#wwd request

[biglisbonnews]

Sabato De Sarno Named Creative Director at Gucci Gucci has found its new creative director: Sabato De Sarno.The decision was announced by Gucci's parent company, Italian luxury house Kerig, on Saturday, January 28. De Sarno, who is fashion director for men's and women's ready to wear at Valentino, will take the reins from Alessandro Michele, who held the position since 2015, and will be responsible for shaping the brand's creative vision across all collections.Related | Alessandro Michele Leaves Gucci"I am deeply honored to take on the role as Creative Director of Gucci," De Sarno said via a press release. "I am proud to join a House with such an extraordinary history and heritage, that over the years has been able to welcome and cherish values I believe in. I am touched and excited to contribute my creative vision for the brand."During Michele's seven-year tenure, Gucci reached a younger audience, tapping into timely cultural conversations with gender-fluid apparel and campaigns featuring the likes of Harry Styles. Ahead of his departure in November 2022, WWD reported that Michele had resisted requests "to initiate a strong design shift" towards traditional luxury consumers. Born in Naples, De Sarno appears to be a natural successor, having spent time working on Valentino, which has maintained a more traditionalist approach, under long-time creative director Pierpaolo Piccioli. Prior to Valentino, the 39-year-old did time at Parada and Dolce & Gabbana. "Having worked with a number of Italy’s most renowned luxury fashion houses, [Sabato] brings with him a vast and relevant experience," said Marco Bizzarri, President and CEO of Gucci. "I am certain that through Sabato’s deep understanding and appreciation for Gucci’s unique legacy, he will lead our creative teams with a distinctive vision that will help write this exciting next chapter, reinforcing the House’s fashion authority while capitalizing on its rich heritage."De Sarno will present his debut runway collection at Milan Women’s Fashion Week in September 2023. See the full statement below. See on Instagram Photo courtesy of Gucci https://www.papermag.com/gucci-creative-director-sabato-sarno-2659324518.html

[highlifestyleindia]

Gucci's creative director Michele to step down

A source confirmed on Wednesday that Alessandro Michele, the creative director of Gucci, is quitting Kering's star label after seven years.

The insider added that there had been conflict between the designer and Kering's top management and that Kering was anticipated to quickly confirm the news officially.

Gucci and Kering both declined to comment.

In a report published overnight, Women's Wear Daily initially revealed Michele's departure while citing unknown sources.

On Wednesday, Kering shares rose 2% at first, before losing ground. According to analysts, a new designer might help boost sales. In the early afternoon session, they were down 0.7%.

"After seven years in charge of Gucci's creative engine, it may well be time for a change, and consensus amongst institutional investors appears to be forming that a new approach is required to reignite the brand," RBC analysts said in a note.

"Overall, the notion of change in creative lead at Gucci is likely to be viewed positively by the market, and in Kering's share price," they added.

Michele, a former accessories designer who assumed the chief creative position at Gucci in 2015, is credited with resurrecting the popularity of the brand.

Between 2015 and 2019, he co-led with CEO Marco Bizzarri a period of explosive expansion during which profits nearly quadrupled and revenue nearly tripled.

However, Gucci, which generates the majority of Kering's revenues, has started to fall behind its rivals in recent quarters, with its performance in the crucial Chinese market raising investor concerns.

WWD quoted one source as saying Michele had been asked "to initiate a strong design shift" to light a fire under the brand, and that the designer did not meet the request. The WWD report said that Kering's chairman and CEO François-Henri Pinault, was looking at a change of pace for the brand.

"Gucci is in the middle of a complex transition aimed at elevating the brand," said Citi analyst Thomas Chauvet.

"While Kering management has historically been patient on executing turnarounds, the nomination of a new designer could accelerate the pace of change and redefine the brand's aesthetics."

[redidoodles]

Stocking found a few pieces of chocolate.

http://www.pixiv.net/member_illust.php?mode=medium&illust_id=61394792

[timeless-t]

[modafactor]

HISTOIRE DU MAGAZINE DE MODE

Fashion magazines are an essential component of the fashion industry. They are the medium that conveys and promotes the design's vision to the eventual purchaser. Balancing the priorities has led to the diversity of the modern periodical market. 

It wasn’t until 1732 that the actual word “magazine” was introduced (thanks to bookseller Edward Cave). It was under the reign of Louis XIV in France when the term “fashion magazine” made its initial emergence. The fashion publication was called The Mercure Galant and featured illustrated fashion plates of what the aristocracy was wearing. This made it possible for dressmakers who lived outside of the court to have an idea of what was “trending” in royal fashion.

Reference- https://fashion-history.lovetoknow.com/

Check out the complete series of Vogue by the decade series.

In 1678, however, Donneau de Visé first included an illustrated description of French fashions with suppliers' names in his ladies magazine, Le Mercure galant, which is considered the direct ancestor of modern fashion reports. Thereafter, fashion news rarely reappeared in periodical literature until the mid-eighteenth century when it was included in the popular ladies handbooks and diaries. Apparently in response to readers' requests, such coverage to the popular Lady's Magazine (1770-1832) was added to the genteel poems, music, and fiction that other journals were already offering to their middle-class readers.

By the end of the eighteenth century, Lady's Magazine had been joined by many periodicals catering to an affluent aspirational society. Interest in fashion was widespread and it was included in quality general readership journals such as the Frankfurt Journal der Luxus und der Moden (1786-1827) and Ackermann's Repository of the Arts, Literature, Commerce, Fashion and Politics (1809-1828) as well as those specifically for ladies. Despite the continental wars, French style was paramount and found their way into most English journals. Very popular with dressmakers was Townsend's Quarterly (later Monthly) Selection of Parisian Costumes (1825-1888), beautifully produced unattributed illustrations with minimal comment. The journals were generally elite productions, well illustrated and highly priced, though cheaper if uncolored. John Bell's La belle assembléé (1806-1821) was edited by Mary Anne Bell between 1810 and 1820, also proprietor of a fashion establishment. Dressmaker's credits are rare, perhaps because fashion establishments were dependent on personal recommendation and exclusivity.

By the middle of the nineteenth century, the magazine, like other popular literature, profited from improvements in printing methods, lower paper costs, and lower taxation. Literacy levels had risen and readership increased. Many new titles were produced and fashion for all types and ages were generally included in those for the women's market. Circulation figures were high; Godey's Lady's Book (1830-1897) issued 150,000 copies in 1861 and Samuel Beeton's The Englishwoman's Domestic Magazine (1852-1897) issued 60,000. Advertisement increased but the revenue rarely inhibited editorial independence. The key to circulation was innovation, and Godey and Beeton both added a shopping service and additional paper patterns to those already available within the magazine. Up-to-date fashion news was an essential and fashion plates as well as embroidery designs came direct from Paris sources, though in America they were often modified for home consumption.

High-fashion Paris news was most easily accessible in the large format society journals, the weekly illustrated newspapers, and La mode illustrée (1860-1914), of which there was an English edition. Semi-amateur fashion cum gossip columnists were a feature of Gilded Age society, but the couture concerned with their expanding international market were increasingly professional about their publicity, and well-kept house guard books were probably as useful for press promotion as they were to designers and clients.

Through its Chambre Syndicale, the couture was organizing its own fashion journal, Les modes (1901-1937). Its innovative and informative photographic illustrations made it an anthology of high status Paris design by the end of the century. In 1911 Lucien Vogel offered the couture an even more modern shop window in the elitist Gazette du bon ton (1911-1923), the precursor of the small pochoir (stencil) illustrated fashionable journals characteristic of the avant-garde press of the early twentieth century.

Industry Growth in the 20th Century

As fashion pace increased, the fashion publication scene was stimulated by developments at Women's Wear Daily (WWD), after the Fairchild family purchased it in 1909 as a conventional trade paper for the garment trade. Its offshoot, W (1972- ) was developed by John Fairchild, the son of the founder, to have "the speed of a newspaper … with the smart look of a fashion magazine" and significantly, its survival depended on advertisement. News "scoops" were competed for ruthlessly. Vogue secured the designs for Princess Elizabeth's wedding dress in 1947, WWD obtained Princess Margaret's in 1960, plus the annual Best-Dressed List. Assessment of style change was more problematic and it was the role of the fashion editor to balance designer's contribution and public acceptance. It was a tribute to both when magazines and public supported Dior's New Look in 1947.

Increasingly dependent on advertising, the conventional magazine is challenged if fashion deviates from established trends. The "lead in" time for a quality, full-color journal is generally two months-too long for the speed of street fashion and its high-spending, young, and trendy clientele. This readership was not targeted until 1976 when Terry Jones, originally from Vogue, developed the U.K. magazine i-D, with its apparently spontaneous fanzine look. Its original message, "It isn't what you wear but how you wear it," had little appeal for the clothing trade but it has found its niche market in the early 2000s and is the prototype "young fashion" magazine. 

Check out books and more at- https://amzn.to/3r10gRd

Also browse your fashion favorites at- https://amzn.to/34hrNUB

[aaronleong]

Musings On The 2020 Chanel Price Increase

Wednesday, May 25, 2020

A Chanel boutique at 31 Rue Cambon, Paris. Photo: CloverSac.

Gossip of a global price increase for Chanel began circling around the Purseblog forum weeks before the hike in May. There was plenty of speculation among the ladies on the percentage increase this time but more resonating was a protest over the timing in such a situation as now. 

People queue to enter the Chanel boutique at a department store in Seoul, South Korea, May 13, 2020. Photo: Reuters

The global price increase started in the second week of May, with Europe getting its revised prices on the 11th, followed by Asia on the 14th and finally the USA on the 25th. 

Regarding this increase, Chanel stated in an email to Reuters that “these adjustments are made while ensuring that we avoid excessive price differentials between countries, in line with our commitments regarding price harmonisation.”

Classic and Reissue price comparison between 2019 and 2020. 

I will solely be focusing on the Classics and Reissue models throughout this critique as they were affected heaviest by the price hike. Although the WOC and Boy models were also impacted, they hovered below a 10% raise, making the increase not unusual from the standard annual price increase year over year. The United States was affected the least by the increase in prices, never climbing over 12%. However, Europe and Australia was hit the hardest with skyrocketing increases over 15%. While the price differences across the 3 continents are now closer compared to 2019 prices, sales tax and VAT has not been factored in yet. 

A 3 year price history of the Mini Square Flap.

A perfect example is seen above, looking at the price history for the Mini Square Flap over a 3 year period. The most striking increase would be a steep 31% raise for Australia. However, such a drastic disparity in pricing is to be expected with a harmonisation strategy, considering the weaker Australian Dollar in comparison to the Euro Dollar. 

While Chanel has given its official statement regarding this year’s price increase and owing it to a global price harmonisation, I still harboured suspicions about a subtle reasoning behind their increase. It is not to say that this is the first time that the storied French maison has chosen to conduct its annual price increase in May. However, the last increase in May took place in 2017, with the consecutive 2 yearly increases occurring in November. 

I will be taking a look at two plausible reasons behind the raise which arrived at the height of an ongoing pandemic worldwide.

Covid-19 And Its Effects

Megs Mahoney, editor at Purseblog, speculated before the official raise that this year’s substantial increase was a recovery strategy enacted by Chanel due to the ongoing crisis. After all, the French luxury brand had made the decision to halt all retail and manufacturing operations, instead transforming its production towards hygiene equipment. The multi billion dollar corporation had also opted out of the French government’s partial unemployment assistance, choosing to personally fund the salary of its employees working from home. 

My issue towards this speculation is this - no matter how well intentioned they may be, why should consumers pay for the brand’s altruistic decisions? Chanel isn’t a new startup or independent designer that is financially struggling during this economy downturn. This is a multi billion dollar corporation we are addressing here. Are we as consumers going to reap the share of profits when the brand performs well? No. Prices will not be reducing either. If anything, this speculation is akin to a millionaire organising a fundraiser on social media and requesting the public to donate. 

However, WWD reached out to Chanel seeking clarification and the brand had responded that “the current situation has absolutely no link with this decision (price increase).” That being said, it looks like any speculation on the economy’s influence on the price hike is right out the window. 

Misaligned quilted diamonds on the Classic Flap in black caviar. Photo: Purseblog

Investing Into Higher Quality

“Like other luxury brands, Chanel is making financial efforts to secure its supply of very high-quality skins by investing in the supply chain and acquiring suppliers. These investments are essential to guarantee the longevity of such iconic products [and to keep them] up to the standard’s Chanel’s clients expect,” Chanel continued in its email to WWD. Chanel has stated that the brand is investing to maintain its product standards. It’s no secret among the handbag community that the brand’s quality and workmanship has deteriorated. Customers on handbag forums have cited poor stitching, malfunctioning hardware and shoddy handiwork that does not justify the ever rising premium prices. With new supply chain investments, the least Chanel could do would be to improve the quality of its products, especially for the handbag line. 

A New Alignment In 2020

“We also take great care to maintain the positioning of our creations as the highest in quality and the ultimate in luxury. We wish to retain our unique place in the eyes and hearts of our clients, and therefore offer rare and exceptional products. All of this adds value,” Chanel continued in its statement to WWD. I believe that the last sentence holds the true reason behind the sharp rise in prices - a realignment of the brand’s market positioning. 

3 year price comparison between the Reissue 227 and Birkin 30.

With prices soaring after this year’s revised prices, Chanel is borderline in the Hermes price range, albeit without the legendary exclusivity and resale value that Hermes is renowned for. Women on handbag forums have compared the new prices of the Maxi Flap and Reissue 227 to the current price of a Birkin 30 in Togo leather. I was curious to see how the prices differentiated over the years and I decided to track both bags over a 3 year period. 2018 and 2019 still saw a huge disparity between both handbags and it was only this year that the gap narrowed significantly by only €650. 

Having the audacity to conduct its annual price increase during the height of a global economy downturn is certainly a bold move for Chanel. Women may be fussing for now but the allure of the brand will always be there and they will soon be purchasing again. Chanel knows that. A small majority of handbag lovers like myself may stop purchasing new Chanel bags altogether. Of course, the brand isn’t affected in any way but we know better. Chanel has pretty big shoes to fill as they enter a new price range. Or they might just not care at all about the fine details. After all, the elite and rich never scrutinise that deep. We shall see. 

[helpersofindie]

Hey, lovelies! I was wondering which of the helpers do theme makeovers, and who’s requests are open for them? I already checked the WWD pages and there are just a bunch of helpers lists missing, so I’d figured I’d ask if that’s still a thing around here with you guys.

if you come to me off anon and tell me what you had in mind, i can see if i am able to do it !! you can find stuff i’ve done in the past here.

[fc-suggests]

Always check someone’s WID page before requesting something. (Same thing goes for rules of requesting something.)

Can’t find it/they don’t seem to have one? Politely tell them you can’t find it and ask them if they do the thing you’re looking for. 

They’re not online or they’re taking a really long time to answer your question? WID pages can usually be found under /wid. /wid /wwd. /wwd /what we do or /what i do. (You’re welcome.)

Always. Check. First. 

We can tell when you’ve checked.

Thank you for coming to my TED Talk. 

(mascot: christian yu - korean)

[shudnwi]

Handbag On Sale

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[redidoodles]

Cat legs

[timeless-t]

[ndcicic]

recycling initiatives for store

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Back in 2009 Lauren released a statement apologizing for the retouching, saying, "We have addressed the problem and going forward will take every precaution to ensure that the caliber of our artwork represents our brand appropriately.". Plaintiff PRL USA Holdings, Inc., holder of the Ralph Lauren trademarks, appeals from the judgment of the United States District Court for the Southern District of New York (Daniels, J.), entered following a jury trial, denying plaintiff's claims of trademark infringement. The jury found that three of the defendants' four contested marks did not infringe the plaintiff's polo player trademark. Plaintiff contends that the district court erred in admitting evidence of discussions at settlement negotiations, excluding a document prepared by an agent of a defendant which arguably reflected intent to use trademarks similar to the Ralph Lauren trademarks to compete unfairly, and in refusing to give a requested jury instruction.

[techsupportdog]

Requested in /a/’s WWD a couple of weeks ago:  Requesting my dear Momo in an (atmospheric) diving suit hunting at the bottom at the sea and having problems with her lamp, but an anglerfish over her shoulder.

[activityaa]

G-Star ☜clothing Prices

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[vietrpc]

VIETRPC is a new rph blog focused on bringing attention to Vietnamese FCs and culture in the roleplaying community. We do shoutouts, faceclaim or character help, and provide resources so long as they are centered around Vietnam/Vietnamese culture. 

We are always welcome to new members or affiliates, and are now OPEN for requests!

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