Did you get your Prada Train Tickets?

 

Yes, it is an actual train, with Prada robot train masters who are in charge of tickets. The journey started from Macau in December 2017 and has now arrived in Istanbul. Mainly the train “stops” in luxury malls in big cities. The route map of the train is from Asia to the Middle East and then Europe to the USA. Also, Prada created special products for each destination in limited quantities.

 

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(GQ Turkey)

Prada Silver Line Train in Istanbul is in one of the biggest and popular malls in the city, a 132 meter square space in a pop-up format. The mall, Istinye Park, is  famous for its open-air area with stores of only luxury brands.

 

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(GQ Turkey)

The train is inspired by themes such as travel and modernity, representing Prada’s mobility. The imaginary railway station with its metallic style definitely shows the Prada DNA when you enter.

Prada Robots are the most attention-getting thing in the station. Human sized robots give you the feeling of an innovative and modern train. Also, these robots are not only just robots but Prada Robots  — the same ones on bags, wallets or keychains you can buy.

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(Prada Group)

Another characteristic of the train is each location of the installation has limited edition products for each area. In the Istanbul station, there are products with the tags of Istanbul and special colors.

 

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(Photo:Taken by me)

With this approach, Prada is not only selling its new Silver Line collection but also connects with its customers directly by showing the value that they give.The sales associates told me that the travelling retail project is very popular in Istanbul. They said :”Many locals and tourists just come to see and take pictures of the train.” Looking from the marketing approach, Prada Silver Line Train achieved its marketing goals in Istanbul in very successful way. 

 

Dicle Altintas

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Pop-ups popping up everywhere!

Pop-up retail formats are temporary stores that showcase a brand from a single day to 120 days, and they reflect how consumers want to shop today. Pop ups help retailers  generate interest and a sense of urgency among shoppers, thanks to unusual and interesting store layouts and unique offers for customers.

Pop-ups are gaining momentum because they are modern showrooms for brands. Nowadays, established and luxury brands are using pop-ups to test new geographic locations and markets, and to capture seasonal sales.

For instance, Louis Vuitton launched a new series of traveling pop-up shops inspired by the idea of exotic islands and travel. The program will be making its way from Miami to Los Angeles, Hawaii, and New York. For the pop-ups, a can’t-miss Volkswagen Bus has been revamped to mimic the tropical island theme behind Kim Jones’ inspirations.

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Louis Vuitton’s Volkswagen Bus
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Louis Vuitton pop-up store in New York
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Louis Vuitton pop-up store in New York

Another example is that of Tiffany & Co., which at the end of January 2018 opened a pop-up store in Los Angeles, just in time for Valentine’s Day. For this occasion, the brand launched a Tiffany tag charm personalized with an L.A.-ism, such as “Love Always” or “Running Late”.

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Tiffany & Co. pop-up store in Los Angeles
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Tiffany & Co. pop-up store in Los Angeles

Prada introduced “Prada Spirit” in January 2018, a new retail project premiered at the Galaxy Mall in Macau, which will last for a month. The company is planning to present the project to other major Asian cities, such as Beijing, Shanghai, Hong Kong, Taipei, Singapore and Seoul. The idea consists in the suggestion of a prestigious and typically Italian traditional café, which displays leather accessories.

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“Prada Spirit” – pop-up store in Macau

The latest news comes from the luxury shopping area Quadrilatero della Moda in Milan.

The Italian brand Attico, founded in 2016 by Gilda Ambrosio and Giorgia Tordini, opened its first pop-up store in Milan, with an installation inside the Larusmiani store. The two designers decided to re-create the iconic world of the brand on the first floor of the store: the sartorial aesthetic of Larusmiani meets the overwhelming femininity of Attico in a capsule collection made up of six limited edition items.

The collection includes a revised version of the classic suit, in which ’80s-inspired pants are combined with a shirt embellished with feathers; a trench developed in an uncommon fabric; an embroidered dress; a pair of corduroy trousers and a double-breasted blazer.

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Attico pop-up store at Larusmiani
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Attico pop-up store at Larusmiani

Moreover, the temporary store offers a selection of ready-to-wear pieces and accessories from the Attico Spring/Summer 2018 collection.

You have time until the end of May to discover and buy this special Attico collection.

…In the meantime, you’d better watch out and bet on which brand will open the next pop-up store!

Sara Saladino

The e-shop that brings together craftsmanship from around the world

Created by Mila Serena di Lapigio, Folkloore is an e-shop dedicated to the excellence of craftsmanship all over the world.

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“Folkloore was born in 2015, but the idea of an online store dedicated to craft excellences flashed through my mind for the first time a long time ago. I have always travelled, I am a breeder of unique and unavailable pieces from the countries of the world.” -said Mila Serena di Lapigio to Amica Magazine

By selecting the finest fashion and crafts from the planet’s most remote corners, Folkloore’s dream is to become a touch point for the planet’s best unique artisanal creations. Revealing the secret beauty of worldwide handicrafts will also help to promote and sustain ancient know-how and keep local traditions alive. From Colombia’s sacred mountains to the marvels of southern Italy, Folkloore selects endless scopes of handmade excellence. Explore.

But where do all the products come from? There are now almost 20 countries included in the project (at the time it was just 3!), From Iceland to Thailand, from Ghana to Mexico, passing through Turkey, Great Britain and of course also the closest regions such as Friuli and Sicily!

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The fil rouge uniting the chosen products is authenticity and quality. “I like to study every detail with extreme care: from the choice of the artisans with whom to collaborate to the product in all its forms,” said the founder. Folkloore is firmly opposed to any form of exploitation of territories and people, choosing methods and responsible work that enhance local skills and know-how, undisputed protagonists of an almost unbranded project. It is by choice that Folkloore does not take pieces of already known brands: “I prefer to give an opportunity to the artisans, taking care of the collections that I propose,” said Lapigio.

Folkloore is the good face of globalization: its mission is to act as a global showcase, to give visibility to all those artists whose talent and folklore are worthy of being shown to the whole world.

Francesca Borroni

References: amica.it – folkloore.com

 

Fashion through the eyes of a guru

Natural, funny, lively, intelligent and a well-established woman; but also a wife, a mother of two, Beatrice and Federico, and grandmother of  Rebecca and Tobia.
Adriana has gained experience in the luxury industry since the very beginning of her career, dealing with the most important names in the business, playing a key role in the buying decisions of the most prestigious multi-brand store in Hong Kong. 
The interview with Adriana Camerini Saralvo.

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Q: Can you tell me a little bit more about your career and how you started working in the fashion industry?

A: I started working in fashion, for a multi-store buying office, called AGAM, as a market representative for Neiman Marcus. I was overseeing three departments at first: Menswear, furs, and home, getting responsibility for them all after three years. I worked at AGAM for ten years, then I was appointed Manager of Joyce HK, one of the most significant retailers in Asia, resident buying office in Milan.

Q: As an Italian, how do you feel working with people with a completely different culture from yours?

A: It’s a challenge but it’s interesting. It is very important to understand the company’s mission and vision and the customer’s tastes and needs.

Q: What are Chinese customers looking for, from luxury brands nowadays?

A: Mainly luxury brands with a good reputation and brand awareness;  but some customers are now getting more conscious about fashion and more confident of their own taste and style and so are getting more willing to explore new brands not that recognized. They are basically starting to appreciate their own individuality.

Q: Which are the top brands for these clients?

A: As always Italian high-end designer brands, the “usual” ones, and new such as OFF-WHITE, Vetements, Balenciaga, more in general edgy street style brands.

Q: Which are in your opinion the best emerging brands in Italy?

A: Sara Battaglia, Attico, Alanui, LaDoubleJ. These brands, despite their “short life”, are still bought by important and renowned stores worldwide. Is not easy to give to a collection an edgy style with strong personality, good quality and a valuable and distinctive fashion content. Chapeau!

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LaDoubleJ: Girls Gone Wild

Q: Who has had the biggest influence on your career?

A: Joyce Ma. My style teacher

Q: What do you think are the most important skills for a buyer?

A: Passion, fashion attitude, customer understanding, organisational capabilities and little math 🙂

Q: What is luxury to you?

A: Exclusivity in fashion. Silence in my life…

Francesca Borroni

Gianni Versace Retrospective – an extraordinary celebration of success

Are you planning a trip to Berlin? If so, you should keep on reading. The city is putting on a major Gianni Versace retrospective until April 14. If you haven’t planned anything yet, why not take this into consideration?

Who?

Gianni Versace was one of the most respected and admired designers of all times. He was born in 1947 in Reggio Calabria, founded the house Versace in 1978 and shaped and transformed his generation like no other fashion designer.

What?

Gianni Versace – Retrospective.

Where?

In Berlin, at Kronprinzenpalais; 3000 square meters with hundreds of original Gianni Versace works.

When?

From January 30th 2018 to April 14th 2018.

Why?

The exhibition serves as a celebration of the 40th anniversary of the founding of the brand.

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Versace in the 90s – Stephanie Seymour, Carla Bruni, Claudia Schiffer, Naomi Campbell, Nadège, Helena Christensen

Gianni Versace loved Berlin: in 1978, Germany was the location of the very first Versace fashion show. In 1994, he had his first exhibition “Signature” in Berlin and was so fascinated that he planned to come back. Unluckily, three years later he was murdered at his home in Miami.

The Retrospective seeks to fulfill his wish. Spanning a vast number of personal belongings and interior objects, including fashion, accessories, home-decor and photographs, the exhibition is said to be the largest public display of Gianni Versace’s original craft ever seen.
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Within the showcase, people can find items brought to Berlin by private collectors from Italy and around the world, including many fashion highlights and pieces worn by celebrities like Prince, Madonna, Anna Wintour and models like Naomi Campbell or Linda Evangelista. All this is supplemented by impressive multimedia installations and outstanding rare videos of past fashion shows.

Fashion lovers can take a deep dive into the colorful world of Gianni Versace’s heritage, admiring works of art such as the patchwork dress from FW 1991, which was worn by Linda Evangelista.

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Linda Evangelista on the cover of Versace’s “Vanitas Design”.

For big brands with a story to tell like Versace, the exhibition serves as a way to open up the brand’s world in a very democratic way to a wider target of hungry and educated people. Indeed, in this way the brand can not only communicate its story, but also showcase the signatures and trademarks that signify authenticity.

“I’m not interested in the past, except as the road to the future”, said once Gianni Versace. Undeniably, most of his pieces of the past are still considered to be iconic today.

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Don’t forget to put this exhibition on your visiting schedule. You cannot miss it!

Gianni Versace Retrospective

Sara Saladino

Moschino’s strong design is showing up in the bottom line

Sexuality and its obsessions are the main themes of Moschino 2018/2019 pre-fall winter collection. The pre-collection preview anticipates the mood of the main collection to be unveiled during the womenswear shows at the Milan Fashion Week starting tomorrow February the 20th.

The collection for sure will be as amazingly shocking as the preview!

High leather boots, dark masks covering the whole face, bustiers, garters and total latex looks are the year’s big news that captures the attention on the catwalk. The atmosphere that Jeremy Scott conveys is made of darkness, mystery and perversion: every piece of the collection becomes able to express its nature by itself, men and women swap their identities not only because of masks and big hats, but they exchange clothing and lingerie with an extreme confidence. At the end of the catwalk we have an additional proof of the mix of the two sexes:  a man and a women wear a “tandem white tie”: two white ties connected together that may suggest that both sexes fight for the elimination of discriminations due to sexual orientation.

Moschino perfectly understood the  equation for success in the fashion industry: being unique and combining creativity with a business mind. The brand occupies an important position on the international fashion stage, it’s one of the most talked about in Europe and Asia.

From 2013 the new creative director Jeremy Scott has literally catapaulted Moschino into the spotlight. Moschino is now a label for customers who love to shock: it is constantly finding new and modern inspirations like McDonald’s, Barbie, Looney Tunes and comics.

The brand’s success is a fact: the parent company Aeffe’s EBITDA was 30.4 million euro in the first 9 months of 2017, 25.2 million euro in 2016 and 19.3 million in 2015.

Sales of the group are going up year after year: from 268.825 million of 2015 to 280.691 million of 2016 and 234.973 million in 2017 (but only the first 9 months). Moschino is the largest selling brand of the group since the 67% of net profits come from this label. 

Looking at these numbers, Moschino’s success could very well continue in the future, but what the designer is going to unveil is still a surprise.

Credits to: http://www.vogue.it (image), www.aeffe.com (financial data)

Ekaterina Okoulik

Winners of the International Woolmark Prize @Pitti Uomo 93

The 93rd edition of Pitti Uomo hosted the prestigious International Woolmark Prize, an important forum for spotting new fashion talent. The UK’s Matthew Miller and Bodice of India won respectively the menswear and womenswear category, and DYNE was the winner for the Innovation Award.

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International Woolmark prize winners at Pitti Uomo 93

What does this prize celebrate? Born in 1953, its purpose is to discover and encourage creative talents around the world to express the beauty and versatility of Australian Merino wool, transforming it into fashion products. Not only the aspiring fashion stars are supported with trade development and helped in the manufacturing processes by the Australian wool-growing community, but they also face the challenge to influence customers’ perception of what a wool garment can be. Plus, the winners receive a substantial money prize and great commercial opportunities, including a chance to distribute their collection in prestigious department stores.

This prize is evidently not a joke – also considering that the winners of  the first editions were Karl Lagerfeld and Yves Saint Laurent. Great times ahead for the three emerging designers, then. Although they have had different inspirations and visions for their collections, they all surely created something very interesting.

Matthew Miller was able to work the Merino fiber in such a way to make it water resistant, eliminating also the plastic materials involved in the production, preferring recylcled materials. “Shapes serving the function”, the philosophy behind his collection.

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Matthew Miller collection

Bodice won the womenswear category thanks to the technology and the manufacturing skills within the production process. As a result, her collection combined elements of the tradition of the Australian merino wool with the artisanality of her country of origin, India. She closely worked with Biodye, a natural colour manufacturer in Sawantwadi (in the central part of the country) to get combinations of colors following Ayurveda. She also utilized coconuts, shells and wood to create the buttons, to complete her holistic approach.

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Bodice collection

Finally, the Innovation Award, promoted with Future Tech Lab, was given to DYNE, whose collection was inspired by the snowboard lessons in the 80’s. His collection includes zip-up hoodies, track pants, trench coats and pullovers. It has been treated so as to be water-repellent, and includes reflective overlays and inserts, functional pocket zips and laser-cut details.

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DYNE Collection

But the real innovation of Christopher Bevans is the introduction of NFC chips inside his technical garments to monitor the risk of avalanches. When tradition meets technology.

Gaia Villatora Milic

 

Photo credits: www.woolmarkprize.com

Fashion and Architecture: the “Prada Invites” Project

(Hi Sara! Very nice! Well written and short but with plenty of info. OK to publish)

Prada is a traditional brand which is trusted by many for its consistency of attitude.

However, at this year’s men’s fashion week it caused a sensation, since for the first time for a very long time it held its show in a different location: a company’s warehouse not far from the Fondazione Prada.

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Prada setup for Men's Fall 2018

For this occasion, the focus was the industrial side of the brand identity. Inside this warehouse, which looked like a surreal archive, guests could walk across a large forecourt, where each space was divided by plastic curtains and was full of big boxes and crates and metal shelves. All these elements were marked by ambiguous symbols: abstract accessories, mascots and recurring motifs.

 

But that’s not the only novelty at the brand’s Fall/Winter Fashion Show this year.

Indeed, as part of its Prada Invites project, the Milan-based house invited four renowned and talented creatives to each develop a special item by using Prada’s iconic nylon material, in order to manifest four radically different approaches that investigate the poetic, practical, technical and aesthetic aspect of nylon, as the company said.

Who are these four guest designers?

Ronan and Erwan Bouroullec The French design team started working together in 1999. Their work covers a wide range of disciplines (from jewelry to spaces, drawing, video and photography) and is part of the collections at MoMa and the Centre Pompidou. These two designers were invited to revisit the emblematic black nylon and the result for this collection is a a large artist’s folio with bright blue and yellow leather gussets.

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Konstantin Grcic Born in Germany, he studied at the Royal College of Art in London, where he met two designers who have been fundamental for his future work: Jasper Morrison and Vico Magistretti. He creates simple and elegant pieces that meet a wide range of needs. For the Prada project, he blended clothing and accessories, transforming the iconic fisherman’s jacket into a functional, multi-pocket apron.konstantin bag                                               Photo: Instagram @prada

Rem Koolhaas The Dutch architect, theorist and urban planner studied in Amsterdam, London and New York. In 1975, he founded OMA, one of the world’s biggest architectural firms. His works are mainly bold and super-sized. OMA has collaborated on several occasions with Prada, but in this one he was personally involved to re-define the house’s signature backpack, which was adapted for city dwellers by Koolhaas.koolhaas                                                Photo: Instagram @prada

Herzog & de Meuron The Swiss team Jacques Herzog and Pierre de Meuron both graduated from Zurich’s Ecole Polytechnique Fédérale in 1975. In 1978, they started the Herzog & de Meuron architecture firm. Their items are characterized by experimentation, as much in material choices as in the way they are used to create a poetic and concrete style. They had already worked with Prada (they developed the house’s “Epicenter” store in Tokyo) and in this occasion, they used language as a starting point, worked on the fabric like a verbal motif to create a relaxed short sleeve shirt, printed with text.

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For more than two decades, this label has set trends. And with this show we can now understand what modern-day menswear looks like. Prada mixes wool suits with nylon jackets, but also technical fabrics with classic tailoring.

This F/W 2018 collection looks like it jumped out of the archives: we can see a blend of iconic black nylon items together with new designs. And it really looks like a Prada renaissance.

Have a look at the video of the Fashion Show here: Prada FW18 Show

References:

Prada Group – Prada Invites

Prada taps design luminaries for A/W 2018

Prada A/W 2018 – Wallpaper*

Prada to Show Men’s Fall 2018 Collection in New Location

 

Sara Saladino 

When art meets quality

What is the quality of a fashion product?

Precious, natural or technological fabrics, undisputed workmanship, perfect fitting that satisfies most of the sizes and conceals body imperfections, little details crafted with attention, with care, finishing touches that exalt the product refinement, accessories that won’t weigh down the image, hand-done embroideries.

Why do we need art?

Beauty is one of the conditions that brings us to happiness, there isn’t a single woman who is fully pleased by her appearance.  The ability of designers is to create a masterpiece that carries the concept that people will follow, a projection of a dream; it has to tell a story that satisfies fantasies and passing fancies.

When beauty meets quality the result is surprising: the designer’s idea is realized in a precise way and leads back to his main thought.

Something timeless is created, it never gets old, continues to remain precious.

Something unique is created and the person wearing it  feels satisfied and this satisfaction justifies the price.

Something that creates a heritage is produced.

This “something“ is the perfect definition of luxury.

Ekaterina Okoulik

 

 

Credits (image): https://www.albertaferretti.com/it

 

Louis Vuitton Objets Nomades  

One of the protagonists of the Milan Design week 2017 


The Objets Nomades Collection, enriched with 10 new items, was presented during the Milan Design Week 2017, from April 4th to 9th at Palazzo Bocconi.

The collection’s range, created in 2012, now includes 25 collectable and limited edition items, from a hammock to a deckchair, from a swing chair to a foldable stool.

Each product embodies the same ideals that combine the design skills of international designers and the savoir-faire of Louis Vuitton. The Objets Nomades collection keeps alive Louis Vuitton’s long tradition of beautifully crafted travel objects.

“Creativity, functionality and innovation have driven Louis Vuitton for more than 160 years. A design pioneer, Louis Vuitton has constantly anticipated fashion and kept pace with evolving lifestyles, and over time, the combination of its savoir-faire and the talents of renowned designers has created opportunities to develop inventive shapes, materials and products. This tradition continues with the creation of the Objets Nomades, an ever-expanding collection of limited edition, collectable furniture that is both inspired by the House’s historic Art of Travel and a reinterpretation of its essential spirit.”

This collection is made by the most creative designers of our times: Atelier Oï, Maarten Baas, Barber and Osgerby, the Campana Brothers, Damien Langlois-Meurinne, Nendo, Gwenaël Nicolas, Raw Edges, Patricia Urquiola, Marcel Wanders, and most recently, India Mahdavi and Tokujin Yoshioka.

The collection includes very different products, starting from the

∇ Campana Brothers’ biomorphic Cocoon chair

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∇ Spiral Lamp – Atelier Oï 

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∇ Blossom Stool – Tokujin Yoshioka 

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All the objects are realized in a skin the company calls “Nomade”: it is soft and strong at the same time,  and they are dedicated to particular travelers that love the link between beauty and functionality.


∇ From left: Raw Edges, Shelves and Concertina Chair; Atelier Oï, Stool, Hammock e Spiral Lamp; in the middle Talisman Table – India Mahdavi

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Among the others new products we find the Talisman Table of India Mandavi in beige and blue version.


∇ Palaver Chair and Swing Chair – Patricia Urquiola

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∇ Lune Chair – Marcel Wanderslouis-vuitton-objets-nomades-2017-02

Money to invest? Choose luxury

Think of the best investment goods. Think of gold, diamonds and stock markets. Now take them all and put them away. In a bag, for example.

Fashion, vanity, quality, status. Like it or not, there are plenty of reasons to purchase a designer bag. Anyway, there’s one single reason that will persuade even the most skeptical among you.

Let’s proceed step by step.

A study from baghunter.com underlined how the value of some iconic handbags has dramatically increased over the years.

The Hermès Birkin bag, the most loved by the stars.

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Every fashionista knows that there’s no life goal such as owning a Birkin. Expertly crafted, this simple-designed yet sophisticated bag is one of the greatest symbols of luxury.

There are several reasons for its incredibly high price.

First, remember that the price change is mainly due the discretion of Hermès. It is no secret that luxury brands apply stronger mark-ups on their products. In the case of the Birkin, the prices increase by between 5% and 10% annually for a new bag.

Second, the supreme quality of craftsmanship. This is a timeless bag created for longevity.

Third, scarcity. Only few handbags are produced every year, and they’re not advertised (as if they need to!)  That makes the Birkin even more coveted (hence the famous waiting list that can last for years). Get in line, ladies.

According to the study, a bag in excellent and pristine condition can fetch up to more than 120% of the money invested in the purchasing.

The Chanel Classic Flap Bag, the most iconic piece of the Parisian Maison.

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The research pointed out how the value of this handbag has only increased over the years. Like the Birkin, we can identify several factors to explain that. For sure, raw material and labor rising costs are what mainly underlies this phenomenon. Plus, don’t forget the inflation rates.

Even though the Flap Bag has always been the most appealing and popular of the brand, Chanel has also increased the price of other products with great fashion and trend potential (i.e. the Boy Bag).

What about the other brands?

A classic designer handbag will never lose its appeal. Although Hermès and Chanel are the most impressive cases, you should not underestimate the other brands capability to create value. As said before, high mark-ups are used in luxury to increase profit and to preserve the exclusivity of a brand. From a timeless piece you can always expect a surge in value.

If I was convincing enough for you to consider this new kind of investment, keep in mind just few simple rules:

  • Choose neutral tones: black, tan, beige, nude will never go out of style. Seasonal colours can provide you profit just for short term investments.
  • Exotic and precious skins are more expensive yet more valuable.
  • Timeless bags have, are, and always will be the most appreciated ones. They will increase their value from the moment you’ll purchase them.

Do not necessarily take this article as a financial advice. Au contraire, take it as something to open your mind about high-end goods. Yes, they might mean frivolousness and ostentation, but they can be something more.

If you’re not interested in investments that’s fine. If you only care about how a beautiful bag makes you feel I have nothing against it.

Isn’t it still an investment in happiness after all?

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Giulia Ferretti

Photo credits:

fashnberry.com

baghunter.com

net-a-porter.com

Sources:

Baghunter

Forbes

Financial Times

Time

Daily Mail

Observer

Do you really “love your curves”?

When fashion is becoming “democratic”

During one of his rare interviews, Zara owner Amancio Ortega has always remarked that his brand strength consists in having quick reactions to consumers’ demands, and no advertising.  Well, maybe  it would have been “Better to remain silent and be thought a fool than to speak out and remove all doubt” also this time.

Let’s go back to last week: the Irish radio speaker Muireann O’Connell posted on her Twitter account last Zara campaign picture with a vitriolic comment – “You have got to be sh**ting me, Zara”. Actually, according to her absolutely Irish red hair and not properly skinny body, it seemed to be so: the leader of the Inditex Group was making fun of her and the majority of us. In fact, where the slogan says “Love your curves,” the models wearing Zara curvy jeans are fitting a size 36.

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Zara jeans campaign – Credits: Twitter

There’s something weird, it’s true. However, thanks to O’Connell’s tweet, a still unknown photo has become viral through social networks – the best place to share criticism and indignation in 21st century. Moving from the ironic “Love curves? Which curves?” to more fervent philippics about anorexia and a bad example for young generations, on the other hand a crowd of suspicions has alluded to a voluntarily ambiguous marketing and communication strategy. You know, there is only one thing in the world worse than being talked about, and that is not being talked about at all.

Whatever the hidden goal, the controversial advertising seemed not to have paid attention to what’s going on in the real fashion world. First the consecration of Victoria’s Secret Angels with their healthy, sexy and feminine silhouettes, then a star named Gigi Hadid has born even if she is a 86-64-89 model. Finally, the giant of fashion editorial industry, Vogue US, celebrates women overcoming the ancient prejudice based on the correlation “skeletons – models”.  The March 2017 cover story is an hymn to beauty and its revolution: starring current fashion and social icons such as above-mentioned Gigi, plus Ashley Graham, Kendall Jenner and the Italian Vittoria Ceretti, what stands out is the motto “No norm is the new norm”.  A trend that Dolce e Gabbana had already caught in their early runways and relaunched during the last Milan Women Fashion Week, when one hundred fifty men and women of every ethnic group, height and size run the catwalk under the hashtag #realpeople.

It looked like stone age, but it was only in 2012 that Dior excluded Jourdan Dunn from the fashion week because of her generous breasts. It’s time for real women to get their revenge.

Back to the last week’s episode, maybe Mr. Ortega and his marketing consultants should take a walk to one of  Zara’s shops in Italy. They would be amazed by the amount of S and XS sizes still on sale.

Alessandra Petagna

Cover ImageVogue Magazine

Sources:

The future of luxury brands: personal platforms and social media.

Do you know what the forced compliance theory is? It describes the unpleasant feeling that results from believing two contrary ideas at the same time, concentrating on the tendency that a person is induced to do something that might be contrary to his or her opinion in order to avoid dissonance.

Not so easy to understand, right? Actually this paradigm is widely used in marketing by inducing consumers to do something for a brand, an action expected to enhance and to amplify their attitudes towards the brand itself.

An important indicator comes from the social media world.

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Few days ago, Snapchat debuted on the stock exchange for a value of 25 billion dollars reconfirming the enormous power this platform has; it is by far the best place to reach the generation Z which is very fragmented and has a huge media consumption.

But how to engage them? Lets analyze this phenomena together.

Burberry planned everyhing in advance.

Art of the Trench, Burberry’s first social network step, was released in October 2009: it main goal was to stimulate the consumers by interacting with the brand itself, focusing on the ability to create content and to bulk a sense of belonging and affinity: anybody had the possibility to became a brand ambassador, posting pictures of themselves wearing Burberry’s clothes.

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The brand went forward, leveraging on continuous challanges of innovation, reinventing new customer values, and getting tuned with 21st century technologies.

It was 2010 when Christopher Bailey (chief executive and creative officer of Burberry, ndr) launched the project Burberry Acoustic: consumers could register on live.burberry.com and watch session of performances by new and emerging British bands wearing Burberry garments mixed in with their own clothes.

But all that glitters is not gold. A brand image can be ruined by a poor management of the site in any moment through:

  • Absence of a real daily interaction between the brand and its followers;
  • Lack of a deep and meaningful brand experience by seeing photos of others in the same outfits;
  • Not keeping social networks fresh and relevant.

This push towards social media marketing stands to be a positive one only if it is strictly connected in a customer-focused brand strategy.

Burberry also went beyond live streaming: during the SS 2016 fashion show, with a “public” of 100 million accounts, it shared pictures of the entire collection on Snapchat before its debut on the runway.

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How to take advantages of this super active audience? The brand offered a made-to-order catwalk service, selling runway pieces collection online immediately after the show ended: remeber that the final and ultimate goal is to bring the customers closer to the brand.

The last in.

Few days before the Paris Fashion Week 2017 Céline joined Instagram for the first time, reaching more than 50,000 followers after only one day. The French maison was the only one among all the other luxury brands that had snubbed the power of social media: it was not present  on Twitter and Facebook, something pretty strange for a luxury fashion brand nowadays.

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The capacity to keep these spaces active is fundamental to defining the macro-strategies used (such as coherence, interaction with the public, a dinamic scenary, etc).

The brand is seen as myth, as a lifestyle. It is strongly related with its heritage, proposed and celebrated through evoking a precise way of living.

The new CEO Séverine Merle has brought a more fresh approach to the brand, planning also to open an e-commerce website and test the results of the sales online within the end of the year.

Using the influencers to capitalize more.

An amazing idea came from the minds of Dolce&Gabbana: during their SS 2017 presentation, they manage to make the catwalk alive with diversity, sizes, shapes, ages, races.

Now the audience and the final customers are changed, and also the luxury world must adjust itself.

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A significant number of people appearently unknown, famous on social media, children-of, influencers or bloggers: they weren’t professionals, but the presentation was still unique.

The Tommy x tommy-tmygrl-iphone-1200x1170Gigi collection
made by Tommy Hilfiger in collaboration with the super model Gigi Hadid used Facebook’s first conversational shoppable experience.

It is an artificial intelligence that answers questions about the collection on Facebook Messenger, adds items to the user’s cart, and sends them to tommy.com to complete the purchase. The tool aim is the one of copying some of the features on China’s massively popular and sales app, WeChat.

Of course these partnerships can achieve engagement, but the actual conversion rate to sales is not garanted: only about 1,5% of online sales in 2016 can be attributed to social media, even if 75% of customers discover products there. Brands therefore consider Facebook, Instagram and Snapchat as media and advertising tools, with the hope that they will be also turned into e-commerce platforms.

The fashion, luxury and haute couture sectors are characterized by a strong and intensive presence on the social media. We can define this sociability form as a vertical one, represented by high respondance taxes of users who express in an emotional way the attachment to a brand, without creating a real flow of conversation between each other or the brand.

Even if they’re not buying, your customers want to talk to you and about you.

Burberry films its S/S 2014 show using the iPhone 5S

Anna Bizzozero

References:

BoF

Pambianco

Digital PR

Digiday Publishing Awards Europe

Collection Trends

Burberry

Céline

Dolce & Gabbana

#Makelovenotwalls

The day after the executive order on the Immigration Ban has been signed at the end of January, many brands have chosen to distance themselves from the new American President’s direction.

From the Nike Ceo Mark Parker who affirmed that: “Nike believes in a world where everyone celebrates the power of diversity. Regardless of whether or how you worship, where you come from or who you love”. To Francois Henri Pinault, French Ceo of Kering Group, who claimed that: “Diversity of origin, opinion and belief is part of our identity and our success.” The corporate world spoke out against Trump’s politics and even Diesel, one of the Italian heavyweight of fashion, did not hesitate to take its position.

Choosing not to stay silent, the Denim Brand has just launched a new provocative campaign: #makelovenotwalls. Directed by the iconic artist David LaChapelle, the latest SS17 advertising, aims to break down barriers in a moment in which hostility and fear seem to prevail over every other emotion. An exuberant clip and a colourful series of images able to communicate a meaningful storytelling around this theme is exactly what the photographer has been able to create. The wall, symbol of physical and mental separation, is destroyed by the dancers that leave behind them a heart-shaped hole. People are finally reunited all together in a peaceful atmosphere in which colours and flowers are spread everywhere. The video, that ends with the fulfilment of love through the marriage of a gay couple, becomes in this way a clear symbol of tolerance and acceptance of others. Moreover, the androgynous queer Kariseveral, as well as transgender like Raja, Laith Ashley and Octavia Hamlett, have been selected by Diesel to underline the message of the campaign.

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LaChapelle, who in 1991 already produced another emblematic campaign showing two sailors kissing each other, has once again helped the Company to push itself over the edge. As the brand’s artistic director Nicola Formichetti affirmed: “Diesel has taken a strong position against hate and, more than even, we want that the world to know that.”

The colourful inflatable tank featured in the ad, has just begun to tour the world, starting from London, before coming to Milan this week and continuing to Shanghai, New York, Berlin and Tokyo in the next months. The typical symbol of war is therefore emptied from its original scope and revisited as a sign of hope, that travels the globe to share its message of love. What historically has always divided, with Diesel is nowadays used to connect. So, if being provocative is nothing new to the brand, what should we expect for the future?

Elena Bruni

Credits:

youtube.com/Dieselcampaign

ss17.diesel.com

racked.com/beauty-react-trump-immigration-ban

In Carrie’s shoes

Manolo Blahník is conquering Milan with The art of shoes at Palazzo Morando

I have always loved the expression “be in someone else’s shoes”. Truly, I would have loved it more if I had ever had the chance of wearing Carrie Bradshaw’s ones. However, I have never walked down 5th Avenue in New York, I haven’t already met my Mr. Big and I usually wear flat boots.

By the way, I have good news for whoever grew on bread and Sex & the City like me: don’t panic, girls, you can live your dream!

From January 26 to April 9 Palazzo Morando is celebrating Manolo Blahník and his forty-five years of career with the exhibition “The art of shoes”, which allows visitors to see eighty drawings and two hundreds twelve of the Spanish designed most iconic shoes and discover a selection of ancient footwear coming from the archive of Palazzo Morando – Costume Moda Immagine. Soon also in Saint Petersburg, Prague, Madrid and finally Toronto in 2018, the King of shoes could have launched his retrospective nowhere but in Milan: the whole show is a tribute to his Italian sources of inspiration – and to Franca Sozzani, as he said during the opening event.

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Someone – please, read it as “men” – may ask: “Why should I go to this exhibition if I’m not a shoes – addicted?”. My little naïve friend, you should because Manolos mix art with fashion. The legend told us that the teenager Blahník made his decision of creating shoes after having been caught by the perfect proportions of the feet in the Greek sculptures. Indeed, his interest in art and architecture has strongly influenced his collections: he has often “stolen” Goya and Picasso use of colours and reinterpreted shapes and movements from Classical and Baroque geometrics blinking an eye to contemporary artists and designers.

Fascinated by the cinema industry due to Luchino Visconti, he collaborated with Sophia Coppola for Marie Antoinette in 2006. Just 16443381_10212272778762650_1003628768_n
a request: “We want her to be sexy”. So he did, as you can realize in the Gala area of the exhibition, where sequences from the movie show the moody Queen focused on eating as much brioches as she can and surrounded by shoes.

Pleasantly impertinent, ironic and unpredictable like his Avion ballet flat, Manolo Blahník’s key of success lies in his golden rule: “Have fun – but please do not wear sneakers”. And in the way he makes women feel, of course. We love Manolo because he loves us, as his long list of muses proves – from Brigitte Bardot to literary heroines such as Madame Bovary and Anna Karenina. Since he loves us, he is fully aware of our weaknesses – you know, diamonds and gems are girls’ best friends but our hearts can melt for some flowers, and they are evergreen in his collections. For the same reason he is so sensitive to perceive the way a pair of shoes can make us feel more confident, feminine, provocative and independent. Manolos can shock and speak louder than words.

So what are you still waiting for? Maybe you won’t ever spend more than 800 euros for a pair of Hangisi, but thanks to The art of shoes you could feel a Milanese Carrie Bradshaw for a while. Only by paying 10 euros – and without taking the risk of falling off twelve centimeters of amazing heels!

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Alessandra Petagna

 

Credits: Palazzo Morando – Costume Moda Immagine

About me: Giulia Ferretti

image-blog-introduction

Curious, imaginative and a bit awkward.

I was born in the lovely city of Rome in 1993 and I’ve lived there until I moved to Milan to study at Bocconi University. I graduated with a degree in Economics and management for art, culture and communication.

Alongside art, I’m deeply interested in the luxury sector. The fields that I like the most are the automotive one, fashion and jewellery.

I go crazy over handcrafted and artisanal products!

Come join this journey!

Check out my articles:

Join me on Linkedin: Giulia Ferretti

Fashion & Young Subcultures

How fashion brands ride the wave

Since the dawn of time, social and cultural habits have been the main driver on the definition of style and fashion trends.

The relation between society&fashion has been always so strong and important that in the years the fashion brands arrived to gain the role of “social border definer”, and we are not talking about the healthy status definition classically made up by luxury brands, but about cultural tribe status definition.

Fashion brand marketing departments arrived to understand how in the Postmodernity era people set indipendence and individuality as their prior, but at the same time try to belong to several different tribes with a specific style code and a relative niche market.

Thinking on the success of fashion luxury brand like Prada, originally borned to dress the new strong woman fighting for the feminims emancipation during the ’70, we can understand how this relation changed in the last decade with the emerging of young subculters that does not come from real underground social movement but from the Web.

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(Miuccia Prada during a nonviolent protest pro women rights in ’70)

Starting from this point, if is true that social network and blogs are the new spaces of integration for our society, is also true that these spaces are governed and regulated by fashion brands that fill the channels with their advertising, give style dogma through influencers and create new young subcultures like Witch House, Vaporwave, Soft Grunge and Health Goth.

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( Seapunk Facebook Community)

Facebook, Instagram and Tumbler are the new “manifesto” of that subculture on which many fashion brands decided to invest creating dedicated collections.

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(Alexander Wang with his last Collection in Health Goth Style)

These subculters does not came from artistic, political or social identity, but only from a style identity imposed by fashion brands with social-art fanciful ambitions.

For those who think that it’s a market related only to mass-market brands, the analysis of brand like Y-3 or Vetemens could be helpful to understand how also luxury fashion brands are involved in to this process.

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Vetements is one of the refernce brands for Normcore subculture with the iconic DHL T-Shirt selled at a price of 245€, while for the Health-Goth  the Y-3 Qasa High are the must-have training shoes, selled in the shops at a price of 390€.

How counterfeiting affects the luxury market

Counterfeited and pirated goods accounted for up to 2.5 percent of world trade, $461 billlion, demaging companies and state coffers.

The trade in fake products has also worsened in the past decade. The organisation for Economic Cooperation and Development (OECD) in previous study of 2008 estimated it up to 1.9 percent of the world imports, $200 billion.

Recent studies assert that the impact of counterfeiting is greater for rich countries, where most of the companies, making the higlhy desiderables branded goods, are based. European Union imported up to 5 percent of fake goods in 2013, $116 billion.

Same studies appoint China as the largest producer of counterfeited products. The reason of this increasing phenomeno can be found in the emergence of globalised value chain and in the booming e-commerce as distribution channel.AAEAAQAAAAAAAAQuAAAAJGVmZDNiM2Q4LWM4MzItNDY0MS1hMGVlLTRhZTkxZjdkYTU2MQ

Just few days ago the counterfeiting issue came up on magazines because Alibaba, the Chinese e-commerce giant, signed to become member of the International Anti-Counterfeiting Coalition.

The reaction of some brands such as Gucci and Michael Kors has been very strong and determined. The outrage over Alibaba’s membership raises fresh questions about how effective Alibaba has been in fighting fakes as it pushes to take its e-commerce juggernaut global.

Gucci, along with other Kering Group brands like Balenciaga have quitted the International Anti-Counterfeiting Coalition and they are suing Alibaba in the New York federal court. The Kering’s brands accuse Alibaba of knowingly encouraging and profiting from the sale of counterfeit goods on its e-commerce platform.

Alibaba answered to this strong accuse just saying that it is a “wasteful litigation”.

As result of the difficult situation by last Saturday Gucci’s name had been struck from the IACC’s website and Alibaba’s membership falls into a special category, without leadership position and voting rights. The Chinise e-commerce giant asserts that being still effectively member of the IACC would allow it to work more closely and effectively with brands to proactively enforce intellectual property rights.

All that glitter is not gold

Looking at the Luxury world, where everythings is excellence oriented, is not difficult to realize that it is facing a period of big changes.

Many different trends lead, with their own role, the Luxury environment generating confusion and at the same time creating new paths and opportunities for future challenges.

A new calendar is going to replace partially the traditional one. The “Luxury Institution” is probably trying to get closer and closer to its customers and the See now-Buy now approach, which is having a wide and spread approval among brands which belong to the fashion field in the premium and luxury levels, can be considered the proof.

The trend which has been launched by Burberry and shared by other brands such as Michael Kors, Tom Ford, Tommy Hilfiger and Brioni with its new creative director Justin O’Shea, has became a huge issue to face, which could change the logic behind the “luxury experience” and the traditional organisation of the supplay chain.

Prada, Alexander Wang, on the other hand, have preferred to catch the new wave in a partial way. They launched for the FW-17 small capsule or just few pieces , part of their main collections, talking not about ready to wear, but ready to live, available just in the most important flagship stores all over the world. Artistic directors such as Arnaud Vaillant and Sebastien Meyer defined it “a common sense decision”.

Another significant new will affect the traditional calendar, Gucci’s creative director Alessandro Michele, beginning in 2017, will present one unified collection on the runway each season, he wants to integrate women’s and men’s fashion shows.image1

Alessandro Michele said in a statement

 “It seems only natural to me to present my men’s and women’s collections together. It is the way I see the world today”.

Gucci has been followed by Bottega Veneta and Marras in the decision to merge woman’s and man’s collections in the same catwalk.

How can these trends be defined now that they are drivers into the Luxury market?

Can they be considered as the natural effect of the fast-evolving approach which has always characterized the fashion field? Or is more about a way to escape the difficulties that the Luxury field is experiencing?

ARTcommunication

It is famous all around the world, it is inspirational for anyone loving art and it is just located in the very heart of Italy, Florence:

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The Birth of Venus (1482-1485) by Sandro Botticelli 

The “Galleria degli Uffizi” in Florence is an absolutely must as it is one of the most famous museums in the world. Visitors enjoy famous artworks and masterpieces in an historic building from 1574 representing Italy’s highly architecture excellence as its best. Botticelli, Giotto, Cimabue, Michelangelo, Leonardo da Vinci and Raffaello are just a few names showing the dimension of exclusive artists and the greatness of a collection which is focused on the Renaissance and the time between the 12th and 17th centuries.

The museum explains the meaning of Botticelli’s Venus by using the approach of the Neoplatonic philosophy. Therefore the painting can be seen as showing “the birth of love and the spiritual beauty as a driving force of life.” So Sandro Botticelli is not just called a simple painter. He’s described as “one of the greatest poets of the line and drawing”.

 

‘Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen.’ (Leonardo da Vinci)

 

While I was standing these days in front of the “Birth of Venus”, celebrating the view as a luxury moment, I was questioning myself:

What else communicates art and galleries nowadays than just culture, beauty and inspiration?

Businesses today are looking at interesting ways to reach out to quality audience,” said Sanjay Sharma, one of the international management at global auction house Christie’s in an interview  with the Economic Times Magazine. He describes Art as becoming an increasing communication tool for luxury brands to reach the upper class which invest in high-end art. Nowadays art galleries and auctioneers are seen as partner channel with a specific function:  To access to the target group and exchange knowledge and awareness.

Sotheby’s, the global art business auctioneers, offering since 1744 extraordinary opportunities to transact via private sales galleries or worldwide selling exhibitions, adapt to this point by offering even summer study courses in Understanding the Luxury Market . Thomaï Serdari, Luxury Brand Strategist and Lecturer at Sotheby’s Institute of Art in New York, teachs in it the “5 things you need to know”.

1. Luxury does not necessarily mean “old.”

2. The luxury market does not favor the rich but rather the smart shopper.

3. Luxury is both an indulgence and an investment.

4. The luxury market favors the well prepared.

5. The luxury market itself is not a thing of the past but constantly in flux.

 

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If you once stand in front of an historic or contemporary painting while being in a gallery or museum, never underestimate the presence and force of it as being more than just a piece of beauty, culture and inspiration –

Art wasis and will be pure communication – especially when appreciating it with a luxury view.

Is activewear the new black?

Over the past seven years, sports apparel and footwear sales have jumped 42% to $270 B. According to Morgan Stanley, the report estimates that the industry could add $83 B in sales by 2020. These impressive numbers are due to the growing interest on fitness and active lifestyle that is now a peculiar feature of our current times. The recent focus on healthy living has driven more and more people to take care of the way they dress while doing sports: not only professional athletes, but also amateurs and especially younger ones.

The biggest market for activewear is the US, which currently accounts for $97 B. A research from Morgan Stanley forecasts a stable growth in the European market in the next five years. Yet, the key market to watch will definitely be Asia Pacific and especially China, where the government is promoting an active lifestyle among the population, developing sports infrastructure and the overall business.

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Alongside sportswear, the last frontier is now the so called “athleisure“, which indicates highly performing yet fashionable apparel, wearable in daily activities. Since sportswear is not anymore relegated to the gym, the fashion industry is taking the next step to make the most of the healthy lifestyle trend. The biggest player, ça va sans dire, is the American giant Nike, which owns a large slice of the market. Yet, there are many other activewear brands that have emerged in the past decade, riding on the success of sports and fitness. Among the others, the Canadian yoga brand Lululemon Athletica was able to create a real movement that now gathers thousands of women who are committed to the Lululemon cause and believe in the brand’s ethos.

Famous designers as well have joined the athleisure trend, either collaborating with popular sports brands, such as Adidas by Stella McCartney, or creating their own line. This is what Tory Burch did in 2015: the American designer launched her own activewear label Tory Sport during last year’s New York Fashion Week, pricing her goods a little above competitors such as Lululemon. A few months later, in April 2016, Tory Sport set up its first store in NY, which was celebrated with a grand opening party attended by Anna Wintour, Narciso Rodriguez and Chanel Iman.

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Tory Sport Advertising Campaign

Last, of course, came street fashion: big names like Zara, Oysho (both belonging to the Spanish group Inditex) and H&M are now launching their own activewear lines. Zara in particular seems to be counting a lot on its new gymwear collection, which includes four categories: basics, swimwear, loungewear luxe and lightweight pieces. It is clear that Zara is trying to position itself as a convincing, affordable alternative to the real activewear luxury. Will it succeed? Or is the targeted customer a totally different one?

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This whole trend revolves around the idea of self-improvement and growth and it is nurtured by the culture of mens sana in corpore sano: especially among millennials, the tendency is to spend larger and larger amounts of money on activities and experiences rather than material goods. Over the past ten years, this fitness fever has grown into a multi-billion dollar industry which does not seem to be ceasing any time soon.

Silvia Gramegna

Credits: www.fashiongonerogue.com
              www.welltodolondon.com
              www.alternativelyhealthy.co.uk

THE FUTURE OF MADE-TO-MEASURE

The Future of Fashion Is 3D

We will be printing high-fashion dresses in our homes- but not for now.

On May 5, the Met Costume Institute’s Spring exhibition will open the doors and visitors will be treated to 90 fashion mise, including many items made with 3D printing, pretty much as the exclusive purview of haute couture, up to now.

But if the technology is adopted by more apparel makers and trickled down to the masses, “it can be as revolutionary as the sewing machine,” said Andrew Bolton, curator of the exhibition. “It means you can 3D print your dress to your exact measurements at home.” “Because it has the ability to mould exactly to your measurements, it’s environmentally friendly, too” Bolton said. “There’s no waste, whereas there’s always waste with textiles.”

By the way, 3D printing is still very much in its early stages.
The capability to make virtually anything is going on. Reality is becoming Virtual Reality.
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At the current stage, we should be satisfied to call home-printing dresses “a dream.”
Credits: