Is the love affair over? Has Instagram peaked? I’m not basing this on any stats, as there aren’t any recent figures, but, like all things, instinctively, it feels like the audience are growing bored, the novelty is over, it all feels like hard work and many people are thinking what’s next or they want a break.
Left - Instagram - Are you feeling bored? Is the love affair over?
Instagram’s had a good run for its money, but I think people have a sense of deja vu looking at the perfect and saccharine images that are repeated daily. The same faces in the same places. I think the British, especially, are suspicious of too much perfection and the filtered view on life feels distant from the reality.
Over the last 3 years, Instagram became an obsession for many with the birth of ‘Influencers’ and brands piling in to be seen in the hands of these people who always look both ways, but never into the camera, when they cross the road. It’s hard to do anything different and people are becoming immune to any great images and simply overwhelmed with the swiping. They even look bored.
Let’s look at Instagram with fresh eyes for a minute. It’s not often you learn anything from it. It’s mostly immature, forgettable stuff - hot people, cute animals, holiday pictures, floors etc - and appeals to your younger, teenage self and that can be fun, for a time. When you think or feel like engaging, it’s only natural to really care about the people you know in really life.
I’ve been put into the ‘Influencer’ bracket, I’ll put my hands up, but my foundation has always been the written word and this blog. The idea is and always was to try to be a trend setter, opinion former and find out the latest and best things within the men’s style area and to be trusted and influential. (I don't think we've fully settled on a label or a term to describe what we do. The word 'Blogger' has also had a rough ride and wasn't embraced by many). I care and am passionate about this business and it isn’t a vehicle for my own vanity despite what my enlarged head might say!
Many men’s influencers were born from their girlfriends’ accounts and as such followed their lead on content and visual identity. Let’s be honest, how many afternoon tea reviews really appeal to anyone, let alone guys? The modern equivalent of a teenage crush or poster on the wall, the good-looking male influencer is not going to be cute for forever and doesn't really appeal beyond the superficial. These things have a shelf life and the Best Before Date has passed. They have to work out their USP or niche of expertise to have any longevity. I think men, especially, respect and are influenced by honest experience.
People are growing bored, posting less images and with engagement falling, this is the perfect storm to deflate this bubble. We are all influenced by many of things and by lots of people and the idea that these people have a magic key or insight is now over. It was all getting a bit 'Emperor's New Clothes' or was it the emperor getting paid to wear the new clothes?!
‘Influencer Marketing’ has a place in the arsenal of marketing, but celebrities lead the movement in this. There’s no reason for brands not to spend a slice of the marketing pie, but it became a central focus and I’m not sure it really warrants that importance and all the eggs going into this basket. Brands need to create good content and they can partner with people to do this: lots of different people. It doesn’t and won’t always result in stats telling you how much ROI - return on investment - you’ve had. It’s marketing afterall, everything is experimental and nothing is guaranteed.
As Instagram make it hard for people to grow their followers, it’s become a game of getting nowhere and a feeling of hopelessness and dropping out. It’s also hard to find anybody on there or break out of your friendship groups. I’m not entering the #Instafraud debate, but I think some people need to take a step back and realise that not everything revolves around Instagram.
Many of these Influencers don’t seem to have an opinion or express it on Instagram and this is why they’ve never really been into Twitter. Nobody is saying anything. Twitter requires a brain and thought process in order to say something and, this, unfortunately, makes it smaller in our figure obsessed world. Twitter is about news, opinion and conversation and doesn't appeal on a huge scale.
Also, what’s the ideal Instagram number of followers? 10,000? 25,000? 100,000? More, more, more!
As the men’s fashion business has been going through contraction - ChicGeek Comment here - the money available has deflated the Influencer bubble too. Brand people forget there is much more to the digital world than Instagram. We’re definitely seeing less sponsored posts and collaborations on there. While Instagram isn’t going anywhere, the days of thinking the sun revolves around it are over. It’ll take its place on the icons along with all the other accounts and move into the background.
I think things are going to go back to written content held on blogs and websites that can be searched for and while social media is important and helps you create great original images, it’s very disposable and becoming more and more noisy as more features are added. I also think personality is going to become much more important in the digital world and this needs to be expressed in what you say, not just how you are seen. Instagram has become stressful keeping up, increasingly serious and as such has lost most of the fun.
It’s time to get clever, again.
The week Marks & Spencer previewed their new AW17 menswear collection and instead of a traditional press day, which is usually a selection of clothes hanging on a rail or mannequins, they opted for a catwalk presentation.
Left - One of the models was Instagramming his six-pack on M&S's AW17 menswear catwalk show
They’ve done this previously, but, this time, it was a fun affair and they injected personality and humour into the proceedings. As well as a cross-section of ages of male models, there was a sausage dog, a little girl, a topless Instagram selfie taker, a musician, a guy wearing a tuxedo. You get the idea.
The idea was that it was men on the street and these were the characters in M&S clothes and the different type of guys they dress or can be dressed there..
There was one model carrying a coffee and even a guy holding one of those brown, square paper coffee shop bags. It was all very Sunday-mornings-avocado-on-toast, Bright-Lights, Big City and was aspirational enough.
The next day I woke up thinking about that coffee and paper bag and thought why weren’t they M&S branded? Why weren’t the models carrying M&S carrier bags? The answer is because they’re not cool enough. One of M&S’s checkerboard carrier bags says “egg & cress sandwich” rather than "modern, urban and fashion conscious guy".
And that’s the Brand Disconnect.
M&S needs to work backwards. It needs to think about making people feel good and want to carry a M&S bag and for it to be believable in a show like this. There is no reason why people aren’t happy to get their coffee and Danish from Marks & Spencer. There’s also no reason why they’re not happy to get the rest of their wardrobe from there either, but once it hits one of their green or white plastic bags it sucks the life out of the purchase. Any notion of special is gone.
And I think this is Marks & Spencer’s problem: it’s not the product, it’s the packaging. It’s just not cool or special enough. They have plenty of hot-food, coffee shop-type places and could easily make contemporary packaging for customers to take this away in. Or, even just simple brown bags with a printed logo. It’s not about disguising it’s M&S, it’s about updating and making people want to carry your brand. It's also not about money, well designed and contemporary packaging shouldn't cost much more.
They don’t have to go all hipster, but if they’re ever going to update and put back some retail magic they need to ask themselves why weren’t they happy for the models to be carrying current M&S packaging? Retail is detail after all.
Update Correction - Marks & Spencer's said "We are surprised about your branding comments, as we used both a branded coffee cup and a branded bag in our show (see pictures attached) and worked really hard to ensure we included lots of detail. Also, we have not offered the green carrier bags for over a year, in line with when the whole branding was re-designed in black and white".
I accept my mistake and it's good to see they used their own packaging. From where I was standing, at the show, the packaging looked plain and anonymous. I still think it shows how important bold branding and packaging is even in the most simple and everyday of purchases and how modern retailers want and need customers to be seen to happily carry their product.
‘Potential’ is an overly optimistic word in fashion and there are many more disappointments than successes. When you work in this business you always have your eyes and ears open, listening and watching on social media, traditional media and on the street to see who people like and what they are doing.
Left - The pink suit is by Edward Sexton, one of the most stylish tailors in London
Somebody who I think has a lot of potential, in the realms of being a male clotheshorse, is Harry Styles. Apart from the social media hysteria, I didn’t take much notice of him when he was in One Direction, but he feels like he has huge potential to trail-blaze in menswear. Even as a five he always stood out, albeit slightly.
Many of the things he wears are difficult or require believability and on most guys would look too try hard. Okay, so I may be reading too much into this, but, I remember Justin Timberlake leaving N-Sync, and he was on the cover of Arena Home Plus, the cover they had to reprint as it was too violent as Sept 11th had just happened, and I remember thinking "he was just another silly boyband member, he’s not cool enough for that magazine", but he quickly, thanks to that first album, graduated into an adult artist and so did his style. (Though his Tom Ford Suit & Tie section is still the best).
Back to Harry. Scream! He looks like a young Jagger, which is a plus. He’s sexy without it being about his body. It’s an intellectual form of sexy and the clothes correspond with this.
Below - Harry on Graham Norton. He's partial to dragons on a flared trouser
And this isn’t just because there is no competition. Ed Sheeran, anybody?! Harry Styles was recently interviewed by The Sun and he was asked a few things about his appearance.
He said “I always love being comfortable. You should wear what makes you feel comfortable.
"It’s a really good opportunity to have fun - it’s clothes, it’s not a big deal.”
“It’s a good time to express yourself and have fun with it.”
“It’s one of those things that you shouldn’t take seriously. If you want to wear a pair of yellow trousers you can wear a pair of yellow trousers.”
Exactly. It feels a very relaxed approach and something that isn’t laboured over. Obviously he has a stylist, somebody has to do the leg work, but it feels like he’s choosing from the rail. It’s quite a British thing to not look at others and just do your own thing, instinctively in-sync with what’s going on.
At the moment it’s a mix of Gucci, which definitely isn't for the wallflower, and Edward Sexton, one of the greatest British tailors, who has dressed the majority of the Beatles and Mick Jagger over the years, but we’re hoping for an evolution as fashion moves on. It’ll show his eye and style/taste level if he can change without losing any of the cool factor.
Harry, TheChicGeek is watching you.
Left - Harry in those acid yellow trousers
The results are in and the great British high-street has polarised. On the one side is the tired and cumbersome old guard with its offering still stuck in the past, trying to shift their stock through promotions and discounts and then the younger, faster, cheaper and ultimately, more fun retailers who are reporting record sales and profits, both on and offline.
From Left - ASOS, Boohoo
Boohoo just reported a doubling in annual profit, driven by growth in new customers, and said revenue should rise by about 50 percent in 2017-18 as it benefits from recent acquisitions. Revenue rose 51 percent to £294.6 million as Boohoo increased its active customer base to 5.2 million, up 29 percent, while international growth, particularly in the United States, exceeded management expectations.
ASOS The online fashion retailer said pre-tax profits rose 14 percent to £27.3m in the six months to 28 February, while revenue increased 37 percent to £911.5 million. ASOS has again upgraded its sales guidance for the full year, pencilling in growth in the 30-35 per cent range, up from 25-30 per cent.
This is growth, most brands, at this particularly point in time, can only dream about.
The pioneer of ridiculously cheap clothes, Primark, said total sales jumped 11 percent in the six months to 4 March. Sales at Primark, which has 329 stores globally, jumped by 21pc to £3.2bn on the back of new shops.
The UK also delivered an improved performance with a 2 percent lift in like-for-like sales, which meant the discount chain stole market share from suffering high street rivals.
Even sales of clothing at Sainsbury’s and Argos outperformed the market with growth of more than 4 percent in the year to 11 March, the supermarket reported.
What’s going on? This isn’t purely price driven. While it’s a factor, they’re making product that people want and the bigger they get and more product they make, the more people they can please. Lots and often seems to be the mantra to keep the novelty of fashion ticking over.
Too many old brands do these big annual ‘collections’, but people just want lots of individual items and fast. These fast brands do look to designers and trends, but they seem to play and experiment themselves. They acknowledge what is going on, but come up with their own things too. It's a buy it or it's gone attitude.
While Next and Marks & Spencer’s languish, I think a lot of men are trading down, happy with the product and choice. I’ve never seen so many fun things for guys. ASOS and Boohoo are producing the kind of menswear once reserved for girls and the boys seem to be loving it. Ombre fringed sweaters, lace shirts and sequinned leggings are just a few of the crazy things that are coming out of these retailers, and while they wont sell in the thousands, it keeps the cool guys coming back for more.
The young guy, today, has the confidence to have fun with how he looks and he doesn’t want to invest big money in fun or one-off items that are part of a look, or something he feels he’s taking a risk on. The fact is it’s the cheapness that makes it more fun and less pressure to look like anything in particular. It also is a way of showing off, this only cost me…
I’m going to call it the ‘Harry Styles Effect’ - trying something different yet being cool enough to carry it off. Okay, he’s wearing Gucci dragons, but you get the idea.
Only a few guys can get away with it, but it receives admiration from the rest of their peer group. It’s basically about looking like a ‘cool dick’ and when you turn up in a white, see-through lace shirt and your friends ask you what you’re wearing, you secretly know they think you’re cool and it’s the buzz you get from trying something different or new. They then look to see where you've bought your items and, while maybe not getting the same things, it creates a halo for the brand.
It’s about having a sense of humour and this is why the British are so good at style: we can laugh at ourselves, while still looking cool. We can be experimental while not worrying too much about convention or others. It’s what makes us leaders and, also, why some of our retailers are so good at this too and internationally.
Another reason is young men aren’t so hung up on logos and branding anymore. They also don't have the money to spend and want something fresh and often, if only for their Instagram account. They want to go out and wear new clothes and with limited disposable incomes they have to buy cheaper. It’s FUN with a capital F and in a world that seems to be harder and harder to get by in, it’s an outlet of escapism for the young guy.
My only message is enough ‘super skinny’.
In the modern world, where the male body is constantly objectified, you’d be right for thinking there isn’t much we haven’t seen. Naked men are an everyday occurrence on TV, advertising and social media. But, there is one part we haven’t seen or appreciated before, until now.
Left - Nackt, 2, 2014, Wolfgang Tillmanns from the recent Tate Modern exhibition
Is it time to appreciate the male undercarriage? Are men’s bollocks having a hirsute moment?
These aren’t the manicured porn-star-type bollocks from the nougties, but masculine, hairy and au naturel. Artists such as Wolfgang Tillmans and Celia Hempton are focusing on the sack and crack, giving them some love, in the visual sense.
Right - Celia Hempton (2013)
The male ball sack is going mainstream. Definitely not social media friendly - damn your American uptightness - but it’s the new the erongeous zone and is a signifier of the growing appreciation, and acceptance, of the male derriere.
Stephen Fry once said his favourite statue was 'David' by Francis Derwent Wood, on the Hyde Park Corner roundabout, because of his arse. Niche gay publications like Butt and the celebration of gay art at Tate Britain in the 50th year of the part legalisation of homosexuality in 'Queer Art' all make 2017 the year of the masculine arse crack.
So, put that groomer and razor away, the male undercarriage is going mainstream, just don't mind the hairy bollocks!
Below - ‘Ben’ (2017) by Celia Hempton from Counter Editions
Let’s make something clear, Marc Jacobs is a great designer, yet his business is struggling. Why is this? Business of Fashion said, on Tuesday, the label announced its decision to shutter its men’s business, ending a license agreement with Staff International, after the delivery of the Autumn/Winter 2017 season.
Okay, Marc Jacobs menswear had disappeared recently and, to be honest, it never really have any identity and this is ultimately Marc Jacobs’ problem.
Left - Marc Jacobs going out with a Bang, now discontinued
One of the biggest designers in the world and he has difficulty establishing his own brand. Karl Lagerfeld has always been the same, but that’s a whole other ChicGeek comment.
I knew something was wrong when I went to a Coty fragrance launch, last year, and asked how the Marc Jacobs Bang fragrance was doing. They said they’d discontinued it. I was surprised because, firstly, the bottle was great and the black peppery fragrance was very wearable and commerical. Maybe it was those naked ads, starring the man himself, that tipped it over the edge!
Marc Jacobs has done a lot of things: he put Grunge on the catwalk, but unfortunately you’ll never make money from grunge, he pioneered Louis Vuitton’s ready-to-wear and introduced many great collaborations, such as Stephen Sprouse, those leopard print-type scarves were everywhere, but he’s never really owned anything. You can’t point to something and say “that’s very Marc Jacobs” which is when a brand or designer because part of the visual language and, ultimately, means longevity and heritage.
In the early 00s it was all about the Stam handbags, which were expensive, then Marc by Marc Jacobs came along and everything was really cheap. He seemed to miss the middle, sweet spot that Michael Kors has come to dominate. He was either really expensive or pocket-money cheap and that confused the brand. You never felt like spending money on Marc Jacobs.
The fashion probably wasn't expensive looking enough for the clientele who buy designer clothes the world over and when the only shop left on the street in New York that you pioneered is a book shop - BookMarc - great name BTW - it seems as though this is a signifier of how tough things are to make money from ready-to-wear even when your name is established.
The bad news is it’s only going to get more difficult in the next few years in American fashion. Calvin Klein is hoping for a resurgence thanks to Raf Simons, Donna Karan has new owners, that will no doubt start investing heavily and Ralph Lauren is bound to hit bottom soon. They’re all chasing the same customers and competition is difficult in a saturated market. Marc Jacobs needs to decide where is wants to sit within the fashion market and aim for that. Or, hope check shirts make a major comeback!
One brand, two campaigns. The hot-of-the-moment label, or it wants to be, Calvin Klein, and two variations on the same thing.
Left - Clearly Raf Simons' idea of Calvin Klein advertising, but which will sell the most pants?
Both trying to sell pants: one campaign is sexy and classic Klein, the other less so, read baggy pants in a drafty art gallery.
What’s interesting is that it perfectly illustrates the sexual leveller of imagery and the different choice of art directors.
The fashion and style game is all about proving your sophistication and taste level, yadda, yadda, yadda. We all want to be different and express ourselves in the things we buy, wear and surround ourselves with, but ultimately a flash of a six-pack or a bulge in a pair of Y-fronts and the attraction is universal.
We judge ourselves and others by the decisions we make and the things we choose to wear and surround ourselves with. We can all pretend to be the most sophisticated and this is the endless game of modern style and social media. It's always been about proving yourself and staying ahead of the game.
The ‘Sex Leveller’ and its universal appeal is often cleverly disguised as sophisticated, but ultimately brands can be as clever as they like, but if you’re going to appeal to the mass and biggest market, especially if you’re selling underwear, the sexier the better.
This was pioneered in the 80s, perfected in the 90s and then seemingly forgotten about in the 00s. We can all pretend to like a Sterling Ruby as much as the next man, but it ain’t gonna shift many pairs of underpants. Sex is a leveller and it still sells.
Below Left - Classic Klein starring, Trevante Rhodes, one of the actors from Moonlight. Both campaigns are SS17
To call it a recession is maybe a little extreme, but let’s call it a contraction. Menswear is struggling. Some are mouthing the word #brexit but this was coming way before that and affecting international markets too, most notably America.
Like everything that goes in cycles, you have your ups and you have your downs. We’re definitely in a down cycle as brands merge their men’s and women’s and reduce the amount of labels within their brands.
Left - Inside menswear is screaming
Many are private companies so they don’t disclose profits, but when you have menswear giants like Armani and Ralph Lauren losing labels - Collezioni and Armani Jeans in the case of Armani and store closures - in the case of Ralph Lauren - then things are clearly unsustainable.
Why is this happening? The first big answer is a saturated market. Do we need much more ‘stuff’? When Ikea’s head of sustainability, Steve Howard, said we’d reached “peak stuff”, he hit the nail on the head. We’ve seen expansion online and offline and our wardrobes are bursting with clothes at every price point.
Designer fashion isn’t coming up with many new ideas and this has lead to the high-street bringing the new ideas and offering improved quality that many men are happy with. I think companies like ASOS are doing well because people are trading down to cheaper and more fun fashion and don't really wear it long enough to care about the quality.
Brands like Topman have got more and more expensive and are not reactive enough to trends and the latest gimmicks and fashions. They’ve believed in their own ‘cool’ which is dangerous for any brand. Arcadia, Topman’s parent company, has seen many high profile departures lately. Craig McGregor left his role as retail director at Topshop/Topman, after eight years, and Topshop/Topman global commercial director Matt Brewster is leaving the company. Wesley Taylor left his role as managing director of Burton and Yasmin Yusuf left as creative director of Miss Selfridge, both after more than 10 years at the business. Which all suggests the epic growth Arcadia has experienced over the last few decades has now ground to a halt. They are no longer the darling of the British high-street.
Another reason for the men’s downturn is competition is fierce and this had lead to a discount environment. People know they can wait for the sale or search the internet for a discount code. This makes margins smaller for companies which then need to sell even larger volumes. We’ve also seen growth in companies like TK Maxx that offer people the brands they want, but with heavy discounts.
Fashion has changed too. It’s very sportswear/dress down driven. These are cheap or old clothes. Looking ‘expensive’ has gone out of fashion. Brands like Balenciaga and Gosha Rubchinskiy have pioneered this style of fugly fashion and while not cheap they have prices that are more realistic and attainable.
Millennials are all about ‘experiences’ and are less materialistic, or so we’re are told. All those selfies tell a different story, but I think they want to eat out and wear something new, which ultimately means spending less. This big group of young consumers is squeezed by rents, student loans and low wages and this isn’t going to change for the foreseeable future.
In the Evening Standard on Monday, Net-a-Porter/Mr Porter boss, Alison Loehnis, said when they measured “zeitgeist buying” in the Mr Porter team they discovered the number one item was socks. “Followed by Ray-Bans and trainers.” Socks?!! Now, that is worrying. Unless Mr Porter is selling hundreds of millions of dollars worth of socks, which I doubt, then it’s a signifier of the market. It’s too expensive and they are the cheapest things they sell. It’s also one of the main gifting items and something you don’t need to try on.
Online is still only 10% of the retail market so has huge potential, but that still means 9 in every 10 pounds is spent on the high street.
Net-a-Porter/Mr Porter call their top customers ‘EIPs’, (EXTREMELY IMPORTANT PERSON) and these EIPs are the two per cent of customers who account for 40 per cent of NAP revenue. It’s dangerous to have all your eggs in a few baskets, particularly a fickle customer which many others are chasing. They’re now offering a service where the driver waits while these EIPs try things on. It’s a gimmick, but at least it shows they’re trying. These EIPS are the people shopping in Selfridges and Harrods too, while the rest of us have seen our wage packets shrink or not go as far and designer prices continue to rise. #Brexit will make imports to the UK more expensive, temporarily, but fashion will just find somewhere cheaper to make it, but it’s true the weakest wont survive this price hike or margin cut.
Brands have been trimming the fat over the last few years and many are down to the bare bones. The recent christmas was good for retailers and I think that kept many afloat, for now.
Jaeger just announced its bankruptcy. I don’t think there’s much hope for it to survive as it is, but it’ll become a brand within Edinburgh Woollen Mill or the like. It’s the sign of the times and also the cycle of brands. There are times when a brand runs its course and no matter how much investment or time, it’s just time to let it go.
Okay, enough doom and gloom. On a positive note from a down you have an up and when a gap appears something new will come into fill it. But, our addiction to cheap clothes isn’t going anywhere which will make it very difficult for new, smaller brands or labels to compete. I think short term we’ll see more closures and less choice or a choice masked by the fact it’s a sub brand from a big retailer. H&M is just about to launch Arket.
One thing is for sure, fashion is unpredictable and that’s why I love it.
French fashion house, Givenchy, has a new Creative Director. British designer, Clare Waight Keller, was announced as Riccardo Tisci’s replacement last week.
I remember her at Pringle of Scotland, but because of the way the company was run, and never really made any of the interesting pieces, it was hard to judge her menswear. She then went to Chloe, and while I look at womenswear, there wasn’t much noise or attention so I didn't really pay much attention. But, she seems like a good caretaker, at the very least.
Right - Who-bert? Hubert de Givenchy outside his chateau
While not a revolutionary appointment, I think, they - Givenchy (LVMH) , obviously, want to re-feminise the brand, most probably targeted at the women's accessories. Tisci’s aesthetic was severe, harsh and a masculine form of sexuality which probably didn’t resonate with that many women or the type of women Givenchy see as their customer. Kim K, anyone?!
I remember being told that he wasn’t under contract to use Givenchy beauty products in his shows which seems ridiculous when this is the cash cow of the business. There was also a disconnect between the fashion and the beauty side.
The menswear pioneered that designer-sweatshirt-with-a-seasonal-image look and the slide of high-fashion into sportswear. When it was good, it was good, and the menswear had never been on the radar before. Remember when Ozwald Boateng was there for a while?!! Those £500 sweatshirts were jumping off the rails.
So, this leads me to the new menswear, which, excitingly, I don't know what to expect. The first season must be SS18, to be shown in Paris in June. Givenchy is a strange brand in that it has a very strong name, but it is not matched with any identity or imagery. The majority of people wouldn't know who Hubert de Givenchy was from a line-up - Who-bert de Givenchy?! and, apart from Audrey Hepburn, many people wouldn’t know a single item of clothing.
So, what should they do? Well, look at Balenciaga. While a newer ‘old’ brand than Givenchy, this is the first time, under Demna Gvasalia, that its archive has been referenced, but in a way that isn’t backward looking. There’s a link which makes sense when you’re buying a historical name. You want that DNA to move forward and make the label mean something. It gives it a certain weight and grounding yet far from 'archive'.
Givenchy menswear doesn’t really have anything direct to reference, but that’s the exciting part. There must be plenty in the archive to inspire and bring forward and refresh that we don't know about. Givenchy should look back to look forward. It should also ask the new creative director to oversee all aspects of the business and maybe use the odd lipstick in her show.
I don’t often write about new retail, it’s usually pretty boring and cookie-cutter the world over, but when something’s good, it’s good, and on a recent trip to Venice with Diadora, we were taken to the Fondaco Dei Tedeschi, the first retail store in Europe by LVMH’s travel retail arm, DFS.
Left - Inside the main atrium space of the Fondaco Dei Tedeschi
Looking out onto the Rialto Bridge, across from the fish market, stands the Fondaco Dei Tedeschi. First constructed in 1228, it was once home to the German merchants - Tedeschi means German in Italian - who traded with those wealthy Venetians, taking spices and the like to Northern Europe. It became a customs house under Napoleon, and a post office under Mussolini, then lay empty. Until now.
Right - The Venetian red escalators and special Venice-inspired product graces the entrance
Thanks to LVMH’s deep pockets and Dutch architecture practise, OMA, it been transformed into a sympathetic, luxury with a small L shopping space that feels more like a cross between a boutique hotel and museum that sells things, rather than a boring collection of luxury concessions all jostling for customers and attention.
Left - On the top floor is this exhibition space with a lit floor that just needs a disco soundtrack
It’s one of the best retail spaces I’ve seen recently. The escalators are Venetian red, like moving red carpets, they take you up to the floors of men’s and women's fashion and beauty.
On the top floor is an exhibition space and on the roof is a viewing deck looking out over the glorious city that is Venice.
Right - Head to the top floor for one of the best views of Venice.
Opened in October, the Fondaco Dei Tedeschi has been updated, without losing any of its charm, by Dutch architect Rem Koolhaas – who was in charge of the exterior renovation – and architect Jamie Fobert – who handled the interior design.
Everywhere there is attention to detail. Every inch has been thought about: the floors, handrails, furniture, lights and the space has been designed for brands to flow, and in our ever fickle times, be replaced.
The brands are the same old: Gucci, Bally, Bottega Veneta etc., but because it’s such a nice building and environment it makes you want to explore regardless of it being the same tired things. To be fair, the brands have done a few special pieces with the colours of the Italian flag. Also, on the ground floor, they sell wine, souvenirs and other more affordable items.
The only negative was that it was so discreet, the name ‘ Fondaco Dei Tedeschi’, which doesn't exactly slip off the tongue, was only at the front door and you wanted to know/learn the name in order to tell other people how good it was. If you’re in Venice, definitely take a look.