapon -- luxe." Mr. Black's collection, presented at his Milan showroom, was half the size of his previous seasons, and he's been working to cut his prices sharply. But there wasn't a single item that didn't attempt to deliver a knockout punch, including a $3,976 black cocoon cape that was inspired by a visit to the mineral collection at London's Natural History Museum. Mr. Black created the cape with multiple uses in mind, pitching it as practical, to a certain point: "You can wear it with skinny jeans, you can wear it with an evening dress," he said.
Graeme Black went for 'luxe' with a mineral-inspired dress.
Another suit had been hand-painted to achieve the mineral-like look he desired. Mr. Black said he is braced for selling fewer items to his wealthy clients than before, so he wants each one to pack a wallop. "One of the sad things about this downturn is that ladies' husbands have cut their budgets," he said.
No matter who is picking up the bill, shoppers may balk at some of the 1980s looks on the runways. Quite a few Milan designers seemed to think that creating excitement required outlandish designs based on that decade's exaggerated lines. We saw multiple takes on huge, wide shoulders. Ferre designers Tommaso Aquilano and Roberto Rimondi did them squared off with a fold of fabric wrapped from back to front -- extraordinary tailoring. Gucci did them on cropped jackets, exaggerating the football-player look. Dolce & Gabbana did them big and poofy -- more Elizabethan than '80s. Waists were often pinched under the huge shoulders. Pants were cropped at the ankle and pleated at the hip -- not a flattering look on many women as it shortens and broadens their legs.
Investment dressing it was not. The fashion world has been toying with the 1980s for the past year, ever since Marc Jacobs sent out a playfully '80s-inspired collection a year ago. But I can't help thinking the clothes will look entirely out of date within a year, maybe two. That's what happened with my own suits and jackets from the 1980s, which wilted like cut flowers when that era was over. The '80s weren't flattering to women's figures, and many women later recalled them with a shudder.
"My clients won't go for the literal translation of the '80s looks on the runways," says Kelly Golden, owner of the high-end Neapolitan boutique in Chicago. "They want something that they can wear now and in future seasons."
To get a read on consumer response to the shows, I asked consultants Zeta Interactive, based in New York City, to use their Zeta Buzz technology to measure the so-called buzz surrounding a handful of high-profile
Jil Sander offered bold art but also wearable, minimal looks.
Milan shows on more than 100 million blogs, message boards, social media posts and other Internet outlets.
Prada had the highest overall volume of chatter, with Bottega Veneta coming in second, according to Zeta. When it came to the tone of the posts, though, Bottega Veneta had the most positive posts -- 98% were positive. Gucci had the worst tonal rating, with 61% positive.
And despite the inarguable skill involved in the design and tailoring of many of these garments, many store buyers were looking for alternatives to the '80s look by week's end. As a colleague and I left Versace's early show on Monday night, Bloomingdale's fashion director Stephanie Solomon was racing into the later show. "How was it?" she called. "Don't tell me more '80s!"
That might be why the Jil Sander collection, designed by Raf Simons, was well received. The first part of the collection was pure Jil Sander daywear to the core -- minimal, strong lines on suits and dresses of fine melton wool and wool crepe -- with flat shoes. What followed was an artist's take, inspired by the late French ceramist Pol Chambost. The clothes curved like sculpture, some supported by whalebone hoops, using materials including starched wool, techno foams, scuba jerseys and a wool tweed coated with gold dust.
The patterns required such precision that Mr. Simons brought out his pattern cutter for a bow. For such elaborate work, Mr. Simons said, "We have to honor them."
Ms. Golden, the boutique owner, agreed. "The beautiful tailoring seen at Prada and the luxurious fabrics at Jil Sander are great examples of the understated elegance that my clients will be seeking out during this challenging economic time," she said
2009年3月5日 星期四
Color Theories/Principle task 1------collections
 |
that's the work I made before the lecture, i just applied colors which i feel they're appropriated. Colors used: orange, blue, grey, rose pink, gold and beige
 |
After the lecture, i've learnt what the color schemes and how to use them, here is the work which i applied DOUBLE COMPLIMENTARY SCHEME with 2 set of complimentary colors: blue & orange, violet & golden.
You can see the differences between these 2 collections.
2009年3月3日 星期二
Fashion feels the pinch in London and Milan
LONDON, England (CNN) -- The economic crisis cast a long shadow over London Fashion Week, with designers holding their catwalk shows in smaller venues or skipping the catwalk in favor of low key presentations.
London Fashion Week felt the chill wind of the recession, with designers forced into smaller venues.
Hilary Alexander, fashion editor on the UK's Daily Telegraph newspaper, said the recession's impact was not a surprise.
"Fewer American buyers are coming here, and that's to be expected if you look at the situation with the pound and the dollar plus the fact that they'll also go to Milan and Paris."
Hilary Riva, CEO of the British Fashion Council, told CNN: "Buyers, certainly from department stores in the U.S., are cutting budgets. So in overall terms, of course, they are going to be buying less. But they come to London in particular -- and the emerging designers -- for something different."
Roberto Cavalli's secondary line, Just Cavalli, is another fashion casualty of the financial crisis. The Just Cavalli catwalk show, a highlight of Milan Fashion Week, was cancelled with only two days notice. The reason cited: Financial trouble.
The impact of the recession could be seen throughout London Fashion Week, which had been cut to five days to fit between New York and Milan's shows, with many designers moving their shows away from the main area by the Natural History Museum in South Kensington.
Some brands cut the catwalk element out completely, instead holding shows in smaller, more intimate and cheaper locations. New style presentations were held over several hours, increasing the likelihood of fashion buyers attending.
Maria Grachvogel, who once used Victoria Beckham in her 2000 London Fashion Week show, displayed her latest autumn/winter collection in rolling half-hour presentations.
"A presentation gives much more flexibility to both the press and buyers to fit in their schedules," said Grachvogel.
"I think in a way, in this kind of environment, that seems much more appropriate to show the collection in that kind of intelligent way so your really focusing your eyes on the clothes and not necessarily all the theatre," Grachvogel told CNN.
The exhibition space where buyers have the chance to see the garments up close was cut down by 15 stalls from last London Fashion Week.
London Fashion Week has previously launched the careers of Alexander McQueen and John Galliano, both of whom have now traded London for Paris Fashion Week.
"London Fashion Week is known for its dynamism and creativity -- you don't come to London for the big global labels. You come here for what's new, and for the emerging talent," Riva said.
But designers have to adapt to a changing market, with cheaper showroom garments just as important as headline-grabbing catwalk outfits.
"There will be a collection of clothes which balance the attention seeking clothes, which are rent payers, which are at the correct price, not too high but still very beautiful," legendary British designer Paul Smith told CNN.
London Fashion Week is part financed by public funding through the British Fashion Council. In 2007 the London Development Agency allocated a £4.2m grant to the British Fashion Council -- £40,000 of this has been used to subsidize the cost of accommodation or travel for buyers.
The British Fashion Council estimates that London Fashion Week generates £20 million for the city's economy and produces orders of about £100 million.
By Olivia Feld
source:http://www.cnn.com/2009/WORLD/europe/02/27/london.fashion.week/
London Fashion Week felt the chill wind of the recession, with designers forced into smaller venues.
Hilary Alexander, fashion editor on the UK's Daily Telegraph newspaper, said the recession's impact was not a surprise.
"Fewer American buyers are coming here, and that's to be expected if you look at the situation with the pound and the dollar plus the fact that they'll also go to Milan and Paris."
Hilary Riva, CEO of the British Fashion Council, told CNN: "Buyers, certainly from department stores in the U.S., are cutting budgets. So in overall terms, of course, they are going to be buying less. But they come to London in particular -- and the emerging designers -- for something different."
Roberto Cavalli's secondary line, Just Cavalli, is another fashion casualty of the financial crisis. The Just Cavalli catwalk show, a highlight of Milan Fashion Week, was cancelled with only two days notice. The reason cited: Financial trouble.
The impact of the recession could be seen throughout London Fashion Week, which had been cut to five days to fit between New York and Milan's shows, with many designers moving their shows away from the main area by the Natural History Museum in South Kensington.
Some brands cut the catwalk element out completely, instead holding shows in smaller, more intimate and cheaper locations. New style presentations were held over several hours, increasing the likelihood of fashion buyers attending.
Maria Grachvogel, who once used Victoria Beckham in her 2000 London Fashion Week show, displayed her latest autumn/winter collection in rolling half-hour presentations.
"A presentation gives much more flexibility to both the press and buyers to fit in their schedules," said Grachvogel.
"I think in a way, in this kind of environment, that seems much more appropriate to show the collection in that kind of intelligent way so your really focusing your eyes on the clothes and not necessarily all the theatre," Grachvogel told CNN.
The exhibition space where buyers have the chance to see the garments up close was cut down by 15 stalls from last London Fashion Week.
London Fashion Week has previously launched the careers of Alexander McQueen and John Galliano, both of whom have now traded London for Paris Fashion Week.
"London Fashion Week is known for its dynamism and creativity -- you don't come to London for the big global labels. You come here for what's new, and for the emerging talent," Riva said.
But designers have to adapt to a changing market, with cheaper showroom garments just as important as headline-grabbing catwalk outfits.
"There will be a collection of clothes which balance the attention seeking clothes, which are rent payers, which are at the correct price, not too high but still very beautiful," legendary British designer Paul Smith told CNN.
London Fashion Week is part financed by public funding through the British Fashion Council. In 2007 the London Development Agency allocated a £4.2m grant to the British Fashion Council -- £40,000 of this has been used to subsidize the cost of accommodation or travel for buyers.
The British Fashion Council estimates that London Fashion Week generates £20 million for the city's economy and produces orders of about £100 million.
By Olivia Feld
source:http://www.cnn.com/2009/WORLD/europe/02/27/london.fashion.week/
訂閱：
文章 (Atom)