Clicks Over Culture: The Danger of Click-bait in Fashion

Meme (/ˈmiːm/ MEEM): an idea, behaviour, or style that spreads from person to person within a culture — often with the aim of conveying a particular phenomenon, theme, or meaning represented by the meme.

Originally published on November 13, 2017 on Modern Melange

It was Richard Dawkins who first coined the word meme in his 1976 book The Selfish Gene, in order to explain how cultural information spreads through networks. Memes as cultural analogues can be likened to genes in that they too self-replicate, mutate, and respond to selective pressures. Today, nothing spreads faster than on social media, which is why the phenomenon of the internet meme (cue the “Y tho” baby) continues to have such an enormous impact on our lives, especially due to the intense proliferation of digital visual content we are constantly exposed to.We are automatically intrigued when we scroll onto a funny image followed by blunt text in form of hovering bloc letters - a welcome distraction amongst a sea of Facetuned selfies, flatlays, and food pics. Personally speaking, my favourite Instagram accounts (next to of course “The Doggist”) include Beige Cardigan, Betches, and fashion sound icon Michel Gaubert who consistently provide witty content which I consequently share onto my friends - I mean friends who laugh together stay together!Is our obsession with internet memes because they are so freakishly relatable? A simple tagline which perfectly expresses the human condition at a point in time? “This is literally me.”

Through sharing culture and online Word-of-mouth, this edited humour welcomes the potential for viral laughter and often singlehandedly adds to modern day pop-culture. Along with the visual and infectious nature of memes, it comes to no surprise that fashion is making the most of this click-bait opportunity.“I’m not sure if that’s necessarily a good thing, but everything a brand does today is about asking: “Is it bloggable? Is it shareable? If we launch this on the market, will people share this with their friends on Facebook and Instagram?” explains David Fischer, founder of Highsnobiety, in a 032c article which centred around fashion content in the digital age.Examples which best prove Fischer’s point are a plenty - most notably designed by Demna Gvasalia, head designer at Balenciaga and Vetements. Just looking at this year’s “must-haves” at Balenciaga there are those crocs, the Bernie Sanders inspired collection, thatIkea bag. Or the Louis Vuitton Stranger Things tee and not to mention the one hit wonder accessories from Dolce and Gabbana or Moschino. Even Chanel’s tongue in cheek handbags corresponding with the season’s narrative provide more than enough reason to click “share”.

Today’s luxury products motivate us to be the marketers. And how could we forget the brilliant Gucci Advertising campaign where Alessandro Michele invited a host of millennial meme-makers to promote a new collection of luxury watches through #TFW (translation: that feeling when) moments. Now does this not make fashion more accessible to all by reaching a wider audience? And like it or not, meme’s are only popular when they strike a chord within a network. They are an accurate temperature reading of the zeitgeist (and have thus been instrumental in political campaigning - for better or for worse…) which suggests they are perfectly suited for fashion, in terms of advertising and product creation. Is it not an advantage to create relevant fashion that relates to people’s lives and true situations instead of blissfully catering to select fenced off bubble for few?

However, on the other hand, the meme and its potential of going viral is based on a hyper-ephemerality quality, meaning click-bait fashions expire quickly. When you first see those Balenciaga crocs on Instagram you share that image immediately. It is fresh, bold, ironic - LOL worthy- but when the same platform crocs actually come into store 6 months in the future, they merely become a stale joke. Old news. Click bait fashion calls upon see-now buy now production and we all know that is a system that is almost impossible to successfully implement when considering the infinite stakeholders. And is it not ironic how we demand sustainability and less waste for landfill, but through our sharing culture we are only supporting throw away fads?

This leads me to ask if click bait is prioritised over culture? Fashion today is primarily made for internet consumption, not necessarily for physical form and function. The longevity of iconic design is in danger where true cultural value and innovation is overshadowed by the promise of viral status. We are reducing creative directors to meme-makers but is there even an alternative in this new environment?

Home(ware) is Where the Heart is

And as she clicked her sparkling ruby-red heels together three times, Dorothy recited blissfully “There’s no place like home”; a heartwarming sentiment applicable to those of us in and outside of Oz. It is equally regarded as a prophetic statement in terms of the newfound interest of luxury fashion brands investing heavily into the highly profitable homeware opportunity. Of course the bond between fashion and homeware is nothing novel, with brands such as Ralph Lauren Home (1983), Fendi Casa (1989), and Versace Home (1992) having already established a foothold - however there is renewed interest in the diversification of fashion, especially with the consumer’s holistic focus on “lifestyle”. Last month, luxury e-tailer Matches Fashion introduced a homeware selection, offering a broad range of furnishings and decor from established traditional fashion brands including Peter Piloto, Preen by Thornton Bregazzi, Calvin Klein, Loewe, Maison Margiela and La Double J amongst others. Matches also offers a series of enamel Espresso cups and saucers born from an exclusive collaboration with artist Luke Edward Hall. The collaboration is a successful tried and tested strategy by other e-tailers who are also actively expanding into homeware. Most notably, Italian e-tailor Luisa Via Roma has collaborated with Matteo Cibic and Marcantonio Raimondi Malerba, while Moda Operandi has introduced a highly popular tabletop homeware collection produced with Cabana Magazine editor-in-chief Martina Mondadori Sartogo.Looking specifically at brands, Gucci continues to make headlines, in this particular case by having recently launched its Décor collection which includes candles, folding metal tables, armchairs, a vanity set and even wallpaper. The “must have” items are surely the Gucci- motif embroidered pillows, similar to the cushions we were first introduced to at the Cruise 2017 show at Westminster Abbey. The designs showcase extraordinary prints of fantastical flora, tigers, snakes and other mystical references deeply ingrained in the prominent Gucci vocabulary. The move by Gucci to tap into the homeware space makes perfect sense, as creative director Alessandro Michele has not only delivered a high caliber of seasonal clothing collections, but he has conjured an entire magical world, seducing us all to want to take part in this velvety, extravagant lifestyle. Another extremely influential creative director tapping into homeware projects is none other than Virgil Abloh - creative director of Louis Vuitton menswear and Off-White- who has recently produced a much hyped collection with Swedish furnishing powerhouse IKEA. The collection, which will be available for purchase in 2020, includes a series of self-referential rugs in Abloh’s established aesthetic and defining “AIRQUOTES”, as well as more complex pieces such as a Markerad chair with red wedges supporting the legs (although industry watchdog Diet Prada has called out the piece for being a copy of the iconic mid-century Paul McCobb design). Here, “high fashion” is made available to the mass market; a welcome gesture democratising zeitgeist design. The decision for fashion brands to expand into new categories is all but groundbreaking, however the rate in doing so does appear to be escalating in hopes to woo potential customers and drive sales. Although fragrance and cosmetics remain the biggest revenue drivers, the homewares segment is growing quickly with Euromonitor International expecting sales to grow 2.3 percent per year between 2017 and 2022, while Allied Market Research forecasts homeware to reach $27 billion by 2020, reinforcing a very attractive opportunity for growth.Style seeps into all areas of one’s life and chosen environment- clothing is only one singular piece of the puzzle and (the leading) fashion brands appreciate this- especially due to our preference for “experience” over goods. I say (or hope…) that the notion of style (something of longevity) has overshadowed “fashion” (something rapidly changing) and it is a 360* experience based on aesthetics, touch, smell, and sound, equaling a total sum of personal taste; thus interiors are of course the natural extension of personal style. The savvy luxury consumer buys into the dream - a dream which aligns with her own aspirations, desires, and taste and offers suggestions for the life which she pursues. Especially through a platform like Instagram which has skyrocketed our consciousness of actively building up our “ideal” lifestyle, there is no question that more luxury houses will continue to move into interiors, especially decor and home accessories. Living, breathing, feeling - as well as wearing- style are key to future growth and for the sake of fashion - make home where your heart (and your Gucci pillow) is! 

Azzedine Alaïa: The Couturier

“My obsession is to make women beautiful. When you create with that in mind, things can’t go out of fashion” - Azzedine Alaïa

Azzedine Alaïa was a one of a kind designer. A designer as loyal to his friends and colleagues as he was to his uniform of black cotton Chinese pajamas. A designer who declined to step onto the catwalk after each widely praised presentation, as he believed the praise should go to his atelier, not solely to himself.

The influence of Azzedine Alaïa within the field of fashion and the greater arts remains extraordinary. The Tunisian born designer will forever be proclaimed a genius - not a word to be used lightly- due to his innate ability to absorb and translate inspiration into exquisitely precise, timeless, and powerful clothes.

Alaïa attended the School of Fine Arts in Tunis before moving to Paris, age 21, and acquired valuable experience by working for Christian Dior (under the tenure of Yves Saint Laurent), Guy LaRoche, as well as Thierry Mugler. In 1981, together with his long-term partner Christoph von Weyhe, Maison Alaia was established. Here, Alaïa started to alter the way fashion was viewed and produced, reinforcing its place within the arts, and demonstrating a personal approach by draping, cutting and pinning together fabrics directly onto the amazonian bodies of his models. Acclaimed fashion journalist Alexander Fury stated Alaïa was one who “thought with his hands”.

While Gianni Versace is often credited for the creation of supermodels such as Naomi Campbell, or Yasmin Le Bon, it was Alaïa who held the star power as models would cancel other bookings in order to be part of his legendary shows. Campbell still refers to Alaïa as “papa”. Since, 1988 Alaïa chose to abandon the often constricting fashion calendar and would present ready to wear and couture months after other designers. What distinguished him is that he would create for the women, while the majority of other designers would create for the show, to create buzz or word of mouth - dictated by market expectations. Alaïa would only present whenever he had a collection ready to present and would oftentimes step back altogether from the runway, and only dress private clients who could commit to at least three extensive fittings. The current pace of the industry and soulless approach of mass-produced fashion is the antithesis of what Alaïa lived.

 

His contribution to fashion is unprecedented, renowned for not only aesthetic innovations but for intangible qualities such as making femininity and strength synonymous. One of his most important design developments includes introducing the “body-con” form, also known as second skin dressing, which made him known as the “King of Cling”. Also, his innovations in material are also cutting edge, such as repurposing leathers to be feminine and delicate. Alaïa’s heavy use of black helped catapult the colour to be associated as chic and pure. Through black, there was no opportunity for the designer to hide behind loud patterns - tailoring had to be precise.

The exhibition Azzedine Alaïa: The Couturier currently on show at the Design Museum in London was co-curated by and organised with the designer prior to his untimely death at the end of last year. 

The exhibition is set against a backdrop of specially commissioned screens from Alaïa’s friends, also leading contemporary figures in design and art including Marc Newson, Kris Ruhs, Konstantin Grcic and Ronan and Erwan Bouroullec. The abstract screens in metal and glass purposely intersect with the garments and together produce this vibrant conversation between cultural mediums. Organised by theme, not chronologically, the exhibition gives the audience an elevated appreciation of his dominant aesthetic contributions. I personally valued being able to get right up close to each dazzling piece, where you are granted the opportunity to look at the razor sharp tailoring, diverse textures, and subtle yet technically brilliant details. Each look was modeled on Naomi Campbell but elongated - an out of this world silhouette towering over us mortals.

The audience is immediately struck by his immense influence on contemporary culture, where for example the iconic purple, hooded dress worn by Grace Jones in “A View To A Kill” is on display. One also appreciates how Alaïa is referenced by other designers including Hervé Léger or Roberto Cavalli and how each look remains timeless yet modern. But above all, what strikes all who visit the exhibition is his warm personality and how very loved he was by friends and colleagues, best exemplified  by the series of photographs taken by Richard Wentworth of Alaïa’s studio - a place where friends were encouraged to “pop in” and grab a seat for a home-cooked meal. A communal ritual in the middle of the workplace.

When watching the accompanying video, it brought a tear to my eye when Alaïa was filmed joyfully dancing care-free, with his beloved St. Bernard Didine to “Let’s Dance” by David Bowie. While his spirit and legacy will always live on, this exhibition paid a sincere tribute to a true couturier and a remarkable human being.

Hip Hop's Fashion Conquest

Music and fashion have always gone hand in hand with one another. Both arts draw upon each other for inspiration, separately reflecting messages and culture often born from the same inspiration. Live music can become truly iconic through fashion, adding visual significance to a performance: [insert Elton John, Jimi Hendrix, the Rolling Stones, KISS, the Sex Pistols , Madonna in her Gaultier Cone bra]. Same goes for fashion. Runway shows today blast music (often remixed by industry veterans such as Michel Gaubert) turning this season’s collections into theatrical spectacles. I’ll even go out on a limb here and say one can’t survive without the other (?)

Recently, there has been no music genre with more impact on fashion than hip-hop. Flick through any Vogue magazine and you see today’s biggest rap stars posing in advertisements for the most affluent brands: A$AP Rocky for Dior Hommes (LOEWE, Calvin Klein, Alexander Wang), Pharell Williams for Chanel, Kanye West for Balmain, Travis Scott for Saint Laurent, Anderson Paak for Fendi.

Hip- hop has conquered the ivory tower of luxury fashion.

While today hip hop lends youthful artistry to leading fashion brands, the urban music scene was once at the receiving end of turned up noses and quiet rejection. For example, Burberry was described as “unhappy” with being featured in the 2001 “Always on Time” video by Ja Rule. The brand was in the midst of an identity crisis being associated with British “Chavs” and probably did not want to reinforce an image of being worn on the street or in “the hood”.

So how did Hip- Hop rise to the top of the fashion ladder? As by no means an expert on hip hop, I would say it is down to three key factors: shifting perceptions and influence of hip hop, vast audience potential, and key innovators.

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Hip- Hop began in the 1970’s as an underground urban movement from the South Bronx in New York city. It revolved around the effect of legal institutions on minorities such as actions take by police. Poem-like lyrics and bumpin’ beats became a medium for expression, representing African American youth by African American youth. The music was emotionally powerful and over the years shifted from a local context to the suburbs and afterwards grew into a mainstream genre with incredible influence on all races, ages, and genders.

Within many of hip-hop’s songs, the crux revolves around - as Jay Z writes - “Came from the bottom the bottom, to the “Top of the Pops”. Hip hop reflects the achieved or desired excess capitalism offers - no other music genre is as supportive of material goods, whether that be rapping about luxury cars, popping bottles of champagne, or dripping ice (referring to diamonds). This repetitive narrative of the super rich is for most not relatable, however it serves as inspiration for many envisioning a better future, offering hope. Moreover, this source of aspiration provides a sense of escapism. Both rap and fashion offer an escape from the complex reality of life.  Maybe you can’t afford taking a cruise in a Bugatti, but you can be part of that world - just press play and put on some swanky jeans.

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So rap appeals to both ends of the audience: those who look up and aspire a luxurious lifestyle as well as the few living that lifestyle and are inspired to copy. A music genre that appeals to an audience from all walks of life. Makes a pretty convincing marketing strategy no?

While hip-hop is arguably seeing the most innovation with sound in recent times, its success within fashion is also thanks to some key innovators.

First and foremost, there is Daniel “Dapper Dan” who in 1982 opened his infamous boutique on 125th Street in New York’s Harlem. The boutique offered outrageous pieces often plastered with fake monogram logos from luxury brands including Louis Vuitton, Gucci and Versace. To little surprise, the brands were less than satisfied and ended up suing the store. While Dapper Dan was ultimately raided and shut down, it directly linked the escapism of fashion with hip-hop and opened the doors for big brands to make most of this opportunity.

It was American label Tommy Hilfiger who first really embraced taping into Hip-hop culture. Hilfiger met the gap of people looking for an aspirational label, representing an affluent lifestyle.  In the early 1990s, the rapper Grand Puba started name-dropping Tommy Hilfiger in his songs and wore his clothes on album covers. Hilfiger reacted positively and went on to feature Aaliyah and Usher in advertising campaigns.

Rap artists who strengthened the rap- fashion link include Puff Daddy, Jay Z, Pharell Williams and of course Kanye West, who even went on to become a credible designer and fashion collaborator having created the ever coveted “Yeezy” sneaker.

With every passing season, each new collaboration, every flowering street label the gap between hip-hop and fashion shrinks even more. With high fashion becoming more and more high fashion street wear (think tracksuits, sweatshirts and trainers aka the athleisure phenomenon) the conquest of prêt a porter by hip hop has been made. 

As regarded with this season’s AW17 Marc Jacobs collection and most recently Gucci’s resort collection featuring Dapper Dan, who cares about trickle down? High fashion today is born from trickle up…

“Started from the bottom now we're here.”

Fashion Technology: One Millennial's Myopia

Being in the demographic cohort of a millennial, people assume we from the “Me Generation” are obsessed with technology. Our thumbs start to twitch if we are not holding our iPhones, our quivering social status is based on follower count, we demand instant gratification with everything (food, dating, movies, music) and we expect to be connected 24/7.

Why yes, this may be the case for some, I define myself as a romantic. Someone who emphasises emotion and authenticity, someone who values true human craftsmanship and the beauty of nature. (I know I am not alone on this considering the rise in the sales of vinyl, hard copy books, and “vintage”) Although we were very young, we are the last generation to experience the world pre-smart phone, pre- “likes”, pre- amazon prime and that makes us as a generation of nostalgics fond of simpler times from our childhoods.

That being said, I innately have mixed feelings when reading about the new technologies being developed and how they will change our world, especially in relation to fashion.

At the Hyéres Fashion and photography festival, one of the panel discussions focused on the future of Fashion Tech featuring Lucas Delattre (journalist and professor at IFM), Bradly Dunn Klerks (general manager at Iris Van Herpen ), Dr. Amanda Parkes (considered by Vanity Fair as the " One of the 8 most powerful women in Silicon Valley"), Carole Sabas (journalist) and Charles Thurat (Heuritech artificial intelligence specialist ).

Parkes argued the most important research within fashion tech is regarding materials: new fibres that contain many technological innovations. She states, “The future is bio-tech. You start to have mushroom leather or roots, the new materials become more environmentally friendly. This will change the way we use clothes, they will start to be part of the Internet of Things (IOT), for example your clothes will monitor your state of health.”

In the future, the technology will be hidden in the fibres. The fibres can be used as a battery which will charge in the sun, it will be completely invisible. We can then create real clothes, not just the gadgets we wear. When we talk about electronic wearables, The priority is to quantify and analyse the body's performance. Fashion [however] is more about personal expression, identity. There is a big gap between fashion and fashion tech. We are trying today to find bridges that meet this emotional need. This is a very different approach to the gadget.

Bradly Dunn Klerks  however challenged her with another point of view.

Klerks questioned the purpose of the creation of these bridges. “In our work, we like to think of purity, minimalism, we do not see gadgets on the body. As a designer, we are completely opposed to this, we focus on pure design.”

On this point, Carole Sabas  explained that the issue is that engineers and designers do not talk together, however the launch of Google Jacquard is a successful example of the merging of the two fields. Jacquard interwoven into the Levi’s Commuter denim jacket allows the wearer to control their mobile experience and connect to a variety of services, such as music or maps, directly from their jacket. Products on the markets today also include glasses that can take pictures, and earrings as bluetooth headsets or headphones.

These innovations in technology can surely benefit millions of people who have disabilities, thus stressing the need for functionality, but surely we do not all want battery fibres within handwoven cashmere sweaters? Especially in regards to luxury with the handcraft needed for producing a heritage piece, the opposition against embracing “tech” with open arms is understandable.

Is not luxury, driven by emotion, something which is timeless? Something special passed down from generation to generation? Is not technology the polar opposite driven by function and changing every day? How realistically can they ever truly merge?

Advancements in fashion technology however are not only within materials. We see a rise in VR, AR and of course robotics. Have you heard of Amazon’s Echo look - the next generation of Alexa?

The Echo Look has a camera and can speak and listen, enhancing the human, AI interaction. The fashion conscious can use Echo look to take style selfies without hands (selfies, which are then stored by Amazon) and with the fashion feedback app Style Check, can mechanically construct the “perfect outfit” (based on data) from your wardrobe. Amazon says it will employ machine learning to rate fashion options and help users choose between outfits and ultimately, give the user’s wardrobe a score. The feature is using the help of human stylists to train the entirely robotic style recommendations in the near future.

Do we truly demand our outer identity to be shaved down to an emotionless algorithm?

Advocates of pushing such technologies within fashion call those who resist (many whom are designers) dinosaurs, stuck in the past, or narrow minded, but maybe they (we) love the emotional raw, organic “magic” of fashion, as we are human - living, breathing beings - not soulless cogs in a machine. I would consider it a grave tragedy if in the future fashion is fully automated, calculated, electric, and void of the human touch.

But I am a millennial you ask? How could I not be excited by these new technologies you ask?

I want a professor who speaks to us instead of reads from a powerpoint, I want to define my self-worth not based a social media following, I want to climb the peak of a mountain not “experience” it on Oculus Rift, I want to pursue research without having my personal data collected by big companies, I want to share my voice without having Facebook Ads tailored to me, I want to learn history not to google history, and I want to wear clothes that do not pulse electricity, "harvest" my personal data, “enhance” my experience and quantify my identity.

Or perhaps that is only one millennial's myopia.

Inside Hyères 2017

Go to Inside Hyères for an exclusive peak into the world's most prestigious fashion and photography festival!

April 27th - May 1st 2017

The Hyères Festival of Fashion and Photography brings together members throughout the creative industries to promote emerging talent in the disciplines of fashion and photography. The festival also features exhibitions, workshops, round table discussions and three competitions: in fashion, photography, and accessories.

The competition element allows the chosen candidates to present their portfolio and collections to a panel of distinguished professionals. Notable champions emerging from the festival include Viktor & Rolf, Stéphanie Coudert and Felipe Oliveira Baptista.

For this years 32nd edition of the Festival, the Fashion jury is headed by Schiaparelli creative director Bertrand Guyon, while Tim Walker heads the photography jury, and Pierre Hardy presides over the accessories jury.

The festival will also celebrate influential designer Elsa Schiaparelli through an exhibition and provide workshops with notable artists and the craft masters of Maison Lesage - the embroidery house for Chanel.

To give you a direct glimpse into the Hyères festival, I will be documenting everything at Inside Hyeres: whether that be interviews, photo logs, summaries of round table discussions, fashion show coverage, or candid shots from Villa Noailles! Join me and the LCF team as we immerse ourselves into the heart of fashion and photography!

See you there :)

THE MEANING OF FASHION AT CHRISTMAS

And here we are the 19th of December, onto the cusp of a new year. Can’t say I’m upset with seeing the back of a very peculiar 2016 and being able to sit down, clear my thoughts and open my Moleskine notebook to a fresh new page - metaphorically and literally that is. With Perry Como’s silky voice playing in the background, no there really is no place like home for the holidays and when you are home, for a few moments without a care other than last minute Christmas gifts, sometimes you just end up day dreaming and reflect...

Perhaps due to my studies at LCF (I have just finished Term 1!), this holiday season more than others has inspired me to really start thinking about what is the context of fashion during the holiday season. Yes, it is the season of gift giving- the most wonderful time of year also for retailers - but what is the true meaning of fashion at Christmas time? Surely there is there more to fashion than just being listed in Bazaar’s Gift Guide and being added to a wish-list on Net-a-porter?

After a long good think, well absolutely.

I am currently nestled just north of the alps, in an Austrian snow covered valley. The pine trees are twinkling and the sky is that sweet pastel colour of cotton candy pink and baby blue - similar to the colour scheme at Atelier Versace this season. Seated by the fireplace, wearing Johnstons of Elgin cashmere socks and The White Company flannel pyjamas - I couldn't be more cosy. Without this lounge uniform, I wouldn't be half as comfortable! The way these clothes make me feel lead me to argue that during the holiday season the delight and fruits of fashion isn’t necessarily what’s found under the tree wrapped up and tied with a red bow. Fashion at Christmas time is about feeling our best, complimenting the wonderful festivities and occasions which find themselves only at this time of year.

For example, the poised, glamorous gala dinner to grace the room in a stunning sheer Valentino couture gown (a girl can dream, ok?). A feeling of exhilaration and grace with all eyes on you, a Cinderella moment if you will, where you know you physically cannot look better and you feel fantastic. Or the homey neighbourhood Christmas gathering - Christmas jumpers mandatory. It has taken me 5 years in the UK to finally appreciate the glory of The Christmas Jumper. My personal favourite worn by Marc Darcy in Bridget Jones. Then there is skating at Somerset House or the National History museum bundled up in a warm faux-furry Shrimps coat. Or wearing a forest green velvet Saint Laurent smoking toasting in the holiday season with your main squeeze, looking utterly divine *cue the Mistletoe!*. Or hitting those slopes in flannel and a red Balenciaga puffer coat.

Or most importantly, post the evening when not a creature is stirred (not even a mouse) and you wake up looking fabulous in a la Perla silk pyjama set and robe. Spending time with family on the morning of the 25th gathered around the tree, maybe melange or latte in hand, is priceless and it's not about the clothes… it’s the feeling. Soaking up the love and laughter in the room.  Of course you want to look your best to feel your best, but the beauty of fashion at Christmas time is that they play the supporting role. Supporting you to physically feel the warmth and joy - literally touching the Christmas spirit. A small but internal part of creating unforgettable memories, year after year.

And it is at this point, I want to wish you and your loved ones a very happy Christmas. May it be filled with peace, happiness, laughter and even a show stopping sartorial moment. And remember, as a very wise Green non-Who once accurately noted: Maybe Christmas doesn't come from a store. Maybe Christmas perhaps means a little bit more.

NEXT GENERATION ASSEMBLY 2016

The Fifth International Workshop on Luxury Retail, Operations and Supply Chain Management

Last week I had the privilege to take part in the Next General Assembly at the Fifth International Workshop of Luxury Retail, Operations and Supply Chain Management at the renowned Politecnico University of Milan. The conference brought together a selection of MA students, academics and renowned industry practitioners from around the world in order to discuss the challenges and sollutions of innovation, sustainability and e-commerce within the luxury sector. Luxury faces many threats within these three realms, and solutions need to be implemented immediately for the sake of, not only maintaining a global reputation of excellence and relevance, but in improving standards of human rights and preserving our natural finite resources.

But before I get into what was discussed and propsed through this collaboration of the minds, we need to first address what is luxury? This seemingly simple question was asked at the very start of the conference by event organiser, Professor Alessandro Brun who outlined what does luxury mean today. Well, I can tell you one thing...luxury is hard to define.

luxury |ˈlʌkʃ(ə)ri| noun [mass noun]: a state of great comfort or elegance, especially when involving great expense: he lived a life of luxury.

• [count noun] an inessential, desirable item which is expensive or difficult to obtain: luxuries like chocolate, scent, and fizzy wine.

• [in singular] a pleasure obtained only rarely: they actually had the luxury of a whole day together.

Now this very official definition has many problems - Is the $1,000 Vetements shirt stating “You F**k’n A**hole” elegant? Or the HBA backwards cowboy boots comfortable? Is buying the new Prada bag rare or difficult to obtain now that you can buy it immediately anywhere online? Or what about See-now but-now where you can immediately purchase off the runway? Prof. Brun stated that luxury has completed evolved and shifted it’s meaning within western countries:

• Opulence has become excellence
• Loudness is now intensity
• Visibility is now hidden
• The object is now about the experience
• What was once a status symbol is now a style symbol
• the total look is about mix and matching
• passive luxury needs to be proactive

While the definition and the state of luxury is subjective, we all agreed that to be of true luxury you have to be built on heritage, tradition, and fine craftsmanship and exceptional service. Those elements may be interpreted any way you find fit, but the element of the story needs to be there and that underlines the point of why the mere object is now about the experience. Everyone can produce a beautiful bag, but walking into a luxury brand’s own cafe, hotel, secret bar that represents a story…now that’s luxury! The conclusion of this opening lecture introduced the challenges (and consequently opportunities) facing luxury and in response Prof. Brun stated you cannot create new needs… but you can influence taste!

The next few days followed with stimulating research findings triggering discussion. My personal favourite key note presentations were: Techno-rarity: luxury, technology and the Internet of Things presented by Prof. Matteo Montecchi, Luxury fashion brand repositioning from a strategy perspective by Antoinette Fionda-Douglas, and Vogue or Vague? The hindrances of sustainability inclusion in fashion supply networks by Hakan Karaosman & Alessandro Brun.

Prof. Montecchi of LCF ended his presentation with an interesting question and dilemma for innovation within luxury: You have innovation on one hand- so new technology, changing all of the time very very rapidly- and then on the other hand luxury. Luxury which in many cases means timeless, heritage and craftsmanship. But between those two you have time. If you apply cutting edge innovation to your luxury product, over time it will become irrelevant, passé, and as we know with every IOS software update the product will simply not work (**I'm looking at you Apple! RIP iPhone 4**). Forget about passing down that designer handbag to the next generation… it might lose all it’s value once a new technology comes along. 

My argument is that we should implement and prioritise innovation within the 1) the production to make things more efficient (supply chain, sustainability, communication systems) and 2) the consumer experience integrating an omni-channel approach.

The Next General Assembly was assigned to create solutions implementing innovation within the luxury fashion business. Myself and the team of international MA students concluded innovation should to be applied throughout three major stages: within the design, supply chain and retail phases. Firstly, within design innovation should be implemented through 3D print samples, 3Ddigital and augmented reality to try different colours when creating prototypes. Firstly this reduces textile and chemical waste and reduces cost in logistics. Of course this technology exists already, as was demonstrated by a brilliant Key Note by Laura Valagussa Senior Business Development Executive at 3DEXCITE. 3DEXCITE is actually create spitting image examples of 3D objectes on a digital screen - still experiencing the product in every single finite detail - except of course for smell! Moving on to the supply chain, we believe the future lies in full transparency (and traceability) in all operations and that production should be demand driven.

Transparency and traceability will allow for better efficiency, tracing energy emissions, allocating specific responsibility to employees, and measuring actions. This can further motivate your employees as their name is directly associated to a certain task and leaves less room for allocation failures and pushing the blame on someone else! Importantly in regards to sustainability we can specifically measure what our actions are contributing to. This would be implemented through RFID tracking which would in turn lead to a single stock view. Imagine being able to view your stock worldwide, in real time? 

Moreover, our proposition for being demand driven was inspired by the Burberry collection debuted last season in February. They adopted the see-now buy-now model but tailored it - where you the customer can purchase off the runway 7 days after the catwalk show (or until supplies last) and then the rest of the collection is made available after a normal 6 months. This gives your luxury brand priceless data on what items are selling and what is not, where you can financially allocate your assets efficiently and invest in the winners. Consequently, you give your customer a voice - a version of co-creation.

Engaging in a dialogue with your consumer is essential, which is why investing in unforgettable retail experiences are priceless. Never should innovation take the place of humans - customer service is exactly what pushes brand leadership - but innovation should improve the storytelling aspect, inform your customer, and make their lives easier. Perhaps using iBeacon? Where when you hold your smart phone up to a specific bag a message pops up stating who made your bag, what is the inspiration behind it and the story in it’s creation. You are strengthening that emotional tie which was first introduced to you by customer service.

We live in an age of radical innovation and incredible technology -  embrace it! However, especially within luxury it's about people. Invest in them, tell their stories, empower them. Use innovation to connect customers to your brand and connect the network of employees within your brand.

Finally in order to embrace sustainability we need to use innovation to do so. The technology is there, the solutions are there but it takes the will of people and courage to actually implement thoughts into action. The prime example to me was what Canepa SpA. is doing with reducing water consumption within the supply chain. Explained by Alfonso Saibene Canepa, Canepa's innovation of Kitotex® is significantly reducing energy and CO2 within their production, simultaneously eliminating harmful substances and pollutants.

Inspiring innovation for the greater good - economic, environmental, and ethical.

Over the few days in Milan, I ate much too much pasta, wandered the streets of Brera in search of the perfect macchiato (I found it), was inspired by Fondazione Prada and 10 Corso Como, and truly fell in love with this wonderful city. Looking forward to return! #azzuri! #vivaitalia

Clinton vs Trump: Fashion behind the US 2016 Election

One can easily apply the cliché “a picture tells a thousands words” to fashion, as one single outfit we choose to wear tells the world exactly who we are, where we come from, and what we believe in. Fashion as communication is a tale as old as time, but when set in the context of a political campaign - fashion truly influences our every day lives as it contributes to our decision in choosing our political leaders, directly shaping our future.

This American election has been (nightmarish) historic and shocking on so many levels and I have no intention on going into the nitty gritty of it all at this point - VOTE!!!!- but what particularly fascinated me in this election was the hyper-branding and extreme importance of image. Image has always been important in an election, but we have seen both Trump and Clinton becoming caricatures of themselves and now even a mundane red baseball cap and a classic pantsuit is immediately associated their respected selves.

First lets look at Donald Trump. What is his image telling us? Well, he wears perfectly tailored suits - usually Brioni- thus epitomising the sophisticated, refined, successful businessman… an image he has spent decades nurturing. The suit grants him the status of power and that paired with a red, shiny silk tie (red tie, white shirt, blue suit) you see a man representing patriotism, strength, and assertiveness. His style is on point (or fleek if you are under 25), but the real “it” item capturing his whole campaign is the infamous red trucker hat reading the words “make America great again”. These hats have and their accompanying slogan have become almost a cult item to have: representing the beliefs and desire of millions of Americans but for others is considered a parody #Merica!!! The hat captures the spirit of the everyday American - humble, modest yet determined and outspoken. Out of all the accessories presented on the runways each year - THIS hat will have made history and will still be relevant in the far out future… in the very least for a halloween costume.

When considering image, Hillary Clinton plays in a completely different league because she is a woman. Fair or not that is the way it is and her hair, makeup, and outfit for every appearance must be no less than perfect and be appropriate. An added pressure which is due to her gender. Clinton must constantly balance having too much and having too little: never too much makeup, never too little…. ect.  Her outfit choices should always make a statement, but can never outshine her, and distract her audience (which is the world). She has made pantsuits legendary and is known for supporting American talent. For this campaign it has been said she has consulted with American Vogue Editor and chief Anna Wintour for putting together her campaign wardrobe and although this is my speculation - I think Anna is the reason why we have seen so many bright coloured, bold pantsuits emphasising vigour, competence, but also an energetic personality. Her legendary  pantsuit has given a masculine edge to her look,  which is needed in a presidential race - a frothy Oscar de la Renta number isn't going to cut it for the “leader of the free world”. While pantsuits represent her style, her slogan is #imwithher and thanks to Trump, was gifted an evan better slogan which has also become “cult”. The reference of being a “nasty woman” has been added to her advantage and nasty woman t-shirts are all the rage and in our modern vernacular “Nasty” is the new awesome.

So who should win based on strictly fashion alone? Clinton has been accused of spending $12,000 on an Armani jacket at a convention discussing inequality in America- not helping her case of being more likeable. She didn't have an “it” accessory on par with the Red Hat. Clinton also has been said to use campaign money to buy clothes as that is part of the campaign, while Trump pays for his Brioni suits with his own money. That being said, it seems as Trump is a real man of the people and fosters a professional responsible image -  a proper business man with a core of your typical all American wearing a care-free baseball cap.

Fashion alone however can deceive and to make your decision tomorrow solely based on slogans, image, and “sick” hats is a grave mistake. As powerful as this creative medium is and all it represents, fashion does not define leadership, courage, integrity, and responsibility.

Valentino Couture: Fall 2015

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A sun setting over the glorious rooftops of Rome. The summer breeze through your hair. Silence. iPhones at the ready. A choir of heavenly voices are heard as a long black silhouette emerges through those heavy, iconic wooden doors of the Valentino atelier in the Piazza Mignanelli. Reaching the almost empire waist of the first black tulle dress was a petite golden eagle, the symbol of imperial Rome, clutching a red ribbon. It was this image which was remarkably found on the ceiling of the house’s atelier during its recent renovation.

Let the symbolism commence!

(Goosebumps all around. The Valentino Couture show has begun and is already exceeding our over the top expectations based on the pre-show activities all around Rome including: witnessing previous Valentino couture f in locations such as the Biblioteca Casanatense, a third-century AD Mithraic grotto, and Giorgio de Chirico's apartment-turned-museum. Not too shabby. (?!)

Grazia Chiuri and Pierpaolo Piccioli brought the Italian heritage brand back to its roots in the most idyllic, graceful, and not at all cliché way which is sometimes expected when being patriotic. No - Rome was captured symbolically, poetically where the Roman history and what it means to be Roman is not seen on the surface - but felt deep beneath the skin and that is the power of extraordinary fashion and talent. )

The girls moved with grace and serenity, golden filigree diadems upon their heads - an angelic appearance with a fearless attitude of modern-day aristocracy. Black was the predominant palette of the evening which was for some a disappointment but wait! Black is not only black. We've seen its transparent delicacy through whispered tulles and laces sometimes brushing the floor. We've seen black bold and full of drama slowing in heavy velvet and silks. Two opposite directions in one color - solemn, yet nobel.

Piccioli states “We also wanted to show the darkness we feel in this city.”

However, there were also deep red gowns, of course a color a tribute to Valentino Garavani (sitting proudly in the front row) but also the historical Roman reference to the cardinals of Vatican city, and the ancient Roman cults who would sacrifice cattle aka oxblood - Too much information? Sorry! Gold were not only the the necklaces and bracelets designed by Alessandro Gaggio, but into it was the color of Roman gladiator like minidresses, tulle ball gowns, and a remarkable 3D golden entwined rope dress.

There has never been a more beautiful tribute to the Eternal City and it was impossible not to understand the unbreakable bond between Rome and its couturiers. The standing ovation was well deserved.

Pictures by Umberto Fratini / indigitalimages.com

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Chanel Couture: Fall 2015

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Cha, Ching!! Following last season’s mechanical flower garden, yesterday the Grand Palais transformed into an Art Deco revived Casino à la Chanel. The kind where a gentleman in a crisp suit and his lady, strung with pearls, would arrive in style by Rolls Royce Casino de Monte-Carlo and would bump into F. Scott and Zelda, on their way to the gambling table champagne in hand. But that was yesteryear… Today the Cercle Privé was attended by the likes of Kristen Stewart, Lara Stone, Julian Moore, Rita Ora and Hollywood offspring such as Lily- Rose Depp (the current face of Chanel Eye wear). The celebrities wore Chanel Haute Joaillerie and custom made gowns, playing their parts exquisitely rolling the dice and setting their bets: all under the nose of editors, buyers, and bloggers.

While the setting may have reminded us of a old pre-world war glamor, Karl Lagerfeld turned this nostalgic setting ironically into the scene of a technological fashion breakthrough. Sci-fi futuristic methods are no longer visions for the future. The game of Haute Couture has been forever altered by a cutting edge technique (literally) called “laser sintering”.

Not familiar with the concept? Laser sintering is responsible for removing the seams from the iconic tailoring. The show featured work of chiffon laser cut ribbons and 3D printing - both techniques setting a mechanical pace of the show. While last season’s show was romantic, dreamy, and full of Parisian prettiness, the Cercle Privé collection felt calculated, geometric, obviously technologically advanced, in other words very Germanic- an ode to Lagerfeld’s roots.

The Chanel aesthetic of course satisfied us all with its clean tailoring here equating to angular shaping with a soft fit,  as seen on coats and jackets, some equipped with military epaulettes to sharpen the shoulders or as seen as the final bridal look in all white. Then there were those careful details of black and silver sequins or meadows of tiny flowers and feathers balancing a rather strict collection with a breeze of softness - once again impeccable work of les petite mains.

Overall, I would say the show was in one word: eery. No! Don’t misunderstand- I don't disagree the collection was not breathtakingly beautiful and I would bet my money that it will be a commercial success- but in the air lingered the unknown, something alien, and something unsettling. The models looked like robots, very Ex-Machina, with angular black wigs, blood red lips and a sharp streak of magenta blush - very non- human- and I couldn't help but ask myself: is it not a tragedy that we have entered a period where robots and machines are beginning to replace the delicate, human handwork which defined the art of ancient couture? Or is this an inevitable evolution transporting the jacket of the 20th century into the 21st?

The last word deservedly comes from Karl who is relentless in never looking back: ”When you fight against the future, you are lost. You have to adapt. Time doesn't adapt to us. I'm a healthy opportunist for that.”

Images courtesy of Chanel

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...Itsy Bitsy KIINI Bikini

Guys. We are almost there! Summer is almost here! Just a few more exams, a few more essays, a few more work hours to push through and we’ve made it! The sun is already shining into the late hours and the espadrilles and sandals are lined up at my front door ready for a stroll.  For me, one of the best parts of summer is heading to the beach. The sand between your toes and rhythmic eternal hymn of the sea, the soft breeze through your hair. At the beach you just feel so free and at one with nature and you can just recharge and reboot your own personal battery! Of course the beach is also the best opportunity to sport your finest swimwear (opposed to the University pool I am used to - chlorine and tile simply isn't as glamorous…) 

So allow me to introduce: KIINI! Officially, they are my absolute favorite bikini brand- they claim to “unleash superpowers such as extreme positivity”. How can one really say no? These crocheted pieces are not only chic and lively, they are handmade and thus support artisans and quality craftsmanship (YAY!) ! The shaping flatters the body without the complete annoyance of “push up cushions” and wearing it you can feel a surge of youth and a free spirit (you may have the uncanny urge to engage in cartwheeling, water balloon fights, sand castle building, and hula hooping…)

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KIINI bikinis are ideal for the modern bohemian as each piece is unique and has its own personality, and they have already graced the pages of Vogue and Harper’s Bazaar so I think we can be assured of the credibility.

Just a warning: If you want to wear one of these bad boys before summer vacation, be sure to pre-order NOW for them to be ready by mid-July!

*All images found on Kiini.com