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Tag: designer

  • Burberry and Louis Vuitton lose counterfeiting appeal in Singapore

    Burberry and Louis Vuitton lose counterfeiting appeal in Singapore

    Burberry and Louis Vuitton have lost their appeal in a trademark dispute against local transport company Megastar Shipping. The luxury brands alleged that Megastar Shipping had handled counterfeit goods in Singapore that were headed for Indonesia, citing the Trade Marks Act that states a trademark is infringed by any person found to import or export goods using that mark without the proprietor’s consent.

    The upper division of the Singapore Supreme Court found this week that Megastar was not the importer of counterfeit goods shipped from China that were seized in March 2013, and was only intended to handle the goods in transit to their final destination in Indonesia. Megastar Shipping had been listed on seaway bills and arrival notices as the consignee of the goods.

    The appeals court ruled that the protection of IP rights had to be balanced against extending liability for infringement to “honest commercial persons who happened to be tangentially involved” in the shipping of counterfeit goods.

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  • Korea’s Beyond Closet confirms strong potential at Pitti Uomo

    Korea’s Beyond Closet confirms strong potential at Pitti Uomo

    Korean label Beyond Closet, showing for the third time at Pitti Uomo for the ‘Concept Korea’ project, won over the audience with a stylish, highly colourful catwalk show.bThis season perhaps even more so than in the past, Beyond Closet’s self-taught designer Taeyong Ko proved he is truly well-versed in his craft. It is surely not by chance that his menswear label, whose style is defined as “classic, with a twist,” managed to double its multibrand clients from one season to the next, growing from 15 to 30, chiefly in South Korea.

    Taeyong Ko, who in his younger years was a swimming enthusiast, and cut his fashion teeth working in a clothes shop, has managed to create a highly distinctive, recognisable style through a classic wardrobe with a preppy vibe, infused with a touch of slightly humorous extravagance that is never excessive.

    Taeyong Ko’s main strength is his ability to subtly blend genres and to create looks that are as original as they are attractive. His style is all about the way he plays with the accessories and the details which spice up Beyond Closet’s looks, as well as how he mixes and matches materials and registers. As he quipped backstage: “I dress men whose uniqueness lies in their own style.”

    The show’s setting was reminiscent of a military encampment, with tents erected in a desert-like environment, and you could hear a motorbike revving up as the first models strutted out on the catwalk to the notes of Lou Reed’s ‘Walk on the Wild Side’. Trousers gathered at the ankles, woollen check shirts and oversize parkas alternated with Price of Wales suits and navy-style looks, a nod to the theme chosen by Taeyong Ko this season, translating into sailor-style pea-jackets with golden buttons worn over striped tops, small scarves knotted around the models’ necks.

    The mood was both relaxed and elegant, as in the case of the dandy ambling around in tracksuit bottoms and furry mules, sporting a classic tweed jacket, or in tartan trousers and a navy-style cardigan.

    There was an emphasis on snug, ultra-warm items for protection against the cold, like plush coats and boiled-wool tops, fleece sweaters worn under jackets, oversize turtlenecks and curly-wool tracksuit bottoms, not to mention sundry jackets with generous collars and lapels, all strictly fur-lined, and an assortment of quilted trousers and jackets, featuring colourful patchwork fabrics in menswear’s classic printed motifs, like checks and houndstooth patterns.

    The whole collection is made even sharper by the great attention paid to details and colour combinations. For example, the back of a khaki jacket is embellished with a vertical string of golden buttons. Elsewhere, in the guise of knee or elbow pads, Taeyong Ko opted for a kind of rectangular fitted panel, while some of his grey felt shirts featured ample pockets in brightly coloured nylon fleece, gloves in bright yellow leather were matched with a Prince of Wales checks look, and royal blue or velvet flaps livened up a classic trench coat.

    The designer also played with layering and trompe l’oeil effects, as with the Teddy-style sweater whose back morphs into a grey nylon jacket, or the pinstripe jacket which strays into baseball kit territory, sporting the number 27 on the reverse side. Other examples are the overcoat which unexpectedly turns into a wind-breaker or the jacket which becomes an orange waxed top.

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  • China, Japan boost Brunello Cucinelli revenue growth

    China, Japan boost Brunello Cucinelli revenue growth

    Italian luxury house Brunello Cucinelli reported a leap in revenues for the 2018 fiscal year, with all geographic regions recording sales growth, particularly Greater China and Japan. For the year ending December 31, 2018, Brunello Cucinelli said total revenues increased 8.1% to €553 million, (+10.7% at constant exchange rates), compared to €511.7 million in 2017.

    The Solomeo-based company saw a significant rise in sales at 8.8% in the international markets and 4.2% in the Italian market, according to a press release published on the Italian stock exchange on Monday.

    By region, Greater China witnessed the biggest increase with an incredible 28.5% sales growth, followed by the Rest of the World region, up 10.7%, which was lead by Japan and the Middle East. Sales in Europe increased 8.5% and the U.S. saw growth of 3.9%.

    By distribution channel, Brunello Cucinelli’s retail sales gained 6.3% globally, with wholesale monobrand and multibrand up 19.4% and 9%, respectively.

    Capital expenditure for the twelve months was approximately €45 million, with “the objective of keeping the brand image extremely high in both the physical and digital channels,” said the company.

    Net debt narrowed €15 million, a slight improvement compared to 2017.

    “Another year has come to an end in a splendid manner, both in terms of numbers and from the standpoint of the general image of the brand at a global level,” said Brunello Cucinelli, Chairman and CEO.

    “We continue to support, believe in and invest in our beloved Italy, perceiving the great value this represents at a world level for the country’s creativity, quality and craftsmanship.”

    Following the stellar results, which included the sell out of the past winter collections, followed by strong spring/summer 2019 orders, the brand said it expects “another year ahead of gracious growth in line with 2018.”

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  • New Michael Kors to increase focus on Asia

    New Michael Kors to increase focus on Asia

    With the completion of its acquisition of Versace, global fashion group Michael Kors Holding has successfully transitioned into its new identity as Capri Holdings Limited. The group, which now owns Michael Kors, Jimmy Choo and Versace, hopes to leverage its brands to grow group revenue to US$8 billion, while increasing its exposure to the Asia pacific region from 11 per cent to 19 per cent.

    The group also notes an effort to reduce its exposure to the American market, from 66 per cent to 57 per cent, in the long term.

    “We have now created one of the leading global fashion luxury groups in the world,” Capri chairman John D. Idol said.

    However, considering the past performance of these brands, one cannot be certain whether this merged entity can turn them around says IBISWorld senior industry analyst Kim Do, though “Capri Holdings seem confident in their ability to do so.”

    “While many are concerned about the company diffusing its newly acquired brands, similar to that of its own, this is unlikely as, similar to Jimmy Choo’s agreement with Kors Holdings, Donatella Versace will continue to remain the creative director [of] her namesake brand, leading the brand’s creative vision,” Do said.

    “However, while it is likely that Versace will be pushed into new avenues of revenue (such as a stronger focus on Asian markets) it will likely not include mass-retailers – which is how Michael Kors expanded previously.”

    According to Do, IBISWorld expects Capri to hold off on further acquisitions for the time being, and will most likely focus on growing the three brands it now hold in its portfolio.

    In November 2018, the group saw total group revenue decline 32 per cent to $189.76 million (US$137.6 million), from $279.81 million (US$202.9 million) the year prior, which GlobalData Retail managing director Neil Saunders called “disappointing”.

    “Although overall revenue growth looks robust, it continues to be flattered by the acquisition of Jimmy Choo, which has yet to annualise out,” Saunders said.

    “In short, after slowly climbing the steep hill of recovery, Michael Kors now appears to be rolling back down in reverse.”

    Saunders also said the acquisition of Versace could prove to be a distraction that limits the group’s abilities to fix the core problems within it’s main brand.

    In November 2018, the group saw total group revenue decline 32 per cent to US$137.6 million, from US$202.9 million the year prior, which GlobalData Retail MD Neil Saunders called “disappointing”.

    “Given Michael Kors’ relative lack of success with its own label, we do not see the group being able to [easily] undertake the retooling required to generate superior results.”

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  • Burberry unveils first-ever Chinese New Year campaign

    Burberry unveils first-ever Chinese New Year campaign

    British luxury fashion house Burberry has unveiled its first Chinese New Year campaign, celebrating family traditions and togetherness. The commercials, shot and directed by photographer Ethan James Green, star Chinese actresses and Burberry brand ambassadors Zhao Wei and Zhou Dongyu, who make their Burberry campaign debut. Inspired by classic portraiture, the campaign has been reimagined in an informal urban environment, and features classic Burberry pieces including archive-print scarves, the trench coat and tailoring, contrasting with urban staples including hoodies, t-shirts and joggers, all of which are now available globally online and in-store.

    “The campaign draws on the concept of families reuniting for the most important holiday of the year, and represents a sense of belonging, but in a very fresh way,” explains Zhao Wei. “It was great fun being back on set with Zhou Dongyu – I enjoyed it very much!”

    Gallery of the campaign (4 images) :

    Zhou Dongyu added: “A family portrait is a very simple concept, but the ceremonial sense behind it holds so much more. For me, being able to go home once a year to spend quality time with my family is something I value above all else, and I wouldn’t trade it for anything.”

    For the campaign, Zhao Wei wore a sleeveless keyhole detail top, reissued Society-print silk scarf and gold plated link drop earrings. Zhou Dongyu wore a vintage check wool jacket with palladium plated link drop earrings.

  • Pooey Puitton toy purse makers file lawsuit against Louis Vuitton

    Pooey Puitton toy purse makers file lawsuit against Louis Vuitton

    Toy company MGA Entertainment has preemptively sued Louis Vuitton in an attempt to prevent the fashion house from taking actions that might impact sales of its slime-filled children’s purse Pooey Puitton. Filed 28 December 2018 in Los Angeles federal court, the lawsuit aims to prevent any potential claims of trademark infringement that Louis Vuitton might have against the plastic, poop-shaped purse.

    Instead, it asserts that the product is a “protected parody” of Louis Vuitton’s luxury handbags.

    The Pooey Puitton plastic purse takes the shape of a poop emoji with a handle and sparkly eyes. It is printed with a colourful, printed monogram, similar to the floral trademark pattern found on Louis Vuitton products, particularly the Spring/Summer 2003 collaboration with Japanese artist Takashi Murakami.

    Intended as a children’s toy, the purse is designed to store “unicorn poop”, a glittery toy slime.

    The children’s toy manufacturer launched the lawsuit in response to a claim that Pooey Puitton’s name and image violates the fashion label’s intellectual property rights.

    But MGA Entertainment asserted that “no reasonable consumer would mistake the Pooey product for a Louis Vuitton handbag”, citing the difference in material, price, marketing and stockists.

    According to the toy giant, the product is actually a parody of the luxury fashion brand, “designed to mock, criticise, and make fun of the wealth and celebrity” associated with Louis Vuitton products.

    “The use of the Pooey name and Pooey product in association with a product line of magical unicorn poop is intended to criticise or comment upon the rich and famous, the Louis Vuitton name, the ‘LV’ marks, and on their conspicuous consumption,” the statement reads.

    The interlocking “L” and “V” floral monogram pattern was designed by Louis Vuitton’s son, Georges Vuitton, in 1896.

    This is not the first time that MGA Entertainment has found itself in legal battles. The brand was famously sued by Barbie-manufacturer Mattel for allegedly stealing the idea behind its Bratz doll franchise.

    Elsewhere, Virgil Abloh – who was appointed artistic director of menswear for Louis Vuitton in March 2018 – unveiled his polychromatic menswear collection for the brand during Paris fashion week.

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  • Miu Miu Siam Paragon boutique reopened

    Miu Miu Siam Paragon boutique reopened

    Italian fashion brand Miu Miu is reopening its Siam Paragon boutique as the first Thai location to introduce its new concept store. The new 140sqm outlet strengthens the brand’s presence in Bangkok with a refreshed interior design and new collections of its signature accessories, bag, shoe and ready-to-wear collections.

    Among Miu Miu’s current offerings are evening dresses enhanced by Swarovski crystals and garments featuring 60’s-inspired elements.

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  • Raf Simons exits Calvin Klein

    Raf Simons exits Calvin Klein

    Raf Simons is exiting Calvin Klein less than two years after his debut as its first chief creative officer and eight months before the end of his contract. The brand will not stage a runway show in February. The designer’s stint at Calvin Klein — coming after his turn as artistic director of women’s haute couture, ready-to-wear and accessory collections at Dior — won plaudits within the industry but failed to resonate commercially. His exit was widely expected after Calvin Klein parent PVH Corp. chief executive Emanuel Chirico last month criticised the brand’s uneven financial performance and skew toward “high-fashion” under Simons.

    “Both parties have amicably decided to part ways after Calvin Klein Inc. decided on a new brand direction which differs from Simons’ creative vision,” the company said in a statement. A representative for Simons declined to comment.

    Simons’ appointment in 2016 was met with much fanfare. The Belgian designer, as well known for his cult menswear label as his well-regarded stints at Jil Sander and Dior, was given a multi-million-dollar salary and the title of chief creative officer, with oversight over all aspects of marketing and design for the American megabrand, a degree of control he did not have at Dior.

    From the start, hiring a high-concept fashion designer for a brand best known to consumers for its denim, underwear and provocative marketing was a risky move. But PVH leadership saw competing businesses like Ralph Lauren stagnating for lack of creative innovation, while European stalwarts like Gucci soared after radical creative overhauls.

    With Simons, Calvin Klein hoped to not only generate a halo effect for its lower-priced products, but transform the label’s high-end ready-to-wear business, renamed 205W39NYC, from a marketing expense into a commercial powerhouse.

    But from the very beginning of Simons’ tenure, there was a disconnect between his personal aesthetic and the needs of a multi-billion-dollar, multi-tiered brand, driven less by high design and more by mass marketing, an area in which Simons had no experience. His first advertising campaign for the ready-to-wear collection, received mixed feedback. Shot by longtime collaborator Willy Vanderperre, it was arty and bloodless; far from the sexualised minimalism for which the brand was so well known.

    Yet there was plenty of industry praise for Simons’ catwalk shows. And in the first season alone, doors selling 205W39NYC jumped from 30 to 300. What’s more, Simons seemed committed to the cause of translating his designs into mass sales, visiting with Macy’s executives and hiring the Kardashian family to pose for underwear and denim advertisements.

    As recently as March, PVH appeared committed to the partnership as well, with Chirico touting the “credibility” that 205W39NYC would bring to the brand’s other lines. But PVH’s patience began to wear thin over the course of 2018, as the buzz generated by Simons failed to translate into consistent revenue growth.

    In September, a runway concept that required Simons to show off-site (recent catwalks have been held on the ground floor of the company’s headquarters) was scrapped due to budgetary constraints. Then, according to multiple sources, PVH expressed concerns that Calvin Klein’s extensive partnership with the Andy Warhol Foundation — which included merchandise — was too arty and high-brow for a mass audience.

    PVH, which also owns Tommy Hilfiger, missed sales projections in its most recent quarter. And Chirico last month called out the 205W39NYC ready-to-wear collection’s failures, adding that Calvin Klein’s recent denim collection had been a “fashion miss.” The brand’s revenue grew just 2 percent in the third quarter to $963 million. PVH shares are down 35 percent this year.

    “We will cut back on a number of these planned investments in the 205 collection business, and as we move forward, we will [be taking] a more … commercial approach to this important business,” Chirico said after PVH released financial results in November, adding that Calvin Klein will shift the focus of its marketing campaigns from high-fashion to more affordable items targeting a more mainstream audience.

    In recent months, the company had begun to dial back on some of Simons’ responsibilities, installing L’Oréal veteran Marie Gulin-Merle to be Calvin Klein’s new chief marketing officer, reporting not to Simons but to the brand’s chief executive Steve Shiffman.

    Simons earned multiple awards from the Council of Fashion Designers of America during his time at Calvin Klein and his absence will be keenly felt at New York Fashion Week, where he was one of the few designers who could command true international attention.

    “Raf brought a unique point of view to American fashion and the CFDA wishes him future success,” said CFDA chief executive Steven Kolb. “Calvin Klein is an iconic American brand that will continue to flourish under new creative direction.”

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  • Shanghai Tang goes back to its roots

    Shanghai Tang goes back to its roots

    Shanghai Tang, recently acquired by Chinese entrepreneur Chen Danxia and Lunar Capital, goes back to its roots with the appointment of Victoria Tang-Owen, the daughter of the visionary founder David Tang, as Creative Director.

    Together with the appointment of Victoria to rebuild on her father’s legacy, the brand will continued to be led by the CEO Maurizio De Gasperis, former Managing Director of the brand.

    The headquarters will remain in Hong Kong, and has just welcomed a new General Manager of Global Retail, Elisabetta Bazzini, with extensive experience in Asia working with a number of luxury fashion companies including Gucci, DFS, Versace and Max Mara.

    Leveraging the heritage of the Chinese luxury brand, Victoria is set to reinterpret Shanghai Tang’s unique brand aesthetics.

    Shanghai Tang is the first Chinese authentic contemporary luxury brand founded in 1994 by Sir David Tang, and thereafter under Richemont’s ownership for almost two decades.

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  • Why is Farfetch betting on sneakers?

    Why is Farfetch betting on sneakers?

    In its first major move since going public in September, Farfetch announced Wednesday that it is acquiring sneaker and streetwear marketplace Stadium Goods in a deal that values the business at $250 million. The London-based fashion e-commerce platform is aiming to extend its reach in the growing luxury sneakers and streetwear market, as millennials account for a growing percentage of luxury sales and competitors are engaged in a digital land grab.

    Farfetch first partnered with Stadium Goods, a consignment reseller of rare and limited edition products, on a distribution deal in April of 2018, bringing a small selection of products sold on Stadium Goods to the Farfetch platform.

    After the deal closes, Stadium Goods’s full inventory  will be available to Farfetch users. Stadium Goods will continue to operate independently while tapping into Farfetch’s logistics and delivery capabilities.

    The world’s largest fashion e-commerce players, including Farfetch, MatchesFashion and Richemont’s Yoox Net-a-Porter, are locked in a race to add new services and technologies through investments, acquisitions and internal research and development in order to stay ahead of the pack, generate higher margins and become the go-to platform for consumers and brands.

    They’re all chasing a rapidly expanding online luxury market, which Bain & Co. sees growing from an estimated €26 billion ($30 billion) in 2018 to between €80 billion and €91 billion ($90.9 billion to $103 billion) in 2025.

    Sneakers are a key driver of the boom, outpacing overall luxury sales growth to reach $4 billion last year.

    Farfetch founder chief executive Jose Neves said that while his marketplace has built a following around high-end streetwear, “we did not have access to the rare sneakers, to the premium limited editions in the secondary market” that Stadium Goods Offers. The partnership has so far generated “phenomenal, immediate traction” from all of Farfetch’s markets, especially China, Japan, Russia and the Middle East.

    “[Sneakers] are growing faster than other categories and we see the same on Farfetch,” added Neves. “We now have the strongest secondary market brand, in our view.” Stadium Goods competes directly with other streetwear-focused platforms StockX, Grailed and GOAT.

    Stadium Goods co-founder and chief executive John McPheters said Farfetch’s international reach would be a major boost to the business.

    Most of Stadium Goods’ sales happen online, and the marketplace has partnered with larger digital retailers including Amazon, eBay, Zalando and Alibaba to scale its access to sneakerheads. Last year, it turned over $100 million in gross merchandise volume.

    Both Farfetch and Stadium Goods are focused on capitalising on China’s growing luxury market, but they have taken different approaches.

    JD.com, China’s second-largest e-commerce company, has a stake in Farfetch. Meanwhile, Stadium Goods started selling products on JD.com rival Alibaba’s Tmall in 2016, and the company has said the channel now accounts for 15 percent to 20 percent of total sales.

    McPheters said Stadium Goods’s relationships with its existing e-commerce partners will remain “business as usual,” batting away the suggestion of a potential conflict between the two company’s respective alliances with JD.com and Tmall.

    Neves said any re-evaluation of the partnership between Stadium Goods and Tmall would be up to Stadium Goods management.

    Farfetch, which went public on the New York Stock Exchange in September 2018, has aspirations to be the “Amazon for luxury,” adopting the e-commerce giant’s marketplace model. Third-party sellers, from tiny boutiques to global brands and retailers, list products on the site, with Farfetch processing sales and sometimes handling the logistics, but not taking inventory.

    Since going public, Farfetch has made clear its aggressive focus on new markets, pursuing more business in emerging economies such as China and the Middle East, as well as signing on additional retailers and brands. Neves told analysts in November that he wants Farfetch to take the “lion’s share” of new luxury spending online over the next decade.

    The company reported $310 million in sales on its platform in the third quarter, a 53 percent jump from the same time last year, and putting Farfetch on track to handle transactions worth well over $1 billion for the full year.

    Farfetch’s cut of each sale is around 30 percent. Losses are also growing, as it invests heavily in technology, hitting $77 million in the third quarter of 2018, up from $28 million during the same period the previous year.

    On Wednesday, Farfetch shares were up 5.9 percent at $23.90.

    Stadium Goods is Farfetch’s first acquisition since picking up Chinese digital marketing agency CuriosityChina in July. In 2015, it also acquired London boutique Browns.

    “We will continue to look only at world-class absolute leaders in specific markets or technologies or categories, and nothing else,” said Neves, describing his strategy around potential future acquisitions as case-by-case. “I believe first in deals that are win-wins.”

    Stadium Goods opened in New York’s Soho in 2015, reselling limited edition sneakers to a growing market of fans ready and eager to pay thousands of dollars for rare pairs. Founded by McPheters and Stiller, the business raised $4.6 million in January 2017 in a Series A funding round led by Forerunner Ventures. In February 2018, LVMH bought an undisclosed minority stake in the business.

  • Prada ‘racist’ incident ended up with apology

    Prada ‘racist’ incident ended up with apology

    Prada has apologised for selling a US$550 monkey figurine after a social media backlash from US consumers alleging the character is racist. The monkeys, with oversized red lips and dark skin have been likened to “racist caricatures historically used to dehumanise black people” according to a commentary in The Business of Fashion.  Some social media users pointed out a resemblance to golliwogs, the fictional children’s book character created by Kate Upton in the late 19th Century, which brands worldwide have avoided using in marketing for reasons Prada executives could have easily found with a quick Google search.

    The ‘racist’ monkey character was part of the Pradamalia range of small accessories like keychains and toys featuring cartoon characters.

    Prada said in a statement that the creatures were “not intended to have any reference to the real world and certainly not blackface”.

    “Prada Group never had the intention of offending anyone and we abhor all forms of racism and racist imagery. In this interest, we will withdraw all of the characters in question from display and circulation.”

    The Business of Fashion described the company’s design as “at best tone-deaf, at worst racist and exploitative”.

    Some people in the retail industry may well ask how Prada released such a product after the high-profile case of H&M having to apologise after releasing marketing images of a black child wearing a hoodie with the text “Coolest monkey in the jungle” in January, which prompted a similar chorus of disapproval. H&M immediately withdrew the hoodies from sale globally and recycled them, but not before some stores in South Africa had to be closed temporarily after protests and vandalism.

    And just last month, Dolce & Gabbana was forced to apologise to Asians customers around the world for a video campaign mocking a Chinese model trying to eat pasta with chopsticks, followed by an extraordinarily racist rant on Twitter by one of the label’s founders (which he later claimed – to widespread skepticism – was the result of his account being hacked).

    Facebook user Chinyere Ezie (who took the photo of the Prada monkey used with this story) was one black American woman outraged by the product. Her post had been shared more than 10,000 times by Monday morning and received some 4300 comments.

    “Today after returning to NYC after a very emotional visit to the Smithsonian National Museum of African American History and Culture, including an exhibit on blackface, I walked past Prada’s Soho storefront only to be confronted with the very same racist and denigrating #blackface imagery,” she wrote.

    “I entered the store with a coworker, only to be assaulted with more and more bewildering examples of their Sambo-like imagery. When I asked a Prada employee whether they knew they had plastered blackface imagery throughout their store, in a moment of surprising candor I was told that *a black employee had previously complained about blackface at Prada, but he didn’t work there anymore.*

    “History cannot continue to repeat itself. Black America deserves better. And we demand better.”

    The products were withdrawn from window displays – and sales – within hours of Ezie’s post on Friday.

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  • Shinsegae International Opens Select Shop for S. Korean Designer

    Shinsegae International Opens Select Shop for S. Korean Designer

    South Korean retailer Shinsegae International aims to promote South Korean designer brands through a new online store. The company says ‘Select Shop’ will specialise in South Korean designer brands, on its S.I.Village online shopping portal. Select Shop accommodates 30 designer brands for clothing, bags, and footwear.

    “Select Shop will serve as a new channel for South Korean designers as well as for young and sensational new brands, which will also boost the competitiveness of our online shopping mall,” said a Shinsegae International spokesperson.

    Shinsegae International said S.I.Village’s high-end reputation is what encouraged many of the designers to join Select Shop.

    To mark the grand opening, Select Shop will provide discounts of 5 to 20 per cent on all member products and will give away movie tickets to the first 300 customers to make a purchase on Select Shop.

    The website will also be the exclusive distributor for 99 T-shirts designed in collaboration with 99%IS by Bajowoo.

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  • Poltrona Frau has opened a new retail space in China

    Poltrona Frau has opened a new retail space in China

    Italian furniture maker Poltrona Frau has opened a new retail space in Ningbo, China. The new 340sqm, single-floor shop presents a range of living spaces that alternate between living area and bedroom, dining room and home office according to the Poltrona Frau philosophy.

    The retail concept is designed to convey the atmosphere of a real home.

    Pieces on display include classic and contemporary designs, from early 20th century armchairs to recent Chinese lighting collections. The store features an area dedicated to showcasing the brand’s leather bookcase.

  • “The Marc Jacobs” is launched

    “The Marc Jacobs” is launched

    A new era of Marc Jacobs is coming. Marc Jacobs is launching a new affordably priced label called “The Marc Jacobs.” The line will be introduced for pre-fall 2019. According to WWD, which saw an image from the line’s new look book, The Marc Jacobs will feature such items as colourful rugby sweaters, corduroy pants, and accessories.

    The designer also hired Russian stylist Lotta Volkova to style the look book, which was shot by Hugo Scott.

    While not much else is currently known about the new “democratically priced” label, a spokesperson for the brand did tell WWD that more images would be published in May – and that the line is part of a collection that also includes a “Runway” component.

    On Instagram, Jacobs acknowledged the existence of the new collection, writing that the image of the line was leaked.

    “Consider it a taste of things to come,” he wrote, before referring to the collections as “fantastic and fresh.”

    Although there has been no confirmation, The Marc Jacobs may resemble the former lower-priced Marc by Marc Jacobs label – which was discontinued in 2015.

    The announcement of the new brand comes after increasing speculation that the designer would leave his namesake brand amidst declining sales.

    In the beginning of the year, it was announced by Business of Fashion that the LVMH-owned company Jacobs would close its London store, as well as other European brick-and-mortar locations.

    This year the designer also announced the re-release of the Redux Grunge collection, a collection of 1993 looks that got him fired from Perry Ellis, and a collaboration with Dr Martens to create a range of limited-edition boots.

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  • Tommy Hilfiger opens first Indian store

    Tommy Hilfiger opens first Indian store

    Last week, Tommy Hilfiger has opened its first exclusive Tommy Hilfiger store in Patna, India. Actress Radhika Apte made the launch of the event wearing the brand’s clothes. “I’m excited to be in Patna to celebrate the opening of the first exclusive TOMMY HILFIGER store in the city,” she said.

    During the event, key influencers such as Ira Dubey, Carol Gracias, Neelaksh Apte, Kanishtha Dhankar and Arya Bhat, and VIPs browsed and shopped the Fall 2018 collections that celebrate American Icons while putting a modern twist on timeless classics to meet the needs of the now.

    Spanning over 125 square meters, the store’s design reflects Tommy Hilfiger’s new global retail concept, which fuses the brand’s American heritage with clean and bright aesthetic.

    The interior takes cue from the nautical lifestyle – one of Tommy Hilfiger’s longstanding sources of inspiration.

    Technology being at the center of retail today, a high-resolution digital screen
    showcases the brand’s latest global campaigns for an immersive brand experience.

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