Displaying items by tag: New York

Louis Vuitton SS21 womenswear Vote

Fashion is pretending everything will be alright. And it will be, eventually.

We’ve just finished the latest round of women’s fashion weeks. What would, usually, have been a month of hundreds of shows stretched between the US and Europe, was a skeleton of former schedules with international fashion councils trying to cobble together something that resembled normality and hoping by the time these clothes hit the stores they’ll be some light at the end of the COVID tunnel. Even before COVID, the traditional idea of fashion weeks and shows was being questioned yet fashion weeks seemed to continue to grow exponentially, becoming a bloated calendar of designer egos. They rarely paid their way.

Left - An underwhelming Louis Vuitton womenswear SS21 collection

What this latest round of SS21 shows did was put a spotlight on the product. Without the fashion circus; the celebs on the front row, hundreds of people pushing and hustling for a ticket, and the subsequent social media onslaught and hype, the clothes and accessorises were the main focus. Replaced by fewer brands, a socially distanced frow, if any, and, a hoped for digital audience tuning in, the product had a chance to shine. It didn’t.

A hard-to-believe audience of 5 million was supposed to have watched the much panned Nicolas Ghesquière collection for Louis Vuitton womenswear telling consumers to ‘Vote”. Seeing inside the soon-to-be-unveiled Samaritaine department store was the highlight.

Other mega brands, such as Chanel and Dior, produced critically underwhelming collections. Some brands tried to think differently though. For example, Moschino hired the Jim Henson studio to make puppets dressed in its collection and a complementary characterful front frow. While the concept was great, the clothes weren’t memorable.

It’s not so much that this season was particularly better or worse than previous seasons, it is more the fact the clothes had less distractions to hide behind. For years, fashion brands have flown everybody - press, buyers - to exotic locations or spent millions on expensive sets and concepts which have all add to the spectacle while helping to disguise the fact that many of the clothes or accessorises weren’t very good. This stripping away of the shows for SS21 has exposed what many have thought for a long time; the majority of product no longer stands up on its own.

This is a broad generalisation and there are still some great ideas in fashion, it’s too big for there not to be, but many brands rely on gimmicks, and, what I call ‘design-by-email’, which tries to squeeze as much as it can from a popular line or style. Brands milk a popular style to death. Rockstuds, anyone?

There has also been this attitude, over the last few years, that ‘brand’ is bigger than any product. As the volume of product grew, so it diluted the ideas, but the ‘brand’ got bigger. It sold, so why question it? Those inside the brands didn’t or don’t seem to be.

But, COVID has made many consumers switch off. It has made many people realise they can live without a lot of this stuff and buying new and expensive stuff was just a perpetual habit they didn’t realise they had.

If nobody can see you wearing or holding it, then what is the point? For many, there isn’t one. Also, without social events, a large proportion of fashion is redundant. Sales follow need and without the need, then want starts to wane and sales dry up. Fashion is going to need fantastic product to re-engage this dormant buying audience. Some of these consumers could be lost forever.

The formulaic fashion cycle of collabs., capsule collections and drops, put a veneer of newness onto tired products and exhausted brands. Brands need to make things that people want to shout about from the roof tops and tell all their friends about.

Moschino SS21 womenswear puppet show

Quality has also become an issue. People are more likely to shout about inferior quality and poor customer service than good. They are quick to social media when complaining or pointing out issues or problems. Many consumers have started to question their last purchases from these ‘luxury’ companies and the inflated price tags for mediocre workmanship. Can they justify the prices? I wrote this last year Gucci: has it sacrificed its quality in pursuit of the quirky? It is going to have to be really good to get people who don’t feel they need something to buy again.

Right - Moschino showed its SS21 collection on puppets

The luxury brands are also humouring the resale market knowing that a strong resell value makes it easier to sell the original item. It’s becoming like the used car market.

Luxury brands need new IT bags and products. Products that stick and become classics and tropes in their repertoire of styles. For example, Dior has been pushing its Saddle bag over the last couple of years, for both men and women. It is a design with a price tag of £2,500 from over 20 years ago. Where is the new Saddle bag for that house?

Brands have become obsessed with newness, but it’s also made the whole business feel more disposable and it needs the brands to stand behind designs and give consumers the confidence to buy. Gucci has done it with its bag collections. Most have become like the fragrance market; continual launches, usurping previous versions with very few lasting more than a few years.

It doesn’t look like things will be much different come next February and March when the next round of AW21 shows are due. Fashion is reactionary but it also needs to go back to the basics of product. While it’s harder to create classic styles, they can do something about quality.

They’ll still be a physicality to showing fashion, whatever happens, and, while brands are concentrating on stemming their losses atm, post-COVID, it has to be about product, product, product. And it needs to be good.

Buy TheChicGeek's new book FashionWankers - HERE

Published in Comment

Louis Vuitton SS21 womenswear Vote

Fashion is pretending everything will be alright. And it will be, eventually.

We’ve just finished the latest round of women’s fashion weeks. What would, usually, have been a month of hundreds of shows stretched between the US and Europe, was a skeleton of former schedules with international fashion councils trying to cobble together something that resembled normality and hoping by the time these clothes hit the stores they’ll be some light at the end of the COVID tunnel. Even before COVID, the traditional idea of fashion weeks and shows was being questioned yet fashion weeks seemed to continue to grow exponentially, becoming a bloated calendar of designer egos. They rarely paid their way.

Left - An underwhelming Louis Vuitton womenswear SS21 collection

What this latest round of SS21 shows did was put a spotlight on the product. Without the fashion circus; the celebs on the front row, hundreds of people pushing and hustling for a ticket, and the subsequent social media onslaught and hype, the clothes and accessorises were the main focus. Replaced by fewer brands, a socially distanced frow, if any, and, a hoped for digital audience tuning in, the product had a chance to shine. It didn’t.

A hard-to-believe audience of 5 million was supposed to have watched the much panned Nicolas Ghesquière collection for Louis Vuitton womenswear telling consumers to ‘Vote”. Seeing inside the soon-to-be-unveiled Samaritaine department store was the highlight.

Other mega brands, such as Chanel and Dior, produced critically underwhelming collections. Some brands tried to think differently though. For example, Moschino hired the Jim Henson studio to make puppets dressed in its collection and a complementary characterful front frow. While the concept was great, the clothes weren’t memorable.

It’s not so much that this season was particularly better or worse than previous seasons, it is more the fact the clothes had less distractions to hide behind. For years, fashion brands have flown everybody - press, buyers - to exotic locations or spent millions on expensive sets and concepts which have all add to the spectacle while helping to disguise the fact that many of the clothes or accessorises weren’t very good. This stripping away of the shows for SS21 has exposed what many have thought for a long time; the majority of product no longer stands up on its own.

This is a broad generalisation and there are still some great ideas in fashion, it’s too big for there not to be, but many brands rely on gimmicks, and, what I call ‘design-by-email’, which tries to squeeze as much as it can from a popular line or style. Brands milk a popular style to death. Rockstuds, anyone?

There has also been this attitude, over the last few years, that ‘brand’ is bigger than any product. As the volume of product grew, so it diluted the ideas, but the ‘brand’ got bigger. It sold, so why question it? Those inside the brands didn’t or don’t seem to be.

But, COVID has made many consumers switch off. It has made many people realise they can live without a lot of this stuff and buying new and expensive stuff was just a perpetual habit they didn’t realise they had.

If nobody can see you wearing or holding it, then what is the point? For many, there isn’t one. Also, without social events, a large proportion of fashion is redundant. Sales follow need and without the need, then want starts to wane and sales dry up. Fashion is going to need fantastic product to re-engage this dormant buying audience. Some of these consumers could be lost forever.

The formulaic fashion cycle of collabs., capsule collections and drops, put a veneer of newness onto tired products and exhausted brands. Brands need to make things that people want to shout about from the roof tops and tell all their friends about.

Moschino SS21 womenswear puppet show

Quality has also become an issue. People are more likely to shout about inferior quality and poor customer service than good. They are quick to social media when complaining or pointing out issues or problems. Many consumers have started to question their last purchases from these ‘luxury’ companies and the inflated price tags for mediocre workmanship. Can they justify the prices? I wrote this last year Gucci: has it sacrificed its quality in pursuit of the quirky? It is going to have to be really good to get people who don’t feel they need something to buy again.

Right - Moschino showed its SS21 collection on puppets

The luxury brands are also humouring the resale market knowing that a strong resell value makes it easier to sell the original item. It’s becoming like the used car market.

Luxury brands need new IT bags and products. Products that stick and become classics and tropes in their repertoire of styles. For example, Dior has been pushing its Saddle bag over the last couple of years, for both men and women. It is a design with a price tag of £2,500 from over 20 years ago. Where is the new Saddle bag for that house?

Brands have become obsessed with newness, but it’s also made the whole business feel more disposable and it needs the brands to stand behind designs and give consumers the confidence to buy. Gucci has done it with its bag collections. Most have become like the fragrance market; continual launches, usurping previous versions with very few lasting more than a few years.

It doesn’t look like things will be much different come next February and March when the next round of AW21 shows are due. Fashion is reactionary but it also needs to go back to the basics of product. While it’s harder to create classic styles, they can do something about quality.

They’ll still be a physicality to showing fashion, whatever happens, and, while brands are concentrating on stemming their losses atm, post-COVID, it has to be about product, product, product. And it needs to be good.

Buy TheChicGeek's new book FashionWankers - HERE

Published in Comment
Tuesday, 24 March 2020 14:12

Label To Know Original Madras Trading Company

Label to know original madras trading company madras checksOriginal Madras Trading Company was founded by current owner Prasan Shah’s grandfather in the early 1970s when he arrived in New York from Madras with a trunk full of checks and other woven Indian textiles. He established an office on 38th Street in the New York garment district, and where they still trade from today.

While they continue to supply fabrics and garments to well-known other brands, this is the first season with their own eponymous range.

A little history lesson. The weaving of cotton cloth in South India was renowned for centuries prior to the British building a harbour in Madras - now called Chennai - in the 18th century, but it was this port and the British East India Company that led to textiles from Madras being traded throughout the modern world.  That is the origin of the Madras check.

Label to know original madras trading company madras checks

Originally and to this day the best Madras is woven by hand. This is a process that takes each individual weaver several hours per metre and results in no two lengths of cloth being identical. OMTC is a 3rd generation family business who have been weaving and producing Madras for 50 years in factories owned and operated by the family. 

TheChicGeek says, "Who doesn't like checks? These feel distinctively authentic and I particularly like the Indian influence in the styles, like the longer shirt lengths and hooded kaftan styles. For AW20, which I saw at January's Pitti Uomo, OMTC have the cutest checked quilted trousers. The brand is currently available at Trunk Clothiers in London." 

Label to know original madras trading company madras checks

Left - Original Madras Trading Company Cotton Madras Button Down Shirt - £125 from Trunk Clothiers 

www.omtcnyc.com 

BUY TheChicGeek's new book - FASHIONWANKERS - HERE

Published in Labels To Know
Wednesday, 08 May 2019 16:00

ChicGeek Comment Neighbourhood Shops

GoodHome by B&Q neighbourhood retailThere was a time when ‘if you build it, they will come’ rang true for retail. Large out-of-town sheds have been encouraging people to pile into their cars since the 1980s. But, traffic is slowing and retailers are starting to realise that in order to survive, you need to go to the people, because they won’t be coming to you.

Left - B&Q's new neighbourhood concept, GoodHome by B&Q

People’s time is precious and the thought of driving to a shop, potentially getting snarled up in traffic or fighting for a parking space, when you could simply go online, is making these expensive retail parks less and less viable. Following the march of the supermarkets with their local formats other retailers are now realising it’s all about ease and convenience if you’re going to compete with online. Mix in the fact that car ownership and young people passing their driving tests is falling, then you have a perfect storm for the retail parks and out of town shopping centres.

In a sleepy suburb in South London, Wallington, Zone 5, home and DIY retailer, B&Q, has just unveiled its new smaller format, “GoodHome by B&Q”. The new, boldly coloured and contemporary space offers automated key cutting machines, touch screens to browse the range, a complimentary coffee machine and “over 6000 products available today”. It is a warm, compact space with friendly staff to offer advice, in comparison to one of their rundown, draughty mega stores, run on a skeleton staff, without anybody to help or offer advice. This is the first of these neighbourhood B&Qs which they hope to roll out nationwide.

In October, 2018, IKEA, the ultimate in out-of-town-spend-all-day-and-dine retailers, opened it's brand new mini store – the IKEA Planning Studio – on London’s Tottenham Court Road. It specialises in kitchens and bedroom storage and is more a showroom than a smaller version of the larger store. This week, IKEA launched their first store in central Paris. “Paris is a magnet of trends and fashion,” said Jesper Brodin, chief executive of the main retail arm of Ikea, Ingka Group. “We hope to use the Paris store as a loudspeaker for the rest of the world. If we are successful we could do a lot more of these.” he told The Financial Times.

The new IKEA store in Paris is 5,400 sq m across two floors and includes a 150-seat restaurant. About 1,500 items are available to buy in-store. Located in Paris’ 1st arrondissement, it will be followed by similar openings in Lyon and Nice. “There’s not a typical online customer or offline customer; people are mixing channels,” said Mr Brodin. “They still want to be able to touch the product and have a physical experience of the product”, he said.

GoodHome by B&Q neighbourhood retail

Over in America, the luxury department store chain, Nordstrom, is rolling out its ‘Nordstrom Local’ formats. First trialled in California, it is now planning two in New York to complement its new full line department stores opening at the end of summer 2019.

Right - Inside B&Q's new smaller format, GoodHome by B&Q

According to the company’s research, Manhattanites don’t particularly want to leave their neighbourhoods if they can help it which is the crucial reason for adding these hubs. The smaller stores will not carry merchandise, they are places for online pickups and returns, as well as services like tailoring and personal styling.

The first Nordstrom Local opened in 2017 in Los Angeles, where it, now, has three shops. Some offer individual services, like manicures or shoe repair, based on their location. Most importantly, the company said customers who visited a ‘Local’ spent on average two and a half times what other Nordstrom shoppers did and made returns earlier, which allows the retailer to turn its inventory faster.

Nordstrom Local neighbourhood retail

What many large retailers and shopping centres rely on is the car and the attraction of free and easy parking. Government-backed research shows that the number of teenagers holding a driving licence has plummeted by almost 40% in two decades.

The number of young people with a driving licence peaked in 1992-94 at 48% of 17 to 20-year-olds. By 2014 only 29% of the age group had a licence. Among people aged 21 to 29, the number of licence holders dropped from 75 to 63% over the same period. The decline in car use was more rapid among men than women.

The study, published in Feb 2018, said that rejection of car ownership was likely to become the “new norm” as more people communicated online rather than face to face.

Left - Nordstrom Local in Brentwood, LA

Commissioned by the Department for Transport, it found that changes in living circumstances meant that most young people no longer gained a driving licence or regularly drove a car. It said that a rise in lower-paid and less-secure jobs, a decline in home ownership and an increase in university participation had an impact on how people used transport. The study also cited the high cost of driving and a preference among young people to communicate online. It quoted figures showing that young men aged 17 to 29 were spending 80 minutes more per day at home in 2014 compared with 1995. Women in the same age group spent 40 minutes more at home.

The study by the University of the West of England in Bristol and the University of Oxford, said that many young people had become “accustomed to a lifestyle in which private car use is less central than it has been for previous generations”. The report added: “It is possible that the changes in young people’s travel behaviour described above are the first phase of a social change that will continue through successive generations.”

If this trend is continued by successive generations than it will be bad news for out of town shopping centres with poor public transport. It could also mean, in future, entire families will be without a car or driving license and unable, or, will find it more difficult, to visit these huge out of town shopping centres or retail parks.

Nordstrom Local neighbourhood retail

It is already starting to take its toll on shopping centres with footfall down and retailers reducing the number of stores they run or open. At the beginning of this year, shopping centre landlord Intu took a £1.4bn hit on the value of its properties. Intu said the value of its portfolio dropped 13.3% to £9.2bn during the year. The drop in property values pushed the company to a loss of £1.2bn, down from a profit of £203m a year earlier

Retailers are realising that transport is key and is where the volumes of people are. Walk through St Pancras station or New Street station in Birmingham, and the range and quality of the stores is nothing like the sad Upper Crusts or Boots of a few years ago. From Tiffany to Ted Baker, these stations are much more glamorous and attractive places to quickly pick things up or drop things off than they were before and compete just as well with any modern shopping centre.

Right - Inside a Nordstrom Local, LA, California

One British retailer proving the value in travel retail is W H Smith. W H Smith could have disappeared like its main products; magazines, newspapers and music or been flatlined by Amazon on books, but instead has flourished by going for convenience and the captive audience of people in stations and airports. 

Since WH Smith demerged its news distribution business in 2006, the travel business has been able to grow its profits in every year since. The size of the business has increased from 309 stores in 2007 to 867 in 2018. With the acquisition of American airport retailer, In-Motion, it will probably have more than 1,000 stores by August 2019.

WH Smith had 581 stores in the UK at the end of August 2018; 149 were at airports,127 in railway stations and 131 in hospitals. Around 125 are located in motorway service areas and are franchised stores, with the remainder in workplaces and bus stations. Internationally, it had a total of 286 stores located in airports, recently opening eight stores in Madrid Terminal 4 and six outlets in Rio de Janeiro. While not the most exciting of retailers, it shows that you can thrive if you go where the people are. 

Smaller and more cost-effective neighbourhood shops could be the answer for some brands. Businesses built on big stores will need to think about how people get to them if they are to survive. The automated car will offer some relief to the out of towners, if and when it arrives, but it feels like it will continue to become a strange concept to drive large distances out of your way to go shopping, especially for the younger generations.

Published in Fashion
Tuesday, 07 May 2019 12:02

Met Gala 2019 Menswear Takeaways

Met gala menswear Harry Styles pearl earringNobody came as a row of tents or Christmas, but the ‘Camp’ theme, to go along with the New York museum’s new exhibition, isn’t exactly new to the Met Gala. The Met Gala is Fashion Christmas and is definitely not for those who don’t want to stand out.

The more you think about camp, the most confusing and harder it is to define. But, we’ll probably all agree, it’s about colour, print and bigger-is-best outlandishness and there was plenty of competition for the craziest and most attention seeking outfits. Here are TheChicGeek takeaways from the men on the pink carpet:

The Boy With The Pearl Earring 

With Gucci the main sponsor, their poster boy, Harry Styles, was the Co-Chair along with their Creative Director, Alessandro Michele. Harry’s become known for his bold Gucci looks and this didn’t really take it up a notch on the night. It was pretty standard Gucci uniform. But, it was the drop pearl earring that left a lasting impression. Vermeer in his ear, Harry’s pearly earring is a romantic renaissance addition to your jewellery box.

Left - Harry Styles in Gucci

Met gala menswear Rami Malek Saint LaurentMet gala menswear Ezra Miller shoesCamp Shoes 

For those a little nervous to embrace the full Liberace campness, it was all down to the shoes. Go for something striking in glitter, studs or sequins.

Right - Ezra Miller in Burberry, Far Right - Rami Malek in Saint Laurent

Met gala menswear Andersen BlaakStill Obsessed With Pink

Pink has become the beige of our era, but it still looks fun and fresh. Especially when it perfectly matches the carpet.

Left - Anderson Paak in Gucci

Met gala menswear Jared LetoThe Winner 

This idea is straight from the Gucci catwalk, but to have your own version of a Madame Tussauds head tucked under your arm is really something. Jared Leto going out for a pint of milk is pretty camp, at the best of the times, but this stepped it up and added some Adams Family spookiness. 

Right - Jared Leto in Gucci

 

 

 

 

 

Met gala menswear Ezra MillerThe Mind Fuck

This make-up reminds me of the creepy Chemical Brothers video, Let Forever Be. While the outfit is meh, the artistry of this is full face look is technically brilliant. Look into my eyes…

Left - Ezra Miller in Burberry

Met gala menswear Alessandro MicheleThe WTF

All camp roads lead to Gucci and the king is Alessandro Michele, but this feels more sloppy Studio 54 reject than emperor of camp. 

Right - Alessandro Michele in Gucci

 

  

Met gala menswear Frank OceanMet gala menswear Kanye West BorecoreThe Party Poopers

Move over Normcore, this is Bore-core. I’m sure if you sliced these two in half they’d be a rainbow inside.

From Left - Frank Ocean in Prada, Kanye West in Dickies 

Published in Fashion
Monday, 15 October 2018 13:04

Fashion Book Fashion Climbing Bill Cunningham

Bill Cunningham Fashion Climbing Autobiography Fashion BookBill Cunningham’s first love was fashion, but the Big Apple came a close second. He left Boston for New York aged nineteen, losing his family’s support, but enjoying the infinite luxury of freedom. Living on a scoop of Ovaltine a day, he would run down to Fifth Avenue to feed on the spectacular sights of the window displays – then run back to his tiny studio to work all night.

Working as ‘William J’ - to spare his parents’ blushes - Bill became one of the most celebrated hat designers of the 1950s, his hats were featured in Vogue and Harper's Bazaar and worn by Marilyn Monroe and Jacqueline Kennedy. Bill’s mission was to bring happiness by making beautiful things – even if it meant pawning his bike to fund fancy-dress outfits for all his friends.

When women stopped wearing hats and his business was forced to close, Bill worked as a fashion journalist, touring the couture houses of Europe. But New York remained his home, and it was as a street photographer of the fashions of the city that he became well known, in a job that would last almost forty years.

Fashion Climbing is the enchanting memoir he left behind. Found after passing away in June 2016 aged 87, it captures the madcap times of his early career and the fashion scene of the mid-century. Written with the spark and wit of Holly Golightly, and brimming over with Bill’s infectious joy for life, it is a gift to all who seek beauty, whatever our style or status.

Left - Fashion Climbing - Bill Cunningham - £16.99

TheChicGeek says, “We don’t have the same affection for Bill on this side of the pond as the Americans, but we know him from the 2010 documentary ‘Bill Cunningham New York’, charting his life as a street style photographer for The New York Times. (I probably need to watch this again soon).

One thing to point out about this autobiography is, it doesn’t touch on his later life as a photographer. It focuses only on his early years, moving from a hat designer to fashion journalist and ends in the late 1960s.

Bill leaves his conservative Irish catholic family in Boston, who tried to curtail his creativity, via a job at department store Bonwit’s and on to New York. Bill finds himself making hats and using his imagination during the heyday of Dior’s ‘New Look’ and America’s obsession with following Paris’ lead.

Bill takes us back to a time when people applauded at fashion shows and not the one handed clap while social media-ing you get today. As delicate a bird as one of his favourite feathered creations, Cunningham projects himself as an outsider purely driven by the love of fashion. He’s exasperated by the social climbing and the following of fashion of women during this part of the 20th century.

This is America at the height of its power. Post war and the golden age of the American dream, this autobiography works through the decades when America peaked and was a powerhouse of fashion consumption and was its biggest patron. Bill must surely be the only man to combine time in the American army while sitting frow at Parisian couture houses.

This is a fun read, and, while it feels exaggerated, it is endearing and is an amusing look at America trying to find its fashion feet. Bill isn’t particularly modest though and wants to continually remind you how individual and original he is. At one point he proclaims he’s ten years ahead of fashion and how nobody gets him. Nobody wants to be ten years ahead of fashion, plus you’d think somebody would have moved into something other than hats faster if you were so ahead of your time.

The hat business dries up and he starts to use his expertise documenting the latest fashion shows and writing fashion articles for WWD. He certainly doesn't have many positive things to say about the fashion press and notes how badly dressed they mostly are.

The book charts his struggle, particularly financially, but you get a feeling his family have more money than he lets on and his uncle sounds very wealthy.

What’s interesting in the book is how things are so different, yet the same. His talk of fashion shows isn’t far off of the circus today. But, fashion has changed and that breathless wait for the next creation from a chosen designer doesn’t ring true anymore. We look, yes, but they no longer have the power with people following sheep-like.

For many, at this time, fashion is a vehicle for social standing, climbing and showing their wealth and his eyerolling at those who just use clothes for these purposes isn’t disguised. He wants them to just enjoy it for what it is, but, you can only do this if you understand fashion, and very few people truly do.

This is the Mad Men New York of parties in hotel ballrooms, social gatherings and peacocking. This is America at its most formal, yet still shows how conservative they are and yet with all the money. They would never buy anything that original or daring and that still rings true today. 

This is a lite and inspiring read for anybody who gets excited about vintage fashion, women with cinched in waists and full skirts, Parisian fashion salons of the 1950s and bouji New York beach resorts."

Read more ChicGeek Fashion Book Reviews here

Published in Fashion
Friday, 28 September 2018 10:50

ChicGeek Comment Life After Brexit

Life after Brexit Chanel moves global headquarters to LondonRemainers cover your ears. One of the world’s strongest fashion brands is moving its headquarters to London despite Brexit. Yes, Brexit hasn’t put them off. Chanel has decided to close its global headquarters in New York and move it to London.

Until now, Chanel did not have a single holding company for its operations and functions were located in a number of cities. In a statement from the French company, they said, “We wanted to simplify the structure of the business and London is the appropriate place to do that for an international company. London is the most central location to our markets, uses the English language and has strong corporate governance standards with its regulatory and legal requirements.”

Left - Even London's lampposts are Chanel!

‘Chanel Limited’ became the holding company of most Chanel entities in the summer of 2017 and this is why the majority of the global functions are now located in London.

“Brexit's economic and geopolitical impacts remains a challenge for the London economy. London is still dealing with a hangover from Brexit.” says Brandon Rael, Operations Strategy & Innovations Leader & Retail Digital Strategist. “We should expect that London will experience an upswing when the economy stabilises. Moving the Chanel HQ to London is very much a long-term strategy.” he says.

Chanel could have chosen Paris, but instead chose London, and this goes against the anti-Brexit rhetoric of companies leaving in their droves. In July, Chanel revealed its financials for the first time in its 108 history. It generated nearly $10 billion in global sales in 2017, making it one of the world’s biggest luxury fashion brands. This new openness is Chanel positioning itself and facing up to the dominance of the likes of Kering and LVMH. This is for the next, digital chapter in Chanel’s history. 

Brexit is so close, now, it is time to start looking beyond it and, Chanel’s decision would have been a long term decision from this globally revered company. While one company moving its headquarters to London doesn’t prove anything. In the same vein, one company moving out, doesn’t either. The major reasons companies move or stay in London won’t change post Brexit. They move to London because of geography, language, law and talent pool. This is about London competing with New York or Hong Kong and it is the only truly world city within Europe.

“London remains the world‘s most promising city for luxury retail growth, despite troubles faced by the Brexit vote,” says Rael. “A new report conducted by CBRE and Walpole has found that compared to other major luxury destinations across the globe, London still holds the greatest long-term potential,” he says.

The newly christened Capri Holdings - formerly Michael Kors -  has its principal executive office in London and Condé Nast International recently choose London to cope with the new demands of its digital future. Everything catwalk related: photography, video, social media and features will be lead by Vogue International, an editorial hub established last year to lead content for the 25 editions of the magazine.

Life after Brexit Conde Nast International moves global headquarters to LondonIn an interview in the New York Times with Wolfgang Blau, Chief Digital Officer of Condé Nast International, he said two-hundred editorial and engineering staff members had been hired, and next year, he wants to have a Vogue presence at about 900 runway shows all feeding back to London. This is Condé Nast cutting costs and becoming more efficient while focussing its global fashion content in London. This will only get bigger. Its travel magazine, Condé Nast Traveler has moved onto a new single platform, and it too would be overseen not from its birthplace of New York, but from London.

Right - London, not New York, is the global centre for all digital content

We were told that "Brexit would make us poorer”, but since the vote, and with a background of caution and underinvestment, Britain has a joint record high employment rate of 75.6% with 32.39 million people now in work according to the latest official statistics. (June 2018). There were 488,000 unemployed people aged from 16 to 24 for May to July 2018, the lowest figure since records began for youth unemployment in 1992. Overall, unemployment fell by another 55,000 between May and July to 1.36 million. Wages saw faster than expected growth in the three months to July. Excluding bonuses, wages grew by 2.9%, according to figures from the Office for National Statistics (ONS), well above the inflation rate.

Business is doing well. UK Trade benefitted from a goods export boom in July. Official figures showed the deficit in goods dropped to £10 billion in July from £10.7 billion the previous month. Including service, the overall trade gap fell to just £111 million, one of the best monthly results in the past 20 years. In the three months to July overall goods exports grew by £4.3 billion while imports rose by £3.7 billion. This came largely from trading with countries outside the EU.

“It looks like Brexit is going to be a good thing for luxury fashion as people in the US and China take advantage on preferential tariffs coming from the UK.” says Fleur Hicks, Managing Director of onefourzero, a data analytics and digital research agency.

Eurotunnel recorded its best ever August for freight traffic and the number of passengers passing through Heathrow’s terminals jumped to 7.5 million last month, boosted by new services to China. Europe’s biggest airport, said August customer numbers were up 2.6% from a year earlier and cargo volumes were up 1.2%. Asia saw the biggest increase in passenger numbers, up 6.3%, with new services from Hainan Airlines, Tianjin Airlines and Beijing Capital. Gatwick also saw a 0.4% rise in passenger numbers to 4.9 million and its cargo traffic soared a whopping 22.3%.

Irina Bragin, from Made of Carpet, who specialises is making luxury carpet bags, says “I think I have one advantage of Brexit in mind. Today selling to the EU as retailer (to the end buyer) we pay VAT, same as we sell in UK. After Brexit, it will be the same as selling to US, or Canada, or Australia - no VAT to pay.”

I know it’s fashionable not to be positive about Brexit, but, it’s 6 months away and it’s time to turn the negativity into optimism. Global businesses are looking past Brexit, for the longer term, and what makes London great to do business in hasn’t really changed. Brexit is something new and unknown, but, in Britain’s true entrepreneurial spirit, we can do this!

Published in Fashion
Friday, 03 August 2018 16:13

First Look Tom Ford Underwear

Tom Ford Underwear

Tom Ford is a clever man. Starting with two of the highest margins categories in fashion - eyewear & beauty - he founded his eponymous company. Fast forward 13 years and he’s developed money-maker after money-maker. Suits, followed by trainers and then jeans, all added to his ballooning business. 

Left - Tom Ford debuted his new underwear range during his February AW18 catwalk show in New York

The last big fashion category untouched by the Texan’s magic was underwear. But, no more. 

What debuted in his show in February catwalk show in New York was a bit underwhelming. Think Yeezy uncooked sausage coloured trunks; a world away from the sexy, see-through briefs Ford produced when at the helm of Gucci. Calvin Klein could still sleep easy at night, or so I thought. But, looking at the news from British GQ, it looks like they’re more standard tighty-whities, albeit with a velvet waistband. They’re also cheaper than I thought at £55. (I know, it's still a lot for a pair of white pants).

For a man who famously dresses commando, the big question is, will be practise what he preaches?

Below - Briefs by Tom Ford - £55

Tom Ford Underwear

Published in Fashion
Tuesday, 05 December 2017 16:23

How To Warm Your AW17 Arms (On A Budget!)

Arm Warmers Men's Accessorises Raf Simons

Looking online, it appears they’re a sell out. Yes, a sell out! Raf Simons’ AW17 arm-warmers, those accessorises we never knew we needed, and making us think differently about our forearms, aren’t available online anymore.

Left - Raf Simons AW17

That £250 you had burning a hole in your pocket, can be saved, thank god, with a bit of customising and working some magic on leg warmers and socks from eBay.  

Arm Warmers Men's Accessorises Raf Simons

They do sell ‘arm-warmers’ on eBay, but they all seem a bit too short and tight, and actually designed to keep your arms warm. Duh! So, I started to look at large leg warmers, which you’ll be able to pull over your coat's arms.

It’s just trying to find a pair that is loose enough - the online pictures aren't great, but if it goes over an adult's thigh... - to fit over the arms of a coat that is key, and as seen in the Raf Simons show.

Left - Raf Simons - Knit Sleeves -  £244

I went for the black 'Referee' socks, which I'm going to cut the feet out of and then loosely sew around the cut.

They cost me just over £2, including postage, and are a good way to jazz up an old coat, especially with men's fashion weeks coming up. 

I think they would look best on a classic long wool coat, in a dark colour, like we saw on the catwalk. I have a perfect one from Jigsaw.

So, at just over a pound an arm, and 100 times cheaper than the originals, get covering those forearms. What have you got to lose?!

Arm Warmers Men's Accessorises Raf Simons

Arm Warmers Men's Accessorises Raf Simons

Arm Warmers Men's Accessorises Raf Simons

Arm Warmers Men's Accessorises Raf Simons

 

 

 

 

 

 

 

 

 

 

 

From Left - eBay - A selection of Girls/Ladies Referee Socks & Leg-Warmers from around £1.15

Right - Raf Simons AW17

Published in How To
Tuesday, 02 May 2017 10:30

Met Gala Menswear Lessons

Met Gala menswear Matt Smith Burberry bow tieMet Gala menswear Future H & M bow tieThe Met Gala - you may have seen the film, The First Monday in May - is the opening night of the annual fashion exhibition at New York’s Metropolitan Museum of Art. 

This year’s exhibition is a retrospective of Japanese designer Res Kawakubo, the brains behind Comme des Garcons. As per, the opening party is the most fashion night of the year with celebrities and designers making a statement, both good and bad. 

Here are the 12 menswear things TheChicGeek learnt from last night:

Left - Bow ties - the floppier the better. Future in custom H&M & Matt Smith in Burberry 

 

 

 

 

 

 

Met Gala 2017 menswear Roger Federer Gucci cobraIf the Met Gala can make Mr Safe, Roger Federer, try something different then that’s inspiration enough. A Gucci cobra on your back, anyone? Asp-leisure?!

Jaden Smith Louis Vuitton Met Gala Menswear hairGo conceptual. If your hair looks like wheat-sheafs then take them with you. Jaden Smith in Louis Vuitton

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Met Gala menswear lessons Puff Daddy Rick OwensThe Met Gala red carpet is not an audition for Star Wars. Puff Daddy in Rick Owens

met gala menswear Frank Ocean BalmainWhen your parents don’t want to buy you a suit you’ll grow out of. Frank Ocean in Balmain 

Below - Dress for the city, not the designer. Nick Jonas in Ralph Lauren

Met Gala Nick Jonas Ralph Lauren Art Deco menswear

 

Met Gala best menswear Migos May 2017Bad taste Claire’s Accessories. Let the whole jewellery shop fall out. Migos

Below - Red was the colour of the night. When a suit fits this well it works. Rami Malek in Dior Homme.

met Gala menswear Rami Malek Dior Homme red

Met Gala Thom Browne menswear Diplomet gala menswear Wiz Khalifa in Thom Brown white tuxedoLeave the Thom Browne to Thom Browne. Wiz Khalifa & Diplo in Thom Browne.

When you’re tall and thin, a la Alexander Skarsgard, in Ermenegildo Zegna, you can wear anything.

Met Gala white tuxedo Alexander Skarsgard 2017 zegna

Met Gala menswear best dressed Ryan ReynoldsWhen you try and do that cute-couple-colour thing and it doesn’t work. Ryan Reynolds 

Pharrell Williams Comme des Garçons Met GalaAt Comme, anything goes, so dress down is the new dress-up. Teletubbie optional! Pharrell Williams in Comme des Garcons

Published in Fashion
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